BTM_Pix

I've got the 27mm f2.8 and I put it on earlier in AFC as I'm starting to look at video features on the X-T2. It sounded like it was gasping for breath !

Might as well post them. So, the grip then. I wasn't sure about the extent of the bottom lip protrusion relative to the rest of the camera as it seemed awkward at first and digging into my wrist a bit but after a small adjustment to how I was holding it then it actually felt very solid so thumbs up for that. I don't like the connector being covered by a removable rubber piece rather than a slide as I won't always want to have the grip on so its going to be a pain to remember to have that piece in whatever bag I'm using at the time. Performance wise, I use the X-T2 in boost mode anyway so its a marginal gain in some respects but the blackout time reduction did feel noticeable. But the move up to 11 fps is a big, big win for me. But obviously, it doesn't matter much if it can't nail focus consistently at this higher rate! So, quick test, focus was held on the golfer for a burst till the ball was out of the frame, then a brief pull out to reframe and lock on the ball and then a 37 frame continuous burst tracking the ball across the green. The grey frames are where it lost focus or in the case of the first one didn't acquire it. Considering the size of the object it was tracking relative to the frame and I'm judging focus by being able to read the markings on the ball then I've got no doubt that every single frame would've been acceptable with even a slightly larger target like a tennis ball. I would not be troubled in the slightest by this performance in similar circumstances if it came off my Nikon D5 to be honest. And I've done a blow up of what was causing the last frames to be out which was that it was attracted to some blades of grass in front of the ball. With the custom AFC settings tweaked to the option to ignore obstacles. I like this camera more every time I use it and the grip has moved it on another level. With more tweaking of the settings that I've been doing then - long primes aside - its getting towards being indivisible from shooting with my Nikons.

Well done for your diligence and honesty Mattias. I bet the original owner is a thrilled as he was stunned to hear from you. Talking of things that might have been stolen..... I was looking for JVC LS300 videos and this one popped up. Is this you or has it been appropriated? If it actually IS JVC then their subscriber count might explain a bit about why they haven't had much success marketing it !!

FFS!!! I popped in to share some results of the tests with the grip that I've literally just finished and the buggers have rendered the results a bit moot because of their fancy dan new updates. Damn you Fuji and your on time deliveries on promises

Yes, had the boost mode on so I was expecting more drain but it was the erratic nature of it that was troubling. More testing required to get to the bottom of it I think.

I think the buzz around it is a good thing as it's making people who've got one get excited and get out there shooting and making the people who haven't got one take a good look at what they HAVE got and by and large think "I can live with what I've got. I'll buy some lights instead" Everyone wins like that. With regard to the AF100, if Panasonic refresh the HVX200 (which is a GH4 with a lens) with the GH5 sensor at NAB then it will have some serious attention for anyone with rig and jig fatigue

I was a bit perturbed by a reviewer listing his palm activating the half press on the shutter as a minor drawback! I havent really shot any video with it as yet so I'll be interested in seeing how long it can power it for as on its own it's poor even for stills. Worse is the completely non linear/random/lying bastard indicators depletion rate of the batteries. Long story but.... I was doing a test on Monday of battery life in evf only mode with all power saving off to mimic a DSLR being sat there ready to shoot. I'd found that when it was used as the 70-200 camera for football (which can have variable periods of inactivity but needs to be ready to go all the time) the power saving was making it unusable. So the bottom line was that if it couldn't sit there for at least 60 minutes in constant ready mode then it would be dead in the water for me really. So, I left it for an hour and picked it up and sure enough it was ready to go and had lost only one bar of power. But when I then rattled off a load of frames (testing speed of an eyefi card) it was all over pretty quickly. I'd noticed it doing this when I was doing the work trial with it but put it down to it being possibly environmental with the cold and how much the work rate was varying (inactivity then multiple long continuous bursts) so it couldn't work out the right average. But then it went from a couple of bars to empty within about 10 shots when shooting a medal ceremony (hardly the most taxing thing for it to do) Seemed independent of Fuji or 3rd party batteries as well Anyone else had this issue?

