BTM_Pix

Number of effective pixels: 45.71 million pixels Image sensor: 35.9 x 23.9 mm size CMOS sensor, Nikon FX format Total pixel count: 5.237 million pixels Dust reduction functions: Image sensor cleaning, image dust-off data acquisition (NX-Studio required) : Number of recorded pixels For FX (36 x 24): 8256 x 5504 pixels (size L: 45.4M), 6192 x 4128 pixels (size M: 25.6M), 4128 x 2752 pixels pixel (size S: 11.4M) DX (24x16): 5392x3592 pixels (size L: 19.4M), 4032x2688 pixels (size M: 10.8M), 2688x1792 pixels pixel (size S: 4.8M) At 1:1 (24x24): 5504x5504 pixels (size L: 30.3M), 4128x4128 pixels (size M: 17.0M), 2752x2752 pixels pixels (size S: 7.6M) For 16:9 (36x20): 8256x4640 pixels (size L: 38.3M), 6192x3480 pixels (size M: 21.5M), 4128x2320 pixels (size S: 9.6M) File format (quality mode) NEF(RAW): RAW 14 bit (lossless compression, high efficiency*, high efficiency), size L/M/S selectable (size M/S is 12 bit, fixed to lossless compression) Fixed) JPEG: JPEG-Baseline compliant, compression ratio (approx.): FINE (1/4), NORMAL (1/8), BASIC (1/16), size priority or image quality priority selectable NEF(RAW)+JPEG: Simultaneous recording of RAW and JPEG Picture Control System: Auto, Standard, Neutral, Vivid, Monochrome, Portrait, Landscape, Flat, Creative Picture Control (Dream, Morning, Pop, Sunday, Somber, Drama, Silence, Bleach, Melancholic, Pure, Denim, Toy, Blue, Red) Sepia, Blue, Red, Pink, Charcoal, Graphite, Binary, Carbon), all adjustable, custom picture control Custom picture controls can be registered. Storage media: CFexpress card (Type B), XQD card Double-slot: Sequential memory card recording, backup recording, RAW+JPEG split recording, JPEG+JPEG split recording and card-to-card copying Copying between cards possible Supported standards: DCF 2.0, Exif 2.32 Viewfinder: Electronic Viewfinder, 1.27cm/0.5" Quad-VGA OLED, approx. 3.69 million dots, brightness adjustable (auto, manual 16 steps), colour customisable brightness adjustable (auto, manual 16 steps), colour customisable Field of view: approx. 100% up/down, left/right (vs. actual screen) Magnification: approx. 0.8x (with 50mm lens, at ∞, -1.0m-1) Eye point: 23mm from the rearmost point of the eyepiece (at -1.0m-1) Diopter adjustment range: -4 to +3m-1 Eye sensor: Automatic switching between viewfinder display and image monitor display Image monitor: Tiltable 8cm/3.2" TFT LCD monitor (touch panel), approx. 2.1 million dots, 170° viewing angle, approx. 100% field of view, brightness adjustable (11 manual settings) Brightness adjustable (manual 11 steps), colour customisable, horizontal and vertical tilting Shutter type: electronic shutter, with electronic shutter sound, sensor shield Shutter speed: 1/32000 to 30 sec. (steps: 1/3, 1/2, 1, extendable to 900 sec. in shooting mode M), Bulb Time Flash sync shutter speed: 1/250 sec. or slower than 1/200 sec. (guide number decreases for 1/200 to 1/250 sec.). Auto FP High Speed Sync at shutter speeds up to 1/8000 sec. Release modes: single frame, low-speed continuous shooting, high-speed continuous shooting, high-speed continuous shooting, high-speed frame capture shooting, self-timer Shooting Continuous shooting speed: Low-speed continuous shooting: approx. 1~10 frames/sec, High-speed continuous shooting: approx. 10~20 frames/sec, High-speed frame capture (C30): approx. 30 High Speed Frame Capture (C120): approx. 120 frames/sec. Self-timer: Activation time: 2, 5, 10, 20 seconds; Number of frames: 1 to 9; Continuous shooting interval: 0.5, 1, 2, 3 seconds Metering system: TTL metering with image sensor Metering Mode Multi-pattern metering Center-weighted metering: Standard (equivalent to ø12mm), Small (equivalent to ø8mm), Changeable to average over the entire image, approx. 75% center-weighted Spot metering: Measures approx. 