BTM_Pix

No to both. Although there is correction in Resolve but this will predominantly be live use so that is out of the window. However, I'm not 100% sure yet whether used with the new Micro Studio 4K whether (like the P4K and P6K) you can post produce the higher quality version in Resolve from the automatically generated project file that the ATEM ISO creates with the camera's BRAW files. I see no reason why not but this is BM so quirks are part of the lifestyle ! Thanks. I'm not concerned about flat out image quality as the power zoom trumps that for this particular application but the distortion makes me curious so a non-corrected RAW to jpeg conversion would be great if you can possibly manage it.

The one thing I do know is that it has an actual threaded release on the shutter button so we can all dust off our air release bulbs ! Nikon state that it is "Designed with a leaf switch for a tactile and responsive shutter release experience". Of course, they aren't going to say its shit are they but I suppose its promising that they have actually referenced it, implying that it is "a thing" and that they feel they've addressed it. I'd be inclined to be hopeful that there will be a new Lumix S with the internals of the Leica Q3. I mentioned it in the other thread but their announcement last year of working together on a new mirrorless system makes me suspect that the Q3 is the fixed lens version and the new S will be the interchangeable lens version with the Leica SL version following along behind. Which would mean 8K as a headline feature. Sigma ? Who knows. The Foveon version of the Fp has been stuck in development hell for a few years now so you'd think it was time to crap or get off the pot with that one. A mark 2 version of the Fp would likely have to have IBIS in it and PDAF to make a dent in the wider world outside of those (like me !) who love the Fp and tolerate its quirks. The thing with Sigma is that its a family business so they can be really agile in changing direction if they feel like it and they are relatively leak free so they could just come out of nowhere with something unexpected. They could quite easily enter the full/fuller frame compact fixed lens market and make updated versions of the DP line with non-Foveon sensors and their contemporary lens line grafted on to them. An Fp-L (which already has PDAF of course) with say the 35mm f2 integrated would have a lot of appeal as the poor(er) man's Leica Q.

With this new Micro Studio Camera being 4K but the requirement for ATEM only being HD (for most people as the 4K versions of ATEM are quite a few multiples more expensive !) then a clear image zoom style function in the camera would be ideal to extend the range. Sadly, BM are not into that kind of stuff !

I droned on about it extensively in the Z8/9 thread but the mount versatility is what gives it an edge for me over L mount. After chickening out on getting a Z8/Z9 and getting the S5ii, I've got a bit of a concern about the adaptability of the L mount. I had a nagging doubt at the time that something was amiss with regard to electronic adapters for the L mount but I suspected that it would change over time because its popularity was relatively recent anyway and would take a while to be stimulated further by the success of the S5ii. The two warning signs were even Sigma's own EF>L mount not working on all Leica cameras and the situation with Fotodiox with their "DO NOT USE THIS ON A LEICA CAMERA!!!" warnings for their EF>L adapter. The third probably should have been that prior to the L mount alliance, there was only one company making an EF>L adapter and it was very clunky, very unauthorised and very expensive. There are two adapters that I want for L mount which is the Meike EF>L with the slot based variable ND filter that they do for every other mount and the TechArt PRO Leica M> L with AF adapter which they do for Sony and Nikon. Neither of them have appeared and they don't appear to be anywhere on the horizon either. Meike have released a version of the variable ND adapter for L mount to mount PL mount lenses on it so its not like they can't machine the mount or anything like that. I'd have thought in terms of sales, the EF>L version would've been far more lucrative. Which brings us on to the TechArt PRO adapter.... I am at a complete loss as to why they make a Z and E mount version of the M mount with AF adapter and yet don't do one for what you would think would be a lucrative and captive audience, namely actual Leica shooters wanting to use their collection of M mounts on their new L mount cameras but with the added bonus of AF. If you are a long time Leica M user and are looking for something with video features but bigger photo resolution then the 61mp Sigma Fp-L is right up your strasse anyway with the basic M>L mount adapter. With a TechArt PRO M>L to give you AF on those lenses as well it would be a huge draw. And yet they don't do one. The L mount gives a bit less room (2mm) to play with than the E mount but the little mice they have running round wheels to drive the motors are already tiny and you would think that they could shave off some casing to make it fit. All in all, my uninformed conclusion is there is something weird (or possibly litigious) about the L mount AF system that is stopping these sort of adapters being released. It doesn't give me buyers remorse completely about the S5ii and going semi all-in on the L mount but there is no doubt the Z mount is the king of adaptability and had this camera been out a couple of months ago then I'm pretty sure I'd have opted for it instead. As I said at the time, there is no other mount that can give you full AF of F mount, E mount, EF mount and AF of most manual lenses (stacking M to F,FD,M42,C/Y etc) like the Z mount can. I only had a brief period with the E mount adapter on a Z9 and it was more than adequate. By which I mean surprisingly good. There are quite a lot of tests on YouTube of the Megadap, including one from Grays Of Westminster who are a very, very long established Nikon only dealership in London. Quite surprised to see them do one - as well as the TechArt Pro M>Z as well by the way - as you'd think they would only be interested in flogging you native lenses but perhaps a sign that they see this as the best way to shift Z mount bodies in greater quantities than they were doing when it was only the Z6 and Z7. Fotodiox have now also entered the fray with an E to Z adapter too.