Anyone used the battery grip with the X-t2? I didn't bother getting it for my initial trial shoots as I wanted to see what the camera could do on its own and the whole point for me is to reduce size so didn't want to end up with it being as big as my D5 etc. Plus, well, you know...£300!! Anyway, as I'm keeping the system (and the battery life is poor for what I'm doing) I've been softening on the idea. And as luck would have it, I'm at the airport and for once the tax free shop has an actual saving (it's "only" £250) so I've took the plunge. I'll test it tomorrow and see if the promised AF improvements are significant. As per previous tests, this will be done in the dark obviously

Exhibit A ! 8 chargers for simultaneous charging of 16 batteries with storage for charged and need charging, all off one mains outlet and fits in a tray the size of a kitchen drawer. They all sit on a strip of velcro so can be detached easily for travel. Total cost was around £90 with an average of about £9 per battery charger and I think roughly £25 for the USB distributor and cables. Plus £2 for the plastic tray obviously! It was worth it for the lack of clutter alone and having to root through bags to find chargers and batteries all the time.

The dummy battery solution will let you do that though as long as your rechargeable power bank can output 9v as well as USB. https://www.amazon.co.uk/d/Computers-Accessories/Lanparte-Coupler-Battery-Panasonic-DMC-GH3/B00LHNBF08/ref=sr_1_2?ie=UTF8&qid=1490621048&sr=8-2&keywords=gh4+dummy+battery If you want to take a couple of batteries that you can recharge off the USB port of the power bank as well then these are ideal https://www.amazon.co.uk/Newmowa-Charger-Panasonic-DMW-BLF19-DMC-GH3/dp/B00Z65W732/ref=sr_1_2?ie=UTF8&qid=1490621097&sr=8-2&keywords=gh4+usb+charger I have sets of these for most of my different camera types velcroed into a tray running off a multi output USB charger so I can be charging all of them off one outlet. Then when I'm going away its just a question of pulling the right chargers out of the tray and I can recharge batteries off the usb outlet of my laptop or a regular iPhone charger. Saves a ton of space and hassle.

I have mine set at a nominal ISO with 180deg shutter angles for the different frame rates and auto WB so its an advantage to me as it means I never have to remember to change to the correct shutter speed when switching between modes, which I was always forgetting to do! But I can see your point why it doesn't work for you. The manual seems to say you can map the VFR to a Fn button and it will bring the menu up when pressed but thats not letting you set it directly to the FPS you want at a single stroke is it. It will save you a menu press, a scroll to the video settings and a scroll to the VFR function so thats something I guess.

Can you not make a profile with those settings and assign it to one of the C positions on the top plate? I use that on other Panasonics to quickly change between 4K24p with 1/50, 1080p50 with 1/100 and a generic photography profile. Lovely stuff of your kids by the way.

I reckon you've got a GH5 that was meant for the Australian market with that screen mate. In a world of vlogs with people being "brand ambassadors" and having highly dubious product placement relationships with manufacturers, the segment from 2 minutes to 3 minutes is probably the most effective ethics statement I've ever seen!! "Anyway, I told him to fuck off. I said fuck off. What a dickhead"

This pack contains a dummy battery for GH4 that you can connect to a rechargeable power bank that outputs 9v Alternatively most recent Panasonic camcorders can be USB powered https://www.amazon.co.uk/Ex-Pro®-Replacement-Panasonic-DMW-AC8EB-DMW-DCC12/dp/B00EF7J91U/ref=sr_1_2?s=electronics&ie=UTF8&qid=1490548051&sr=1-2&keywords=gh4+power

If you balance off the concrete post on the right, the flowers do seem to be a pale pink.

A refreshingly violent camera test that ! I've been using the Camranger system for a few years to set up behind the goal cameras for football matches. The max tripod height you can use is 10cm so its a massive plus to not have to lie on the usually wet ground to frame the shot and it also wirelessly sends the images to the laptop so you don't have to wait till half or full time to retrieve your images and wire them. I've also been using the Panasonic app this week with the G7 for vlogging stuff and its a boon for people like me that are too blind to see the fold out screen when they're doing a piece to camera and too vain to wear their glasses on screen. Oh and for setting exposure and all that stuff as well. The app is good with cameras like FZ1000 with servo zoom as you can control that as well. Panasonic actually do a remote pan/tilt head that can be controlled by it as well for the full PTZ experience but for reasons best known to themselves it only works with a really limited range of their camcorders. The Osmo Plus is good in that respect as with the zoom it does make a decent little remote system if you stick it on a tripod. Which is a bit arse backwards for a gimbal but there you go.