4mm diameter, and the metering position moves in conjunction with the focus point. Highlight-weighted metering Metering range: -3 to 17EV *ISO100, f/2.0 lens, room temperature 20°C Shooting mode: P: Program auto (program shift possible), S: Shutter priority auto, A: Aperture priority auto, M: Manual Exposure compensation: Range: ±5 stops, Compensation step: 1/3, 1/2 step changeable AE lock: Brightness value lock system ISO sensitivity: ISO64~25600 (step range: 1/3, 1/2 step), approx. 0.3, 0.7, 1 step (equivalent to ISO32) desensitization for ISO64, approx. 0.3, 0.7, 1 step (equivalent to ISO32) desensitization for ISO25600 Auto sensitivity control is available for ISO25600 with approx. 0.3, 0.7, 1 or 2 steps (equivalent to ISO102400). Active D-Lighting: Auto, More 2, More 1, More, Standard, Less, None Multiple exposures: additive, additive average, comparative light composite, comparative dark composite Other functions: HDR composite, still image flicker reduction Autofocus system: Hybrid AF (phase detection AF/contrast AF), with AF auxiliary light Detection range: -6.5 to 19EV (-8.5 to 19EV when Starlight View is enabled) *Still image mode, single AF Servo (AF-S), ISO100, f/1.2 lens When using a lens, room temperature 20°C Lens servo: - Autofocus: Single AF Servo (AF-S) or Continuous AF Servo (AF-C), Full-time AF (AF-F) (motion mode only), Predictive Focus AF-F) (motion mode only), with predictive focus drive Manual focus (M): focus aid available Manual focus (M): Focus aid available ・Focus point: 493 points *Still image mode, image range FX, single point AF AF area mode: Pinpoint AF (still image mode only), Single Point AF, Dynamic AF (S, M, L, still image mode only), Wide Area AF (S, L) Area AF (S, L), Auto Area AF, 3D-Tracking (still image mode only), Target Tracking (movie mode only) Focus lock: Press the centre of the sub selector or press the shutter button halfway when single AF servo (AF-S) is selected. In-body image stabilisation: 5-axis image sensor shift compensation In-lens image stabilisation: Lens shift method (when VR lens is used) Flash TTL flash control: i-TTL-BL (Multi-pattern, Center-weighted or Highlight-weighted), Standard i-TTL (Spot) Standard i-TTL (spot metering) available Flash modes: First Curtain Synchro, Slow Synchro, Second Curtain Synchro, Red-eye Reduction, Red-eye Reduction Slow Synchro, Flash Off Exposure compensation: -3 to +1 stops, 1/3 and 1/2 steps available Ready light: Lights up when the battery is fully charged when using a speedlight (sold separately), blinks when warning of underexposure due to full flash Accessory shoe: Hot shoe (ISO 518) with synchro contacts, communication contacts and safety lock mechanism (lock hole) Nikon Creative Lighting System: i-TTL, radio-controlled Advanced Wireless Lighting, light-controlled Advanced Wireless Lighting Lighting, Modeling Flash, FV Lock, Flash Color Temperature Information Transmission, Auto FP High Speed Synchro, Unified Flash Control White Balance: Auto (3 types), Natural Light Auto, Sunny, Cloudy, Sunny Shade, Bulb, Fluorescent (3 types), Flash, Color Temperature Setting (2500K~10000K), Preset Manual (2500K~10000K), Preset manual (6 settings can be registered), All settings can be fine-tuned. Bracketing: AE and Flash Bracketing, AE Bracketing, Flash Bracketing, White Balance Bracketing, Active D-Lighting Bracketing Active D-Lighting bracketing Movie function Metering: TTL metering with image sensor Metering mode: Multi-pattern metering, Center-weighted metering, Highlight-weighted metering Number of recorded pixels/frame rate: 7680 x 4320 (8K UHD): 30p/25p/24p, 3840 x 2160 (4K UHD): 120p/100p/60p/50p/30p/25p/24p 1920×1080:120p/100p/60p/50p/30p/25p/24p*120p:119.88fps, 100p:100fps, 60p:59.94fps, 50p:50fps, 30p:29.97fps 25p:25fps, 24p:23.976fps File format: MOV, MP4 Video compression: Apple ProRes 422 HQ (10bit), H.265/HEVC (8bit/10bit), H.264/AVC (8bit) Audio recording method: Linear PCM (when the video file format is MOV), AAC (when the video file format is MP4) Recording device: Built-in stereo microphone, external microphone can be used, microphone sensitivity can be set, attenuator function Exposure compensation: Range: ±3 stops, Compensation steps: 1/3 and 1/2 steps ISO sensitivity (recommended exposure index) M: ISO 64 to 25600 (step range: 1/3 or 1 step), with approx. 