BTM_Pix

When the UK was in the EU, it used 25p too. Following the overwhelming 4% landslide will of the people advisory vote to leave the shackles of the worlds largest trading bloc that also happens to be under 30 miles away, the sovereign UK was able to make its own rules. Following Brexit, the pound devalued greatly against the dollar and Euro so that 25p was now only worth 23p. Free from the Brussels overlords and WEF puppet masters and defying economic reality, the UK therefore adopted 23p as its new standard. However, there is a strong movement to exert the virtues of Brexit by exceeding anything that those banana straightened obsessives in the EU can do by going past their paltry 25p by a further 20%. This movement is championed by an MP called Lee Anderson, deputy chairman of the Tory party, who is so identified with the quest that he is now known nationally as “30p Lee”. You should google 30p Lee as he’s a big fan of alternative facts as well.

Just when you thought the Z mount could not get any more adaptable, along comes an adapter to let you mount Fuji X lenses on your Z mount camera with full AF, aperture and OIS functionality. Price is around $299 and available on back order / pre-order from Amazon. APS-C only of course. https://www.amazon.co.uk/BORYOZA-Adapter-Fujifilm-Micro-Z-Mount/dp/B0CPBRTMTX

You asked about two specific cinema cameras - neither of which has stills capability - so what worthwhile opinion was there to influence when you weren't revealing 70% of the requirement ? You have absolutely wasted the time of every well meaning person in this thread that was giving you very considered opinions not only on the two cameras that you originally requested a comparison of but also on many different similar alternatives that you might like to consider. You then compounded this by encouraging more input on different types of camera that you knew would only meet 30% of your needs and would therefore not be suitable. There were two points at which you should have mentioned that 70% of what you wanted this camera for wouldn't be covered by a cinema camera - the first time was in the original post and the second time was when anyone mentioned any other cinema camera that doesn't do stills. If you had mentioned the stills requirement then you would have got responses for at least these three high end hybrids. Sony a1 Nikon Z8/9 Fujifilm GFX100/II The first two of these you did get recommendations for (the a1 was the very first reply) and interestingly didn't respond to at all when they are the only two cameras that have been mentioned in the thread that fulfil what you knew that you needed. And, lo and behold, the last one is the one you've now bought. I even said in my recommendation of the Z8/Z9 that "Naturally, if you do decide to shoot the odd still with it then it rinses every cinema camera out there at that particular task". Did you not think that might have been an opportune moment to say "actually, I have to admit that I do need a still capability" instead of letting the debate go on a few more pages with people blissfully unaware they were wasting their time on the finer points of cinema cameras that would in no way be able to meet your requirements ? If you had come to realise that it was a hybrid that you needed throughout the course of the discussion in the thread then thats one thing but to know that from the get go and not state it then or at any point subsequently is another thing entirely. I hope you enjoy your GFX100II and it will certainly service the real needs that you have now revealed that you actually have pretty well but you owe an apology to everyone on this thread that you have clearly abused the goodwill of.

I'll give you a proper answer later next week when I've got a bit more time. There might even be some images involved.

Its secondary to its stills use and hence there isn't that much example footage from it, but the Q3 has 8K video. Which is the expected nod to it arriving in an arguably overdue refresh of the S1 range in the not too distant future. My guess is that is what this gathering is for rather than a GH7. Unless its the bi-annual meeting of the Shocked Face Clickbaiters Association.

Not sure what you mean here but in my post I was just gently pointing out that you had posted a link to a FedEx package tracking page rather than a link to what I presume you meant to of some footage from an Ursa12K ?

They shot a parcel tracking web page in 12K ? Thats some resolution overkill right there.

I'm not into conspiracy theories anymore really (for which I blame the chemtrails and 5G masts activating the molecular mind control devices implanted in my brain by Bill Gates through the COVID vaccine) but if I were then I'd consider whether there was any external influence to this. The Hong Kong of today is very much not the same carefree Hong Kong that is depicted in those videos so, whilst to its viewers these videos act as a time capsule of more innocent times of photography gear "reviews", there will be others viewing it as a time capsule of a far more liberal time that they would rather suppress. Of course, the videos are also a body of work for one of the presenters who fled Hong Kong for political reasons as he discusses here. The broader issue highlighted by these videos being removed from YouTube, in common with content on other streaming services, is that if you value a piece of work then get a physical copy of it. With that, I'm off to download and burn a DVD compilation of Max Yuryev's weightlifting style auto focus tests.

You can get the Sigma 40mm f1.4 ART in L mount but in terms of it being a pancake… well it is if you like your pancakes in this sort of quantity.

By ignoring it and fighting it through the courts.