Can't believe its still on back order considering that fella seemed to get his in 1943.

There doesn't seem to be any software solutions but using an Atomos Samurai or some such would be a good solution. In a twin monitor setup running Photoshop, you'd have one monitor with all the tools on and the second monitor full screen of the image that you're editing. Loop this second screen through to the Samurai so it will be seeing exactly what's on that screen and you simultaneously have full real time histogram, vectorscope, RGB parade etc on the Samurai. It would actually be a neat system as you could mount the Samurai between the two monitors or above them or wherever and of course it serves double duty as a field recorder and monitor. And its a completely free system if you already own one Blackmagic do their Ultrascope system but its got issues with USB3 compatibility and would require come cobbling together to use it with one PC (basically you'd have to set up the PC to think it had 3 screens) and its also more expensive anyway than the Samurai. My logic in this instance would be to say that if I was going to spend $575 on the Blackmagic product anyway then I'd effectively be getting paid $80 to buy the Atomos one ! Or, more likely, I'd say that I was getting the shiny new 4K Ninja Inferno (which also does that stuff of course) for a bargain $420 Good overview of the scope functionality of the Atomos products here :

OK, I've done a basic little test. Its tricky to do it exactly equivalent because of lens variances etc and my range of X mount lenses is limited compared to my Nikons but anyway. The test 'scene' was a bedroom with a tiny fragment of outside light, an empty clear mineral water bottle stood on a beige duvet cover with a plain light coloured wall behind. So it was low light and not much for the AF to grab hold of as the more distinct contrast points were the creases on the duvet cover! The illumination level at the bottle was 2 lux according to my Sekonic. Exposure for the cameras was ISO 12800, f3.2, 1/50th. On the D500 I used a Nikon AF-S 24-70mm f2.8G ED FX and on the XT-2 the closest thing I've got to that which is the XF18-55 f2.8-4. Not doing the Fuji any favours really by putting a mid-range kit lens against one of Nikon's holy trinity but I'm guessing you'd sooner have a less than ideal case scenario anyway. Also, I've used the Nikon 24-70 for years in every permutation of light and environment you can imagine so I'm comfortable with using it as the benchmark in this instance. The test was to manually set lenses to infinity (so they had to do some work), switch AF on and then swing around to the bottle in centre frame and fire. The results were that there wasn't a massive amount of difference to be honest. Both of them locked in as short a period of time as to leave me comfortable that if I was ever in a scenario where I had to shoot an empty water bottle in a virtually dark room that I wouldn't miss a second of the action. Neither of them hunted particularly. The majority of the time you could hear the motors had only gone in one direction without overshooting and coming back. Very occasionally they'd go back again but they both did it and never more than one overshoot. Where the Fuji scored big though of course is with the EVF you could actually see what it was you were shooting whereas of course with the OVF of the D500 you're virtually blind in that scenario. Changing lenses out on the Fuji to the 35mm f1.4 and the 50-230 f5.6 was a different issue though. The 35mm was the worse of the two and would almost always overshoot at least once whereas the 50-230 would generally just do it once. So, all in all, even with the right lens, its marginally slower than the D500 and even with the wrong lens it will get you there without too many overshoots if you happen to find yourself shooting in conditions where, to be fair, you might want to re-think whether its a video camera you need or a thermal imaging one. How this test would have gone if the water bottle had decided to get up and run around and which one would track the better I don't know. But from the actual real jobs I've been doing with the XT-2 the past couple of weeks, I wouldn't be massively concerned about that either.

