BTM_Pix

A couple of quick comparison shots from yesterday showing the LX15 lens range from max wide to max telephoto and then with the £25 2x TC on it when used in full tourist mode. Using the mag filter thread adapter its really, really quick to just pop it on when you're at max tele on the internal lens and think "Nope, not tele enough" I'll do the same with the RX100M5 (which may be relevant if all you want an M6 for is the range) when I get back and make a new thread regarding operation and caveats over performance.

I think everyone knows it's a work in progress, just quite surprised at the current point of progress in that work. If the purpose of it was to gain feedback then I don't get the differentiation between it coming from their FB group or the wider world to be honest. Unless they've got a Reduser scenario going on there of zero criticism I expect the feedback was similarly lukewarm? Don't take this as being snippy because it's not meant to be - I'm actually rooting for them - but if the people on here who weren't thrilled with what they saw and they were in the market to buy one, then it might not be doomed but extrapolate that out versus people who were thrilled with it and it's not great. As I say, I'm not looking to contradict you necessarily but I think there is some relevance to the perception issue they've caused by putting this out there. Especially as its on their YouTube channel and not just a closed FB group.

That link I posted takes you to the first post in the thread for some reason which is for the bracketed stepper . The real time tweaker app is further down and here is the direct download link for it if you need to use it https://mega.nz/#!92R11RaC!4IuYvd7SWu3UKpHzRK6nZA1PFPRruSEDw1nFp7ERXf4

It's one of those perennials that pops up quite regularly when people are looking for a "standard" zoom lens for Panasonic cameras so it's in a few threads. It pops up as an option because the lens range and speed it has isn't one that you can get in a native MFT lens and if you could it would certainly cost far more than the £300-400 price you can pick up a used LX100 for. It's not a solution for everyone but it can make a lot of sense for many situations because you're basically getting a free backup camera into the bargain. Be aware though that the LX100 can't have the Cinelike D hack so you are restricted to standard profiles (or the excellent EOSHD profile) which is why it won't work out for everyone. But if it does then it's an alternative worth considering. It's one of a couple of such anomalies (like the Leica Q and Sigma DP0 Quattro) where even if you own the interchangeable lens version of the cameras (Leica SL and Sigma DP Quattro in this example) it's still actually cheaper to buy the fxed lens version of the camera if you need that focal length than it is for the equivalent lens for the interchangeable camera. As I say, it's not for everybody but if it fits your needs then it's there as an option

The £10 option is a throwback to when we used to switch Tascam DA88 TDIF connections between different consoles. The TDIF interface carried 4 AES/EBU inputs and outputs via a 25 pin Dsub connector (aka a printer connector) so we used A/B printer switchers to switch them between consoles. For your scenario, this means you could have up to 8 balanced connections on it and basically use the switch to bring them all into play simultaneously by switching to the A position to make the connection and the B connection to break it as that of course would be connected to fresh air. You can pick up used TDIF to XLR snakes on ebay relatively cheap if you dont want to make up the loom yourself and obviously the switchers are £10 or less in most places. You could also just pick up a 25 pin printer extension cable for a few quid and chop the end off and add your connectors. It's not as sophisticated as having some automated relay based system (ie it's clunky) but it will work, it's cheap and available now.

I ummed and ahhd about a used one during my lens buying frenzy. Slept on it and decided it was too good a price not to get it and went back into the shop the next day and they were literally handing it over to it's new owner when I arrived. Apparently it's not polite to exclaim "Oh for fucks sake" in Japanese shops. Who knew. Anyway, I thought we'd all agreed the other week that the best general purpose zoom lens for MFT was actually the LX100

It is a Sony VCL-HG 2030 and was discontinued many moons ago I think but I spotted it in a second hand shop for £30. It used to be about £200 when new so it was a bargain but obviously I still had to negotiate a bit more off ! You can see a few of them on eBay for similar prices so there's plenty of them out there. The caveat is that the 30 in the name indicates the filter thread size so the standard filter adapters for these small cameras are 52mm to stay out of the way of the zoom mechanism so you'll need a step down converter. It also means of course that with it not covering the full width it is like putting a crop lens on a full frame camera so you'll need to zoom in to just over 50mm equivalent to avoid seeing it. But it's there to extend the range anyway so that's no issue whatsoever as far as I'm concerned. So you're looking basically at it being 2x extension on the 50-90mm range (or 108mm on the LX15 in 4K) so it makes it a 100-180mm zoom (or 100-216mm on the LX15 in 4K) that you can have in your pocket for if the need arises. I know it's all a bit old school using tele converters but I routinely use them professionally for work so the problem isn't tele converters per se but shit ones ? I'll do a few shots with the LX15 tomorrow (I haven't got the RX100 with me on this trip) with and without and put them up. With regard to the filter thread adapter, I've got a generic stick on one for the RX100 but for the LX15 I've got a posh Carry Speed magnetic holder one.

