BTM_Pix
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Posts posted by BTM_Pix
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Bit of a surprise but its all over for Lexar.
Meanwhile, over at Sandisk
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It converts it to CAT5 so obviously its not wireless but it will do the trick for longer distances if you can live with the cable run.
I was looking at something like this one here when looking for cheaper alternatives to the Terradek encoders.
Its a bit of a different approach to what you want but it gets the same result and a bit more.
Its got a lot of flexibility to it as its a streaming encoder that can be set up locally to stream to an iPad or a cheap android box out to a tv if you want but can also stream directly to YouTube live, Facebook Live or any similar streaming service.
Its cheaper than even basic consumer wireless HDMI transmitters as well and I think it offers a lot of additional unctionality for the money and obviously its a fraction of the cost of the Terradek equivalents.
I can't vouch for it as I didn't end up buying one but have a snoop around and I'm sure you'll find some reviews for it or something similar
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17 minutes ago, IronFilm said:
The Tascam DR10C series is only sold in some markets (such as the UK) with the headphone output option, as Zaxcom and their army of lawyers stopped Tascam from selling it in the USA.
Thus Tascam had to go back to the drawing board and release a newly designed product: the Tascam DR10L! (basically the same thing, but without a headphone output. Maybe the "L" stands for "Less"? ha!)
However... this feature missing is not such a big deal as you might think, as very obviously you can't monitor the audio via that headphone jack while the talent is wearing it!! ha
***EXCEPT***..... if you're passing it through to a TX so then you can monitor it wireless, on your recorder. Thus the Tascam DR10C is acting as a back up recording (which is what Zaxcom hated, and they claim to have a patent on), in case of wireless interference.Ahhh
Blimey, must be one of the few times we get more on a product here!
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I've used the same sensor in a different (even more compact) body which was the X-M1.
Image quality was good but it just didn't work for me really without having an EVF.
So, the XE2s would've resolved that for me and I'd have probably kept it.
One thing I'd say though is also have a look at the X-T10. They've come down in price a fair amount since the X-T20 was launched and give you an articulating screen and extra dial with only a a small increase in footprint. Internally they are identical.
They are even cheaper than the XE2s in a lot of places.
I think MPB might be quite local to you?
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Don't forget the subterfuge involved.
Last morning in Berlin so suggest going to the flea market as I'd been reading about there being lots of interesting locally produced jewellery available there.
Just sat in cafe reviewing the only locally produced gems that were actually bought.
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53 minutes ago, Anaconda_ said:
It does work on 1.2 firmware. Once it's loaded, you can save it to C or save it as the custom Photo Style (press disp. once you've fine tuned the settings), either way, you don't need to re-do it every time you turn the camera on.
You'll konw if it's worked because the name of the Photo Style will be blank, where others say 'Standard' 'Vivid' etc.
BTM_Pix - I just saw a thread about focus ramping time lapses:As it's also done through a browser, is there a way to include that option into this html. file? Then all these sweet tweaks will be in one place. I know nothing about how you're doing what you're doing, otherwise I'd give it a go myself haha
Yes and no.
It eventually ends up being sent out as http requests so yes from that point of view but there is FAR more going on behind the scenes to get it to send the messages that you actually want to so its a no from a practical point of view.
All of the effort regarding what can be done with this stuff will be merged within the hardware controller. The focus aspect of it in the controller will be targeted at live control and, with the wind in the right direction, an A/B or even A/B/C focus transition control.
Have a look at the other threads for work in progress.
Not much progress this week as I'm on holiday though !
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13 minutes ago, jonpais said:
I would pick the X-T2 hands down, however?image quality doesn't exist in a vacuum.
No, it exists mainly in the dry box now
Ties in with the other thread on a different level really about there no point something having 20% better image quality if its 100% more difficult to shoot with.
I think thats why the X-T20 might be the decent compromise for people after the image quality of the X-T2 with more of the form factor of the G7/G80 sort of camera.
