BTM_Pix

Right, I've sorted the Zoom protocol out now so any of those that take the wired remote port can now be controlled. Just leaves you Marantz freaks to sort now

Only about a week Been trying to position myself to have strike so I could've hit it myself but I'd miscalculated a no ball or a wide somewhere along the line.

The single biggest feature that would make this camera immeasurably more useful for what I personally do with it is to have the lock image function being able to be assigned to a function key. It's such a trivial thing to most people and such a trivial thing to implement for Fuji but, honestly, it makes it too slow to use in my workflow. And in the workflow of anyone else who is trying to use it for what I do as well. So whilst I love them to death for adding in these new features, it does make me shake my head when we are so many firmware updates down the line and they are prioritising kind of niche things like folder renaming and transfer of settings via USB to their app that no one uses anyway over something that is such a glaring omission for one of the markets they like to tell people they are doing well in. Its looks OK to me but I'll need to go to the beach and find a dog shaking water off itself to be truly sure.

Mmmm..... I haven't got an X-H1 so maybe an owner can chime in if its the same on there but unless I'm missing something in a menu somewhere then if you are using FLOG internally then you can monitor on the camera screen but the HDMI output is inoperative and vice versa. Don't get me wrong, its still a very nice gift from Fuji letting us record it internally but its a bit of a letdown not to be able to attach a small external monitor or EVF while using it.

This update (especially the internal FLOG) weakens the X-H1 as an upgrade for X-T2 owners certainly. But..... Everyone is looking at Panasonic and Sony to implement ProResRAW but what if Fuji were the complete dark horse here and put it onto the X-H1 ? They certainly have the track record in handing out additional value long after you've bought the camera and that upgrade would certainly let the X-H1 stretch its legs if they made it exclusive to that camera. They're probably already at it

If Panasonic ever did make that LX100 lens they would probably want about £800-900 for it so the best way to look at the LX100 is its that lens for half the price and with a camera thrown in for free. Absolute bargain ! With regard to the vloggers audio conundrum, the £9 solution is this very flexible variation on an L flash bracket which would enable the shoe mount for the microphone to arch over the flip up screen or if they mounted it the other way sit it to the side.

Body only in the UK new they are about £1200. Used ones are now at £900, which is a hell of a price really. Over the weekend in London, one store was doing a special on new X-T20 with kit lens for £699. I wonder if they'll ever enable FLOG on that (either internal or external)? Installing the update now......

Haha You never know.

OK Use this new html file. Instigate the record using the commands from the page rather than the record button on the camera. Then change ISO, shutter, f stop, colour profile and exposure comp using the commands from the page and see what happens. Its a longish shot that it will be different when record is instigated remotely but its worth a go. Toggle between Cinelike D and V too as if there is a change it will be pretty apparent. GX800 TESTER.html

And for it to be powered by a commercially viable nuclear fusion reactor of course.

OK I have an idea about something else to try but it will have to wait until I get back on Monday when I've got access to my development stuff.

Use the original HTML file that I put up at the start of the thread to connect the camera over WiFi and do the handshake. Then change the colour mode on the camera to black and white. Start a recording and then click the Deploy or Restore. If the camera changes to colour then that will confirm it can receive and action changes whilst recording. Next, start a new recording and whilst its recording paste the following line into a browser tab and hit return. http://192.168.54.1/cam.cgi?mode=setsetting&type=shtrspeed&value=2560/256 This should change the shutter speed to 1/1000 and if the camera actions it then you should see it go very dark! Thats all I can do for now until I get back on Monday but give it a go and see what happens as it'll let me know if there is something to go on. Those are for their camcorders (though the shutter angle is also applicable on the GH5 and FZ2000) The camera will return OK to say it understands what you are telling it to do but it won't actually do it. Teenager mode would be an applicable word for it.

I'm just getting on a plane, i'll do a proper reply later. Might be able to do a simple webpage to prove the theory if you can't get android device

Can you confirm how the video mode works for me on the GX800? Is it a separate mode or is it just activated with the record button whatever mode you're in? Am I right in thinking that you have exposure compensation control? I think it might be possible to hit it with shutter/aperture/iso parameters after its been put in record mode to fake manual mode. I dont have one of the cameras to check it with but I can knock up an Android app next week when I get back to test this theory with if you're game to test it. I'm surprised about the cinelike as I've even got it to go on the consumer cams like the LX15. The only one I had an issue with was the LX100 which goes into some bizzare ultra contrast mode which is exactly he reverse of what I was after! When you try it on the GX800 I wouldnt expect it to say cinelike but would expect it to go blank. Is it not showing any visual difference at all (even a hue shift) ?

I'm going to harass you now like I do with anyone who has old manual glass and a Sony mirrorless and beg you to buy the TechArt AF adapter and tell us what its like They were so slow they'd have tortoise tutting and tapping his watch at them. Nope, they are still performing as well as new ones that would cost you literally 10 times the price. And are about half the size. Even if you do have to turn the turny thing yourself to focus them.

