BTM_Pix

Amazon probably would take it back in that state so I'd buy a new one off them, swap the cases and ram in as much of the debris as you can and send it back ! I'll do a new post about that other thing as it might be useful to some brave souls.

On an unrelated note, do you still have that GX80 in pieces as per your Twitter link picture for this article ? If you do, I've discovered something interesting that you might want to look at if you fancy an external microphone mod for it.

I think that was a really great thing to do. Rainy day projects that I did with my Dad were exactly the same projects that we were supposed to have been doing that day but just done in the rain.

I'm very interested in seeing examples of the 3D models you've been able to make with this setup. Is this one of them by any chance?

I got this cheap and cheerful one off Amazon for £26 and it works perfectly fine for me. The 50mm lens tests that I did at the weekend in the lens thread were all done using it on my SL and it handled the additional stacking of CY>EOS, F>EOS and M42>EOS adapters with no problem. https://www.amazon.co.uk/gp/product/B07QMVVWV8/ref=ppx_yo_dt_b_asin_title_o03_s00?ie=UTF8&psc=1

I know that, I was answering a part of someone else's question in which I had been quoted. With regard to the GX85, the mic input and articulated screen of the G7 may well actually trump IBIS and simultaneous HDMI out in many use cases so I don't think its that cut and dried personally.

You need an app but there are numerous ones on the Google Play store like Easycap, USB Camera Pro and others. They are generally used as FPV monitors for drones or as live stream encoders for webcams so don't expect all or indeed any of the bells and whistles of FieldMonitor etc but for low latency secondary HDMI monitoring on a much brighter screen they work fine. Hardware is around £90 if you go for one like this which is the one I have. https://www.amazon.co.uk/DIGITNOW-Card，Full-Streaming-Drive-Free-Compatible-Black/dp/B077YG3P4Z There are complaints on there about audio sync but thats not something I'd ever have need for so I can't say I've even tested it. I keep meaning to do a post about it and I will if there is enough interest but I've got a fair amount on at the moment so it will only be a brief one.

I only do stuff for Android so I suppose that proves your point! There is a similarish product for Android called Gmonitor. I've mentioned it before but for anyone looking for a more seamless integration for social media then the Toshiba FlashAir SD cards are worth a look as they work independently in the background of the camera you have them in to automatically transfer files to your device without having the full blown camera app open. The latency/quality equation of monitoring signals over wifi makes the use of the superior display of the phone a bit of a problem. Not to mention the heat and battery drain for sustained periods of that sort of use. There are some inexpensive wired solutions that use HDMI to USB3 for phones that can handle UVC class devices that can be used though. Think of these as like a roll your own version of the LukiLink. Although on its not as elegant a solution as being wireless it does have a big advantage with regard to latency and an edge in quality. Its a particularly useful device to have in the bag for owners of cameras that might occasionally need external monitoring but have restrictive wireless apps (ie Fuji where the camera can't record 4K when you are remote monitoring) or obviously for the Pocket4K which has none at all. Its particularly useful for the Pocket4K in bright sunlight to be able to use your phone as a brighter screen that can be tilted.

This one doesn't specifically detail it having the upgrade but MPB have sold quite a few FS700Rs (they have 3 now actually) so its worth checking with them as they may well have taken it in with an FS700R kit originally and are selling it separately. https://www.mpb.com/en-uk/used-equipment/used-accessories/used-photo-and-video-accessories/used-other-photo-and-video-accessories/odyssey-q7/sku-863775/

It uses the same stream as the Panasonic Image App, so latency/quality/behaviour when recording will be the same. But it does offer a lot more on the monitoring side, particularly with focus The full details are here https://www.adamwilt.com/fieldmonitor/

You are very liberal with my time mate

That wasn't me unfortunately

Yes, I aim to be the next CineFran I should have been but got suckered in by the extra range and got the 28-85mm instead. Good lens but wrong choice. Not sure anyone on here actually has the 35-70mm ?

What would be the fantasy camcorder that would flip you completely do you think ? Super35, 15-85mm f3.5, internal ProResRAW, IBIS+OIS, e-ND, BP970 power ? If you look at basing it on something like the A6400/6500 then Sony could easily knock that out tomorrow for £4-5K. While we are all still buying the A6*** upgrades or their 1" lower end broadcast camcorders though, why would they bother ? I've said it before but its a pity there's not the photo equivalent of aftermarket car companies like Shelby or Brabus etc who take stock products and make new ones with them. They exist for lenses of course and at the higher end for cameras with Panavision but a company targeting the lower end who could take an A6500 etc and integrate it into a new product like that would be great.