- jonpais and Aussie Ash
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2 hours ago, Inazuma said:
You mean lock settings?? That is assignable
Lock an individual image while reviewing it instead of going through the menu and the stupid double confirmation?
I'm buggered if I can find it and Fuji told me that it doesn't do it because no one ever asked for it!
Where is it?
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They added audio memo to it based on feedback from sports photographers, which is a good thing.
And then still didn't add being able to assign the lock image function to a function key because, I was told by them, no one had ever mentioned it being needed. Despite it being such a fundamental part of the workflow that all Nikon and Canon pro bodies have a dedicated button for it, let alone just allowing it to be assigned to a function key.
So, I expect that the next firmware update will allow even more stuff to be put on the function keys.
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They do quote 40 mins of record time per battery though so I suppose Fuji would argue that that exceeds the maximum single take time and that the grip allows you to use continuous power blah blah hence why they'd see it as normal.
But that completely disregards the fact that the battery drain rate on the X-T2 is completely erratic in my experience, especially in the boost mode that the grip brings.
My bugbear with it is what it does when you take a memory card out and put one in again (which I have to do a lot when working) as its seems to just panic a bit and I have to power cycle it as being the only reliable way to get it to be ready to shoot again in short order. Its not that it locks up or crashes its just that you never know what its doing (presumably file reading) or how long its going to take to do it and whether it is actually going to do something if you press the shutter.
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4 hours ago, HockeyFan12 said:
It does not. The contacts do seem to pass data.
Cheers
<Cancels trip to the shop >
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6 hours ago, Vladimir said:
Fuji X-T20? small, great colours, may be speedboosted, great lenses, superb stills
I use the X-T20 and it is a little gem.
Unfortunately its the pocketable aspect that it can't offer that the Sony does.
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Bit of a mixed bag thus far with the RX1005
Can't say I'm really bonding with it yet to be honest.
I probably need to study it a bit harder but its all a bit fiddly.
Have mainly been just been goofing around with the slo mo on this little holiday video wise but did a few stills today and its not bad considering its size and meets the expectation I had of it for taking a few snaps while away.
What was more interesting for me was happening upon a poltical rally so I thought I'd see if it was of use for that kind of similar in close stuff that I often have to do when theres a bit of 'heated debates' going on between rival fans outside football stadiums. With the high fps and it being really compact it actually worked quite well in that role to be fair so it might - literally - see some action for me for real work in situations where having the content trumps having the image quality.
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37 minutes ago, Thpriest said:
I'm having trouble doing the GX85 cinelike d installation with my phone. The html won't open in chrome (does't give the option to open it) and firefox opens it but it's blank. Is it possible to do it through my iMac?
Yes.
Just put the camera into wifi mode, connect the Mac to its WiFi and load the HTML file into Safari
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Did you get a chance to check if the gear turns without the lens being attached @HockeyFan12 ?
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13 minutes ago, IronFilm said:
Plus the DR10L is a pretty damn sweet kit if you're going to use lavs but won't bother to monitor those either..... :-/
It has a headphone output on it for monitoring or am I missing the point?
Anyway, who cares, tell us more about your unauthorised visitors !
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For scenario 1, I've mentioned the Roland Binaural system in another thread and it might be worth looking at for this.
I think it might be a good fit for what you're trying to do in terms of fly on the wall as many people are using it and similar for environmental based recording like soundscapes inside a cafe etc.
In this respect it might just suit the vibe that you're after where you might not want particularly focused sound.
Its a try before you buy product though to make sure it suits. As Roland are more music focused, you might have to go to a music shop to try them. Dawsons in town or PMT on Regent Rd should be able to help.
Thread here
For your other scenario, I have the Saramonic dual channel system with one lav pack and one plug on xlr transmitter so its got a lot flexibility and you can run both simultaneously.
An alternative to the radio system if you don't mind post sync is the Tascam DR10x which is a recorder in the same form factor as a plug on XLR transmitter.
Can be a lot less hassle depending on where you're working and is also a much cheaper alternative too at about £140.
They do a lav version of it as well which is also pretty clever.
