BTM_Pix

The fastest low latency monitoring (without getting into massive expense) is to use an old style FPV transmitter as per solutions for GoPros on the original Phantom drones etc. As that is an analogue signal, to use it with an HDMI camera then you need and HDMI>AV converter such as this (approx €12 ) Then you connect the output of that to a transmitter such as this one (approx €10 ) There is also this product from Skyzone that is a transmitter with an HDMI input so combines both devices but is a bit more expensive (approx €50 ). Once it is transmitting in this format you then have a multitude of options to receive the signal such as a dedicated monitor like this which come in an array of sizes (approx €30 for 4 inch, approx €50 for 7 inch ) Or you could use an adapter such as this which lets you use your Android device as a monitor (approx €17 ) Another alternative are the FPV goggles which aren't exactly the most discrete thing in the world but are certainly effective outdoors (approx €90 for these particular ones ) Or even this wristwatch receiver which with a Hoodman or similar loupe could actually be fashioned into a remote EVF (approx €35 ) The upside to going this route versus any HDMI wireless solution is that its low cost, lower latency and also very much longer range (1km and up). In addition, as it operates on 5.8Ghz, it is much less prone to interference in crowded public spaces than if it was on 2.4Ghz. The downside is that its not HD obviously as it gets downconverted but with the focus tools on modern cameras for critical manual focus that certainly not the issue it might once have been. The other downside is that its a bit messy on the transmitter end as you need a battery solution for it but making it need is only a question of getting a small project box to put it in really. Here is a latency demo of a typical solution using the Skyzone TX-5D I haven't used one of those but it looks like an ideal integrated solution with having the modem built in. The only thing to be cautious of is being able to get enough cellular network coverage at the location. Not only in terms of there just not being any but also if its a big public event trying to get enough bandwidth can be a problem. I use a Teradek Vidiu Pro for this reason as it allows you to bond multiple connections together to create a much higher bandwidth. This means that if a venue has public wifi for instance but because of the number of people connected to it you can't get enough bandwidth to get a decent stream out then you can combine that with several cellular network signals and aggregate them together into a much faster connection. There are three things to bear in mind about the Vidiu Pro though, the first being that as the streams are aggregated and then sent on to their destination via Teradek's servers then there is, not unreasonably, a usage fee has to be paid to use it. They have the a pay as you go option which is $10 per gigabyte of uplink or subscriptions starting at $20 per month which gives you 50 gigabytes of uplink. It sounds a bit onerous but if you are doing it commercially then it won't add much to your fee to pass this on to your customer and its definitely worth it for the extra security that bonding connections brings. Obviously, if you don't want to use that service then you can just use the wifi or ethernet ports if the venue has them available. The next thing to bear in mind is how it does the cellular connection as it doesn't actually have a cellular modem built in and how it achieves it is a bit unusual in that you have to use iPhones to do it. At first this sounds like a non-starter based on cost but as it can be run on anything from an iPhone 5s upwards then if you get three of those used you are looking at less than £250 to have a very powerful bonded system. Bear in mind as well that you can also put SIM cards from different providers in each of them to give yourself more safety as you then have an opportunity to spread your uplink out over a number of different networks. The final thing of course is cost as Vidiu Pro and the three phones (although you could start with one and build up ) is going to be not far off three times the price of URay. Whether that is worth it to you is something I don't know. If you are doing it commercially where you can't let the client down and will be working in different environments that will have very varying network connections then I'd say it was but if you are just looking to live broadcast one camera from the same place all the time for personal use and you have a consistent network situation then its probably overkill. Details about the Vidiu Pro here anyway. https://teradek.com/collections/vidiu-family Which bit of it was causing the issue ?

For a bit of context on that Angenieux and GX80 combo, I've just put it back on and shot a quick test of it at different stages of its range.

I haven't (daren't ) done a formal count but its probably in the same ballpark as you.

I just dropped the saturation and I was on that beach with Chief Brody I'm trying to keep mine down below 3 figures ! I behaved myself in Japan and only bought 3 so thats a start.

Haha....sorry. The image from the Zeiss ZF immediately put me in mind of a film but was too saturated so I did a quick edit but I withdrew it because I think its probably a bit disrespectful to do uninvited edits of someone's work.

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I meant MFT adapter as in Micro Four Thirds. Not MTF as in Money To Fritter Like I'd spend any real money on a proper adapter when there are perfectly good wobbly ones available off eBay.

You should probably take a look at This Guy Edits channel on YouTube. This video is possibly not nuts and bolts enough for what you are after but the concepts are there. The more in depth stuff is accessed via his Patreon account which is fair enough as the stuff he has for free to view on his YouTube channel is always very good.

The context to that image is that the lens is actually for my JVC LS300 where it becomes a real ENG setup but as it had the MFT adapter on it then it went on the GX80 for a laugh. Having said that, when it is on the GX80, it actually handles far better than you'd imagine for handheld shots as you cradle the lens and use the tilt screen to do look down monitoring. It is far from being the most ridiculous lens I've put on a small MFT camera by the way Although nothing compares to this fella, who really did set the high watermark for putting B4 lenses on MFT cameras. As above, it was just done for a laugh as it was for my LS300 really. It has a doubler in it so when that is engaged it covers the whole sensor on an MFT camera. As I discussed further on in the thread you quoted, using it with the LS300, the VSM trick of that camera means that you don't have to do that and so avoid losing the light and some sharpness.

Just watched the first four episodes. I was glad to take these things off afterwards I can tell you.