Sorry, due to me having a lot of F mount and to a lesser extent E mount lenses, the Canons have not been under consideration for me so I don’t have any kind of even surface level knowledge of them. Well, I was involved in the R5 overheating investigation with @Andrew Reid so I’m very familiar with their remote control API but not the image control or hardware UI. Thankfully, those overheating issues seem to have been resolved and there seem to now be a lot of happy users of them.

I'd give a nod to the Z8/Z9. It ticks the boxes you need, the ones you might use the option of if you had them and even the ones that you are absolutely uninterested in that, you never know, you might develop a taste for. Loads of resolution and frame rate options, internal RAW and ProRes, very respectable rolling shutter and, most importantly, the most flexible lens mount around. I appreciate you don't have any interest in AF but if you develop one (either out of choice or necessity such as going further with longer lens wildlife imagery) then it is unique in offering near native adapted AF performance of F,EF and E mount lenses and via the TechArt adapter it will even do AF on MF lenses with any mount deeper than Leica M. So if you change direction from your current needs then the camera can change with you. With regard to your current needs, EF and PL cine lenses are obviously able to be used with the added bonus that, with it being a very shallow mount, the Meike adapters incorporate variable ND filters. It also has the MC-N10 grip which offers full control including of the virtual zoom function which is very effective in turning primes into par focal zooms or just extending the reach of actual zoom lenses. Although timecode sync is not on your lists of must haves, the Z8/Z9 have internal support for the UltraSync Blue wireless timecode system that is used in your wife's Zoom F6 so, again, the option is there if you do require easy sync at some point in the future. Is it a true "cinema" camera when its actually a hybrid ? Well, its only a hybrid if you actually decide to take stills with it so its each to his own use case really. Naturally, if you do decide to shoot the odd still with it then it rinses every cinema camera out there at that particular task 😀 As a cinema camera, its an 8K internal RAW and ProRes shooting one with PL mount and in built variable ND filter with wireless TC sync, EVF and tilting screen for under $3700 which is pretty compelling. It is also a lot more discrete which I suspect might be an advantage if you are shooting urban cityscapes etc. Anyway, its another option to consider amongst the 37432 different ones offered up in this thread. For my part, the only thing I regret more than not buying a Z8 when I had the chance in June is not buying one in October when I had another chance. I will definitely rectify that the next time one comes up ! Good luck with your choice, although I think the fact that there are so many viable options offered up in this thread illustrates that there are very few - if any - wrong choices these days in terms of getting great image quality. And then turn the internet off.

Funnily enough, I was mocked on here not so long ago for suggesting any of that trivial shit was required so I was keeping it simple. Not to mention being in keeping with the other thread on here about making a "real" movie with a cheap camera.

At the 2010 Academy Awards, The Social Network was nominated for eight Oscars and won three of them. It was shot on the at the time newly released MX version of the RED ONE, a camera that you can now readily pickup in a full kit including EVF, batteries and media for around £2K. There are a boatload of different options available now so, of course, I'm not suggesting you rush out and buy one but, nonetheless, this is an interesting time capsule of how it was no hindrance to making a very successful film then and likely wouldn't be now either if you did fancy buying one. Just make sure you budget for a decent tripod.

Sorry to hear about your medical issues and great to hear you are on the road to recovery. I echo your thoughts about this place. My last few weeks have been spent at my Mother’s bedside as she drifted away to her passing. In times like that of huge change and trauma we look for constants to keep us connected to “normal” life. In that respect, checking into here every now and again to find everyone having the same circular arguments was oddly comforting. And I honestly mean that with love.

Excuse me. We have fights at weddings but we don’t rob anything.

6KPro, 6K G2 and Broadcast G2 have been released since the release of the 12K but they are all derived from the original 6K and like all other BM cameras even they don’t have ProRes above 4K.

12K and Broadcast G2 only.

The original one did but the new versioner which you would use with the 12K uses the USB-C port only so no loss of connections. I linked the pic of the original in error.

If you are in the US, you might want to get one of these while you can as Zaxcom are unsurprisingly suing them for patent violation....

It has a USB port for direct recording to SSD or you can go the whole hog and get the URSA Mini Recorder which sits between the camera and the battery to enable you to define your own capacity using 2.5” SSD drives. It’s not particularly cheap at around $400 but more cost effective than c-fast pretty quickly and a lot more robust than having an external drive hanging off the USB-C port.

I believe this commercial was shot on one of these cameras.

One of the most useful pieces of technical advice that has appeared on this forum.

I’m guessing one of the camera brands involved as showing a lot of variance would have been Fuji as they had a very optimistic idea of how much light there was when I was using them side by side with Nikons.

Based on a presumption of the ISO/Gain relationship between the P6K and the Ursa Broadcast G2/Studio Camera 6K Pro (which are both P6K in different form factors) then I would expect the same relationship between the P4K and the Micro Studio Camera 4K G2. So, 0dB and 18dB would equate to the Pocket 4K's dual native ISO values of 400 and 3200 respectively.