BTM_Pix

You certainly had a busy day on Thursday joining EOSHD and all these other forums and asking this exact question : https://forums.overclockers.co.uk/threads/how-to-remove-shadows-on-dslr-sony-a5100.18888587/#post-33640493 https://www.cnet.com/forums/discussions/how-to-remove-shadows-on-dslr-sony-a5100/ https://forums.tomsguide.com/threads/how-to-remove-shadows-on-dslr-sony-a5100.468121/ https://www.fredmiranda.com/forum/topic/1648443 https://www.cloudynights.com/topic/709844-how-to-remove-shadows-on-dslr-sony-a5100/

Therein lies the problem, the buggers refuse to shift to that "oh go on let's have a go" level ! I keep meaning to get the V-LOG upgrade my FZ2000 as the camera itself edges the XC10 in terms of lens speed, ND range etc and is certainly a cheaper used price for anyone looking for an all rounder. There aren't masses of V-LOG examples of it on YouTube but I just grabbed a screenshot of this random one and did a quick correction and even on a low res grab like this it can certainly be pushed around a bit.

Lou Mix Evie F Elsie D Len Scap Dee Paf Mo Dyal Jay Pegg Mike Rofourthirds Anna Morphic Bo Keh

Yep, I've misread the product page like a dickhead ! Apologies. https://www.raspberrypi.org/products/raspberry-pi-high-quality-camera/

The new HQ camera is natively C mount with CS adapter included AFAIK

If you have access to a 3D printer then this might be useful. https://www.thingiverse.com/thing:2757282 Its a D mount to C mount adapter so with some editing it can be the basis of a mounting solution where you would keep the D mount and then modify the other end to accomodate the sensor.

It does to me and would of course involve plenty of Araldite. And the complete destruction of both items.

I completely agree with all of this and echo that same experience. The worst shot that I took in a Champions League final was always ten times better subjectively to a viewer (and to me too) than the best shot I ever took in a lower league match. A man jogging along on some grass with a ball at his feet and no one within ten metres of him is a pretty dull shot unless that man was Lionel Messi and that grass was the pitch at the Camp Nou and the people that were ten metres away were part of a sell out crowd of 100,000 people. I'd also 100% agree about finding interesting subject matter away from that environment and back in the "real" world particularly for someone like me who was into self isolation way before it became mainstream. I'm partly "all the gear and no idea" when it comes to video but thanks to my somewhat, erm, challenging personality I'm mainly "plenty of lens but not many friends" so lack collaborative partners or subjects. Its unfortunate but, as you say, best to make peace with it.

Yeah but apart from all that It would be interesting if they did a refresh of it using an M50 or whatever to base it on. To have more range, I could probably live with the 18-150mm being the fixed lens as it being a bit slow would be offset by it being an APS-C camera. Not that I am in any need whatsoever of another camera of any description of course.

If you sold it tomorrow you'd definitely have had your money's worth out of it! I've always liked the output that I've seen from it. I think RED have beaten them to it by just starting to ship the Komodo.

It has a dedicated stills/video selector switch so, yeah, I'd say it counts. I've said it here before but I've always had a bit of hankering for an XC-10 at the right price and fully expected to be able to pick a used one up for under £500 a long, long time ago but here we are a couple of weeks off the fifth anniversary of it being launched and it is still holding its price at nearly twice that !

Probably the simplest and most effective solutions to do chroma key particularly for small spaces was created many years ago by a company called Reflecmedia. The system comprises a piece of retroreflective cloth as a backdrop and a ring of blue or green LEDs mounted to the front of the lens. It works by the principle of the retroreflective cloth firing back any light it receives back to its source which in this case is the ring of LEDs surrounding the camera lens. So whilst the cloth remains a neutral grey colour, the camera sees it as a solid block of blue or green and it makes for an incredibly simple but effective key and one that doesn't require any additional lighting. This is an overview of it in action. The big drawback to the system though is cost. Although you have to balance that out against how simple it is to use and get the results you need and how often you are going to be using it. It has had many different incarnations over the years in terms of kits and sizes (look out for Play Holoset which was a licensed version of it) so there are usually quite a few used ones available on eBay to lower the cost. However..... If you want to lower the cost dramatically and don't mind doing a bit of work, or finding someone to do it for you, then there are a number very viable DIY versions of it which use the principle. Here is one such example and I have to say that whilst it seems a lot more work in the short term than buying a backdrop and lights etc I think the payoff is worth it. Cheaper too.

When you join the company Zoom meeting with a £10K webcam and wonder if anyone will notice.