Thats a good illustration of the issue you run into with video versus stills as if you were shooting stills you would just take a huge liberty and crop it like this which makes it a more directed image. But with video you don't really have that luxury without a lot more work in post, although you could shoot 4K with the intention of it being for 1080p and do a blanket centre crop when you edit. You could also do the faux multi camera routine by having one track with the uncropped version and one with a punched in version to switch to, which would also give you some latitude for framing safety and some post stabilisation too. If you wanted to experiment with a 300mm prime, there are quite a lot of old f4 manual ones on eBay that won't hurt too much.

Yeah, the 300-800mm is not the sort of lens that I would have fancied smuggling in if I didn't have the accreditation. Even with accreditation, it still raised a few eyebrows at the security check at the press entrance !

Yeah, I'm not familiar enough with that particular sport to know exactly what sort of groupings the shots would need so it was more a general point about shooting from a fixed position with the 100m+ range that @kye was looking for. At that sort of distance, even a five or six player grouping is going to be challenging with a 400mm FOV equivalent. For stills, when you can crop then its not so much of an issue but for video, purely at the range he's talking about, its going to leave you a bit short in my opinion. For Test cricket, I used to shoot on 300-800mm but still wasn't averse to throwing a teleconverter on or using a cropped body to get a bit more reach but with 5 days to grind out you'd take any chance you could to add a bit of variety in the shots

Even taking into account the 400mm FOV equivalence of you having it on an MFT camera, you are still going to be a bit short at those distances with a 200mm to be honest. Covering football (the real one not the weird variants that all of you colonials have cobbled together ), which, depending on the stadium, will typically have a 130m distance from my position to the other goal requires a fair amount of cropping with a 400mm to get anything meaningful for action at that end. I think you'd benefit greatly with a lens that ended at 300mm rather than 200mm not just in terms of additional reach but also in terms of separation from the additional compression of the longer focal length. Sigma have done a 100-300mm f4 in various mounts for many years which, whilst not exactly free, would be ideal if you went that route and is worth keeping an eye out on eBay for.

To the fully working in electric blue case with separate bluetooth remote controller stage thank you very much I'm looking for some bigger glass as there is currently a limitation on the size of lens it is suitable for. I did say I'd do a build along thread for it for anyone who wants to have a go as is (cost for the glass and controller is around £50-60) and I will get round to it.

Apologies if I have inadvertently offended you with that remark Don. It was just a failed attempt at some levity based on your personal ability to cause trouble in an empty house

Sounds like more than a coincidence that mate

I'll come back with more detail when I've got a bit more time but the one that ticks all the boxes is the Sony A6500. APS-C, IBIS, Log, EVF, Mic input and the rangefinder style makes it more compact than the SLR styling and therefore pocketable. Lens wise, the cheap Sigma primes for it are tiny and way better than they have a right to be. The fast native and M mount Voigtlanders and 7Artisans are also very compact. Its not a well loved camera (I say that as an owner of one as well!) but it does a hell of a lot in a small package. If you can get the stabilisation to come from your lenses then I'd have the OG Blackmagic Pocket in there as well but its tricky getting a fast one with OS. In terms of utility for a pure travel camera then I'd have to say that after using it for the past week in that role, the Osmo Pocket is a standout product.

Probably somewhere between far better than you expected it to be and far worse than you'd like it to be ? Look at that battery life though and thats with having physical moving parts in it as well ! For any youngsters looking at that camera, no, the control marked "Tracking" has got nothing to do with Auto Focus

If it was more than $5 you were robbed Looks nice actually but I'm surprised that there isn't a more pronounced difference in the background between f3.8 and f8 at 200mm?

You can get dedicated PTZ cameras from Panasonic, Sony etc but they are pretty expensive. If you want to use your GH5 then Panasonic do two powered zoom lenses (Lumix Vario PZ and 14-42mm and 45-150mm) so you would be able to control exposure, focus and zoom remotely over wifi from the app if you used those. The primary problem with those lenses, aside from the speed, is that they don't cover enough of a range in one unit and the long end is not long enough for a lot of sports. A better solution would be a Panasonic FZ2000/2500 which has the entire zoom range in one integrated unit and goes out to 480mm equivalent on the long end with additional digital zoom if you need it. https://www.panasonic.com/uk/consumer/cameras-camcorders/lumix-digital-cameras/bridge-cameras/dmc-fz2000.html It also has a ton of other features including in built ND, OIS and a paid V-LOG upgrade if you want it. Again, using the Panasonic app, you will be able to control focus, exposure and zoom over wifi. The missing piece of the puzzle then would be the tripod head and I would definitely have a look at the Bescor/Hague head for that which has both wired and wireless options for controlling them. Its not a totally integrated solution as the camera and head controls are separate but its as close as you are going to get without buying a dedicated PTZ camera and certainly a lot cheaper. It also has the advantage of giving you a standalone second camera for use in other projects rather than just being a single use device. Coincidentally, I walked past a glass windowed studio here the other day where they are using two of the heads to do a live show with.

If you want to do some dimension extrapolation, those are Ray-Ban CATS 5000 Classic sunglasses she's wearing which have a lens/bridge/lens diameter of 131mm. If I remember correctly.

At first glance I thought that was some sort of Lake Placid Blue coloured fin tailed 50s car with its brake light on !

Funnily enough, he landed here in it yesterday so he must be coming to pre-order it. We also had an earthquake at roughly the same time, though his hair remained unmoved obviously.

My "local" (until Monday) camera shop has it up for pre-order now for June delivery. With the tax refund and extra discount for paying by visa, its just on £7K. For UK buyers, I reckon that £3K saving its well within the realms of "definitely worth a plane ticket" if I was in the market for one, particularly so in 3 or 4 months time when used ones start to become available here and even bigger savings can be had.