The quote is from Panasonic themselves, it is the writer that is making an illustrative comparison with the Fuji and Sony models so I'm not sure a conclusion can be drawn from that. It is more complicated with Panasonic because unlike those two with FinePix and CyberShot or Canon with Powershot etc, they don't have a differently named sub-brand. Lumix is the name whether its the LX10 or the S1-H so it makes it less clear cut what exactly it is they are stopping doing compared to, say, Sony announcing they are stopping all CyberShot models. The proof of the pudding will be in if they make anything other than an interchangeable lens camera again as I suspect that is what they are referring to. They have also walked away from a successor to the king of their fixed lens cameras which is the FZ2000/2500, which is a great shame.

I feel seen ! The last wedding I went to a few months ago had announced a complete ban on posting pictures online and as a consequence no one took any pictures at all, presumably because if they weren't able to post them in semi-real time then they had no value at all. As a consequence, the only person that had any images at all was this old duffer. I tell a lie, there was one person who ignored it which was the groom's sister who took the position that her brother and new sister-in-law aren't exactly Jay Z and Beyonce so there was no embargo with Hello magazine to honour.

I'm only reporting it, not agreeing with it as my own position. The LX10 and LX100 are not to you or I or anyone else on here that owns them something that a smartphone can replace like for like of course. But to the wider public, the ship has sailed for virtually all of them that might have bought a compact camera as they are happy enough with their phones. Thats the position that Panasonic are taking. Funnily enough, in the past couple of months, I have offered my daughter both my LX10 and LX100 when she has gone on trips to places that I have thought merited more than a phone but she's been "thanks but no thanks". We are going to Tokyo at the end of next week and I've upped my loan offer to my Sigma Fp or Leica T but she is still not interested. I don't think she is an outlier either, even though she is over 30 so she has grown up around "real cameras" from my work, let alone what anyone 25 and under must be like. What is the demographic at the present time for YouTubers though? I'm guessing its nowhere near as youthful as it once was and far more affluent too. TikTok is where the younger generation are and they have grown up without "real" cameras. They don't mind paying €1500 for a phone that they can run their entire life on (particularly as they all pay monthly for it anyway) but dropping that amount on a camera that brings them a marginal gain as they would see it is a tough sell. Before we even get to the aspect of whether the current financial climate makes that even viable. The distance from capture to audience is absolutely minimal and that is something that camera manufacturers have failed to grasp and act upon. I've said it on here before but even with the absolutely fastest cameras, highly optimised workflow with the fastest cards, readers, computers, transmission infrastructure etc then by the time I'd got an image edited and away onto newspapers and published (even online let alone the printed versions) from pitch side was glacially slow compared to the kid sat behind me on the terraces with his iPhone. Real cameras are just not equipped to compete with that and with the dwindling attention span of the creators and the consumers it just doesn't appeal to them. YouTube content was too long so they went to YouTube shorts and now that is too long they're on TikTok. And its worth bearing in mind that actual "content creation" as we would describe it is a niche anyway so longer form, more thoughtful, content is now a niche within that niche. Requests for advice about getting a camera from my family or friends that even 5-7 years ago were still pretty frequent have now dwindled to absolutely nil. This could be because of the terrible advice I gave them but that is another matter and I'm sure they would all be happy with those Sigma DP2-Ms if only they concentrated on technique a bit more 🙂 I'm not advocating what Panasonic have done with leaving the compact market but I do understand it. Camera manufacturers did themselves absolutely no favours in terms of compact cameras by the obsession they all shared over not giving cameras like the GX80, RX100, LX100 etc etc a microphone input.