The free Resolve license is another factor in favour of the P4K. Would be nice to have the option of the P4K being in that form factor though.

Sony A9

Leica SL with new v3.7 upgrade

Yeah its not the full hit but it does give that capability for files at least as I can write an application that does all of the transfer and processing as though it was directly in the camera but does it in such a way that it doesn't interrupt you shooting or have the other limitations that many cameras have when using their own internal WiFi services such as reduced recording resolution or reduced run times etc. It also means it would work for cameras without any sort of network capability such as BM Pocket, Sigma FP etc Currently, unless you have one of a limited number of cameras such as my LS300 that take a 4G dongle to directly connect to the internet, you have to use an additional device to tether the camera to anyway so its no additional requirement hardware wise. Don't get me wrong, it would be ideal if this could be integrated directly in the camera but Sony had their pants pulled down with people making apps for their PlayMemories system that allowed the camera to be hacked so I doubt we'll see it from the major manufacturers so this might be as close as it gets. For the full integrated solution, the Axiom project probably offers the best hope currently and it does seem to be edging closer

You can already somewhat do a lot of this in a roundabout way on any camera by using the Toshiba FlashAir SD cards as your media. The FlashAir card generates its own WiFi network so can be accessed independently of the camera's own network functionality (if it has one) by apps or even a web browser but can also run custom scripts of its own to automate the process. So for example, you can lock an image in the camera and this attribute change can be set to be the trigger for the file to be uploaded automatically by FTP to a connected device. Or an application on a device can run a watchdog to automatically upload any newly created files. As the files can be accessed while you are generating new ones, you can just concentrate on shooting and all of the file transferring will be happening constantly in the background. Once you have the data off the card onto the other device (which could be a tablet or phone etc) then it is the apps that you have on there that can then do the functions that you need. The other device could also be a single board computer like a Raspberry Pi which is a bit more configurable in terms of processing the incoming files to transcode them or process them with adding LUTs etc If you don't want to store the files on another device but just send them to cloud services then you can also set the card to just work in station mode connected to your phone as a WiFi hotspot and script it to automatically FTP the files to Google Drive, Dropbox etc. if thats all you need. None of this will give you access to change the internal processing of the camera of course but it will take care of the rest of it and is configurable to the exact needs of each user and is also transferrable between multiple cameras.

Leica D-LUX/D-LUX7 Leica V-LUX/V-LUX5 Nikon D500 Nikon D5 Panasonic FZ1000/2000/2500 Panasonic LX10/15

Still very restricted here about how far we can go from home but managed to use some of our allotted exercise slot this evening to take a bit more footage with the FP/45mm/Anamorphot. And yes, that is a snake in the bottom left of the top picture. And yes, I did shit myself when I saw it.

I liked all three of them but this one in particular has a great tone.

Funnily enough, it actually does give off a nice light but it being solar does make it a little impractical I think I've nailed it. With a bonus for using Comic Sans.

Ah...so maybe breaking it and covering it in barrel grease is the secret. I need to do a YouTube video about it immediately with a thumbnail of me holding it at arms length in front of the camera whilst doing an open mouthed shocked face

Well, inspired by your post, I thought I might sort out a setup today. Nowhere on the same level as your ones but here is my very compact L mount full frame RAW anamorphic setup. Taking lens is the Sigma 45mm and the (currently) less than ideal anamorphic element is provided courtesy of a pretty fucked SLR Magic Anamorphot-40 1.33x Compact. I got the Anamorphot-40 very cheap used about 18 months ago and it literally fell apart like a clown car the second time I tried to use it and as you can see it hasn't fully been re-constructed as yet ! Obviously, when picking up the separate parts of it I managed to get barrel grease all over the elements (front and back of both of them no less) so it needs a proper clean as well as a few more screws. I think I might persevere with that though as I think it will be worth the effort as even in its current smeary condition its got some promise from the couple of quick tests I did.

The beauty of this though is that because this combo is £12K you can lust all you want over the next combo but you'll be too skint to afford it A sub 3x zoom doesn't bother me though to be honest. None of the high end zooms I used for work (14-24,24-70,70-200,120-300,200-400 and 300-800) are 3x or above and I could live with this as I did with them as a "this lens plus one prime" kit with the additional one being a wide or long some distance focal length wise from the range that the zoom covered. Its obviously not going to cut it range wise as an ENG lens of course but then, to be fair, neither is the camera its going to be mounted to. Its a pity that the 1.4x TC isn't compatible with the 45-100 as having that in my pocket would cover a multitude of sins as well because when you are £12K in whats the difference in another £800 between friends