docmoore

I doubt that the battery can be improved to the point that a replacement will not suffer the same problem ... lack of current from a very power hungry camera ... the should have had an external power point ... not just the USB-C input. However ... this may be a potential solution ... https://www.bhphotovideo.com/c/product/1316194-REG/tether_tools_crdtap_d_tap_connector_to_usb.html I use this to run from d-tap off my AB Gold mount batteries ... in my case I can go 2.5A to USB-C or use the Tether Tool Case Relay kit to a battery insert ... the advantage of the Case Relay is that it allows hotswapping of the battery due to an inline small battery that charges while you power the camera. They also have a powerbank battery that supplies 26,800mA and 87W: https://www.bhphotovideo.com/c/search?Ntt=tether tools power bank&N=0&InitialSearch=yes&sts=ps Shame to sideline such a beautiful camera ... do not expect that Leica will rectify this ... one of the reasons I sold my SL and replaced it with a different camera manufacturer.

Its a bit confusing ... now that the camera is on its way back to the store I have the PDF manual to consult. P158 suggest that FLog and HLG are available when using a HDMI connected external recorder but can be mirrored on the internal cards. It is available at ISO 1250 to ISO 12800. Having been recently burned with HLG on the small Sony I did not try it. Speaking of Sony :>( I just fried the A6600 that I was using as a temporary bridge until I find the final camera solution for my needs (wants really ...). Connected a battery insert to a DTap Gold mount battery and Voila ... doorstop she be. So I now am discovering what I can do with an A9 .... no SLOG ... but the majority of my pro bono work is in very controlled conditions. Hope that is my saving grace.

Same for both ... but I only shot in FLog ... might be great with one of the film emulations. I just read the manual pp151 forward and there is no crop 35 mentioned so I assume the brochure was extant prior to final specs for the camera.

I picked up a GFX-100 last week ... returned it this week. The stills were unbelievably good ... better that I can describe. AF is a mixed bag in video ... AF-S unusable in that if you push AF on to move the point of focus in video the lens opens fully to focus then closes to the set aperture ... even in Manual mode. AF-C has a distinct shudder in the background at times when the camera hunts ... other times it looks good. My biggest concern for the camera ... I was shooting to an external recorder as ProRes HQ in 10Bit 4:2:2 in FLog .... the color balance had a magenta tint in spite of custom white balance and white bal correction with a Video Passport Checker in Davinci Resolve. The Fuji LUTS made it worse ... skin tones really pink ... not tanned .... I tried a bunch of other LUTS ... moved to ACES ... and rendered the same 20 minute video 5 times ... the last without a LUT and a bunch of RGB individual curve corrections. Skin tones correct but the background bordering on cyan ... pick one or the other as I was not willing to mask each of 4 persons in the video. Ten to twelve hours for something that normally takes me 2 hours. If I were not shooting interviews and just outside ... might have not been an issue ... as the landscapes I tested looked good. No crop in 4K DCI Full Sensor read ... UHD probably trims the sides. Very robust build ... so close.

Page 10 from the GFX100 brochure ....

Potatoes need to take care ....

You might want to look at the following video ... in it the Rasp Pi 4 enables much more robust connections for the iPad Pro ... look at time 8:00 on as sharing and backing up video files from multiple T5 drives is discussed. Sounds like a very portable small addition to obviate the need for a laptop in many cases:

Dump Safari in the Mac ... Firefox has better quality and color sense for video ... does not shift the gamma when you view things on the U or V.

I know many will not connect a SD card to a Mac unless it is physically locked as the OS tend to write files on it that may corrupt what else is there. It may be that the IOS did something similar .... and as far as I know there is no lock state on writing to a T5. If the WD Wireless is accessible through the net can you format the T5 through its connection after you have rescued the files?

Might try this if you can copy the files from the T5 to your iPad: https://www.addictivetips.com/mac-os/mount-iphone-and-ipad-in-finder-as-local-usb-disk-drive-mac/ Good luck ...

Thanks for all the great insights. I am out working on a mission in a Mexican border town and distance has given me a bit of perspective on the Maxx/Nomad choice. Seems like the future with Zaxcom will really be Nova and their ecosystem if wireless is your priority. For me it may be a future need but at present is not so I may be best served by a Mixpre 10 II or Zoom F8n ... enough inputs for add on wireless as that need grows. Davinci Resolve Studio has been a bit hit or miss with TC sync and the present TC bugs in the new Mixpre II series does not help but I assume that they will sort it soon enough. Thanks again!

Loved the information and your discussion of reasons and perspectives on the SD versus Zaxcom Nova. Really dark at the end .... ? I know that your vision probably accomodated for the dropping light levels and it did not seem so as the evening progressed. So between the F8N and the Maxx ... not enough difference to keep one over the other ... and is the transmitter in the Maxx not an advantage when you want a smaller bag? Just interested from a personal perspective ... I have found a Demo Maxx Block 21 that is very tempting ... but probably should consider a Nomad / Nova for full Zaxnet if I go am spending that kind of money. Any move to wireless has constraints ... either spend a lot and have a solid connection or spend less and risk having dropouts.

You are right. They may have done better with a 0 - 6 stop or 7.5 stop ND ... not sure if that would be possible as I assume that the elements cannot be removed from the image path. I have ext Vari NDs for 12 lenses ... 7 different sizes ... and non Vari NDs for matte box and 82 mm sizes. Two large filter packets and another two pouches for the matte box 4.5 x 6 glass Schneider filters. Have to say that one adapter with ND sounds like a bit easier than all the others. Two of the Schneiders or two of the Firecrest Ultras would pay for the adapter. If you have a couple of lenses you may not want this .... I keep looking at larger cine cams with internal NDs ... much more convenient.

Great advice. A classmate of mine received his MBA with an emphasis in video and marketing in 1979 ... jumped to a management position producing all of MCI/Sprint videos and advertising for over 20 years. He could have easily moved to cinema ... producing and directing had he desired. The short answer is sacrifice now for a potential long career ... MBA allows you to go anywhere ... Cine or VFX are quite limiting ... and God willing you will have 50 years to figure out that your passions change with age but a higher degree allows you more control of your present and future.

I may not make a lot of points with the following: Man up and accept that a Variable ND is not a series of internal ND filters on a Cinema Camera. Canon has given you an alternative ... and a clear hole filler at a bargain price ... $500 USD for both ... to purchasing a C200/300 II/500 II No vignetting color good to 8 stops works with all the EOS adapted lenses ... We are not going to find the perfect camera or system ... but what is available to us today kills all the older stuff. Days of 'Mosquito noise' with the EX1R are gone ... Log 4K with a crop Stills Old EOS lens compatibility .... Most pathetic are the guys on YT who complain that there is not a Hermes case for the adapter when you are not using it ... Get real ... if it does not meet your perceived needs ... buy something else. As close to internal NDs as you will find south of $5K