BTM_Pix

OK, so I'm not massively keen to get too involved in this at all while I've got so much other stuff going on but..... Just having a look at this with my GX80 and you can forget the 709Like colour profile but something is going on with that higher bitrate command switching it into the extended mode. I thought that people had exhausted all of the permutations but if you do use that FZ2000 command that puts it into the editable formats mode ([MP4 (LPCM)] as Panasonic refer to it) then something does happen on the GX80. Namely, it displays the codec on the rear screen as being FHD50P but as AVCHD rather than MP4. It also blanks out the other recording options in the menu (though it does display it at 28Mbps) until you switch to and from MP4 and when you try and record then sometimes it will and sometimes it won't or stops quite quickly. If it does record properly though, it puts the file in the AVCHD collection file. For the GX80, I don't think this is a rabbit hole that is particularly worth going too deeply down (and I certainly won't be) but for anyone who does want to then you may (though probably may not) find something using a combination of http://192.168.54.1/cam.cgi?mode=setsetting&type=videoformat&value=mp4ed to place it into what would be the MP4 LPCM mode and then using variations on this command http://192.168.54.1/cam.cgi?mode=setsetting&type=videoquality&value=mov_50p_100mbps changing the value of "mov_50p_100mbps" for those of different formats extracted from previous capture sessions of the GH5 etc on previous pages. If your menus for the formats disappear then you can get back to them with a "safe" command of a valid format by sending this : http://192.168.54.1/cam.cgi?mode=setsetting&type=videoquality&value=mp4_24p_100mbps_4k As I say, I don't think there is much mileage for the GX80 so its not something I'm going to be spending any time on myself but based on the change of sensor in the GX9 offering newer possibilities then I definitely think that anyone with an LX100 Mark 2 might well benefit from a bit of digging with this.

Are the additional bitrates appearing in the actual in camera menus themselves by switching to the ED modes (as it does with the FZ2000 tests from a while ago) so you can select them from there because I can't see the specific rates being set in that html file ?

I'll be doing a few La Liga matches so a few more trips to Granada CF now they are back in the big time but mainly Champions League/Europa League and the Spain national team matches.

Its about 2 1/2 hours from mine but we go there quite a lot for weekends too. Just jump on the little tourist train thing and get off at Sacromonte and there is a lovely little area of cave houses up there. Idiots such as me ignore the first part of that advice and decide to walk up there of course! I would definitely consider staying in one but I'm not sure my calfs agree after the hike up there.

OK...if you have an LX100 Mark 2 or know someone who does then I've just made this new file that it would be useful if you could try out. There are 2 new commands there 709Like colour profile 50P 100mbps video format Usual routine, open it in a browser, connect the camera over wifi and select Handshake and then Connect and try the commands. While you are in there, re-checking the cinelike D command is obviously also worth a look. If you have a Leica D-Lux 7 (which shares the same new processor as the LX100 Mark 2) then this might be of interest to you as well. If you have one, let me know, as the file will have to be structured slightly differently. LX100 MARK 2 TESTER.html

Its interesting that newer stuff works on the GX9. Which has me thinking, did anyone one here actually ever buy an LX100 Mark 2 and try my initial hack? My testing of it on the Mark 1 put it into a different mode but one which wasn't cinelike D but I'm just wondering now whether based on this information from the GX9 whether the same change of sensor that the LX100 Mark 2 has had may have changed the game there as well.

Well, I'm not sure its that depressing considering this is the view from its front door Yes, people live in them but this particular one was a "have a look inside my cave as I'm renovating it and give me a euro to help me with it" place. Lovely cool natural temperature in there considering it was 39C outside. If you ever find yourself in Granada, you can try one out as there are plenty on AirBnB to choose from in the same area with slightly more brighter interiors ! https://www.airbnb.co.uk/rooms/31094926?location=Granada%2C Spain&toddlers=0&adults=2&check_in=2019-11-06&check_out=2019-11-08&source_impression_id=p3_1565545654_LYpFx%2B%2BPbPCOHpGy&s=eXoImwQB

I have had a whisper that it will be launched at ¥300,000 in a bundle with the 24-70mm f2.8 Art and ¥180,000 body only. Which would be $2850/$1700 as a straight conversion but I don't know how much additional it amounts to when it reaches your shores. Looking at the price of a 24-70mm f2.8 Art at Yodabashi or Bic Camera and converting to dollars its pretty much the same as B&H though.

I was thinking about you yesterday actually because I was in this cave house

Oddly enough, the SLR magic PL mount lenses are ones that do fit all the EF adapters so you can use their anamorphics with their supplied adapter. https://www.bhphotovideo.com/c/product/1343712-REG/slr_magic_1_33x_anamorphot_cine_lens_set.html Obviously at the end of the spectrum that this camera is, most users will be using anamorphic adapters so there are no shortage of EF or adapted to EF mount lenses like Nikon F,Leica R etc that can be used as taking lenses for those so there are plenty of options.