I like the ranting that @webrunner5 does though. When he's on a roll I'm always put in mind of him doing it in the style of Gabby Johnson in Blazing Saddles And I mean that with all due affection @webrunner5 do don't down vote me

The Panasonic LX10/15 meets the original spec. It has 3x zoom, the original poster didn't say it necessarily had to start at a 24mm equivalent. You can look at that crop one of two ways in that it's giving you less on the wide end than the RX100M5 but it's giving you more on the long end, which is something that may be more important for his/her needs. I have both the LX15 and the RX100M5 and my opinion is that I don't hate the crop (as I'm fond of the FOV anyway ) and I can always re-frame by stepping back so in that way I can match the RX100 max FOV. But what I can't do on the RX100 is make the lens faster so I have no possibility to match the LX15 in that respect. It comes down to picking what is more important I suppose for how you will be using it. I could make the point to be honest that 24mm is a bit of a meh focal length anyway as its neither fish nor fowl so neither camera goes wide enough really but again that's down to personal preference. With regard to the video itself, with the Cinelike D hack the LX10/15 bridges part of the gap to the Slog profiles of the Sony and might well be all the flat that people need in that form factor. You can use Cinelike D at any iso whereas the lowest of 1600 and 3200 for the Slog profiles does start making a bit of an issue of keeping it's original ethos of being a compact as you have to put a filter thread mount on it for a pretty nuch permanently mounted variable ND. Of course you can use the other flat but not LOG profiles in the RX100 to do the same thing but it does take away that extra advantage over the Panasonic if you do that. Again, though it's horses for courses, and if the purpose of wanting a compact is to primarily offer a better video option while travelling then that may play a part. If it's for more controlled shooting as a b camera for interviews or whatever then that'll be less of a factor. For what it's worth, I have thread mounts on both of them of course ? Speaking of thread mounts, in light of the debate on the Sony RX100M6 thread, I've picked up a very high quality screw on Sony 2x TC for a ridiculous £25 to have an experiment with. Suffice to say from early tests, my RX100M5 can now be an M6 whenever it feels like It works on the LX15 as well and a bit of lateral thinking has me now hunting down the wide equivalent for a similar bargain price to take care of the other end if I really need it. If I had to keep only one of these cameras then it would have to be the RX100M5 but that is purely because it has live HDMI output which is non negotiable for what I'm primarily using it for in a work capacity. If it was just for personal use as a compact camera where that wasn't a requirement then I think I'd go for the Panasonic with the Cinelike D hack because it's half the price, it's far more than half the camera for what I'd be using it for and not least because whoever does Sony's user interface is a sadist. Oh and it doesn't burn your hand if you have the temerity to want to use it for a while

If you look at the down vote in the bottom right of the post and click it, it says that you down voted it. Don't know whether there's something going on with your account automatically doing votes because there's a post in another thread that says you did the big laughing one when it didn't seem like it was a funny post in the slightest! Mind you, us gentlemen of certain advancing ages do tend to laugh in all the wrong places !

I take it you got the cinelike d to work yesterday then ? If you are in Manual mode when you Save to C1 it will be in manual mode when you recall it and should have retained the ISO, Aperture and Shutter values you had set. Sounds like you have saved it in when you were in Aperture Priority mode. Just change to Manual in the camera menu and save it again