0.3, 0.7, 1 or 2 steps (equivalent to ISO 102400) increments to ISO 25600. Automatic sensitivity control (ISO64 to Hi2.0), upper limit of sensitivity control can be set. P, S, A: Automatic sensitivity control (ISO64 to Hi2.0), upper limit sensitivity can be set. Other functions: Time-lapse movie, Electronic image stabilization, Timecode, Movie Log (N-Log), HDR (HLG) movie Active D-Lighting: More, More, Standard, Less, None Playback functions: Single frame playback, Thumbnails (approx. 4, 9, 72 segments), Enlarged playback, Trimming during enlarged playback, Movie playback, Histogram display, Highlight Histogram display, highlight display, shooting information display, location information display, automatic rotation of shot image to vertical position, rating, voice memo input/playback, IPTC preset attachment/display IPTC presets can be attached and displayed. USB: Type-C terminal (SuperSpeed USB) (connection to a standard USB port is recommended) HDMI output: HDMI terminal (Type A) External microphone input: Stereo mini-jack (3.5 mm diameter), plug-in power microphone Headphone output: Stereo mini-jack (3.5mm diameter) 10-pin terminal: Available (can be used with optional remote cord MC-30A/MC-36A) Wired LAN: RJ-45 connector IEEE802.3ab(1000BASE-T)/IEEE802.3u(100BASE-TX)/IEEE802.3(10BASE-T), Data transfer rate(standard value): 1000/100/10Mbps (auto-recognition), Port: 1000BASE-T/100BASE-TX/10BASE-T dual-use port (AUTO-MDIX) Wi-Fi Compliant standard: IEEE802.11b/g/n/a/ac Frequency range (centre frequency): 2412~2472MHz(13ch), 5180~5700MHz Output (EIRP): -2.4GHz: 8.4dBm, -5GHz: 9.0dBm Authentication method: Open system, WPA2-PSK, WPA3-SAE Bluetooth Communication method: Bluetooth standard Ver.5.0 Frequency range (centre frequency): Bluetooth: 2402~2480MHz, Bluetooth Low Energy: 2402~2480MHz Output (EIRP): Bluetooth: 2.9dBm, Bluetooth Low Energy: 1.4dBm Communication distance (line-of-sight): Approx. 10m (when there is no radio interference). Communication distance may be affected by obstructions and radio wave conditions. Supported satellites: GPS satellites (USA), GLONASS satellites (Russia), Quasi-Zenith Satellite MICHIBIKI (Japan) Information: Latitude, Longitude, Altitude, UTC (Coordinated Universal Time) Time adjustment: Date and time information acquired by the location information function can be used to adjust the camera's date and time. Logging: NMEA format compliant Logging interval: 15, 30 seconds, 1, 2, 5 minutes Logging time: 6, 12, 24 hours Log deletion: possible Battery: Li-ion rechargeable battery EN-EL18d Instead of EN-EL18d, EN-EL18c/EN-EL18b/EN-EL18a/EN-EL18 can be used. However, the number of frames that can be shot (battery life) is lower than when using the EN-EL18d. However, the number of frames that can be shot (battery life) is reduced compared to when using EN-EL18d. Charging using the EH-7P AC adapter is only possible when using EN-EL18d/EN-EL18c/EN-EL18b. only when using the EN-EL18d/EN-EL18c/EN-EL18b. Main body charging AC adapter: Main body charging AC adapter EH-7P AC adapter: AC adapter EH-6d (used in combination with power connector EP-6a) (sold separately) Dimensions (W x H x D): approx. 149 x 149.5 x 90.5 mm Weight: approx. 1340g (including battery and memory card, excluding body cap and accessory shoe), approx. 1160g (body only) Temperature: -10°C to 40°C (-4°F to 104°F) Humidity: 85% or less (non-condensing)

