BTM_Pix

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.

I'm committed to getting the FP but if it doesn't work out then I'd be quite tempted to chop it in for an S1 down the line.

What are the odds of the S1 getting the ProResRAW output option ?

This is one of the better run throughs of the GFX100 that I've seen on YouTube.

In the case of those two publications they are probably no doubt also claiming that would be British evil YouTubers are being held back by foreign evil YouTubers coming over and taking all their likes.

Personally, I'd just look at the outer edges of the GFX100 system and take it from there. In no particular order these would be : The maximum of 5fps in stills, the maximum mechanical shutter speed of 1/4000th, maximum internal recording format of 4K30p 10 bit 4:2:0 and a native lens range in 35mm FOV equivalent of 18mm to 200mm. Those are all fixed limits and ones that without any changes from Fujifilm you will have to consider will always stay fixed so if you absolutely MUST have 10fps or 1/8000th or RAW or 6K or 4K60p or a native14mm or 300mm lens then walk away. Of those, though, the fps and mechanical shutter ones are the ones that are absolutely set in stone and Fuji doesn't yet feature any lenses on its roadmap that are outside of the 18-200mm range so that too should be considered an outer edge for the foreseeable future. The mitigation here with the lenses of course is that I'm only talking about native ones and it is a hghly adaptable mount including AF adapters for EF lenses so its not without options. Importantly, one of these options is a PL adapter which is something that EF bodies can't accomodate. Which leaves us with the video specs and whether the 10bit 4:2:0 internal or 10bit 4:2:2 external files it produces are good enough versus the internal or external RAW from another camera. From what I've seen of it, it has a very nice output but until you have an A/B against the other competitor then who knows really and with this sort of money on the line I'd be looking to rent them and determine that myself rather than rely on a YouTube one. At the end of the day, if I had the money and had to choose between these two particular cameras then I would buy the GFX because my particular needs for it these days wouldn't exceed the fixed hard edges of the spec and I'd favour the massive edge it gives in stills over the smaller loss in video as a worthwhile compromise.

MPB have a few of the Sigma 85s https://www.mpb.com/en-uk/used-equipment/used-photo-and-video/used-lenses/used-canon-fit-lenses/sigma-85mm-f-1-4-ex-dg-hsm-canon-ef-fit/

Sounds like a job for Cleese to explain the options.

Yes, its a full frame lens.

Strictly speaking, I suppose the label isn't at fault but it needs explaining in the description. I was the very proud owner of a Fujica STX-1 when I was a young kid so I'm obviously aware of the mount but there are an awful lot of people who would benefit from that description including the phrase "This if from your Grandfather's era kids, its not for that new modern Fuji stuff"