BTM_Pix

I'm basing it purely on every single report of the leaked spec for the D6 since last summer up to the present time having included it. But seeing as how much erm "content aggregation" goes on, those specs appearing even on non-rumour centric sites is no guarantee it isn't all from the same fantasist source of course! I suppose we'll know for definite in a couple of weeks.

I definitely think that for anyone comfortable, or even preferring, shooting with DSLRs and the accompanying workarounds/addons for audio, ND and having a fixed 3.5" monitor and no EVF then this is a gift that no one ever thought Canon would give.

He's gonna need a booster seat to see over the steering wheel.

This camera and the D6 are still going to be for a niche - and dwindling - market and are priced to reflect not only the extra features like networking and the build standard but also because whilst they'll clear up 95% of that niche the actual unit sales will be a drop in the ocean compared to their other cameras. For people who have the absolute need for the core aspect of these two products (i.e. a no compromise, built for purpose, bullet proof news, events and sports stills camera) the video features are a happy supplement and more or less for free so its a no brainer really. But I'm guessing that the vast majority of people here don't need to be paying the premium that having the core product entails and would benefit far more from a different use of the same budget. Even for the target market, whilst RAW is great to have, the elephant in the room is that this and the D6 are predominantly used in news gathering/sports roles where turnaround time is king and portability is implicit so dealing with that data is going to be an issue. The 10 bit h.265 options look promising for in field editing though as I understand LumaFusion deals with h.265 really fluidly.

Sorry for the paint based O/T there and now back to the camera..... On the basis that, in this specific category, Canon only really have eyes for what Nikon are up to and vice versa then the bigger than anticipated spec on the Mk3 might point to the D6 launch being pretty interesting. It seems reasonably certain that the D6 has IBIS and likely that it will do ProRes RAW out to a Ninja V so it may be that Canon has finally had to give up the goods on internal RAW to counter that. As far as I know, the D6 supposed to be launched roughly the same time in mid-February and with these sort of specs and the longevity of these types of cameras in general, we are likely to be seeing the final showdown of the flagship DSLR era as it seems unlikely the 2023/24 replacement versions won't be mirrorless. For that reason, maybe Nikon will throw internal RAW in there as well.

That looks more like Surf Green that Foam Green to me. Fender based their colours on those used by the major car manufacturers of the day so they have a Dupont code to make them easy to match. So if you search for DUCO 2461 you'll be able to find the exact match for Surf Green usually masquerading as touch up paint for a 1957 Chevrolet https://www.paintscratch.com/touch_up_paint/Chevrolet/1957-Chevrolet-All-Other-Models-Surf-Green-2461.html

Consumption tax is now 10% in Japan so ¥880,000 is ¥800,000 before tax. Which is just under $7400. Against the launch price of the Mark II in 2016, which was $5999, its certainly a bit of a bump but I doubt many of the intended market will outgrow its spec for a good few years (if ever) so the extra cost will be offset by it having a longer working life.

Call me cynical but due to their lack of any response to any of the posts trying to help him/her, I've got a feeling this thread is going to end with the OP posting a reply along the lines of "Thanks that fixed my problem" and a mysterious link then appearing in their original post..... On the basis that the original post not being a prelude to it being another tedious pork luncheon meat purveyor though, this is a guide to how one person has transformed an A7 series camera in the way that you want for (depending on how much he paid for his A7s) a mere $5-6K of additional equipment....

The quoted payload of the M2 appears to be quite conservative at 720g as a lot of YouTubers are running the A6500 + Sigma 16mm f1.4 combo which is 870g. The fp and the 21mm is about 580g, which would be the most used combo for me, is about 80% of the conservative capacity and 65% of what many are using it at with the A6500/16mm combo. Using the 15mm would be more or less at the 720g point so should be workable but I doubt I would use it anyway. I agree that the Ronin S is the way to go for real use, particularly as soon as any native L mount lens goes on it, but the M2 would purely be when using the fp for casual and travel stuff so it would be all about the minimalism but if I did want to add wireless follow focus to it the Nucleus-N motor is under 80g so should still work with the 21mm. The M2 has a USB power output which can power the motor so that is kept off the total payload. I'm pondering whether a used version of the original Weebill Lab might actually be the compromise option but it is significantly bigger (in relative terms) and I am quite keen on the M2/fp/21mm as a higher end Osmo Mobile !

Gimbals then.... I'd like to get one for the fp that isn't going to totally undermine the whole ethos of it being tiny so I'm not going to be putting this on my Ronin S and so I'm looking for something as compact as possible. In terms of weight (almost identical with battery) and dimensions, the fp is probably closest to the Sony a6500. Looking around, the Crane M2 would seem to fit the bill as it seems quite popular with the A6500 and as I'd be using small M mount lenses like the Voigtlander 21mm or even the 15mm then it will be under the payload rating. Does anyone have any experience of it on the fp or in general before I waste my money on it ?

I expect every screenwriter to give a co-writing credit to their youngest child to ensure the family get the maximum run out of it!