Thing is, I can mount all of the Nikon lenses I own to all of of the cameras I own but I can't mount all of the lenses I own to my Nikon cameras. It would be a terrible irony if Nikon themselves produced the first camera that isn't compatible with their own lenses Kidding of course, as I'm sure they wouldn't be insane enough to not offer a proper solution. Seeing as the adapter only going to be a shortish tube lets go radical and keep the same physical bayonet mount for the new lens mount but make it retractable into the body. It would still keep the depth of the camera shallow enough to feel the benefit of it being mirrorless and you just extend it from the inside out for the extra flange difference when you were using the older lenses. Time for a lie down I think.

To be honest, I was nodding along appreciatively thinking "yep, that could work"

I decided to use it to shoot a press conference the other day. Suffice to say there was a fair degree of incredulity amongst my younger fellow shooters at the sight of someone using a manual lens thats older than they are!

I'm ordering a job lot of this in time for September if anyone wants in ?

Its unfortunately very common and is actually at its most prevalent on what you would think was the safe side of the fence which is in the accredited areas themselves. Its only happened to me once (touch wood) at a final in Berlin a couple of years ago when one of the stewards stole my iPhone off the top of my peli case while I was shooting the trophy lift over the other side of the pitch. Funnily enough, it caused me far more of a problem than if he'd took a camera because it had my boarding pass for my flight home on it, it was the GPS for me to drive back to Leipzig because that's where I'd flown in from etc etc I have quite a few of those dividers and use them for turning an Ikea rucksack into a camera bag but also for quickly packing real camera bags as I swap between different capacity ones so its easier to keep certain lens combos in the dividers all the time and transfer them in one go.

In the accreditation queue outside the stadium on Tuesday we had the most audacious theft attempt when someone mingled into the queue and casually strolled off with a peli case (with 2 D5's, a 70-200 and a 400 f2.8 in it) and an attached laptop bag. Fortunately, he only got about 20 yards away with it before he was spotted because he stuck out like a sore thumb. And the reason he immediately aroused suspicion? Ironically, far from it being because hr looked like a dodgy scruff, it was because he was WAY too smartly dressed to have ever passed for one of us !

Nah, we'll have had the Photokina show by then. (At least one Photokina cos, well, you never know with BM) That will give us a whole load of new fuel to shovel into the speculation boiler. This will be the good ship RMS EosHD after Photokina if Canon and Nikon make their mirrorless announcement s

Mmmm...looking at how far it could be pushed and how smooth the workflow was on a 4 year old MacBook (ie the same as mine!)....well... I've got to say that a used FS5 (as the prices get pushed down even further by he mark ii) and the Ninja V isn't the worst proposition in the world as a very flexible system. In a few months, the total cost of that will probably be hovering around £3.5K.

Would I complain about having to use an adapter? I'd be a bit of a hypocrite I suppose if I did as I routinely use Nikon's teleconverters for work without any issues. They lock tight and any balance issues they cause are offset by them mainly in my case being used on lenses that need monopod support anyway. Would I be thrilled in having to do that on ALL my lenses ? Probably not but I'd be FAR less thrilled having to rebuy the rest of my core lens set in this speculated new mount, especially as I'd have to take a hit on selling lenses that were now part of a 'dead' system. Canon FD lenses are not cheap because of their optical quality and this would be the same situation. The price of the "upgrade" to a Nikon mirrorless system with a new mount and to remain native would be prohibitively expensive. The f2.8 zooms and long primes are not suddenly going to get significantly smaller and cheaper because they are in this new mount. So, if they do a mirrorless that doesn't have an adapter that has "as native" performance for existing lenses then they will have a problem retaining existing users when their current DSLRs are ready to be replaced. And the issue that they also face is that with cameras like the D5, the D500 and the D850 etc the rabid upgrade cycle isn't exactly what it was 10 years ago. We are at a point with those cameras where its only going to be wear and tear - not performance - that prompts you to upgrade. The double edged sword there for Nikon is they have not only produced cameras with great image quality but also some serious robustness! With every week that passes, the other systems seem to be getting more and more lens options. There will come a point where all Nikon have left to bargain with are the fast long primes and the legacy stuff. In the case of the former that's just a niche within a niche and I believe Sigma will step into the breach there and in the latter, well, lenses you've already sold won't pay the bills. Having said all that..... There is a couple of opportunities here for Nikon to make things both smoother for existing owners and actually make it very appealing. The first is to have the option for the mount to be user interchangeable as per RED, Ursa, Kinefinity etc so that we wouldn't have the two points of failure potential and the wear issue using an adapter. If its actually connected to the body rather than the new mount then that will keep everyone happy. For my, and I suspect many others, usage I think we'll be going out to shoot with lenses that are in one mount or the other. For anyone who would want the flexibility of quick change as they will be going out with 3 new mount and 1 old mount lens then Nikon can still do a regular tube type converter. The second thing they can do is make one of those mount options also encompass a speed booster. The option of shooting video in Super35 with fast primes that are now even faster and still have full AF? Yes please. Ditto they could also utilise the extra space to produce an electronic ND version of the mount. If they see supporting the old mount in terms of it being an opportunity rather than a duty/hindrance then they could have a monster on their hands. It could be the true hybrid that, thus far has eluded everyone. Obviously if they come out with something that's 5 grand with two plastic kit lenses and 3 slow primes with an adapter for legacy lenses that weighs more than an anvil and offers just enough AF to not be sued under the trade descriptions act then they can fuck right off