BTM_Pix

We are pleased to confirm that all of the First Wave PBC orders have now been despatched and your contribution account updated with your tracking number. You can track your delivery here : https://www.royalmail.com/track-your-item#/ Now that the PBC is out of the door, the development of the autofocus adapter that goes with it will be in full swing so I will likely be far less active on here so if you have any issues then please contact us directly at admin@cdatek.com Once again, many thanks for your support and I look forward to showing you something interesting with the focus controller on here soon......

Heartfelt thanks to everyone on here who backed the First Wave release of the PBC and please click the link to download some light reading ahead of your units being dispatched over the next few days. https://tinyurl.com/PBC-USER-GUIDE The fact that this single screen application with two buttons has ended up with enough functionality for a fifteen page manual is testament to how something that started out as a record start/stop controller ended up getting waaaayyy out of hand

I was looking for some 50mm stuff in my test library and found this. Looks like I did the promo shot for the testing but for the life of me I can't find the test images themselves so I'm presuming I never actually did it ! I could do though if anyone is interested.

I've had a bit of a wobble about it recently but I've bought two spare 3rd party batteries for it now and I'm not just going to throw away that £15 investment so I'm committed to getting it now. By a strange quirk of timing though, the CP+ show is on the same weekend I arrive in Japan so I'll be going and having a look round before I finally commit so all bets could be off depending on what gets launched there.

I'm hopeful that in a few weeks I'll have ditched pushing that LANC handle on you and instead be pushing the FP at you harder than a YouTuber pushing Squarespace.

Everything is a trade off of course but, for my own personal use, a more limited dynamic range is something I can deal with or work around whereas the "look" for want of a better expression of different formats is more difficult to work around. In looking at it as a "forever" camera as I'm now sadly old enough to be that kind of buyer, I'm more likely to compromise on the dynamic range. The GFX100 has less dynamic range than the GFX50S and R so maybe the sweet spot would be if they could bring the video side of the GFX100 to a model with the 50 sensor. At a much cheaper price

Its gone a bit quiet about it in the past few weeks so currently there's maybe more likelihood of Hank Marvin making it out of the shadows.

I'm still rooting for the return of the camcorder. If you gave me the baked in look of that Monaco film with a 10x zoom on an APS-C sensor you'd never hear from me again! I had the subscription model of Lightworks a good few years ago but I let it lapse to switch to FCPX when I fully moved over to OSX which they didn't support at the time but I like the simplicity of it so I'm going to give the OSX version a go. Resolve has got so much stuff in thats it like some open world RPG in comparison that I end up getting sidetracked in. Thats why I like LumaFusion on the iPad as its fantastic to do basic cutting on but its let down with lack of ProRes support.

The "drone" shots were pretty good too

With the cameras that have been launched in the past 18 months and those that seemingly will be in the next 6 months there is definitely a sense of a plateau being reached. I think more refined and defined straight out of camera looks could become the saviour of productivity to get everyone out of the quicksand of trying to do everything in post. For some context, look at how rich and deep this looks from 1962 and I don't think its beyond the wit of manufacturers to be able to bring us proper AI replication of these looks in camera to use 58 years later. I know Fuji do it to a certain extent but its still got an emphasis on being a starting point instead of them being bold and saying "No, this is it, this is a precise simulation of this film stock including the grain, no tweaking allowed, now get on with it". There is too much caution on all sides in terms of deferring decisions that I think just drains creativity and productivity, for me at least. And with also addressing that in mind, I'm going back to editing on Lightworks.

I might just sell everything, buy a GFX100, turn the internet off and call it a day.

I've found some (very noisy) pictures from whoever bought it when it was decommissioned and added some pointers to it. The yellow one points to the ashtray holder and the red ones point to the wine glass holders as, of course, I had forgotten that this was in fact a dual wine glass holder spec mixing console.

Thankfully, all photographic evidence of them has been lost to the mists of time but to describe my peak one would be to imagine Robert Smith from The Cure joining the cast of Peaky Blinders and then changing his mind after they'd done the back and the sides.

I knew quite a few people during the power dressing yuppie era who would've called that huge suit just "a suit".

Anyhoo....back on topic. You could pick any track from the Talking Head's "Stop Making Sense" live film really but this is one is one of my favourites.

How dare you! I had a variety of silly haircuts as a younger man but a mullet was not one of them! I think that was two incarnations of the studio earlier. As you can see, in those dinosaur days the ashtray had to be rested on the console rather than integrated directly into it.

It was this one. It doesn't look that big a deal in 2020 but in 1998 this thing was pretty radical, particularly in terms of the hardware and software customisation. It even had an integral wine glass holder and an ashtray holder. I shit you not.

Like I could ever finish anything

Hey @Emanuel, I can't believe you've mentioned Portuguese artist without introducing everyone to Tony Ferrino On a serious note, even in a comedy song, Bjork can't help being incredible.

Funny you should mention me in relation to Enigma because in what now seems like a previous lifetime I spent months on end in Ibiza with Michael crafting his very, very custom mixing console. And by "crafting", I of course mean getting the fucking thing to work properly.

Is it still cropped with the DMW-SFU2 upgrade ?

According to Panasonic, it does. EDIT>>> Although it only seems to be APS-C ?

I'd file it under nice to have rather than deal breaker. That extra software key they sell for it activates 10 bit 4:2:2 4K60p external out which would be plenty for me.

I keep thinking that in the back of my mind I'd have S1H envy but thats how they get you isn't it ! Thats the comparison I'd be most interested in though between the S1 and S1H as the 80 or 90% or whatever that the S1 is of the S1H might well be 100% enough, particularly considering the price difference.

My primary use for the FP is as a (very) small full frame stills camera for my Leica M and L lenses with the bonus of RAW video if I want it so its predominantly about the form factor first. Nothing I would do with it video wise would be of an urgency where the RAW workflow would be a massive turn off. I've cooled on it a little because of some of the issues that have cropped up so I'm watching how Sigma respond to those but even so, from a purely stills point of view, its going to give me something my SL doesn't in terms of form factor so I'll probably go for it and see how the video side pans out. From day one, it looked like it had the potential to be the full frame version of the original pocket but it could definitely do with a few of the rough edges smoothed off. The S1 I'm looking at really to develop a controller for so a bit more of a head rather than heart purchase but, yeah, from all I've seen of it I wouldn't be averse to keep hold of it once the work is done.