Just to clarify I was only kidding about it being in a new EOS-R. It will of course be in the XC-20

Yeah there is a maximum flange distance requirement on the PL lens that can exclude them. The adapters usually list a set of lenses that they have tested so its then a bit of an anecdotal search for compatibility of ones they haven't.

License swap that lets Canon use compressed RAW in their new EOS-R without getting sued. Probably

Yeah, I was careful not to add the "but you probably wouldn't want to" so that I could retain the technical win

Yes you can. The adapters have an optical element. As above

Aside from F mount, you can adapt PL, M42, Contax C/Y, Canon FD, Minolta MD, Leica R amongst others. The only ones that you are excluded from is Leica M, Sony E, L mount and of course m43.

If you are shooting with s16 lenses then it speeds the whole process to have the files as you will be using them and not having to do a crop on every take. Reduced file size would offer lower compression rates on slower media or longer record times at same compression rate. Its much easier to implement a crop for BM than changing things in the display as well to do scaling etc. I haven't checked the details but does the crop offer higher frame rates too?

The small orange one (the PBC) which won't be orange has an expansion module with five buttons and a small wheel. It communicates to the PBC by bluetooth so you can split them if you want or attach into one controller. So you can have the PBC on top of the camera for example and the expander on a handle. Its a lot cooler than I'm making it sound. But of course. Probably

You mean like this thing on the right ?

Yeah, why not.

The thing is that if you are set up to take stills with it (and don't need a fast shutter speed) then you are also set up to take video with it and might as well just press the video record button and do frame extracts with the added advantage of 24fps capture with an unlimited buffer. Well, of course, you were able to do that when it was shooting CinemaDNG but its arguably a different story now with compressed BRAW so the DNG of stills mode will now be a differentiator to some people so I suppose a bit more thought has to go in from that perspective of it needing a more specific mode. Or not A bluetooth shutter release/video start probably. Short press for stills, long press for video sound OK ?

I have to confess I'm not sure how much that plays in terms of noticeable impact on the signal, (I'm presuming its doing it with phase cancellation or filtering at specific frequencies as it does with the wind filter setting which is also bypassed when a mic is put in the G80) because if its always on there is no way to do an A/B . On balance, even with that, it would still have the net benefit of slightly degraded signal from a good microphone being more preferable to a similarly degraded signal from those internal microphones.

The quality of the image will no doubt be pretty good but its the getting to that point seamlessly that is the challenge based on my experience with the P4K. For a start, the shutter button is too small and too recessed to depress without inducing some shake of the camera body. The next issue is the shutter. Although you can switch it from shutter angle to shutter speed, it is still linked to angle so only goes from a minimum of 1/24th to a maximum of 1/768th and the values in between are also tied to shutter angle so they step in increments that not many photographers will be that familiar with ! In terms of exposure, if you don't go fully manual (and with the false colour its no big deal to do that of course) then you can simulate shutter priority mode if you use the Auto key on the back of the camera and simulate aperture priority mode and full auto mode by turning the Auto on in the shutter menu. Although setting the modes isn't exactly intuitive, it is doable but the big drawback is the lack of exposure compensation control so you are stuck with what the camera decides. In summary, for me, the shutter button is probably an indicator of how much BM really thought people would be using it as a stills camera and the maximum shutter speed and lack of exposure compensation certainly confirms it. As a 'cinema hybrid' for want of a better expression rather than a photo hybrid, its likely that you will have ND to hand anyway so its not as much of a big deal regarding maximum shutter speed and you could argue that shooting DNGs does mitigate the lack of an exposure compensation function to some extent as you have additional latitude. The use of a remote shutter release that has a dedicated mode dial and a sneaky way of creating exposure compensation for people who did want to use it more for photography would probably be of benefit. And when I say 'probably be of benefit' I actually mean 'does anyone want one?'.

Ah, I think we were possibly talking at cross purposes then. To be fair, the power situation isn't nearly the headache it was when we first got them either when BM inexplicably did not have the cable kits ready so we were all having to lash together different clunky solutions. Overall, I actually think the Pocket 4K probably wins the minimum spend on additional accessories to shoot though as the additional power costs are more than offset by how much it costs to get a phantom powered XLR microphone into the other cameras and BRAW has shifted things even further with regard to comparable media costs.

If I were to do this, then the sacrifice of the central part of the hotshoe (at least) to get the cables through would be the logical option and then terminate them with two sockets to plug into. You could use a male connector as the guy has with the LX100 if you wanted and use couplers but I'm not sure why. A mod would remove the onboard mics completely so yes you could either go in just before the pre-amps or if you look at the schematic in the service manual you can trace it and go in after those ( at c7 and c8 on IC9101) providing you have external pre-amps. Or just buy a G85 and be done with it