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This is a bit of an alternative to consider - and the big caveat here is that you've stated you will use lav mics for key audio elements - so is based on you needing something discrete for general wide field capture on camera.
I'll do a specific thread about these at some point but the Roland CS-10EM binaural microphone/headphone system is something that could well be worth a look.
Not only do they provide a very interesting and immersive stereo recording but as they just look like regular earbud headphones they are incredibly discreet and of course completely non-threatening.
They have foam shields which are essential outdoors but, again, they don't look out of place.
You could modify deadcat material to them and just pass it off as excessive ear hair if you are of a certain age such as myself
They are the sort of thing you'd have to demo to make sure that they were right for you but I think they might just work for what you're describing, particularly if its for social event coverage.
https://www.amazon.co.uk/ROLAND-CS-10EM-Roland/dp/B003QGPCTE
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8 minutes ago, Hans Punk said:
Makers of Vinyl records never wanted crackles and pops to be heard on a first play - it is only from passage of time and advancement of technology that these audible artifacts become nostalgic and add a layer of pleasant experience to the listener. When CD was introduced, the horrible compression of audio dynamic range made the same songs sound sterile and without life when compared to a vinyl (a technical inferiority)...but many gravitated to the more identifiable 'crackle and pop' as an identifiable 'warm feel' artifact that they missed from the previous technology. I feel a similar thing may have happened with film.
Film can technically outperform digital to this day, especially when considering overall latitude and handling of highlight roll-off and especially when talking about large format...but the Alexa and Alexa 65 is pretty much there in terms as to what traditionalist film people consider a 'filmic' image.
There was some interesting research done about 20 years ago regarding CDs that suggested that we possess far more accurate timing circuits - for want of a better expression - when it comes to audio than was ever considered and that we are actually able to perceive the sliced element of digital audio and so our brains then de-prioritise it and let it tick along in the background as a reduced 'threat' that needs less immediate monitoring. Which translates if not to outright boredom then certainly in being less engaged in it than we are with a subtly changing analogue source.
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I think its going to be difficult for anyone to give you a definitive answer really because there can be such a broad difference between the light in say a dingy pub and an arena concert so the answer is always going to be 'it depends'.
What might be useful for you though is to go and look on this flickr group of concert photographs.
There are over 200,000 on there from gigs in all different conditions and using all different camera and lens combinations. The majority of pictures have the exif data displayed to show you the ISO/SS and Aperture used so pick a sample set of the sort of level of gigs that you'll be covering and you should be able to get a feel for the exposures required.
I suspect the support with that lens might give you more challenges than the light if you intend to use it handheld.
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21 minutes ago, Andrew Reid said:
What a good analogy, I always enjoy the parallels between music and filmmaking / video.
They nearly always hold up.
I have rarely seen a higher-end shoot that didn't have a lot of complexity and setup, unnecessary in some cases. Overkill is common too, in pro video industry... guys doing interviews with an EPIC. What's all that about?
I think it just effects your whole vibe as well to be honest.
All this stuff I'm doing with hardware controllers and stuff is a laugh and it fires you up creatively to make these cameras do more because its trying to bridge these gaps and get more out of less.
And do it for the benefit of everyone.
If I was developing stuff to control REDs etc I'd be far more po faced about it and undoubtedly looking to make money off it.
You and I haven't actually met but the first time I came across you - and then in turn discovered this blog - was at the Convergence event in London about six years ago. You were there, Bloom was there (and already seemed to me to be interested in commercially riding the wave of what was happening if you know what I mean) and I remember you had a Teradek hdmi transmitter that could do the at the time magical feat of streaming live to an iPad. At that point you were already eschewing the 5DMKII in favour of the GH2 as it was more interesting and more versatile and cheaper etc for young film makers whereas the vibe even then was heading towards the 5DMKII being the entry point and wanting to go up in price from there.
So, whilst I understood where people were coming from on that C200 thread, in terms of how people view this stuff now compared to then where a C200 is now almost like a base point then it really felt like a shark jumping moment reading it.
