BTM_Pix

Computar 12.5-75mm f1.2

Let me go and dig out the worst lens in the world and put it on my Pocket4K Back in 10

Based on the split of Canon's overall income I'd say their answer should be that its more of an office equipment company as its the Office division where the majority of it comes from. Cameras are actually the problem child of their Imaging Systems division (which also includes Inkjets and Scanners) which in total only accounts for 25%, and falling, of their overall income. That is always held up as a reason why Canon can/could/should/will get out but its difficult to imagine that in, say 5 years, Canon wouldn't be making cameras or had sold the camera part to another company but then again I could never envisage Hasselblad being owned by a model aircraft company either so who knows really.

I wouldn't take the average quoted earnings of professional photographers as a guide to the affordability of this, or any other, camera. There is a key difference with a self employed professional photographer buying a camera like this that mean you can't equate it to an individual buying it from their net salary in the same way you can't equate a taxi driver's car with an individual's one. Its a business product so in the vast majority of cases it will be leased which not only spreads the payments but means it is 100% tax deductible. The working life of the camera will be 3-4 years so the monthly payment is about £130-150 and can be upgraded throughout the term of the contract. The cost of the upgrade for a leased Mark ii to a leased Mark iii means a manageable increase in monthly payments rather than having to find a £3K lump sum.

Yes, the focus motor is to the left of the bottom screw on the bayonet ring.

Funnily enough, I was looking for bigger pieces again yesterday to resurrect it. There is scope to do some interesting stuff with it linking the aperture to it as well so you can automatically maintain the same exposure. It can then link into the ISO as well for when you run out of road in terms of the amount of ND that can be applied. The whole "PBC as a central hub" thing is designed for these sort of expansions to be incorporated so its already in there from a control point of view but is back burnered until I can find a supplier for a suitably sized piece of glass.

I can't remember whether I did the build along in the end but it is a piece of piss to make but the trick is finding a supplier for a piece big enough for front mounting. As well as being easy, its very cheap.

I think the RF mount has legs and has already has great options for non FF cinema cameras like Komodo with the Variable-ND adapter and the EF>RF Speedbooster as well as just the shorter flange distance in general so you can put PL and M mount lenses on it. It has 43 discrete steps compared to 97 for an EF 18-35mm f2.8 and over 200 for the Sigma ART 18-35mm. Although the Tokina 18-300mm is currently king with over 400! I haven't ventured into Z-Cam yet as I don't have access to one but from their API its pretty straightforward. I'm taking a risk and buying the small Crane M2 for my upcoming FP as with the diminutive Voigtlander Color Skopar 21mm M that I'd put on it for such shots its only about 70% of the rated capacity. As its not massively bigger than a pistol grip so keeps within the overall minimalist vibe ! The used price of the Z6 is now flashing a serious amount of ankle at me now they've finally delivered ProResRAW. As far as I understand it doesn't, at least not at launch. I don't know what the Atomos exclusivity period is with Nikon, if indeed there is one, so I've no idea if its even a viable option. Looking at MapCamera in Tokyo they currently have 85 pre-orders for the 1DXiii which isn't bad for one store in one day !

Hahaha Honestly mate, I was being genuine! There are definitely people who prefer using DSLRs or their mirrorless equivalent over cinema style cameras and I think its a perfectly valid way of working. I think they'll be selling the existing EF lenses for as long as its financially viable to do so, which considering how long ago the design and tooling would have been recouped, will likely be a very long time yet. Funnily enough, I'm literally having a major fight with calibrating the existing version on a Pocket6K as it has about 1/2 the AF resolution steps as other Canon lenses and about 1/4 of the Sigma ART lenses. They seem to have filed a patent recently for IBIS for the EOS M range so how far behind a full frame version is would be anyone's guess but they could make a very decent interchangeable lens XC-10 style camera based on the M if they had the inclination. The only way to get anywhere near what you are after today from an existing product is probably the Z6 as TechArt PRO have just released an EF to Z mount AF adapter that does AF-C, Face and Eye Detect and the demo I've seen of it doesn't look too bad. You'd need the Ninja V of course but if you mount it on top with a fold down bracket to make a clamshell type of affair it can be left in place so its not too cumbersome when moving between places. There would definitely be a market for Atomos to make a specific Ninja Star style unit to take that ProRes RAW HDMI out of the Z6 to small SSDs without having to have the screen though.

