gethin

18 hours ago, Oliver Daniel said:

For actual character lenses, check out Iron Glass Adapters or search for modified Helios 44-2 on eBay. The Mir 1B 37mm. Trioplan 100m. Vivitar 28mm. Helios 85mm. 

 

I've got the nikkor 50mm f1.2, this has a bendy field curvature and slightly swirly bokeh.  I've also got a helios 50, but I prefer the nikkor.   I'll google those others, thanks 🙂

So the sweet 35 with the composer pro is on sale for $350 AUD - about $100 off. (About $260 usd).  $100AUD more for the edge 35 (which is a bummer because that would be my preferred one of the 2).  Its tempting, especially as the cheapest z tilt shift adaptor I can find is $250

 

I love playing with charactful lenses, but can't decide if that lensbaby look has passed it's sell by date 😄

Its on sale in aus.  🤔

21 hours ago, Timotheus said:

@gethin I use the Fotodiox Vizelex ND Pro adapter, EF to Nik Z. Super practical.

https://fotodioxpro.com/collections/vizelex-nd-throttle-adapters/products/eos-nikz-pro-ndthrtl

yep no good for me, I've got nikon glass on nikon bodies, and i want to keep my lens control 

ANyhoo, I ordered a cheapish ND, some bizzarely cheap Nds to practice on and a glass cutter.  I have seem someone saying that gel NDs dont give focus issues, which might be OK, but havent been able to find any. (Or at least not for sensible amounts of money).  

I wonder if the location of the ND makes a difference to the focus issues? Is it better to be close to the sensor, or close to the lens? 

how hard can it be?

i know theres a company that makes them, but not for my z-6.  i guess id' need to cut a rectangle out of a filter. is this a terrible idea? 😄

On 5/26/2020 at 11:12 AM, Andrew Reid said:

No the price limit doesn't define the camera concept.

The design of the camera does.

Z-Cam is totally different in concept to an X-T4.

i think the cheap  non-hybrid cameras are worth thinking about simply because they are literally thought about:  they factor into equipment plans when a hybrid costs more than an alternative stills camera + a blackmagic or a z-cam.  If the point of the list is to  give folk the breadth of kit to consider when planning what kit they need, if they can think about a $10 hybrid, they can think about a $3k stills, plus a $7k cinema camera

15 hours ago, BTM_Pix said:

Whilst the hope is that Canon will fix this properly, the probe app (which we made after the temperature monitoring one) can be used to restore the majority of user preferences, not a big deal to get it to chain them into one big faux preset to send back to the camera.

That is awesome. 😁.

Aren't $4000 cameras that you have to hack just to get them to do what it says on the tin brilliant? 😉

On 8/21/2020 at 9:26 AM, BTM_Pix said:

I am absolutely not saying that someone who had an R5 could use a good old fashioned CR2032 battery eliminator in the camera then bring it out through the camera enabling them to provide a switchable power source to it to effectively remove/re-insert it without taking the camera apart each time they want to reset the recovery time.

I'm absolutely not saying that.

Someone else might say that.

But, just to be clear, I'm not saying that at all, OK?

If there was a way to feed the correct time and date, and saved settings back to the camera that would be niiiiiiiiicer

On 8/21/2020 at 8:23 AM, User said:

Yes. But if Canon didn't do this, it could be your last camera purchase. 

Nay! They'll find something that future us's can't live without. 16 stops of dynamic range or vastly more efficient codec are 2 obvious ones. Metamaterial lenses, 16k VR, allowing reframing, lightfield capture....

Someone asked what we were pissed off about.  For me it's mega corporations screwing the little people. 

Originally I thought the record limits were ok: it's only physics - if the small size of the camera means the heat creates a natural segmentation to their cinema cameras: fair enough.

But the level of douchbaggery to cynically scupper it's abilities. Urgh fuck you Canon and your little dog too.

The reason it overheats in stills mode is presumably because it overheats when connected to an external recorder: in other words if someone can record without the camera knowing it's being recorded then the cripple timer must time at all times. Someone at canon is very paranoid that somebody will find a way to use it as a cinema camera. 

I'd they had just built in time limits like Nikon do, it would sit better. 

5 hours ago, Andrew Reid said:

The other ugly thing is that I have taken an absolute beating online with people questioning my reputation left right and centre for revealing this timer and behaviour from Canon.

Canon meanwhile, brand reputation virtually untouched, not two hoots from them, no statement, no recall and the EOS R5 continues to fly off shelves!!

BBC and CNN tech reporters should be all over it. Where are they?

In Australia a federal mp funnelled millions of dollars of tax payers money into an offshore company via selling water rights for a piece of land that gets no water.  Mainstream media: tumbleweeds.

The only way this will hit the news will be if either someone sues cannon or badgers a consumer rights department enough to do something.  Also Choice might have a look. 