It felt like punk then.
It feels like prog rock now.
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I remember a story many years ago when home studio recording first started to take a hold and Tom Robinson (ask your Dad, kids) was talking about why he'd got a new fangled (at the time) Tascam Portastudio to record his demos on. His reply has always stuck with me because he said that when a band reaches a certain level of success the first thing they do is get flight cases for their gear and cables that you could tie the QE2 to the quayside with. This all then has to go into storage. So when he felt like writing a song, he'd have to call a roadie, call a van hire place, get the roadie to go to the storage place to pick up the gear, book a rehearsal room (because the flight cases made it impractical to have in the house), drive to the rehearsal room, wait for the gear to be unpacked and plugged in and then he could start to jam and record ideas. At which point he'd forgotten what it was he wanted to do and had lost the energy to do it anyway. With the portastudio, he could just switch it on and get on with it.
I see a lot of parallels here too.
The only thing thats inspired me to pull the RED Epic out of its case since I got it back was to do the side by side to tune the GX80 profile.
It felt like having to go to the corner shop in a Sherman tank.
In my real day job I have to take the same 'get the big clunky stuff out' approach because there is an expectation to deliver a set standard both in terms of image quality but pretty much in terms of content too. Coverage is what its all about to be honest. And the demands of that type of efficiency directs you to a certain type of kit. All of which means I'm about as creative as the guy sitting next to me who has also got exactly the same sort of kit (with a 50/50 shot on the brand). Which means to say, not very creative. Or certainly not a massive differential in creativity. We're looking at the same scene and covering it with the same kit so inevitable we're going to be much of a muchness creatively. But the creativity can sometimes be forced upon you (by equipment failure usually!) so you have to do something with what you've got and that triggers the resourcefulness response that is so often at the root of creativity.
Being in a situation of "I can't make what I want" often makes you find better ways to make what you actually need.
After wrestling with the Epic and then putting the same lens on the GX80 and shooting the same thing, I was left (with a bit of twiddling) with these two test charts.
So, could I shoot this same scene with a camera that cost less than the media of the other one?
Yes.
Could the same be said the other way round about what I could shoot with the little camera?
Yes but not without calling the roadie and hiring the van and getting the flight cases and, well you get the point.
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You're going to have to trust me over this enable thing
The enable is only to tell the app what to display to the user.
There is no enable command sent back to the camera. It is only sent one way and that from the camera to the app.
I wasn't suggesting you weren't following the steps, I was saying that if you were and it didn't work then it was because the camera was not capable of doing it rather than anything to do with the enable status.
If you've enabled Auto ISO - and again only if your camera is actually capable of doing it - you should see the ISO change on your display when you do a half press of the shutter.
If you take a series of photographs pointing at different light sources with Auto ISO on then you should see on playback that it was using different ISO values for each shot.
If you put the camera in aperture priority mode in movie mode with Auto ISO on and take a few clips of differing light sources you should again see on playback that it is displaying that it is recording them at different ISOs.
However, if we are talking at cross purposes over Auto ISO in manual mode (and I suspect we might be) and you are wanting to do it while the camera is recording video then it won't do it as it (and the GX80 for that matter) do not support Auto ISO in manual mode in video and you have to use shutter or aperture priority.
7 hours ago, Screengrab said:Dear folks,
I have been stealthily snooping around and making grateful use of your experiments and knowledge exchange. Thought I'd pay it back with a little test: Cinelike D.
Settings: 0, -5, -5, -3. GX80 had a Olympus 12mm, and the G80 a 17mm, for the rest settings are all the same. Hope it's worth your while.
Jpg 1 is G80, 2 is GX80.
So we've extended the life line of your GX80 without you having to cross Panasonic's palm with silver is the symbolism here then
No More Arguments About Lexar Cards Then....
In: Cameras
Posted
Coincidental that it happens at the same point as Canon end the 1DC.
Clearly, it must only have been the 1066x cards servicing the voracious mjpeg files for 1DC owners that was making them any dosh