Yes, sorry, with my first response I was actually referring to the Mark I and Mark II of the Second (f3.5-5.6) version. Not confusing at all

Not that I'm aware of. Amazon do have a used like new version of the Mark II from their own Warehouse deals for £504.78. With their returns policy, I'd be tempted to get that one ? https://www.amazon.co.uk/gp/offer-listing/B07QH4WYBV/

There is a slower one (f4-5.8) which is about half the price used as the new one. https://www.lcegroup.co.uk/Used/Panasonic-14-140mm-F4-5.8-Mega-O.I.S-G-Vario_249079.html

They are more likely to do it the other way round just to spite everyone !

If you are looking for a genuine UK product then the safest way is to check the product codes on Panasonic's own UK direct website (though not necessarily buy from there obviously ) From their site the H-FS14140E9K is the original one. https://panasonicdirect.store.panasonic.co.uk/p-5508-panasonic-h-fs14140e9k-h-fs14140e9k-panasonic-lumix-g-vario-14-140mm-interchangeable-lens-black.aspx?psn=15 And the H-FSA14140E is the MarkII version https://panasonicdirect.store.panasonic.co.uk/p-5689-panasonic-h-fsa14140e-h-fsa14140e-panasonic-lumix-g-vario-14-140mm-interchangeable-lens.aspx?psn=12

I'll preface this by saying I've got a pretty jaundiced view of that place and one that is pretty outdated as the Koolaid wore off a long time ago with me and this doesn't apply to every discussion or user on there but.... One very cynical and blunt interpretation of many of the conversations that I used to see on there was that when they say "modern" they mean too expensive for them to own and when they say "vintage" they mean the ones they can afford to own. That melting pot of high end pros and ambitious indies that I was referring to that were brought together on there led to a nuance around that language that, again, a cynical and blunt viewpoint would be suggestive of a snobbery/class divide. Because of that there was definitely a vibe that many people were dressing for the job they wanted rather than the one they had if you know what I mean and would offer up that caveat of "of course these lenses would only be for personal projects" to offer a shield against some perceived ridicule or scorn from people higher up the food chain when the reality was that the only projects they were doing were personal projects or low enough budget one where hiring let alone buying higher end lenses wasn't on the cards. I'm not saying everyone was doing that but there were certainly a lot of them that were and it was pretty sad to see. Instead of just feeling free enough to be able to say "I could just about afford the camera but fuck me the lenses and everything else are killing me, anyone got any suggestions for cheap stuff that I can use to get going with?" (which is exactly what would happen on here) a lot of discussion became couched in people not wanting to be thought of as not shooting this summer's Hollywood blockbuster so a kind of euphemistic/nebulous masking language developed. The cultism aspect of Red ownership and Reduser isn't just limited to the "How shall we fuck off oh Lord?" deference to the billionaire founder and his colleagues but also extends to the grip it has on the perception of a number of its more rabid followers in somehow elevating them into the higher echelons of film making. With some of them it was borderline cosplay. In about three or four years when everyone is sick and tired of cobbling stuff together and manufacturers are sick and tired of being caned by cellphone advances eating their real camera sales, we will all get camcorders again. And breathe a massive sigh of relief at the liberation of it all. I mean, I seem to recall you only wanted a bit of a bump in quality and shallower depth of field from your XC10 and look at the absolute rabbit hole you've tumbled down

It really does defy its price in that test. Top tip is open two YouTube tabs, park the first one at the Master Prime and then use the other tab to compare the others against it as thats the only comparison to make

In the great equaliser of the granite worktop and colourful booze bottles then it would likely be Samyang again This 50mm lens shootout is about as comprehensive as it gets and includes the Cooke Panchro. http://www.mikkotimonen.com/50mm-shootout

That would be a great website wouldn't it? Put in a film you like and it tells you what lenses were used and the nearest suspected stills equivalent.

I think there is an interesting aspect involved in those discussions there, particularly with something like the original Contax Zeiss Survival Guide thread, that originates from when the RED ONE was released. The camera was obviously attracting a lot of people that were "buying up" to it from a very indie background that up until that point were getting their cinema look from adapted camcorders with spinning ground glass 35mm adapters. I know because I was one of them To say there was some sticker shock at suddenly having to look at buying PL lenses would be something of an understatement so obviously everyone was looking to do what they had done before and use stills lenses on it. Because of that, it was probably the first time that there was a platform, in terms of both camera and forum, for meaningful comparisons between stills and cine lenses. To me, at least, there is an emotional element to some of the language used there around lenses that is related to and biased from whichever side of the line people were coming to that camera from and its just become the lingua franca for lens discussions on there and beyond since. So I don't necessarily think they are more sensitive to it just that they have been using the language for longer.

Yes