eatstoomuchjam

I wonder how security is there and how long before urban explorers get in for photos and/or someone else sneaks in and films some form of video nasty.

To each their own, I think. A lot of these things are really subjective. I bought both the FP and FP-l and while I felt some level of happiness using them and the 12-bit CinemaDNG looked really nice SOOC, I'd often be a bit disappointed when I started to grade them because while the SOOC colors were nice, the dynamic range was ho-hum and the rolling shutter seemed really terrible sometimes on the FP-l (in APS-C mode, it actually got worse and was noticeable even when panning slowly). I ended up selling mine because I was getting to have too many cameras (there again!) and if I pushed myself on it, I needed to agree that aside from a positive emotional response to a lot of things about the camera, there was nothing that it really did "better" than any of my other cameras, including "be small" since the EOS R5 is effectively smaller if you want to shoot in anything other than an 8-bit codec or have a screen that you can see without holding the camera at eye level (the DPL mod helps with that, at least, but I never bought it). Heck, even adding the EVF made it pretty close to the same size as the R5. I'd really love to see a next generation FP with a better/faster sensor, the ability to record 10-bit internally, and either/both of an integrated tiny EVF (small enough to make YouTubers cry in rage is fine) and a screen that can at least tilt up a bit. Add those things, keep the body the same size, and keep uncompressed raw internal recording and it'll instantly be my favorite travel/carry-around camera.

This sounds a bit like a short film that I recently helped shoot, but where I wasn't DP. The DP was solid, but the director seemed really inexperienced. I showed up a couple of times to shoot when the DP wasn't available and before we shot, I said "Ah, we should get the Tentacles connected to everything for timecode" and the director said to just shoot it. I asked about the slate and he said that we'd just clap for sync. "Alright, but the editor is really going to hate us, without a slate or timecode." Sure enough, I'm now being asked to pull a bunch of selects from hours of footage to send to the editor because they got overwhelmed and annoyed when presented with a mountain of non-timecode footage without a slate to identify which take, etc. It also didn't help that the footage for one scene had no camera audio due to my unforced technical error (we'd plugged someone else's Rode Wireless Go into the Ronin 4D during the previous scene and I'd toggled the left/right audio inputs to external vs the internal mic, I forgot to switch it back on the next day when we shot and didn't use the Wireless Go again). Anyway, at least now I hope that the director has learned that you will pay a lot more in editor time/goodwill later if you don't take the minimal time to hook up timecode and use a slate on set.

As a counterpoint, if the goal is to deliver content for a streaming platform like YouTube, then such an image quality comparison is fully legit! 😀

If you like the colors from the older Canons, why not try a newer one? Canon's colors SOOC are pretty consistent - enough so that when I got my R5, the first Canon I'd owned in years, my first thought on seeing the files was "Oh yeah, back to Canon." Otherwise, the GFX 100 II has tons of mojo. I assume that some of the other Fujis have it too - maybe worth checking the X-H2?

I'm pretty sure that no level of "hardening up" will help with the insulin needs of a type 1 diabetic. She does, and acknowledges it. She used to participate in some of his videos. In a hide and seek themed one, she was told she couldn't hide in a place, only to have the winner win by hiding in that place later. It seems like that's when her eyes started to be opened. At this point, her main thing is just asking that the unedited bts footage from BG be released to a non-biased third party for evaluation. I suspect it would need to be a lot of non-biased third parties. Yes, employees who rely on him for income and health insurance are certainly less likely to speak out against unethical and dangerous behaviors. Like allegedly knowing that Delaware was a sex offender convicted of inappropriate actions toward children (on a channel that is most popular with teenagers) just before or after hiring him and then after getting called out for it, claiming to have terminated him, only to just move him to an executive role in another part of the company? Or keeping Tyson around despite allegedly being fully aware of the creepy grooming stuff? Or the racial and homophobic slurs? (On top of the previously-mentioned crypto stuff)

He gives out a lot of money, but it seems like a lot of it goes to his family, friends, gf, employees, etc. But also, when you see the kind of money that he's taking in, it starts to seem like he's keeping a lot of it. He's made millions upon millions just in crypto schemes where he got in on a prebuy for a shitcoin, hyped it, and then had his manager dump it as soon as the price spiked - and then he says "I never have even bought or sold with that wallet" - you know, because someone else does it for him.