Periods that were literally measured in days in the case of a few particularly damp Test matches that I covered. Would have had time to submit the images as watercolours.

It has a thing called Leitz Looks which Leica have tuned to give authentic simulations from cameras like the Monochrom. The auto focus on it is supposed to be pretty shit, so that's authentic too.

Do you know how much of the 1" sensor Leica take off people with their phone ? (Obviously they are doing some serious taking off people on the money front for it !)

A lot of whether this 120fps functionality (which I'm guessing will be electronic shutter, jpeg only and limited burst) is a boon or a headache depends on the event and the delivery type. If you are not shooting live editorial and you have time to ingest at your leisure then its likely only going to be a boon. But for live editorial, its going to be largely dependent on the event. For something like cricket or tennis where you have a very fast moving object but natural pauses within the game to review/ingest then it will be a boon as you'll have a much better chance at capturing the peak moment. With football on the other hand where the game is continuous (with the expectation of your delivered output to be so too) and also doesn't fall into particularly predictable patterns of play to provide pauses then the ingest/review of multiples of the current maximum frame rates is going to be a headache. Depending on the degree of anticipation and post action/safety tail of a given photographer, an incident such as an aerial challenge for the ball might cover say two seconds of burst spanning a total of 30 frames. If the peak point of the action is halfway through that burst then scrolling to it will be 15 clicks/rotations of the dial whereas at even 60 fps then you are looking at quadrupling the navigation time. Having minute differences between frames will also add to that as you inevitably rock back and forth between a range of frames looking for the perfect one to ingest to your laptop or send to the remote editor. So, in that respect it is one of those instances where perfect might well be the enemy of the good. Hopefully it will be adjustable and assignable to a switch, because having the ability to switch in and out of something like 40 fps for a set piece situation such as a free kick or a penalty would be a boon. Its a pity that circumstances have conspired to coincide the release of a camera that looks like it could be the last word for professional sports photographers with a period of time that looks increasingly likely to be the last days of the actual job itself.

Its the remote editors that are trying to deal with the live output of the cameras at events that I feel sorry for At 120fps there'll be more shit coming down those pipes than the ones the UK water companies are currently putting into the sea.

Sony had a far better idea about how to graft an RX100 to an Xperia over eight years ago now. And it used the whole sensor. Typical Sony, give them an inch and they'll take 40% of it off you.

Both ends of the 10.9-34mm f1.7-2.8 lens of the Panasonic LX100 (4K/24p video grabs)

If Panasonic didn't hate us then instead of producing the incremental LX100ii and GX9 they would've merged the two into one camera. And broke whatever weird collusion manufacturers had going on with not putting microphone inputs on compact cameras.

Another opportunity for a trip so another chance to test the Osmo Pocket and Freewell Anamorphic combo (4K/24p mode). I'm pretty sure now that I'm going to move to the Pocket 2 now as being able to use the anamorphic and ND simultaneously combined with the larger sensor and slightly wider native lens will be a worthwhile upgrade.