I'm hoping supply of used ones increases over there by the time I arrive as its a bit hit and miss when I check stores at the moment. God forbid I have to buy a new one and only save £800

Be aware that the rules are different for different countries. https://en.wikipedia.org/wiki/List_of_countries'_copyright_lengths#Copyright_durations_by_country In the US, for anything made before 1978, it is 95 years (so anything 1925 and older is now public domain) but for post 1978 it is now the life of any of the authors plus 70 years. That 1978 split throws up some interesting anomalies when you look at the music of John Lennon for example and his two number one records "Imagine" and "Woman". "Imagine" was 1971 so is pre the change so has the 95 years protection and won't expire until 2066. "Woman" was 1980 so is post the change so now only has 30 years left as Lennon was killed the same year and expires in 2050, which is sixteen years prior to a song that came nine years earlier. In the UK, which doesn't have the same 1978 split but does have the "70 years after the last author dies" rule, there is an even bigger anomaly with Lennon due to his work in The Beatles. If you look at a John Lennon solo track like "Working Class Hero", then due to his death in 1980 that only has another 30 years to run, whereas something he wrote for The Beatles with Paul McCartney a few months earlier like "Let It Be" , still has 70 years plus however long McCartney lives for. So the solo track expires in 2050 whereas the co-written one is going to be at least 2090. For years, McCartney has been trying to get Yoko Ono to do a deal where they would change the joint Lennon&McCartney credit to whichever of the two of them actually wrote the song. I'm presuming this is because many of The Beatles' songs that McCartney wrote such as "Let It Be" and "Yesterday" are covered far more frequently than Lennon ones such as "Strawberry Fields" or "I Am The Walrus" so he wants what he sees as a fairer slice of the cake. Yoko has always resisted this, I'm guessing not only because it would be a sizeable and immediate financial hit but also because the joint authorship with one surviving writer in the partnership will alive will keep The Beatles royalties coming in for the Lennon family for far longer. As @Emanuel says those rules for films (in the UK at least) meaning that the clock doesn't start ticking until the Writer, Director and Soundtrack Composer have all died will keep a lot of films covered for quite some time. If you look at "Driving Miss Daisy", the Best Picture winner at the 1990 Oscars, as an example, the Writer, Director and Soundtrack Composer are all still alive so that is now guaranteed to have a minimum 100 year run. The 1980 winner "Kramer vs Kramer", still has all three alive as well so that is going to be a minimum of 110 years.

Surely you aren't suggesting I buy one of each and swap the cases and just take the higher capacity one on trips in its cunning disguise as the lower capacity airline legal one are you?

Thats a good recharge time, much better than my NPFs. Although thats possibly more to do with me not buying a decent charger for them! I think he was just showing that you can power it directly if you want. He was certainly using the plate with the lower capacity NPFs. I've had no problem personally with my SmallRig plate dropping on my P4K even when using servo zoom lenses on it but my main bugbear is the recharge time of NPFs and this certainly addresses that.

Thanks for this. Its a very versatile solution as well being able to power laptops too. I'd be tempted by the higher capacity version but would need to get 2 of these instead to keep within the restrictions for flying. What is the recharge time ? The battery itself is only 7.4v so I wouldn't be powering it directly from that as he was showing either but that version of the SmallRig plate he is mounting it on does then bump the output to 12v to the camera.

And its in stereo judging by this then.

There have been large amounts of 2019 where I've already felt like I've been in some sort of VR experience minus the cables and the helmet.

The 18650s are usually good for around 400-500 recharges before its cycle life is over (defined as when it can only achieve 80% of its original capacity) and will still likely be good for a few thousand after that so it will be some time before you throw them away ?

Tilta do their own compact dual 18650 solution that gives out 8v. https://tilta.com/shop/18650-battery-pack/ It doesn't come with the batteries but you should be able to get 2 of those with a charger for under £20. At £60-70 total its not the cheapest solution out there as you could roll your own but at least this way you get the cable and know its officially supported and tested with the motors. Advantage of 18650s is that they aren't that much bigger than AA's depsite the extra capacity and output so you can carry a few spare to increase the run time if you needed.

If you have some time, you should download the free Zoom Ambisonics player and the original files from that thread and have a play with those to see how you can move the listening position when set to Binaural. If you have a 5.1 system connected to your Mac then so much the better when you set it to that but unrealistic for how people will be consuming VR on headphones obviously. The 190526_001.WAV file has the constant source of the fountain so is a good example of how far you can shift things.

The H3-VR has a six axis motion sensor so it always knows its position relative to the "front" of the camera and encodes internally in Ambix (used for YouTube and Facebook 360 stuff) and FuMa (usually for games) formats so everything remains in sync with viewing angle. Considering how long Ambisonic recording has been with us (I was selling those Soundfield microphones almost 30 years ago now and even then it wasn't new), it is the video tech that is in its infancy really.

If you want to dip a toe into binaural recording in a budget self contained unit then I have the Zoom H3-VR which is a pretty good unit. It records the audio internally in multi channel ambisonic format but also provides a live binaural stereo downmix to record to your camera. This gives you the option to post-produce the ambisonic files or just go with a binaural version on the camera as with this example I did here with the OG Pocket camera. There are links to the original files and the free Zoom Ambisonics player so you can play around with the possibilities here

I did say "solution for me" and I don't have a need for them in those mounts The MFT>E and E>Z mounts are both wafer thin to be fair so even if you stack them it isn't in the same ballpark as stacking say a C/Y>EF with an EF>MFT(Speedbooster) that I routinely use.

Yep, thats the rub with them if you go for the really cheap ones. For what @kye is looking to do with it (just a big monitor to do focusing on a locked off camera) then it might be OK but for anything beyond that its a crapshoot. Literally If you can't find someone who has used the exact one with your exact camera config then it comes down to being a £30 gamble versus a £120 certainty of the BM UltraStudioMini.