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According to a book, Dutch company ASML got into a big fight with Nikon a few years back. They both make lithography tools for semiconductors industry. ASML's optics supplier is Zeiss. To pressure Nikon into a settlement, they had to take the patent fight to them in cameras. So ASML got Zeiss to make them a camera. It also doubled as a marketing adventure, shown off in stores but rarely really ever in stock. Until one day this popped up on my radar, with the serial number XXX XXX. The AF wasn't working, or the manual focus (fly by wire), lens stuck at macro 30cm. So I cracked it open, mopping sweat off forehead. Inside is 256GB SSD, final release model was bumped to 512GB. Android 6, with Zeiss test suite of apps onboard including FCC certification test suite 🙂 A music player. A Dutch full frame 36 megapixel sensor with some analogue colour. A Zeiss 35mm F2 lens (but different optics to the Sony RX1), 4K video (Super 35mm crop) and an EVF. And some weird prototype issues. I'll make a YouTube video on it. Sample shot And I still have no idea how I fixed the AF. Just wiggled the lens and sensor ribbon cables a bit and it started working properly, but there was no sign of either cable being loose in the first place! It is quite a fun tool, and a bit different. Android is decently snappy on it, the camera app is well designed, the physical dials are lovely but it doesn't have a joystick or command dials... So a lot is on the touch screen, but it's well done. Shall I root it? Update to 3.0 production firmware? (Risks bricking it). Given the rarity factor... I probably won't!!

Nice is doing a lot of heavy lifting there. But if people don't mind log shots of mainly grey buildings under grey skies in Salford then have at it !

Might be time to release my version for free then! The download link will self destruct in 48 hours. Until then... enjoy! https://drive.google.com/file/d/1Z60UNsWHuc6wFmgEOlp0VgDlucHoutip/view?usp=share_link Works on Panasonic S9, S5 II, GH7 as well as all the new cameras. I'd welcome any questions, feedback, help making a guide for regular folk, or even comparisons to the official ARRI LOG profile, or even the odd ALEXA. Sample shots also welcome!! @BTM_Pixhas shot some nice stuff with it already. If you're ok for me to share it? And the ARRI LUT library is available here https://www.arri.com/en/learn-help/learn-help-camera-system/tools/arri-look-library-app Installation is via SD card as a real-time LUT so it sits in-camera, next to V-LOG and the regular picture styles.

Or a full frame 36 megapickshel shensor as its known there.

How I would love to see uncompressed 14bit Cinema DNG on newer Canon. Perhaps the R7, would be a perfect candidate. Let's hope they focus efforts on supporting the stuff beyond the DSLRs and older EOS M 👍

Yes, AI is a real wildcard. I see that there are really three fundamentally different groups when it comes to generative content. The first is professionals who create material for the general public, or various niches of the public. This is where AI will have incredible impacts. The second is professionals who create for their clients directly. This is people like wedding photographers etc, where the client is the audience. This has been debated, but I think that there will still be a market here. If I did something and wanted a record of it, I would want the final images to be of me, not AI generated content that looks like the people I know might have looked during the thing that actually happened. The third is people creating for themselves, where there is no client or money changing hands. This is every amateur, every personal project from professionals, etc. The goal is to have a final result that this person created. Amateur photographers take photos and print and hang the best ones, not because they're the best photos ever taken, but because they were taken themselves. Personally, I'm in the last category and I am completely resigned to the fact that my videos will never be great, will never attract a significant audience, will never be regarded as important, etc, but that's not why I do it so in that sense AI is no threat to me at all. I do understand that people are all in different segments of the industry and have very different perspectives for very good reasons..

This is my most recent finished edit. I wrote the music for this too. I've shared it before, but some might not have seen it. Shot on the trip I did to Seoul last August where the wife and I got sick and spent most of our time in the hotel. OG BMMCC + 12-35mm F2.8 + TTartisans 50mm F1.2. Graded in Resolve with heavy use of the Film Look Creator tool. Music written in Logic Pro.

MPB 😂

Youtubers are snoring! Better quit watching, cuz it's so boring!

The book is highly recommended 🙂 Or as they call them in the Netherlands... Booooooooooooooooooooooooooooek

Does Android 6 have Camera API 2.0? I'll try it out

Ah, the old 'Irish Screwdriver' technique. Always works. Except when it doesn't. I liked the concept of this camera, but never dared...

Imagine if MotionCam RAW worked on this…

A very good move with the stacking of adapters for E. That adapter at $150 is $100 less than the Megadap one too.

Exactly the current info is a mess with half of YT saying it’s the same as a simple CST while the other half (shills) are like “omg your LUMIX s1 II is a baby Alexa and and and it’s different cuz cuz cuz arri engineers tweaked the color look look but my affiliate LUMIX sent me this camera for free”

I think it's pretty incredible that a small mirrorless camera has gotten this BUT I take nothing said about it so far seriously because the only people who seemingly have access to it are shills (and while I like watching some of them, they are still shills.) It'll definitely be interesting once real users get their hands on it and try it out, but until then its just a "oh, that could be really neat." I am, however, intrigued by the possibility of more Lumix/Arri collabs and what the future might hold if they are working together.