Osmo Pocket and LX100. IBIS,tilt screen and Cinelike D are big advantages of the GX80/85 but, for me, the (excellent) in built lens of the LX100 makes it more convenient to carry and use.

It was/is a pretty popular camera on here. You might want to consider putting my Cinelike D hack on it for a bit more flexibility.

If you are wanting to capture from a firewire port you'll need 3 cables/adapters From the camera you will need a 4pin to 9 pin Firewire adapter cable. (~ €8 ) That cable then plugs into an Apple Firewire 800 to Thunderbolt 2 adapter. (~ €35 ) You then plug that into an Apple Thundebolt 2 to Thunderbolt 3 adapter and finally into the Mac. ( ~ €50 ) If you are wanting to capture from an analogue output from a deck then you could use a BM Analogue To SDI Mini Converter ( ~ €180 ) and then the SDI into the BM UltraStudio Recorder 3G ( ~ €100) which will convert it into Thunderbolt 3 to the Mac. The software that BM provide for the UltraStudio Recorder 3G captures into a range of fornats including 12bit ProRes and the unit also has an HDMI Input so may find a use for you beyond the initial job of transferring your old material.

The only common mount that is shallower than the DJI DL mount is the Nikon Z mount so there is the potential for there to be adapters for pretty much any other lens type. In the four years since it was introduced, though, I'm not sure there actually have been any? For this type of camera, I could certainly see the advantage of there only being four specific lenses (or more when this actually launches) as the firmware can incorporate preset balances for the gimbal to make lens changes quick and painless. How much an advantage the actual lenses themselves are versus a broader choice of focal lengths and speeds etc is less than certain.

The Sigma FP with its Full Frame 8bit RAW to SD card/12bit RAW to tiny SSD/External BRAW and ProRes Raw to HDMI/Removable and tiltable EVF/fully scalable lens options from tiny M mount to FF cine primes and all manual and electronic points in between has just jumped out of my jacket pocket and is screaming "are you not entertained ?"

I think one potential reason for the high visibility placement might be that, when it comes to microphones and the BBC, history has taught Prince Charles to make absolutely sure he can see where they are at all times.

Thank. But, of course, as usual, I will say that any resemblance to deliberate intent when I'm pointing the camera or randomly fiddling with sliders later is purely coincidental !

Voigtlander 15mm f4.5 VM III on a Sigma FP

Sounds like you've rolled your own then !

Not exactly a full blown holiday but had a few days away so took the Osmo Pocket and the Freewell anamorphic adapter to test this theory out and these are grabs from 4K/24p videos. It does OK and its certainly unobtrusive enough in terms of carrying it and using it without attracting any attention. The problem with the Mark 1 though here is that the FOV isn't quite big enough (which is something the vlogging/selfie crowd didn't like about it) so you can end up shooting low and up which fucks the verticals up. The Mark 2 with its wider lens and its ability to use ND and anamorphic simultaneously (its either or with the Mark 1) is now showing me a lot of ankle.