I honestly think in 2-3 years time when we are all done to death with cobbling together different lenses and bodies and interfaces and all the other hooch looking for perfect systems then we'll all end up buying camcorders again. The XC10/15 has a lot going for it in this respect. Everyone I know who has been sceptical about it and tried it has found it quite liberating to just have a one box solution that - when you look beyond the specs - just makes decent images and makes them without fuss. Obviously they aren't without their issues as you'll find if you have a search on here so whether this iteration of the concept is the right one at the right time I don't know. Canon have the wherewithal to make a Super 35 version of it with L optics with a constant 2.8 with a FF equivalent (not that old chestnut) of 18 to 300mm, retail it for 5K and it would probably be the last camera most of us would need or buy. Which of course is precisely why they won't do it! I tell you who might though and that's JVC if they used the LS300 as a basis. I've been using a G7 effectively as a camcorder this week with just one small zoom lens on it and relishing the speed and simplicity of the restriction rather than fretting about it. So, yes, I think if you just want to get and shoot do what you've described then the XC10/15 is not going to get in your way. In that regard, it has to be a smart choice! But.... If you're in that area, I'd also take a good look at the Panasonic FZ2000. Its a lot cheaper, faster lens (at the long end), much longer reach, has NDs, LOG, 5 axis IS, 10 bit very good stills extraction, much cheaper media, 10 bit 4:2:2 HDMI out.... The downside is that in 4K, its cropped to about 35mm FF equivalent (here we go again) which may or may not be a deal breaker for your application.

I have a D500 and XT-2 on my desk right now. Let me turn the lights off and get back to you

A bit of an update about this.... I had a discussion earlier this week with Fuji regarding feedback from my XT2 sports testing with regard to firmware tweaks but also to get something out of them regarding roadmaps for long primes and other bits and pieces like FTP picture transfer and their on site support plans for tournaments etc. Basically, having the camera be good enough is one thing but its the eco system that'll stand or fall by for what I'm doing with it. And I have to know what I'm getting into with them before I invest anymore in it. I can work around stuff for now while its being used alongside my Nikon stuff but not if its going to be transitioned to as a fully fledged replacement system. So I was alway talking about the handling of it - physically as well as operationally - and how its a bit too compact for its own good. The AF-ON button is something that our right thumbs live on doing sport and its not great geometrically where it is on the XT2 relative to the shutter button and also its a bit small so its not very forgiving especially when wearing gloves. Anyway, the point of this is that I was told that there definitely is a pro body coming but expect not to see it until 2018 when it will have some fast (f2 fast) primes to go with it. The cinema zooms in X mount on their roadmap might be a red herring then or maybe they have a video one as well.....

I did some vlogging stuff with a G7 on a trip earlier this week and I have to say that it performed really well and the articulating screen and iPad/iphone remote controlling of it was a real boon. I actually wanted to take the GX80 for the stabilisation (I could've lived without the articulating screen because of the ipad/iphone remote) but the lack of a mic input made it dead in the water. I'm now, of course, spending loads of time stabilising everything in FCPX which is a real pain in the arse and certainly detracts from the immediacy of what I was trying to do. Clearly, the best solution for me would be to have the G7 with the GX80 stabilisation. So that'll be the $80 over budget G80/85

What the fuck? You never get statements like that? I tell you what I never get mate. I never get people who don't read exactly what has been written, especially when all of the differences were clearly qualified, before they toddle off to Grandma's with an egg sucking tutorial. I should go and shoot a basketball game or indoor/night sport?? Hahaha Did you see the part where it said I couldn't use it for my day job? Did you see my other post literally two posts earlier about the 50-140 ?!? The one that contained the ISO5000 1/2000th f2.8 photograph that I'd taken 3000 metres up in the Sierra Nevadas at -5 degrees at the FIS World Championships? My day job is a professional editorial sports photographer so, rest assured, I'm fairly au fait with the whole light/aperture/shutter speed thingy and because I shoot in all weathers and all environments I'm also acutely aware of why things that can perform under all those circumstances and withstand that punishment cost a few quid more. What I'm also acutely aware of is that not everyone needs that and not everyone can afford it either so I thought I'd do a quick comparison because I had both to hand so that people who needed some reach could see what could be had for a much smaller outlay if they could live with the compromises that I'd clearly listed. I was going to do another one today about a couple of lenses on different formats but fuck that. For reasons best known to themselves, they've hidden the Format option away. Menu>Spanner Thing>User Setting>Format Alternatively, press the Trash button on the back of the camera for 3 seconds and then whilst still pressing it also press in the rear rotary command dial on the back of the camera

It does make a hissing noise. But compared to the 50-140 its negligible. If you pine for the sound of the ocean then the 50-140 is in this sort of territory.