Just walk me through exactly what you want to do with it

I have to say I'm bewildered why they've released this footage. The camera is very interesting but let's be honest they lost a lot of buzz when the Pocket 4K was announced. The only way to get that back was to put images out there that made everyone who'd pre-ordered or was going to pre-order the Pocket 4K to think "Mmm....hang on...we might have been a bit hasty here". Surely no one is anywhere near thinking that based on this? Manufacturers have a difficult enough time as it is with people making their products look bad by shooting garbage with them without joining in with it themselves. You can go too far the other way and make a glossy promo film of a £1500 camera with an unrealistic hidden supporting cast of gear and crew so it's fine to show something that is more realistically obtainable. But it still has to be aspirational surely? If they don't look like they care then why should we? This is less to do with what the camera is capable of but what the company itself is capable of. Showing such half baked and half arsed footage is not going to convince anyone that the company is in it for the long haul with this product. The first impression they made with their other interchangeable lens camera wasn't entirely positive and the massive price drop on it was testament to that so they were already playing catch up in terms of perception. As soon as the Pocket 4K was announced they must surely have known they'd really be up against it to claw back ground from an established brand coming in with something that drastically undercut it like that. This just doesn't inspire any confidence in them whatsoever that they can build any sort of momentum to counter the Pocket 4K. I'm the last person who wants to be a sheep and just buy what everybody else does and I like to see the underdog have a go so I'm really disappointed that this is what they've chosen to release. It's easy to say that we shouldn't write it off based on this footage but this close to the release of the other camera it would have been better to release no footage than release this. Better to keep quiet and have people suspect the footage from your new camera may not be all that than to open a YouTube channel and confirm it, as Mark Twain would've put it

It is of the ISOs but only whatever is on what they call the LR input, be that one of their bolt on mics or the EXH-6. None of the 4 XLR Mic inputs can have a safety track. Electret condensors into the EXH-6 would of course let you have a safety track for external mics too. Fiddly comes to mind.

The H6 has a safety track function but it's only for whatever is on the L/R input so that would be one of their plug on mics or whatever is on the EXH-6. So, no safety track for phantom powered external mics basically

They provide breakout cables with it that go from the 1/4" jacks to female XLRs with it so you can plug microphones in. I'm not sure if this is the Marantz one that @Grimor has. If it is he can sell you a hand made remote for it!

The 701D was purely there to indicate the next 6 track recorder up in price to the H6 though. There was never any recommendation attached to it and certainly not against the F4. Again, the USB interface only having to be one channel was something that was only specified AFTER my post though so at the time the requirement was 6 track recorder with USB interface . Anyway......having said that F4 being able to be used as a USB interface..you and your pesky facts have got me there Complete oversight on my part which changes everything and, Yes, if the budget is there, there is no contest. And by the way, I may have a sub £10 solution for your auto switching black box if you don't mind a bit of soldering

At first I thought the one on the bottom was a Gnarbox (which would make sense for mobile journalism) but on closer zooming I think it's a light in a rugged housing (possibly even repurposed from diving?) as it looks to have a pushbutton on the left and a rotary fader on the right. The thing on the top is possibly an action camera or a battery for the light. Or the whole thing could well be one of those bird feeder cameras

To be fair mate, the 701D and the PMD-706 where there purely as an indicator of the 6 track field recorders immediately above and below the H6 as it was the 6 track aspect that was one of the key features that @Anaconda_ was interested in. This ruled out the 70D with it only being 4 track. The 701D is marginally cheaper in the UK than the F4 (by about £50 but still ) so it is the next one up in price. They were only used in that context though rather than a recommendation as neither of them has the other key function that he wanted which was to have it do double duty as a USB interface. Which, of course, ruled out the F4 as well anyway. So in the context of what he asked for which is a 6 track recorder that also could be used as a USB interface, it's the only one of the bunch that could do that irrespective of price. Having said that... @Anaconda_ then subsequently said he only needed one channel of USB interface so in that context, the F4 and a £30 Behringer Uphoria interface would be a better all round solution to get the required functiionality with a clearly better field recorder . It's still double the price though but that extra £250 will undoubtedly be a bargain spread over the usage period. Hope that clarifies what I meant about the context of referencing those other recorders.

It works on anything that their own app does so ues it should be fine

I found some interesting results taking the cinelike V as a starting point myself as well. If you have an Android phone or tablet around, have a go with my tweaker app as you can see the interaction in real time. If you load your LUT onto the external monitor if you have an Atomos then it's even more useful to see the interaction with that. There is another version of it further up that thread that automates to produce a range of stills which effectively bracket all the permutations you're interested in or makes them as one long clip.

It can be done with any browser so the PC will be fine. The very first time you do it, it will probably reject the connect as its registering a new connection but second time round it will be fine. If it fails, go back to the original html file at the beginning of the thread just in case an error crept in with that last one. Im in transit so can't check it but I doubt it's not working.

And the large depth of field from the small sensor is an absolute boon when you need to keep the background magic trick in focus.

Reluctantly, yes. I should probably qualify that a bit and say the 20/20 stuff was OK but shooting the Test matches is not exactly a thrill a minute. For five days.

It was probably needed to mask the sound of disappointment seeping out of the rapidly deflating balloon of expectation.