BTM_Pix

How about using some of the very early EF lenses with the lens regain as an alternative half way house? Things like this 35-70 from 1989 have a certain, erm, 'charm' to them https://www.flickr.com/groups/605152@N24/pool/ And the 35-105 from a couple of years earlier as well https://www.flickr.com/groups/2049731@N22/pool/page1

I could only try it on the G7. It has the same issue so I'd hope it had the same workaround but you never know with Panasonic.

I used to compare stuff I did at the time with my D800 and H3Dii-39 and the word that always came to mind was 'smoother'. Only in terms of the output was it smoother though as it was a clunky fucker to use!

DXO rate it to be worse than the 5DmarkV, the D810 and the A7Rii by a considerable margin. I'm predicting you'll take some actual images with it and decide otherwise....

In all likelihood, no. However, you should test it with the specific camera and lens combination you are going to use it with. If you need to stop the particular lens down so that the edge sharpness is acceptable (as the main point of interest will no longer be in the centre of the frame in this orientation) then you might negate the advantages by introducing more noise etc.

In the dim distant past, Newtek used to demonstrate their Tricasters at tradeshows with the cameras in portrait mode for this exact application. The logic was that using SD cameras in that orientation was giving them the equivalent of HD resolution for the limited area of interest that they required for their task. This worked well to not only save a bunch of cash (HD cameras were exotic at the time! ) and showcased their real time scaling and rotation capabilities for their virtual set system. The same situation doesn't apply now but using the same logic would give you an 8K equivalent I suppose

This is the truest thing on the internet

This was asked about in another thread but might get lost within it so I'm putting it here in case anyone else needs a solution. The issue that was asked about is that when these cameras (might affect GH5 too but I don't have one) are under wifi control, the rear screen switches off after about 5 minutes and is there a workaround for it. Now that I've stepped away from the tapas and had a look at it, the answer is yes there is. Or, in point of fact, yes there are as there are 2 ways to address it. 1) If you are near the camera, put your thumb over the EVF momentarily (providing you have the correct auto sense LVF mode set) and this will bring the rear display back. 2) Any command it receives over wifi will also wake it up again so press something benign on the main screen of the app like the peaking function etc and this will wake it up. For a non-intervention method, you'll have to wait for the now almost mythical controller I keep threatening to foist upon you which will have a similarly benign command sent to be used as a keep alive function every 120 seconds or so to stop it going to sleep in the first place. But until then, 1 or 2 will work for you.

EDIT Hang on.... My old brain was thinking about the Ninja Inferno and not the Assassin. The Assassin doesn't do 4k60p so scrap that part of the equation. "All" you will be getting for your money is edit ready ProRes, great monitoring tools for both cameras and audio recording for your GX80 Still a bargain!

At that price, I'd buy it now and worry about the subtleties later ! You'll get your money back and then some all day long if it doesn't bring enough to the party for you. But with the LS300 it's going to give you 4K60p recording and edit ready ProRes, neither of which the camera can do so its a hell of an upgrade for €400 just for that alone. And that's before we get to it as a monitor to make up for the joke of an EVF that JVC have seemingly recycled from an old 'What The Butler Saw' machine for the LS300. The exposure aids on the Assassin are also an absolute boon when using JLOG.

You'll never regret the 80 even if you add a few other lenses later on. The 50-110 is so enticing because it hits all three of those focal lengths but, yes, it is at the expense of it being a bit of a brick. Although in my working world of lenses its positively lightweight At 1.4fps I've never felt in any danger of any of my HC lenses not outliving me !

Haha....I do enjoy a bit of decisiveness! Its usually worth double but I think that one is a bit beaten up. On the other hand, MPB are a solid outfit so I'd a) Expect the description to be accurate. b) Them to describe it as sold as seen if it was fucked. I'd give them a call about the warranty and how much service they think it'd take to get right. Its a good opportunity at that price as the lens is not far off being a variable prime.