Well, that escalated quickly “As you know, last year we launched the RF mount and EOS R system," said Richard Shepherd, pro product marketing senior manager at Canon Europe. "To date we’ve launched ten critically acclaimed lenses, and as it’s a new system we plan to continue this, launching more RF lenses while still fully supporting the EF lens system. And of course, should the market demand it, we are ready to create new EF lenses. But for now, our focus is on RF.” https://www.digitalcameraworld.com/news/our-focus-is-on-rf-says-canon-no-new-ef-lenses-unless-market-demands-it It doesn't mean that they'll stop making the existing EF lenses of course but it does suggest that its closed for ongoing development.

For the flagships, I think this is the last hurrah as the next squeezing target for Nikon and Canon will be the lenses. Nikon will obviously be more than happy for me to buy the D6 but they're earning no additional revenue from me still using my 400mm f2.8 which will be 15 years old by the time a D7 would happen in 2023/24 and ditto for Canon sticking with EF. Nikon's S line range for the Z cameras is rounding out now with the 14-24m and 70-200mm f2.8 lenses joining the 24-70mm f2.8 so they are now only a 400mm f2.8 and 600mm f4 away from overcoming the lens objections and in 2023/24 they will be looking towards us changing over the entire system rather than just the body. They've sold us it all on vinyl and now they want to sell us it all again on CD. And by that point, its difficult to see how the objections to shooting with mirrorless won't have been overcome. Of course, Nikon still manufacture the F6 film SLR 16 years after its launch so you can never rule anything out and they might well still manufacture the D6 beyond 2023/24 too but I'd say that that is where new development will end.

It certainly helps and the monitoring advantage to mr isn't just the extra size but also the extra features like false colour and monitoring LUTs. On the upside for the 1Dx3, though, it doesn't require someone fucking about with lasers to make it do continuous autofocus !

I'm basing it purely on every single report of the leaked spec for the D6 since last summer up to the present time having included it. But seeing as how much erm "content aggregation" goes on, those specs appearing even on non-rumour centric sites is no guarantee it isn't all from the same fantasist source of course! I suppose we'll know for definite in a couple of weeks.

I definitely think that for anyone comfortable, or even preferring, shooting with DSLRs and the accompanying workarounds/addons for audio, ND and having a fixed 3.5" monitor and no EVF then this is a gift that no one ever thought Canon would give.

He's gonna need a booster seat to see over the steering wheel.

This camera and the D6 are still going to be for a niche - and dwindling - market and are priced to reflect not only the extra features like networking and the build standard but also because whilst they'll clear up 95% of that niche the actual unit sales will be a drop in the ocean compared to their other cameras. For people who have the absolute need for the core aspect of these two products (i.e. a no compromise, built for purpose, bullet proof news, events and sports stills camera) the video features are a happy supplement and more or less for free so its a no brainer really. But I'm guessing that the vast majority of people here don't need to be paying the premium that having the core product entails and would benefit far more from a different use of the same budget. Even for the target market, whilst RAW is great to have, the elephant in the room is that this and the D6 are predominantly used in news gathering/sports roles where turnaround time is king and portability is implicit so dealing with that data is going to be an issue. The 10 bit h.265 options look promising for in field editing though as I understand LumaFusion deals with h.265 really fluidly.

Sorry for the paint based O/T there and now back to the camera..... On the basis that, in this specific category, Canon only really have eyes for what Nikon are up to and vice versa then the bigger than anticipated spec on the Mk3 might point to the D6 launch being pretty interesting. It seems reasonably certain that the D6 has IBIS and likely that it will do ProRes RAW out to a Ninja V so it may be that Canon has finally had to give up the goods on internal RAW to counter that. As far as I know, the D6 supposed to be launched roughly the same time in mid-February and with these sort of specs and the longevity of these types of cameras in general, we are likely to be seeing the final showdown of the flagship DSLR era as it seems unlikely the 2023/24 replacement versions won't be mirrorless. For that reason, maybe Nikon will throw internal RAW in there as well.

That looks more like Surf Green that Foam Green to me. Fender based their colours on those used by the major car manufacturers of the day so they have a Dupont code to make them easy to match. So if you search for DUCO 2461 you'll be able to find the exact match for Surf Green usually masquerading as touch up paint for a 1957 Chevrolet https://www.paintscratch.com/touch_up_paint/Chevrolet/1957-Chevrolet-All-Other-Models-Surf-Green-2461.html

Consumption tax is now 10% in Japan so ¥880,000 is ¥800,000 before tax. Which is just under $7400. Against the launch price of the Mark II in 2016, which was $5999, its certainly a bit of a bump but I doubt many of the intended market will outgrow its spec for a good few years (if ever) so the extra cost will be offset by it having a longer working life.