Don't forget the part where they denied people access to medication, etc. What a fun TV show.

If you really want small, go with the Fringer adapter and the Canon 40/2.8 pancake. The Fujinon 45 is pretty big. The 80/1.7 has its fans, but for me, it never clicked or felt good. It's a technically competent lens, but I just never liked the images I took with it. It's the only Fujinon lens that I sold (though I returned the 100-200/5.6 within the return window, but that's was only because it ended up too big for the trip I was taking (and for its size, I might as well just bring the EF 100-400L)). The 110/2, on the other hand, is truly gorgeous. Some would say that it's the best reason to get into the GF system. On the other hand... One can hope that means that rental rates on the Arri 35 will drop a lot and/or that they'll start hitting the used market for $10k or less. 😉

Damage to the bottom might be a common thing. My grip was all beat up when I traded it in. It also depends on what they mean by damage, but the lock on the grip shutter for mine was really loose. I think that's also a pretty common problem on the OG 100 if it's seen some real use. It didn't bug me much since the button was hard to accidentally press, regardless of the lock. (For all I know, that could be my old camera, though I traded mine in at MPB in the US so it'd be interesting to know how it got to Japan a year later)

If you want a GFX 100 series body and plan to use electronic EF lenses, that one seems too good to be true. If the seller has good feedback that seems legit and relates to other camera stuff, resistance may be futile. That or roll the dice and try bidding on some 100s's to see if you can nab one under $2k.

Happy holidays from me as well! My holiday plans are spending time with family for Christmas and then flying to Sao Paulo before the New Year to spend a couple of months escaping Minnesota Winter. Wish list? To spend next year making better use of all the gear that I already have, planning to shoot my first feature - hopefully I can get the script written while abroad and everybody's happy enough on the edit for the short (that will become the 10-15 minutes of the feature) that they'll gladly come back for the rest! As for gear, I'm theoretically set, but we'll see how prices are on C80's once they hit the used market - and if the hoped/wanted trip to Namibia works out, debating the finer points of renting vs owning the GF 500/5.6 and how irritating it would be to travel with it vs the 250/4 and 1.4x tc which I already own and cropping from 100 megapixels (rent vs own also to be determined by availability on the used market and pricing there)

£1600 for a GFX 100 is absolutely bonkers. Congrats on the great deal! If you can get a good deal on the GF 100/2, you should strongly consider it. It's one of my two favorite portrait lenses of all time for any system (the other being the Summicron-M 90mm f/2 asph (which also covers pretty well on GF, just without autofocus)).

When I read about the Canon frame guide cost, I figured there was probably a business opportunity for somebody who would print custom frame guides on static cling film or something similar.

Yes. The Steelsring adapter is also great, but they haven't updated the firmware in a while and there are occasional fuck-ups with it - like the Canon 40/2.8 in photo mode on my 100 II kept going to minimum focus and just staying there (if I turned on autofocus, manual focus worked fine). Worked fine in video mode, though. I should see if they ever updated the firmware on the Techart. I have one around here somewhere and I stopped using it when other adapters got PD support and it didn't. Maybe they finally fixed that. Any time you're curious about whether a given lens will cover the sensor on a GFX, btw, there's a community google spreadsheet which is pretty comprehensive. https://docs.google.com/spreadsheets/d/1uxvvpxJ9QVFFyh0pW2rs9KBmUW9vlh-d-VnbcLDCTn8/edit?gid=0#gid=0 I was just looking at it again and realized that the FD 20mm f/2.8 actually covers the full sensor. Now I have to check if I actually have that one (I think I do?)... could be a fun look on the GFX. But if you want a 24mm EF lens that covers, I think your only option will be one of the PC/TS lenses. They have huge image circles. Won't be an f/1.4, though.