Equivalency of DOF is the elephant in the room for sure. In comparison, MFT lacks in the selection of gargantuan lenses with super-shallow DOF and FF lacks in small lenses without shallow DOF. If someone made a FF 28-280mm F7.0-11 lens then it should be the same size as my 14-140mm F3.5-5.6 lens, but of course the internet would go ballistic over it and run whatever manufacturer dared to create such an abomination out of town faster than you can say "grab your pitchforks - the devil has come for our children!". It depends on what you're doing of course, but for me personally when I switched from watching YT lens reviews to watching award winning movies and TV shows from the worlds leading professionals I had the Ah-ha moment when I realised very few shots had shallower DOF than could be achieved with relatively normal MFT lenses. Even when looking at the shots that would have required quite fast lenses on MFT, the aesthetic penalty for the DOF being deeper was very low. I then looked at what potential benefits would be traded-away for it.... lighter cameras that make me more likely to carry them around and use them and therefore get more shots to use in the edit... smaller equipment making me more pleasant to be around and having a nicer trip and causing the people around me to be happier and more relaxed and look nicer in frame... the smaller rig making the people around me less distracted and suspicious... the deeper DOF meaning there was less chance of having one person in focus but the others out of focus or it simply missing focus by focusing on the wrong thing... the much lower likelihood of having a difficult conversation with law enforcement or self-important security staff, etc. I concluded that getting slightly shallower DOF was a very small benefit competing against a significant number of advantages that would make far more impact to the end product and to my experience in using it. The extra cropping potential is one of the only benefits I can see for sensors above 2.5K. I put the cropping modes on my GH5 and GX85 into good use when I was shooting on primes and have been hugely impressed with them with my GH7 + 9mm F1.7 PanaLeica which I'll use for shooting in ultra-low-light. The R5 + EF-RF + 40mm F2.8 would be a great medium size setup. Perhaps the best second camera FF setup I could think of would be your R5 + 24-105mm F4. Like I mentioned above, the flexibility and speed of using a zoom when shooting in uncontrolled conditions just gives you more coverage - there's a reason doco and ENG shooters use zooms! Yeah, that's a real gem, I'm still seeing footage crop up on YT that really shows how much you can push things. I've also noticed it's very popular with the vlogging crowd and it seems to give really good results, similar to those who might use a small mirrorless, which is definitely saying something when you consider the size of it. Nah. Do a complete end-to-end analysis of what gives you the best results in the final edit or final photos, work out what equipment aligns best with those trade-offs, buy it, test it and learn the settings, then shift focus to actually shooting and don't look back. Beauty magazines make you feel ugly, and camera YT makes you regret your equipment. Best strategy is to ignore both. By far the most important skill in uncontrolled environments is being able to understand and predict the behaviour of your subjects. Not only does this matter for shooting people in public, but it matters doubly (triply?) for safari because the biggest struggle seems to be even finding the animals in the first place. A professional animal tracker would probably get better footage with an iPhone than an amateur with all the equipment in the world who spent a week and only saw a few animals the whole time. Perhaps a good exercise is to think about what the total cost will be of the trip, think about how much it would matter if you didn't see any animals at all, and then see how much it would cost to hire a guide or some other service that would help you locate things. There's a reason that people hire a model instead of just walking the streets hoping to find someone to shoot!

This looks incredible! Great images and colour, and I really like the music and edit too. It really is a different world down there isn't it...

Someone hit a nerve with poor little Cammy. 🤣

Speaking of new cameras... This was shot by a friend of mine on a "vintage" Lumix LX10 in Nauticam housing and different wet diopters.

We are two divers, one GH5MII in a Nauticam Housing and a GH5S in Aquatica housing.

You're absolutely right, but the creator of the future will likely be wired differently than us. Specifically when it comes to how we perceive/capture/synthesize/translate the real world into different visual/audio mediums for the purpose of telling/expressing a story/POV. So it is understandably hard for us to fathom how AI will change things. But that could be the "difference" you're sensing. But that doesn't mean the core thing(s) that drive humans to create will change. But I could also be completely wrong too, so there's that, lol.

prepping a no budget feature. here's some stuff that i like somewhat from the past year and a half or so:

And the difference now is nothing like what it used to be. When we leapfrogged from lineskipped Canon t2i mush to GH4 clean 8mp 4k readouts, those were some huge IQ improvements. Everything now feels so tiny, what I really do care and appreciate about with modern releases is workflow, ergonomics, things that contribute to my enjoyment of shooting. And I do see genuine advancements. That’s what matters to me.

Yes, it's the AF that makes me think of manual lenses on the GF3. For stills it's a fully featured camera, but for video it's auto-everything* and so having an AF lens on it is a pain because the CDAF will hunt occasionally. (* actually I recorded some clips with it last night and discovered it keeps the current WB setting - how odd that's the only thing it will let you lock down!) If you don't already own the Olympus body cap lens then perhaps the "7Artisans 18mm f/6.3 Mark II" might be a better choice as it's cheaper and faster than the Olympus.