Hey just had an idea:

If pulling the button battery resets the cripple clock is it possible that canon are using the user-set time as their reference. In other words what happens if you record 14 mins 8k, then set the clock back 14 mins. Do you get your 14 mins back? Wouldn't that be hilarious (unlikely but) 🙂

Would love to know what happens if you stop recording at 14 mins, pull the battery and swap the card.  Writing cripple info to the card ties in with people getting longer record times when using external recorders doesn't it?

The other possibility is that after every 8k clip is finished it's writing to nvram. If you can only record a handful of 8k clips per day, it never likely to ware out the nvram.  

Yep its totally insane that you're having to do this to a $4000 camera. On the other hand I can't think of a better way to flip canon the bird than finding a hack for it 😆

Does the camera have any kind of hard reset that could reset the cripple timers?

On 8/3/2020 at 12:48 AM, Super8 said:

You are 100% correct.  The Z6 is much better than what's portrayed on YouTube.  People on the EOS don't know what they're missing.  It's all marketing.  This is what I hate about Sony marketing.  It's to the point that it's false and hyped up.  It's great for the Sony side but it takes down a company like Nikon.  That's the dishonest part.  Have people lie about the Z6 camera so it has a poor reputation.

Nikon pushed the limits of video quality that we expected, no reason they won't do it again.

I think we need to compare settings and bodies.  Mine is so far away from being excellent it's not funny. 

On 8/2/2020 at 8:27 PM, Geoff_L said:

I had a z6 before my actual Panasonic S1. I believe, with the latest firmware update, the af is miles ahead than what it used to be. @Jordan Drake rates video AF very highly, and I came across comparisons with the A7iii, and the z6 is not extremely far from it (at least for my needs, which exclude eyes af, and also compared to my S1). For the codec, same thing, it punches higher than its weight. In fact, I am right now browsing "old" footages I took with it, and play with them in resolve to compare with my S1 10bit. The nikon flat profile, as frequently reported, is very good. Sure, as you point out, it is weak compared to other offerings, but it quite good. To be honest, as I browse my old footages, I find more pleasing images than with my S1. I don't know, despite the very robust specs of the S1, and the image quality, there is something in the Z6 image that I find lacking in the S1 (a bit of "soul" maybe). So yes, if nikon could raise the next Z models to the level of offering of the competition (codec and better AF like you said), it could be a beast.
I forgot about the lenses, but the Z line-up is really good, and more interesting  for me than the RF and L. Plus, as I shoot with tele, the 300pf and 500pf have no competition...

Ps : the battery problem on the S1 drove me crazy, to the point I am gonna get rid of it (plus the overall bulk and the af, that I now need, and I did not back when I bought it), and i am contemplating going back to the Z6 of entering the Sony system.

I shoot with the z6 every week. I can tell you that much improved or not, the autofocus is not good enough to use. I just did a shoot: 6 takes with presenter moving from wide shot to medium close up and none tracked focus property, and when it missed it focussed on the background. Tracking objects equally hit and miss.

But hey I hear you on the feel of the footage.  I owned and sold a gh5 partly for the same reason. A much more usable camera for video, but with worse results (at least for what I do).

I seem to have a thing for buying cameras with shite af.  I'm starting to get jobs that require it, so for me the z6ii is a make or break for me and nikon. 

9 hours ago, SteveV4D said:

That's the problem.. I haven't found it.  Fullframe DCI 4K HQ, no time limits. Strong editable codec. Upto 60p frame rate. Great AF, IBIS and colour.  Can shoot quality photos no less than 20MP. 

If you have better luck finding one than me, let me know. 

Agree. The z6 is nearly this. But the af is totally amateurish, as is the codec. 

Add to your list 15ms readout.  (And 13.5 stops dynamic range in stills minimum)

A cynic might think that they dont want to release it in the middle of summer 🤔😆
We'll know for sure if they start appearing in stores over ere in Australia. 

14 hours ago, Danyyyel said:

I have done my own test years ago and watch a bunch of online test and can't find one which showed significant difference, In fact I would say zero difference between 12 bit raw and 14 bit raw. This is the reason I don't shoot 14 bit raw, I think people are two focused o numbers that go beyond human capabilities. Same for resolution, the 2.8k sensor of the Alexa is still good for big screen, so 4k will be good enough and 8k is beyond ridiculous  at any normal viewing angle. There is a lot of test like these https://photographylife.com/14-bit-vs-12-bit-ra

I did tests too when I first got my d800 I found a small difference in the highlight dynamic range it was just enough to make the difference between being able to pull back some blue sky in some shots. (For me this means interiors where the unprocessed raw interior is literally black and the exterior sky is white.  A single 14 bit raw file could produce a perfectly usable image  12 bit could not.  Yes these are extreme examples for most users, but for me was business as usual.  I could shoot interiors without flash or bracketing.  I can't do that on the z6. 

