BTM_Pix

Nope, unfortunately

Unbelievably, the shop had an actual Panasonic rep in who was eager to help me evaluate the G80 so I had to think on my feet. "Can I just see how the focus tracking works when its being controlled by the app compared to my GX80?" "Of course" "OK, you go over the other side of the shop and I'll put the app on and then you walk towards me. Slowly". " OK....Is this far enough? " "No. Further away". (Faintly) " How about now?" "Yes. Now walk back really slowly" (pretend to study app screen while sending commands) "How did it do?" "Its the same as the GX80 so I'll stick with that for now" What's also the same on the G80 and the the GX80 is that VLOG doesn't work on it either. I have an idea about a clue in the GH4 that might shed some light but don't hold your breath.

Fair warning though that I fully expect it to be the same outcome as the GX80.

What, you think I'm just going to wander into a camera shop in London tomorrow asking for a demo of a G80 and casually try and put VLOG on it? Because of course thats precisely what I'm going to do !

If there is any company that will have a massive standoff amongst its users about adding anything video related (even an optional larger grip for more battery life and XLRs etc which you wouldn't be obliged to buy) its Fuji. The poor man's/smart man's Leica purist vibe is strong in that community! If they produced what I think they should (basically a video oriented mini RED) there would be skinny latte spat out over beards in Starbucks the world over when the news broke.

What would concern me about Fuji doing IBIS is that the lens corrections they currently do are far from seamless without adding movement into it. Could end up like a lava lamp. Would've liked to have seen them take a chance on form factor as well instead of putting it in an X-T2 style box. Something a bit more modular like a slightly bigger BMMCC (or even XC10) where you could have then have the EVF as a separate mountable addon etc. Otherwise its just going to be a bit of a me-too with nicer colours but a less flexible mount.

EDIT >>>>> OK After harvesting commands, I can confirm that as I suspected it is game over for VLOG on the GX80/85. You all owe me £3.99 for that discovery

EDIT >>>> OK Scratch that. I've found a different route and, as I suspected, it is game over for VLOG on the GX80/85.

Hang on. Its a Brawn F1 car sponsored by Canon. Proper grassy knoll territory now

Bear with me for a minute then. That has given me an idea ....

It works out at just on €3000 but you do get the world's most expensive HDMI cable and Sony NP batteries included. With the BM summer specials on the Video Assist, there is a potential saving of a few hundred if you just get the camera and cash back but I don't know if the VA supports the 4K60p.

Its a pity its not the other way round ! Great deal though. With the new V4 software, thats 4K60p ProRes off a Super35 sensor for under €3000

If you still have V2.3 on your GH4 and have access to an Android device and don't mind doing a bit of work to do GX80/85 owners a favour (even if its to put them out of their misery!) can you please post here and I'll give you some instructions.

Glad to see you've put it to such really productive use. Best of luck with the contest. OK

Speaking of Zoom, that U-44 interface is quite the bag of tricks for the price. Lots of connectivity and can be used as a field recorder with an iPhone/ipad. It also lets you use their add on mic modules, which are, well, not that bad at all to be fair.

And double the outputs and inserts as well. MIDI too if you need it. Its a bit more of an all rounder in terms of capability because of that. You can assign the additional ins and outs as aux sends and returns inside the NLE, use the inserts to patch additional outboard like limiters in and the MIDI side can let you drive the NLE from a cheap controller so its a bit more of a hub than a straight 2 in/ 2 out like the Focusrite. Doesn't matter a dime of course if it sounds like shit but thats all in the ears of the beholder so you'd need to A/B them yourself. Here's an A/B that someone has done but its still subjective because of the test not using the same mics or environment or source as you might yourself so take it with a variable amount of salt. Should've maybe got a USBPreNup... Too soon?

Its already been described in the thread a few times? The camera is connected to the smartphone app, which is also running a separate app (Packet Capture) which captures the messages passing between the smartphone app and the camera when you adjust settings. We can then see what message the app sends when you adjust the shutter speed etc. Or in this case, it would be when you enable VLOG and in the case of the DVX200 the master pedestal level. The issue is more to do with finding people with the camera and firmware needed than the actual process itself. The forum poster that had access to the right combination is currently MIA

That sounds utterly bizarre if you're having to pad the mic and turn the input level down. A slight difference between the camera may be understandable, but not to that extent. For it to be that hot it almost sounds like a line level signal going into something expecting a mic level signal. Its the sort of issue that sounds unusual enough - and I have had a bit of a nose about and haven't seen it anywhere else - to have it checked out. To support your case with the dealer/Panasonic, set this test tone off on your laptop or monitor speakers and record it with identical settings on both cameras. You'll then be able to see definitively what the difference is in dB when you look at the file in an NLE.

