Tim Sewell

I remember back around the early 00s seeing a lot of small local photographic retailers around the UK getting bought up by Jessops. I thought 'this won't end well' - and it didn't, as when Jessops went tits up countless small to medium size towns lost their camera stores. Here in Brighton we have one (re-vamped) Jessops and 2 independents, one of which does most of its business online. I suspect that may be the way forward for small photo retailers - have a small shop and subsidise it with/use it as storage for your online trade. As to 'winning back smartphone users' - I don't really think that's the solution, TBH. Even before smartphones, the number of young people buying 'proper' cameras was fairly small and 'normal people' only began buying them in truly huge numbers when digital first appeared. The industry has to trim its sails somewhat and concentrate on catering to and developing further the enthusiast market.

I recently picked up one of these: https://www.amazon.co.uk/gp/product/B0032XQSN0/ref=oh_aui_detailpage_o07_s00?ie=UTF8&psc=1 For the price (cGBP80/90) it's absolutely fab - makes Final Cut faster and a lot more intuitive.

The 'meh' is strong with this Jannard cove.

Atomos retweeting this - don't know the details:

All I can say is that out of the ~20 people I know who own Canon DSLRs only 2 or 3 have ever even tried their camera's video mode.

Whoosh?

11. The long term benefits of sunscreen have been proved by scientists

I've always been a little unsure about this never-ending desire to see detail in shadows. I mean - sometimes, if there's something in those shadows that you particularly want or need to see then - yeah - I get it. On those occasions you need to expose (or light if you're able) to reveal it. But most of the time I just can't se the point. Film, video, photography - even used journalistically they're not reality, where you can see into shadows with your human eyes; they're a stylised representation of reality where you, as the artist, get to use light and dark to convey a 3d scene into 2d, to model and sculpt, to draw attention and imply emotion. Seeing into a shadow is important for a sensor demo but for art - especially narrative art - it seems a particularly silly aspect of the whole to get uptight about. FWIW I think the OP's teaser is a compelling and beautiful piece of art. His placement of black tones on the response curve is immaterial to that.

I braved the dampnes yesterday evening and took a walk around Brighton with my newest love: https://flic.kr/s/aHskZkSCDq

So any farmers in drought-stricken parts of the world - all you have to do is have me come to stay for a week and ensure that I have a new camera arriving. However - the couple of test shots I took in my kitchen this evening have been enough to convince me that I'm going to like this little camera!

I'm a freelance software developer with my own limited company (LLC in the US). The video thing started out as (and still is for now) a hobby, although once I feel I'm ready I intend to start taking on a few paid jobs - only at weekends at first until I can justify a day rate comparable to my 'day job'. This means that although I've financed my gear purchases with my own cash, I've been justified in doing it through my company, which means I get a small amount of tax relief on them. I've reached the point now, though, where anything I buy that's over a couple of hundred pounds has to be covered by selling something else. I financed my C100 mkii (which I love in an almost physical way) by selling three other cameras, so the only way I'll ever replace it is by putting it up for sale. You can also get a lot of grip and lighting stuff by camping out on ebay, although I do have a minor addiction to buying small LED fixtures - Lume Cubes, Amarans etc, which I can slip past my wife without her noticing too much!

Thanks for the pointers. As it happens, shortly after I posted this question I came across a X-E1 for £145 on ebay, so I ordered it. seems like a cheap way to see if I like the overall Fuji 'thang'. It has an EVF, which was the most important thing and the film simulation modes, which I'm interested to try. The online reviews for it all seem pretty impressed, overall. I've also ordered a dumb adapter for my lenses, which are all adapted to EF. So we'll see - I'm quite excited.

I've seen a lot of praise on here for Fuji cameras. I need a compact mirrorless with an EVF (so I can use my classic primes) purely for stills photography. I can't afford to spend a lot and I've come across the Fujifilm X-E2s. Does anyone have any experience and opinions on this camera - purely for stills?

Love it.

Actually I've just watched this on my bigger monitor for the first time and I can definitely see some nasty jaggies that I guess must come from the poor way in which the BMDVA handles the output from the C100MK2, which is (crappily) interlaced. I'll have to redo this with the files from the card that was in the camera.

So I've been back down to Philip Bloom's beach again (hah!) - this time with a tripod, BMDVA and Samyang primes at golden hour. Bloody windy, but a nice light. Hope you like it.

Love it. And got caught up and watched Chatterhead and the Reese's thing. All great. What's that, the camera? Forgot about that about 3 seconds in - will go back and watch again. My boss hates you and I think I may get fired.

I'm not in the industry, but I'd hazard a guess that if you're a TV station or an educational institution or any of many other types of organisation looking to buy 50 or 100 cams you'd always go Canon, Sony or Panasonic and avoid BMD like the plague (what? You buy 50 cams and have to send 25 back for replacement?). Likewise, if you're doing anything where serious money is involved at the kind of level at which this new camera is aimed you would (if you have any sense) go for the platform that offers robust, quality products for which replacements are available within 12 hours tops. BMD seem to make great cameras, with lovely imagery - but they're just nowhere near the QC and ubiquity of supply necessary when deadlines have to be met and crews standing around waiting for stuff can't be afforded.

That's because whoever really cracks the selfie drone market is going to make GoPro levels of money (notwithstanding their recent travails).

This is nice, but will be inferior to my new LUT, on which I am working - the Western Union LUT, which will make all footage look like the majestic 70mm footage from David Lean's classic Lawrence of Arabia. Payment will be accepted by my uncle, Karim, behind his cafe in Luxor.

Deakins is declining to go into much detail until the film is released, but in every question ha has answered he has emphasised that the looks were achieved on set in the camera and that virtually no post manipulation was used. I can well believe this.

The SDI output that can be utilised by the Flame is a 12 bit raw 4K/2K signal, so you're stuck with it, unfortunately. The only other option is a 8 bit 422 HD output from the HDMI. Question is - do you actually need the full HQ ProRes treatment? If your delivery medium is TV or web and you're not looking to incorporate VFX, you may well find that one of the less demanding ProRes flavours is entirely sufficient.

That'll teach me to try to crack jokes on a camera forum.

I want a speedbooster that will let me use PL lenses on my iPhone.

My guess would be that this camera will be priced considerably above $3000.