Here is an example from my Sigma FP shooting simultaneous JPEG+RAW stills with the JPEG on the top and the RAW on the bottom. The only differences are the expected ones regarding colour, contrast, WB etc baked into the JPEG by whatever profile I had active in the camera at the time. This next one is from yesterday on my LX100 shooting RAW+JPEG, again straight out of camera with the JPEG on the top and the RAW on the bottom. With this one we again have the expected differences from the JPEG profile but obviously from the RAW you can see the large amount of optical correction that the camera is performing to remove the distortion etc of the lens for the JPEG. From the point of view of operating the camera, this is irrelevant as it has happened before it hits the EVF or LCD so your framing view will be of the corrected image. In terms of the JPEG or if you are shooting video then, again, its an irrelevance as the corrections are baked in. For RAW files though, the corrections are not applied but they are only a click away in your editing software so, again, its no big deal. The problem would come though if you somehow managed to remove that lens and put it on a camera that doesn't have the correction built in. Which brings us to using MFT lenses on a Pocket 4K. I've just gone outside to do this quick and dirty illustration of a typical example with the Panasonic/Leica 12-40mm f2.8-4 on my Panasonic GX80 shooting RAW+JPEG and Pocket 4K shooting CDNG. On top we have the JPEG from the GX80, then the RAW from the GX80 in the middle and finally the CDNG from the Pocket 4K on the bottom. (* I was shooting 16:9 stills on the GX80 with regard to the JPEG but the RAW file is still 4:3) Ignore the framing and colour differences as it was just a quick handheld test but as you can see the in camera corrections have taken a large amount of the distortion visible in the RAW away when producing the JPEG. However, this is not the case with the P4K frame and without the in built correction the distortion is there in all its glory as it was with the RAW file on the GX80. Of course, you can perform the corrections yourself on the P4K footage when you are editing but its another step and will have to be done on every clip. There is also the penalty of the correction necessitating some degree of cropping in most cases so, unlike the cameras with built in correction, you will have to take this into account for your framing when shooting. The degree to which correction is necessary will vary a lot from lens to lens and obviously wider angle lenses will need closer attention hence why I would recommend checking each particular lens on the P4K itself before buying to make sure you are comfortable with it. I think the Voigtlander 17.5mm is quite popular on here with people using MFT cameras so if someone could do the same RAW+JPEG still on a GH5 etc then you'd have a fair idea of how it will behave uncorrected. I think a few people use it with the P4K too so that would obviously be even more indicative.

I think the LX100 is worth a look if you are looking to do street photography. It has a standard 24-70 FOV zoom range lens that is f1.7 at the wide end and f2.8 at the long end and, as has been discussed on here multiple times, its a great lens that happens to have a free body attached. Control wise it has dedicated aperture ring, shutter speed and exposure compensation dials so its really quick to use and, as they are more substantial than those of the GR, I prefer it operationally over the GR. You'll lose the thinner form factor of the GR by virtue of the size of the lens but the actual camera body is more or less the same and the LX100 is still on the plausible side of pocketable. It is certainly far more compact than even a small MFT body like the GX85 with an equivalent 12-35mm f2.8 lens on it. What you will gain over the GR is a serviceable EVF and 4K 24p video recording when you feel the need. The clincher really is the price in that, although they've gone up in price like most used products in the past year, you can still pick up a good condition LX100 mark 1 for about £250 or less. For context, that is way less than half the price of a used version of the 12-35mm f2.8 lens let alone the cost of an MFT body to mount it on. A word of caution regarding using the P4K with native MFT electronic lenses such as the Panasonic and Olympus etc is the amount of lens corrections that those MFT cameras do, particularly on wide angles. The P4K does not have any of those corrections so if you do go for a P4K check any prospective lens on the camera to make sure you are comfortable with the uncorrected performance of it.

Thanks. Its more a case of revisiting hard drives and finding stuff I'd been doing with the XT-2 before I fell out with Fujifilm ! Looking at some of it does make me think "well I've got all the redundant glass so maybe a used X-T4 at the right price might be worth picking up". But then I will inevitably think "Or...I could sell all that and use the additional cash I was going to send on an X-T4 and be a long way towards being able to get a GFX100S instead". You know how that goes. I think it is definitely going to be the holiday camera setup from now on if such a thing as holidays ever return ! The only downer is that you can't use NDs with it. But the new version they do for the Osmo Pocket 2 does allow that as you get small slivers of ND that mount magnetically on the rear of the anamorphic element. So, you know how that will go ! In general it isn't dramatic when it comes to flaring. But obviously if you point a torch etc directly at it then you will end up with more flares than a Northern Soul all nighter at Wigan Casino.

The cheap and cheerful Fuji XC50-230mm (mark 1) Frame grab from a 4K internal recording on an XT-2.

Sigma 50mm f2.8 APS-C Lens * * Fixed lens on the Sigma DP3 Merrill. 75mm FOV but easily enough resolution for 105mm when you need it. Quite decent macro performance too.