Call me cynical but due to their lack of any response to any of the posts trying to help him/her, I've got a feeling this thread is going to end with the OP posting a reply along the lines of "Thanks that fixed my problem" and a mysterious link then appearing in their original post..... On the basis that the original post not being a prelude to it being another tedious pork luncheon meat purveyor though, this is a guide to how one person has transformed an A7 series camera in the way that you want for (depending on how much he paid for his A7s) a mere $5-6K of additional equipment....

The quoted payload of the M2 appears to be quite conservative at 720g as a lot of YouTubers are running the A6500 + Sigma 16mm f1.4 combo which is 870g. The fp and the 21mm is about 580g, which would be the most used combo for me, is about 80% of the conservative capacity and 65% of what many are using it at with the A6500/16mm combo. Using the 15mm would be more or less at the 720g point so should be workable but I doubt I would use it anyway. I agree that the Ronin S is the way to go for real use, particularly as soon as any native L mount lens goes on it, but the M2 would purely be when using the fp for casual and travel stuff so it would be all about the minimalism but if I did want to add wireless follow focus to it the Nucleus-N motor is under 80g so should still work with the 21mm. The M2 has a USB power output which can power the motor so that is kept off the total payload. I'm pondering whether a used version of the original Weebill Lab might actually be the compromise option but it is significantly bigger (in relative terms) and I am quite keen on the M2/fp/21mm as a higher end Osmo Mobile !

Gimbals then.... I'd like to get one for the fp that isn't going to totally undermine the whole ethos of it being tiny so I'm not going to be putting this on my Ronin S and so I'm looking for something as compact as possible. In terms of weight (almost identical with battery) and dimensions, the fp is probably closest to the Sony a6500. Looking around, the Crane M2 would seem to fit the bill as it seems quite popular with the A6500 and as I'd be using small M mount lenses like the Voigtlander 21mm or even the 15mm then it will be under the payload rating. Does anyone have any experience of it on the fp or in general before I waste my money on it ?

I expect every screenwriter to give a co-writing credit to their youngest child to ensure the family get the maximum run out of it!

I'm hoping supply of used ones increases over there by the time I arrive as its a bit hit and miss when I check stores at the moment. God forbid I have to buy a new one and only save £800

Be aware that the rules are different for different countries. https://en.wikipedia.org/wiki/List_of_countries'_copyright_lengths#Copyright_durations_by_country In the US, for anything made before 1978, it is 95 years (so anything 1925 and older is now public domain) but for post 1978 it is now the life of any of the authors plus 70 years. That 1978 split throws up some interesting anomalies when you look at the music of John Lennon for example and his two number one records "Imagine" and "Woman". "Imagine" was 1971 so is pre the change so has the 95 years protection and won't expire until 2066. "Woman" was 1980 so is post the change so now only has 30 years left as Lennon was killed the same year and expires in 2050, which is sixteen years prior to a song that came nine years earlier. In the UK, which doesn't have the same 1978 split but does have the "70 years after the last author dies" rule, there is an even bigger anomaly with Lennon due to his work in The Beatles. If you look at a John Lennon solo track like "Working Class Hero", then due to his death in 1980 that only has another 30 years to run, whereas something he wrote for The Beatles with Paul McCartney a few months earlier like "Let It Be" , still has 70 years plus however long McCartney lives for. So the solo track expires in 2050 whereas the co-written one is going to be at least 2090. For years, McCartney has been trying to get Yoko Ono to do a deal where they would change the joint Lennon&McCartney credit to whichever of the two of them actually wrote the song. I'm presuming this is because many of The Beatles' songs that McCartney wrote such as "Let It Be" and "Yesterday" are covered far more frequently than Lennon ones such as "Strawberry Fields" or "I Am The Walrus" so he wants what he sees as a fairer slice of the cake. Yoko has always resisted this, I'm guessing not only because it would be a sizeable and immediate financial hit but also because the joint authorship with one surviving writer in the partnership will alive will keep The Beatles royalties coming in for the Lennon family for far longer. As @Emanuel says those rules for films (in the UK at least) meaning that the clock doesn't start ticking until the Writer, Director and Soundtrack Composer have all died will keep a lot of films covered for quite some time. If you look at "Driving Miss Daisy", the Best Picture winner at the 1990 Oscars, as an example, the Writer, Director and Soundtrack Composer are all still alive so that is now guaranteed to have a minimum 100 year run. The 1980 winner "Kramer vs Kramer", still has all three alive as well so that is going to be a minimum of 110 years.