After spending far too much time in the G9ii thread bemoaning MFT, I'm now hypocritically looking to buy another MFT lens so after some opinions about this one if anyone here owns it. It caught my eye during the demo from BMD about the new Micro Studio Camera4K as it has power zoom controllable from an ATEM and I will be using it on the exact same camera (and/or Pocket4K) controlled in the exact same way. Power zooms are thin on the ground for most systems but I have the Panasonic 14-42mm and I'm interested in this one for a slightly wider range but also because from what I've seen it is a lot less clunky when zooming than the Panasonic. If anyone is using it in the same capacity with an ATEM controlling it then I'd be very interested to hear your thoughts but if anyone just uses it as a general lens then I'm interested in that as well in particular its longevity. It is likely that I will be getting a reasonably old used one for cheap as I don't want to throw much money at it. This means a bit of a leap of faith as I won't have the ability to test it in the way I'm going to use it and won't easily be able to return it (I'll only briefly be in the country I'm buying it in) so if there are any horror stories regarding zoom motors going rough etc then that would be good to know. I'm also interested in if anyone has used it with a BMD camera (original Pocket or new) if there is a lot of distortion at the wide end that, of course, is not corrected in those cameras. Thanks

To be fair, the Godfather was a right fucking mess before he stamped his White Balance skill on it.

My Df has a broken rear LCD screen so I extend the retro experience fully to having to wait until I get home and "develop" the images before I know if they are OK or not ! Leica want $8K for that experience with their screenless M10D so I feel like I'm winning.

I'd certainly welcome any of those although with the latter two I'm not sure Panasonic are interested in anything compact with an integrated lens any more in view of this quote from them last summer : "We've halted developing any new models that can be replaced by a smartphone" https://asia.nikkei.com/Business/Business-trends/Panasonic-Nikon-quit-developing-low-end-compact-digital-cameras#:~:text="We've halted developing any,for photography enthusiasts and professionals. The tie in with Leica which they re-affirmed last year would probably preclude them from producing anything fixed lens wise either to not tread on the Q line. Speaking of which.... The Leica Q3 does point the way to what one of those might have spec wise, certainly the 8K aspect. The re-affirmation of their tie up last year as referenced in that piece above says they are jointly developing a new mirrorless camera and I'd suspect that the Q3 is the fixed lens version of that and the mark 2 versions of the S1 will be the first interchangeable lens versions of it, followed by the SL3.

It is certainly an "interesting" choice thats for sure and its a bit like a car having one of those skinny spare tyres. They tick the "does it have two card slots" box but open up the newer question of "are they both adequate though?". My Leica T has internal memory which is a boon as it gives you extra storage space if you fill the card up but also provides you with security against the "oh shit I've left the SD card in the reader at home" which I have actually done ! Absent of new cameras offering the same internal storage (and why not by the way) and trying to keep the size down then its a pragmatic choice but it is heavily dependent on the real world requirements of the files its generating and how the implementation is in terms of control. What is the minimum write speed for h265 10 bit 4K would be the obvious question. Is there a sufficient buffer in the camera to be able to offload at the slower speed (a pre-capture in reverse) ? Background copying from the SD to the MicroSD to make it a managed overflow option? Foreground copying from the SD to the MicroSD? Jpegs to the MicroSD and RAWs to the SD? When all that is known then we can move it from "strange and also silly" (which on the face of it would be the case) to a best case of "strange but yeah OK its workable". In terms of strangeness though, it still isn't in the same ballpark as the fundamental one of putting a small sensor in a full frame body 😉

Nikon have just announced the $2K full frame Zf which is in that vein for compact full frame. Ironically, the Z mount is so adaptable that it is able to take MFT lenses too ! (Albeit dumbly)

This had definitely be flying under my radar as a rumour so this was an interesting surprise this morning ! I have had the Df since it was launched and it is a fantastic compact D4 and they have finally brought out its mirrorless equivalent. Unlike the Df, which has no video at all, the Zf is very competitively equipped for a camera in its $2000 price range. Key specifications 24MP full-frame BSI CMOS sensor In-body image stabilization rated up to 8EV Dedicated Monochrome mode Up to 14fps continuous shooting (JPEG), 11 fps Raw 'C30' JPEG-only 30fps mode with pre-burst function AF system with tracking and recognition of 9 subject types 4K/60 video from 6K capture with 10-bit N-Log recording 32-shot high-res mode to give 96MP images SD and MicroSD card slots Full details here https://www.nikonusa.com/en/nikon-products/product/mirrorless-cameras/z-f.html

Atomos charge $99 to activate h265 in the Ninja which is a bit of a gouge as if there is a notional licensing fee it certainly won’t be a big as that! Don’t know what the deal is with BM not offering ProRes in anything over 4K in any of their cameras so at least by not including it all they’ve saved themselves being asked about that anomaly again!