FWIW, the Canon EF 40mm f/2.8 seems to be the most popular cheap/light/small lens to pair with a GF body. Autofocus works great with Fringer and there's no hard vignette - and it's nearly a full stop faster than the Fujinon 50/3.5.

I had no idea that a stacked sensor was required for a company to take a format seriously. What a pity that Fuji don't take their medium format system seriously. 😉

Don't Sony take APS-C seriously? It seems to me like the FX30 is one of the most popular entry-level cinema cameras on the market - due in no small part to being an excellent camera (from all that I've heard, I've never used one personally). If we're talking glass, I have no idea what's currently available from Sony themselves, but with the popularity of E mount and Sony being permissive with licenses (or not requiring them?), just about every third-party vendor releases a version of their stuff for it (including the outstanding Fujinon MK series). 🙂

In my experience, Alvin's is worth the money. Good cables, great customer support.

Would it help to know they ALSO announced the TZ99? 🤣 https://www.dpreview.com/news/8943078360/panasonic-g97-zs99-tz99-refresh-usb-c

This is a really weird statement. The main resistance to mirrorless (initially) was related to latency and low refresh rate in the EVF. Latency seems to be a mostly-solved problem as I can no longer perceive it in any meaningful way and refresh rates of 120fps aren't uncommon these days. Plus for those who want a DSLR, there are lots of excellent models available on the used market and at least one manufacturer (Pentax) who doesn't seem inclined to move away from them. That's also not to mention that mirrorless cameras, especially those without a mechanical shutter, are far more reliable than a camera which relies on gears and levers that will eventually wear out - or have oil dry up or... any number of other ways that physical things break over time. It me. There are piles of excellent EF glass on the used market and as the price keeps going down, my collection of unreachable and generally impractical dream lenses is likely to increase. 200/2L IS? Got it. 400/2.8, 500/4, or 200-400/4? NOT YET Bonus: By using adapted EF glass, I can easily jump to just about any other mount and have it act basically like native glass for that mount. Except Sony. I still don't understand why seamless AF adapters seem possible for every other system, but for EF->E, adapter documentation tends to be full of caveats like "PDAF doesn't work in video mode" or "you have to toggle adapter modes for this thing to work and when you do, continuous AF will stop working until you un-toggle it." About the only RF-native glass that I have or am likely to get is the low-end cheap plastic stuff (for when I want to set up for the lightest possible camera) and unique/interesting lenses - like I kind of love the 800/11.

Should Leica have done anything at all? https://petapixel.com/2022/07/08/2021-was-leicas-best-financial-year-ever/ Last year, they had almost a half billion dollars in revenue and increased their profits by 16% over the year before. Seems like they're going the opposite direction from Olympus. Operating a high-profit luxury brand seems to be working about as well for Leica as it has for the last 70+ years. If inflation gets too bad or the economy crashes, though, so that people have less money to spend on high-end gear, my guess is that's what would inspire a fire sale for the brand.

Keep in mind, in terms of "prestige" with clients, Leica don't seem to be super famous among the general non-camera nerd population. I'm sure it varies by market, but I can say that on a number of the shoots that I go on, when I take out my Leica M glass and say things like "we're going to shoot with Leica glass," people are often like "Oh, that's nice." On the other hand, I take out the CN-E and people are like "Ohhh, those are really nice lenses!" Which, they are, but could also be described as the same optics as equivalent still lenses, but with focus rings and maybe different coatings. Take out the GFX 100 II? "Oh, I thought you'd use full frame, not APS-C." "Uh, this is medium format, bigger than full frame." "Hmm. OK." Take out the Komodo (which is S35)? "Whoa! Is that a Red?" Anyway. At least for a video shoot, if you want to impress a normie, you probably want to break out Red or Arri - with honorable mention for Sony... and within the Sony ecosystem, they are almost equally unlikely to be aware of the difference between, for instance, FX6 and Burano.

You can rent it or walk into a camera store and ask them to let you play for a few minutes and then you can judge from your own footage.

1500mm (equiv) will quickly show any weaknesses in your tripod. Or your lens mount. Or any heat in-between you and the subject. Or somebody walking 5 meters away. 😉