16 bit raw video offers absurd possibilities for my work if it was truly raw. 

5 hours ago, Yurolov said:

This is not a professional tool. I'm sorry, but if it overheats then it cannot be used in a professional setting. Will be fine for youtubers and people doing stuff for personal hobby and such. But not a serious paid professional. 

The amount of hypocrisy in this forum is bewildering. Everyone giving it a pass left and right. Yes, it matters if it overheats only in direct sun lol. If I am shooting anywhere outside there is a good chance I will be in the direct sun, unless I confine myself to shade. 

Daft blanket statement. Depends on how you make money as a photographer.  I'm a "professional" (I make my living from photo/video). I shot on a d5300 for a few years lol. I used to do a bit of teaching and many amatures/enthusiasts had 5x the dollar amount of my kit. 

I'll be keeping a beady eye on overheating in high ambient conditions though. Crap loads of sun and 35+degree days are common in Aus.

1 hour ago, noone said:

Stills focused generally-  R6

Stills focused low light-  A7siii

Video only- A7siii if you take longer clips in sometimes warm temps, otherwise, flip a coin.

Hybrid - Flip a coin ( A7siii for me but others will differ)

I'm a Nikon shooter. I considered going back to canon briefly there for a bit. But the cynicism of engineering overheating (or at least not bothering to engineer it out) on a $7kaud camera put paid to that.

If I was going to ditch Nikon it would most likely be to Sony: they innovate, they don't hobble their small cameras too badly to protect their cinema line, they have a good range of bodies. (I know their lenses are expensive, but there are other options).

Whilst I love the nikon look, I was out shooting with the z6 yesterday.  I don't love it like I did the d800. It's clunky.  It feels amateurish. The auto focus is pants.  The dynamic range is lacking.  I think I'm ready to move on. It's not me, Nikon, it's you.

20 hours ago, Nezza said:

The good news keeps on coming! 

 

Well that's buggered it for me then.  If the $7k didn't already.  We get the odd 40 degree day here.  

This camera is nearly $7000 AUD.  It makes no sense.  Hybrid cameras are the jack of all trades, you expect compromise somewhere.  But I notice my z6 now goes for $2K aud. 

so I could get 2, plus a ninja, plus a full sound kit.  Or a D850 and a blackmagic pocket 6K. I dont think I could justify that sort of money simply for the convenience of having the one body.   

17 hours ago, wolf33d said:

 

No. The whole point for me and for millions of FF mirrorless owner in the world is to have a do it all camera. I hate to carry 2 body with me on 60 miles trek at 3000m in the mountain or on summit attempts. Granted, not millions of shooters are mountaineers, but millions of them are travelers, and hate traveling with 2 cameras if one could do it all. 

I came here after seeing 12mp as rumoured spec.  How have we ended up with the three main FF players segmenting their cameras into

High mp pro stills focussed

(Low mp pro video focussed)

Medium mp jack of all trades for amateurs.

24mp is fine for the vast majority of pro work.  I'd be happy with a videocentric camera that also shot stills, with those tradeoffs: maybe slightly lower dr or higher noise because of the quicker readout. But make sure the bracketing options are amazeballs and offer pixel shift high mp mode: those sort of things you're not seeing because they're tailoring them to soccer mom's. 

I hate this bit. Where the only people who have cameras are the reviewers that play the game with the big companies: who know who will blow smoke up their arse.  

By the time we actually get to see any stills and vid samples the bloody things have been pundited to death, we've all lost days of our lives pointlessly pontificating (hey yeah totally guilty m'lord) and arguing the toss 😆 and we've spent so long doing it that the actual release is a huge anticlimax.  (Or in my case realise that my niche absolutely does not need, and so I cannot possibly justify, dropping $6.5 Aud on the camera anyway).  Yet despite saying this, you can bet I'll read all the articles and watch all the videos 🙄

I wonder about the industry: the cost of these things contines to skyrocket, yet I've not put my prices up for 2 years.  And clients seems increasingly happy to embrace the cheap and shitty.   (I live in rural Australia: your experience may differ😬😁)

I think this is the least onerous way for canon to segment it's cameras. For starters it's based on a physical thing, it's not purely gimping. Any cooling solutions would have compromised the size, shape, battery life.  The main thing that gets my goat is that companies who don't have a cinema camera division to protect (whose names end with ikon) are falling so far behind when they could've been leading. 

However I'm sure if they didn't sell cinema cameras with higher margins that they might have been able to find a technological solution. I wonder why nobody has thought of a battery grip or studio base like that gh5 audio solution that has fans? Something you can plug into the camera body that will extract the hot air.  Small body for running round, large add on for studio or longer takes.