Park Cameras (unusually) have got a used H3DII-39 for £1499. There are plenty of HC80s around at £800 to pair with it. MPB have got a 50-110 for £850. £2300 for either combo is a steal in relative terms. Actually, forget relative terms, its a steal in absolute terms as well.

What if there was a way where you had an option when you put it into record it always simultaneously selected the shutter speed in case you'd accidentally knocked it? Noted, if so.

I just don't understand why they haven't done a swappable version. The swap on an Epic between PL and Canon mounts takes a few minutes with an allen key and even with RED doing their macho bullshit styling and etching everything in BOLD CAPITALS on it can't get it to be over $700 (although inevitably they have also an operation-desert-storm-kevlar-titanium-and-granite version of it for a gazillion quid). The bottom line though is even doing a swappable version is all a bit of a wheel re-invention as having an MFT mount on it from the get go just gives you more options. They could've gone as far as bundling it with a Metabones smart EF Speedbooster and I think everyone would've been happy. It won't stop me buying one as I wasn't going to anyway so maybe they have listened to the right focus group from that perspective ! Now you're 'over' IBIS the future AF200 for you is the current LS300

As its got a LANC port, you can also remote the zoom rocker (as well as the record function) off the body with one of these

One thing you do have to watch out for when attaching every lens in the known world ( ) to this thing is ND wheel. Because it protrudes forward of the mount, attaching lens adapters which have a tripod foot on them requires taking the tripod foot off. In the case of the Metabones smart EF booster, which someone at the factory must have used the tyre gun from an F1 team to bolt it on with, this involved me having to take a hacksaw to it. No, really. With the Aputure Lens Regain, you have to be really careful removing the foot and then replacing it when its on the camera as it contains some flimsy wiring.

I'm currently NOT eating paella I'm eating tapas It does the same on the G7 so I'll look at it when I resume work on Monday I have an idea that will probably work

I'm mainly finding it staring at me saying "why aren't you using me?" unfortunately. The intention was to use it for the tournament assignment I've just done but it took a complete backseat to the stills work to the extent that it and all its supporting gear actually got shipped back home midway through as it was becoming a logistical burden hauling it round with me! I've got the new firmware on it at least so as soon as I've had this little holiday it will be getting put to work for the new season so watch this space. What I can say from all the testing I've done with it is that the sheer versatility of this thing in using native MFT, B4, PL, Canon AF, Contax Zeiss, M42 and Nikon lenses is that you'll get no arguments from me about what mount Panasonic have missed a trick not putting on the EVA

Glad I got it as a one off purchase when I did then as it looks like they've farmed it out into a bundle. Not cool.

Yeah, you do have to watch out for the jiggery pokery that it gets up to with corrections on its own lenses. The original thread from @fuzzynormal about it is here where we discussing it and also contains a link back to a related discussion about it in the big Fuji thread.

This is a decent comparison to summarise the differences in video performance between the X-T2 and the X-T20. The headline difference is in the line skipping on the X-T20 which gives the X-T2 the edge (ho ho) in terms of sharpness but at the expense of the additional crop factor. Its by no means a night and day difference though so they will cut together without a major issue. The X-T2 can also do log albeit only to an external recorder. On the other hand the X-T20 does touch AF which might be something that would be appealing. There are other additional hardware differences that favour the X-T2 such as a better EVF, dual card slots, the battery grip and so on so there's no question its a higher end offering but, IMO, I think a better spend instead of two X-T2's would be one X-T2, one X-T20 and use the saving on a Crane or other gimbal. You'd be getting near identical IQ so most of the advantages of two of the same model but with the advantage of the flexibility of different form factors (the X-T20 is not far off GX80 tiny) and also addressing its achilles heel compared to GH5 etc of not having IBIS.

I'll second that about Finisher. I like the simplicity of CrumplePop's stuff

So if you guys made a documentary about Nyquist for Netflix have to be shot in 8K or 4K ?

And don't forget the Mauerpark flea market if you're there on Sunday where I got these three fleas for €120 when I was there a few weeks ago. And there is also a van there that sells quite remarkable chips. I went for lenses but stayed for the chips.