In my experience, when they are both at an event they are there in roughly equal force. However, I've been at quite a few events where its only Canon (usually when they're there as a commercial partner) but can't recall one where its only been Nikon. The others may have a similar presence for the broadcast side but not for stills. It'd be a cushy gig manning that desk if they did have one though. It'd be rather like working in the office in this ad.

It too is dependent on the GH4 capture. Or alternatively a capture from the DVX200 connected to the app Panasonic do for it.

Yeah, their earlier years were sketchy to say the least. Some of their designs sailed close enough to the wind in similarity to people like Aphex and Drawmer (to name but two) to be actionable and thats before we get to the build quality. It wasn't uncommon to have to buy and return several examples of a product before you got a good one. Its changed over time though, particularly with their manufacturing when they built their own plant in China, and the tipping point for me in acceptance was their X32 digital console. I think they've sold in the region of 50,000+ of that and it variants and its a superb product. I don't think anything they make is going to make you go wow (aside from the X consoles) but they're fall less likely to make you go ouch than they were and certainly will never make you go ouch when you look at the price tag. With regard to MIDAS, its relative I suppose. Compare two Behringer products that have their own pre-amps in with the variant that has the MIDAS ones in (such as the ADA800 8 channel A/D and the MIDAS equipped ADA8200 version) and there is a difference. Its often related to changes in surrounding components as well to be fair to incorporate the MIDAS design but the overall end result is the same in terms of improvement. As I say, thats only relative to Behringer's 'own' design pre-amps though so whether it actually makes them better than other manufacturers is a lot more subjective. Its not just a marketing gimmick though to be fair, as the designs are genuinely still coming from within the MIDAS design team. At the risk of sounding like a Behringer shill ( ) there's quite a lot of side by sides on YouTube with the U-PHORIA where it doesn't disgrace itself. Gearslutz.com is a good resource for blind comparisons between lots of different interfaces too. Often these are conducted by - how can I put it politely - people with more recording experience than some of the enthusiastic YouTube 'Hey whats up guys, Ched here with another of my famous shootouts that you folks have been asking me for' ones. Ched with his 19 subscribers there.

If you've been to a gig in anything above a few hundred seater theatre in the past 40 years there's a reasonable chance you've been listening to it through a MIDAS mixing console. They are owned by Behringer now (or Music Group to be exact) but its not just a brand name ownership situation, the product design engineering is still done by the original team.

EDIT Link to article https://***URL removed***/articles/5816661591/electronic-shutter-rolling-shutter-and-flash-what-you-need-to-know/2

Its the close season so I won't be in a stadium for a couple of weeks yet to do an exact test but I'll offer you this in the meantime which I've just done. This is a picture of my Philips Hue LED strip light in my kitchen taken with a Fuji X-T2 One of these images is shot with the electronic shutter and the other one is shot with the mechanical shutter. For a bit of actual real world perspective on this camera threatening scenario, also here are a random collection of shots I've taken with the X-T2 at a football stadium with LED boards around the pitch. If you point any camera with an electronic shutter at an LED light source its likely to have more bands than a music festival. The fact that you can clearly see it in the EVF while you are taking the shot should alert you to the fact that you need to switch to mechanical. Did I shoot those football images on electronic shutter? Nope. Not a fair test then? It is because its do with where these boards will actually be and hence an indicator of the real world potential of this issue.. They're not exactly on top of anyone and being the only source of illumination. But there is a much bigger reason why its a fair test of real world use of a camera with electronic shutter for sports. The reason for that is in the third picture. If you are tracking action at 1/4000th shooting at 15fps the rolling shutter is horrendous with an electronic shutter. Its a far bigger problem. And a very, very real one. Because it will be affecting far more than 2% of your shots and thats why you just wouldn't shoot with an electronic shutter in the first place. Anyway, here is an article from Richard Butler on DPReview explaining why you should use mechanical and not electronic shutter when shooting at high shutter speeds with artificial light. It was six weeks ago though so, hey, maybe the rest of the camera industry has made some massive leap in the meantime meaning only Sony have a problem now.... Otherwise why would it be such a shock horror revelation when you've already wrote a piece about it being 'a thing' ? https://***URL removed***/articles/5816661591/electronic-shutter-rolling-shutter-and-flash-what-you-need-to-know/2