That is precisely the point I'm making though. If the GH6 is the same as the G9mkii then it too will also have them but they are not being used by the AF system at this time but it doesn't preclude them being used in the future. As unlikely as it may seem for them to release a camera (GH6) that has the capability that everyone wanted but not enable it immediately and then release a new camera with the same sensor but enable it in that one is not beyond the bounds of possibility. Adding it as a €200 upgrade to the GH6 further down the line (and when they'e had more time to perfect it than when the GH6 was launched), why not ? Its completely possible and would make sense for them and the customer. If it is the same sensor, meaning that it was in the GH6 first. Which, as I said, from what I've read it isn't.

I'd say it was a ploy to get people to buy a VideoAssist if they have a requirement to record ProRes if it wasn't for the fact that the HDMI output is capped at 1080p. Even so, if you have to to the external route to even get 1080p ProRes on the BM then the S5iix with the Ninja V gives you 6K ProRes RAW and 5.8K ProRes to SSD if you don't want to use the monitor. You are then also getting the two bonuses of the PDAF and IBIS. And considering the form factor of the 6K series is nothing to write home about, the S5iiX doesn't come off worse in that department either plus you don't have to pay extra for the EVF 🙂 There are a ton of people who couldn't care less about ProRes, AF, IBIS etc though and don't care that it wasn't the massive leap forward that was anticipated who will be absolutely thrilled by this camera. And rightly so. Objectively versus an S5iix though, I'm not sure I would personally bite.

PDAF and CDAF are not mutually exclusive and Panasonic's Hybrid AF in the G9Mkii and the S5ii does use both, as do other manufacturer's systems, depending on circumstances. If the camera can choose from either internally then it also means that what is offered to the user can also be offered or not depending on Panasonic's choice. They have a well established background in offering paid upgrades (usually v-log but latterly ProResRaw/BRAW on the S5ii) that are activated in camera so if the GH6 is indeed the exact same sensor as the G9Mkii then it would give Panasonic the option to do the same using one of their upgrade licenses to activate Hybrid AF. However, it does hinge on it being exactly the same sensor and not a variant of it like I have seen reported. If it isn't exactly the same then its over to our correspondent Harry Callaghan.

Panasonic announcing PDAF in a firmware update for the GH6 next month like this.

Don't know whether you would get more joy quality wise with the Vimeo version. I think if you have a paid plan you can download it and might be higher resolution options. It was just a quick lash up in Photoshop to see if there were differences that were there but imperceptible. Have to say if they are imperceptible then its probably moot anyway. Although the difference with the iPhone shots were far more perceptibly imperceptible 😉

Its there if you are really, really bored on a Sunday morning and really, really look for it. At 300% (😂) here is the eye. Here is it with the lower resolution one on another layer with blend set to difference. It is definitely there but certainly close enough for jazz in terms of how keen you have to be find it. However, it is far more pronounced when doing the same difference layer process with your iPhone footage. This is at 80% And at the same 300% as the Cooke sample. Its difficult to know if there would have been a similar outcome if you had access to higher quality source material with the Cooke footage.

Yeah, even at 1/350th scale you'd need a fairly big coat to fit the Admiral Graf Spee in your pocket.

To differentiate, we can all refer to this new one as the PK6-NP. Denoting both it’s battery type and that it has No ProRes

Well, that vow lasted a little more than 24 hours in terms of the camera at least as I'm now likely to buy the new BMD Micro Studio camera! In my defence : a) It is for a specific Live/ATEM related need rather than general use. b) I am fickle. I'm not going to bang the Panasonic putting MFT into oversized bodies and charging premium prices drum further but I did have half an eye their BGH1 box camera for this role but it is 75% bigger, 81% heavier and 132% more expensive than the BMD Micro Studio camera. When it comes to MFT, Panasonic are more or less cosplaying Benny Hill in The Italian Job at this point.