BTM_Pix

If you took out all of the libellous remarks, the conversation would pretty much have just ended up with "does this come with rice?" and "can we have the bill please". If its any consolation, there is a thread on here somewhere where someone asks if anyone owns the 35-70mm and I replied saying that I regretted not buying it as I'd gone for the wider range of the 28-85mm instead. However, I made that statement a good six months after I'd actually, erm, bought the 35-70mm and clearly completely forgetting I'd done so ! Not that I have an addiction or anything. I'm not so sure about that. If dour cynicism ever becomes a key driver of the YouTube algorithm then we might have a chance.

Yes, I was one of the original $1000 NAB speculators. The whole place was getting weird even before that one shipped let alone the rest of them. Oakley sold aspirant lifestyle via the medium of sunglasses and there was a certain element of that carried over into the RED in my opinion.

I seem to recall that you were one of those people The thing with this is that of course this is my lens and I've obviously had it on a bunch of cameras so I'm familiar with how it looks so it was a bit wow how much new wow there was. I'm not talking about wow when bringing it in to Lightroom and pixel peeping etc either but wow as in immediately just seeing it on the rear LCD. It was very hot though so we could have just been hallucinating.

Not for me personally we didn't. A mirrorless version of it perhaps, to not only address it being a seamless transiton from stills to video because of the EVF but also to break away from the EF mount. The EF mount is good as an intermediary mount but not as a final destination as it rules out (most) PL lenses and all M mount lenses. Its this latter aspect particularly that makes the P6K far less useful to me than the P4K but its a personal preference.

Funnily enough we were actually discussing some sort of VSM mode for the GFX100 today as we were putting all manner of different format lenses on it. The Contax Zeiss 35-70mm above for example just needed moving to about 37mm to avoid vignetting and it would be great to just have that scaling as per the LS300 to keep the FOV. There is massive scope for Fujifilm to develop the GFX100. I said the other week that it is a camera that I could buy and then just turn the internet off and live happily ever after and although it was slightly tongue in cheek (we are addicts after all ) its actually not that unrealistic if Fujifilm really go for it. Today, we were using it for something that was ridiculous really as a proposition but I saw enough to make me think that it wasn't so inappropriate after all. With some work from Fujifilm, it really could become the ultimate hybrid, though more realistically for the rest of us that will be when they incorporate the video stuff in the next 50mp version. Yes its got a huge price tag but at the end of the day I'd sooner spend £8K on a camera that really inspires me to go out and shoot with it than have £4K tied up in cameras that leave me a bit cold. Put it this way, after also having access today to the other camera that could vie for the title of best hybrid, it won't be the S1-H that I'll be scheming to try and justify purchasing to the other half

I had a look at them on the back of the camera on the train and at least one of the shots is in focus which is one more than I was expecting. Curious about the false colour on the P6K though because I set the exposure quite conservatively but a few of them look horribly overexposed. The most impactful thing during any of the tests though has to be that Contax Zeiss 35-70mm when it went on the GFX100. Mojo is a pretty nebulous term but I'm quite prepared to use it in this instance.

You're probably too young to have seen some of the work of the classic British photographers of the 1960s Zach but some of them reached such a level of mastery of the maths that they didn't even have to point the camera at the subject. This guy is a good example and its worth digging out the longer form of this documentary about him to see where you could go with these techniques yourself.

You don't know the half of it. We had a great time and can recommend an excellent Thai restaurant but as for any meaningful comparison testing you'll all just have to rent the cameras yourselves. Although the working title for our next series of misadventures should definitely be Planes, Trains and No Autofocus. With regard to the GFX100 itself though....yeah, wow.

What he really needs to buy is a second MC21 so that the next time he leaves his current one at the hotel we will have a spare one so that our GFX100/P6K/S1H face off doesn't descend into the two of us standing in the baking heat shouting "Oh fuck" at each other over the sound of F1 cars hurtling past. Like it just has. We really should have made a vlog to document just how many fuck ups two apparently competent people can make in an a 24 hour period.

The Nikon FE?

Living in Manchester does save you a fortune in ND filters

I do wonder what will happen to the dynamic on there if the Komodo is anywhere near the top end of the prosumer price bracket. As RED found with the Hydrogen, a lot less slack will be given by those customers for issues than has been the case with their more forgiving base.

Even then there'll be someone saying they prefer the rendering on the one he used on the prequel Chef Boyardee And The Living

S35. I often find Reduser to be a mixed bag about most things but cheaper lenses in particular. There is a lot of couching it in terms of "I've only got this for personal projects" which strikes me as a pre-emptive defence in case it is belittled by some members of the cult/forum. From my point of view, the benchmark for me for that lens is that it remains the most compelling of any "lets just go down the park and shoot a lot of setups with one lens on the LS300" stuff I've seen

We are both en route to an undisclosed European location to do some of that with the added bonus of the P6K being involved. Well he's already there and I'm en route in a car that couldn't be carrying more batteries if it was a Tesla. We might even do a "Hey guys whats happening" vlog about it * * spoiler.....we won't be

I'm not taking any camera with me so I'm putting quite a lot of pressure on it myself i'm taking some M lenses as that is what I've mainly got in mind for it but I'll likely get the kit lens too as it seems pretty well thought of. I'm really annoyed that I haven't picked up a cheap PL>L adapter as do you remember this Angenieux on the LS300 from a while back? I've been after one but never really felt comfortable buying one sight unseen off ebay but I've found one at a dealer in Tokyo....

Looking forward to seeing this tomorrow. You'll be the first person to shoot F1 on a manual focus medium format camera since the Fangio era!

We are 5 days away from finding out how accurate that is I'm mildly excited about it to be honest.

If they are these ones then he is still technically on topic

It depends what the purpose of the testing is and the source. The 'A' weighting is the most commonly used as it is shaped by typical human hearing responses, hence why it is the one used in assessing risk of damage to hearing. The 'C' weighting includes the lower frequencies not addressed in the 'A' weighting and a flatter response between 80Hz-3kHz to better reflect human hearing becoming more linear at louder sounds levels. The 'Z' weighting is flat across all frequencies. Due to the ubiquity of the 'A' weighting it will be a more universally accepted/relatable measurement (when the local authorities come round to measure noise they will use 'A' weighting for example) but 'C' might be more appropriate if the sound source is very loud or contains a lot of low frequency content. So, as a very simplistic answer, if the purpose of this new door is to reduce the annoying noise coming from your musician neighbour across the hallway practising for his next gig, then if he's playing a xylophone I'd measure its effectiveness using 'A' weighted whereas using 'C' weighted would give you a better indication if he's a bass player. https://pulsarinstruments.com/en/post/understanding-a-c-z-noise-frequency-weightings

Very interesting stuff. Certainly don't think this sort of approach will remain the sole exclusive of high end productions for as long as it might first appear.

I was pondering this afternoon whether an ardent experimenter could dip a DIY toe in to this by mounting a PSVR/Oculus/Vive above their camera to use as the tracking device to drive the background scene within the PS4/PC onto monitors/projector. This then popped up tonight which is a different spin on it as its creating a virtual camera inside a fully rendered scene but it does prove the ability of those types of low cost VR tools to do the tracking from a human operated camera.

Sounds like a dodgy seller to me.

Thats not a mere regular hat made of tinfoil you've got there, its an entire sombrero

I'm more like one of his enablers.