BTM_Pix

Their new HC-500U has a pretty great spec for a £3K camcorder including 10bit 4K 4:2:2 internal, timecode in/out and a very smart caddy that holds an M.2 SSD to give you all flavours of ProRes up to 4K60p. Its a shame its only a 1 inch sensor of course but it does augur well for if they do make an LS400 as JVC definitely do not possess a cripple hammer. http://pro.jvc.com/prof/attributes/specs.jsp?model_id=MDL102557&feature_id=03

Maybe as well as a full frame Foveon, Sigma will do the existing SD Quattro in an fp body? These lenses would obviously be perfect for that. I'm also wondering whether they might be able to offer 10 bit RAW internal on the fp in crop mode ? Again, these would make that a great combo. Even if no other camera shows up, those three primes are pretty great value for money in their other formats so if the L mount ones are the same price then Leica TL2/CL owners should be all over them. Ditto for the original SL in 4K mode.

Seems to be a 100-400mm, 3 x APS-C L mount primes and a TC.

Should be worth tuning into this. No idea what they are going to announce but I suppose there will be an update about the full frame Foveon amd hopefully something concrete about a firmware update for the fp. They've mentioned APS-C L mount lenses in the past so maybe they will make an appearance and who knows maybe a camera to go with them?

I'm more of the Bowfinger school of film economics

You can print it using Clear PLA filament like this one here : If you want to avoid the design and print aspect and go really DIY then you could modify this tutorial which makes a phone case using hot glue to get a similar effect.

Are you using the Cut page ?

"One Touch Zoom" was the term when I was a nipper although I have seen people refer to them as "Trombone" Yeah, its not ideal for that type of lens although, looking at it, the wheels look narrow enough to support if just behind the aperture ring on your lens. Alternatively, if you don't mind losing a few mm at the short end of the zoom it could sit just ahead of the aperture ring.

If you don't want to put rails on your rig then Andoer have a pretty effective adjustable lens support that attaches to the tripod mount of your cage. Its about £30-40 so not exactly free but cheaper than a new lens mount and will stand you in good stead if you end up buying even heavier long primes in the future.

I wouldn't necessarily take the name of the forum too literally as a universal ringing endorsement for the brand Canon have recently made a utility that allows you to use EOS cameras as webcams. The XC-10 is not listed as being one of the supported cameras but there is a feedback forum there that you should have a look at just to check in case someone has got it working. https://www.usa.canon.com/internet/portal/us/home/support/self-help-center/eos-webcam-utility/ Other than that you can still use it with an external HDMI capture devices such as those from Elgato or Blackmagic but there is obviously a cost implication of between $150-200 depending on which one you get. If you do go that route, make sure that it will work with the specific applications that you want to use for streaming.

I've got quite a few Metabones products and don't disagree necessarily but its difficult to be definitive in this particular case when they don't make a comparable medium format reducer product for any format. It would be good if Metabones did provide Baveyes with some competition for these products as the price is pretty steep in Europe at least, though whether this price reflects it being a thus far niche product or Kipon having a monopoly is up for debate. I've seen quite a few reviews of the Baveyes MF reducers on Sony A series cameras but not on the SL but I think someone on here has done some stuff with one on an S1 or S1H but I can't remember what thread its in. The one Andrew has is actually mine (long story!) so I'm looking forward to seeing how it fares once this COVID-19 travel situation eases and we can meet up on a bridge somewhere in Berlin and do the hostage exchange for the Contax Zeiss lens of his that I'm holding Ah, OK Apologies.

Ah, OK. Apologies.

Aside from the obvious of the Leica APS-C cameras, I think they'd also find a home (mine being one ) for using with the original SL which is crop in 4K. The challenge would be how to deal with Leica repelling all boarders when it comes to electronic control of adapted lenses , including those from their own L mount alliance partners!

Kipon's Baveyes reducers are available in SL mount for Mamiya 645, Pentax 645, Hasselblad V and Pentax 6x7 https://www.adorama.com/l/Photography/Lenses/Kipon~Lens-Mount-Adapters?sel=Camera-Fitting-lrbr-Male-rrbr_Leica-L I'd probably expect a review of the Mamiya 645 version on here before long by @Andrew Reid

They have that Sound Enhancer function in their Music app, is it possible they've snuck it in as a general overall option on the output now? Apple bought a company called Camel Audio a few years back that made audio plugins and one of them was called CamelSpace which offered an enhancer function similar to an Aphex Aural Exciter which sounds like the effect you are describing.

@Andrew Reid will be the one to ask about whether it works with the Z50 so hopefully this tag will give him a nudge Funnily enough, I was looking at a Z50 with him in a camera shop a while back and we both thought it looked quite interesting so I'd be interested to know how you get on with it if Z-Log works with it.

For H series shooters, Fujifilm make a pretty good electronic adapter for the lenses to mount them on the GFX cameras. It has full aperture and metering control, lets you use the leaf shutter in the lenses for faster flash sync but doesn't do AF. Which is a bit disappointing really considering the H lenses are all made by Fuji in the first place but I'm guessing its contractual. My H3DII-39 expired quite some time ago but I still have the lenses waiting for the day when I finally cave in and get a used GFX.

I think you are being unfair labelling every one on this forum as some sort of fantasist demanding that exact spec for under $2000 as the reality is very few of us would want the 10 inch screen

About two hours in I'd be like this

Yes, its the PBC that does the work driving the lens via the camera so it is exactly the same as it is now with the difference being that it translates the distance position from the AF adapter against the calibration points it has for the lenses. What could possibly go wrong

As there is no point re-inventing the wheel it will likely be commercially available focus motors from Nucleus as they have ones for both compact and cine lenses. The way it drives them is the same but the number of positions it can drive too is, quite often, more limited than the native MFT lenses but that is at the EF end. This is why I had to develop the calibration function and database on the PBC when you use it with the Pocket6K as you have a lens like the Canon 50mm 1.4 for example that has around 35 focus positions whereas the Sigma 18-35mm f1.8 has something like 120. The MFT lenses vary too but not quite to the same degree and you at least get feedback from them of the range so its far easier to deal with.

So he seems to be saying get a 2nd hand SL if you want a B camera for the SL2. Would've thought they'd want to sell more new CL and TL2s by upgrading the firmware to boost their video specs for that role really. Ditto the Q2 could do the job as well.

The Panasonic/Leica cameras don't support the lens being driven externally to a specific position so everything must be done with offsets. This is manageable of sorts but it only has two values to move the lens by which are by single steps or by 10 steps which makes trying to provide a smooth transition difficult. You can see how rough this is by using their own ImageApp to control the camera over wifi. Over time, it may be that they provide a better way to do this (and also by Bluetooth LE rather than wifi as its a better way to do it) but I wouldn't hold my breath.

As per the SL2 spec document, the battery (amongst other things) is made by Panasonic so whilst a different capacity it will likely share similar power management so I'm not sure it is a coincidence. No, it was just purely to run a test that would have a higher power drain than just idling but not one that is related to actually recording. I think there is some defensive power management going on related to starting a recording (or being in a ready state to start one) in different formats whereas if it is in stills mode and connected to wifi it will be draining faster than at idle but might not fall off a cliff at the same point. Or maybe it will fail earlier.

It might be interesting to do a non-shooting but higher than usual consumption test by putting it in wifi mode and connecting it to Panasonic's app and see what happens when it gets to a similar 20% level and whether it falls off a cliff in the same way. The suspicion would be that it is a similar pre-emptive measure that is happening with the SL2 because they are aware that battery performance becomes erratic when it gets to 20%.