BTM_Pix

Yeah, cricket is a pain even with 300mm on APSC let alone FF.     I don't have many cricket photos (for major matches, Cricket Australia doesn't allow lenses over 200mm unless you have accreditation though I have been allowed in with my 300 2.8 at the local ground and only searched once when I didn't have anything longer than 200mm).   Even here (not the biggest of grounds), for cricket 300 is way to short more often than not but it is the same ground I shoot Australian football at.      Not a great photo but to show the reach limitations for cricket.  (The batswoman is the only person, male or female to have topped the one day international batting AND bowling lists- Stephanie Taylor, the West Indies captain).    Taken last year.

Even taking into account the 400mm FOV equivalence of you having it on an MFT camera, you are still going to be a bit short at those distances with a 200mm to be honest.
Covering football (the real one not the weird variants that all of you colonials have cobbled together  ), which, depending on the stadium, will typically have a 130m distance from my position to the other goal requires a fair amount of cropping with a 400mm to get anything meaningful for action at that end.
I think you'd benefit greatly with a lens that ended at 300mm rather than 200mm not just in terms of additional reach but also in terms of separation from the additional compression of the longer focal length.
Sigma have done a 100-300mm f4 in various mounts for many years which, whilst not exactly free, would be ideal if you went that route and is worth keeping an eye out on eBay for.
 

To the fully working in electric blue case with separate bluetooth remote controller stage thank you very much
I'm looking for some bigger glass as there is currently a limitation on the size of lens it is suitable for.
I did say I'd do a build along thread for it for anyone who wants to have a go as is (cost for the glass and controller is around £50-60) and I will get round to it.
 

To the fully working in electric blue case with separate bluetooth remote controller stage thank you very much
I'm looking for some bigger glass as there is currently a limitation on the size of lens it is suitable for.
I did say I'd do a build along thread for it for anyone who wants to have a go as is (cost for the glass and controller is around £50-60) and I will get round to it.
 

To the fully working in electric blue case with separate bluetooth remote controller stage thank you very much
I'm looking for some bigger glass as there is currently a limitation on the size of lens it is suitable for.
I did say I'd do a build along thread for it for anyone who wants to have a go as is (cost for the glass and controller is around £50-60) and I will get round to it.
 

Didn't "our" BTM_Pix have something like this in works?
It's hard to keep up...

Apologies if I have inadvertently offended you with that remark Don.
It was just a failed attempt at some levity based on your personal ability to cause trouble in an empty house

In ETC mode you'd just about get away with it with a small crop.
If the OP wanted servo zoom as he's described though, he'd have to go for old B4 ENG lenses with an outboard 12V supply to drive it.
You'd have to be quite mad to do something like that though.
Like this weirdo attaching an Angenieux ENG lens to his GX80 and lashing a Sony battery to it.
Oh hang on.....
Thats mine
 

I'll come back with more detail when I've got a bit more time but the one that ticks all the boxes is the Sony A6500.
APS-C, IBIS, Log, EVF, Mic input and the rangefinder style makes it more compact than the SLR styling and therefore pocketable.
Lens wise, the cheap Sigma primes for it are tiny and way better than they have a right to be.
The fast native and M mount Voigtlanders and 7Artisans are also very compact.
Its not a well loved camera (I say that as an owner of one as well!) but it does a hell of a lot in a small package.
If you can get the stabilisation to come from your lenses then I'd have the OG Blackmagic Pocket in there as well but its tricky getting a fast one with OS.
In terms of utility for a pure travel camera then I'd have to say that after using it for the past week in that role, the Osmo Pocket is a standout product.

Probably somewhere between far better than you expected it to be and far worse than you'd like it to be ?
Look at that battery life though and thats with having physical moving parts in it as well !
For any youngsters looking at that camera, no, the control marked "Tracking" has got nothing to do with Auto Focus

There are lots of tiny cameras that can deliver professional or semi-professional images, but they still stop short of being an all-in-one solution that offers acceptable image quality, stabilisation, and audio quality.  For this we still need a rig of some kind.
This thread is about creating hand-held rigs that deliver:
Good to very good image quality Sufficient stabilisation for hand-holding (movement is fine, but it can't be too jittery)  Good to very good sound quality that is directional (or at least separates the subject from the background) Fits in a pocket Minimal time to start recording (have little to no setup time) I'm building a rig around my new Sony X3000, but this thread could easily apply to anyone using a GoPro, DJI Osmo Action, or RX0, would also extend to point-and-shoot cameras, and even the smallest mirrorless cameras if the lens they choose is small enough (lots of pancake lenses would be borderline pocketable).
These might be an A-cam rig for vloggers, travel film-makers, backpackers, minimalists, or (like me) a B-cam setup for use in conjunction with a larger more complicated rig.
We've touched on these topics before, @Don Kotlos shared this great (borderline pocketable) example:

 I mucked around with my GF3 (which lacks the required audio quality, or image quality):

and people are out there taking tiny cameras and making rigs that are 10x the size of the camera:


I'm still waiting for items to arrive, but I'm starting with the X3000, Rode Videomicro, an ebay microphone windsock which will help with wind noise but will also be a shock-mount, but have more bits on order, so updates to follow.

Who else here is pushing the limits of quality vs size?

Probably somewhere between far better than you expected it to be and far worse than you'd like it to be ?
Look at that battery life though and thats with having physical moving parts in it as well !
For any youngsters looking at that camera, no, the control marked "Tracking" has got nothing to do with Auto Focus

You can get dedicated PTZ cameras from Panasonic, Sony etc but they are pretty expensive.
If you want to use your GH5 then Panasonic do two powered zoom lenses (Lumix Vario PZ and 14-42mm and 45-150mm) so you would be able to control exposure, focus and zoom remotely over wifi from the app if you used those. 
The primary problem with those lenses, aside from the speed, is that they don't cover enough of a range in one unit and the long end is not long enough for a lot of sports.
A better solution would be a Panasonic FZ2000/2500 which has the entire zoom range in one integrated unit and goes out to 480mm equivalent on the long end with additional digital zoom if you need it.
https://www.panasonic.com/uk/consumer/cameras-camcorders/lumix-digital-cameras/bridge-cameras/dmc-fz2000.html
It also has a ton of other features including in built ND, OIS and a paid V-LOG upgrade if you want it.
Again, using the Panasonic app, you will be able to control focus, exposure and zoom over wifi.
The missing piece of the puzzle then would be the tripod head and I would definitely have a look at the Bescor/Hague head for that which has both wired and wireless options for controlling them.
Its not a totally integrated solution as the camera and head controls are separate but its as close as you are going to get without buying a dedicated PTZ camera and certainly a lot cheaper. It also has the advantage of giving you a standalone second camera for use in other projects rather than just being a single use device.
Coincidentally, I walked past a glass windowed studio here the other day where they are using two of the heads to do a live show with.
 

At first glance I thought that was some sort of Lake Placid Blue coloured fin tailed 50s car with its brake light on !
 

At first glance I thought that was some sort of Lake Placid Blue coloured fin tailed 50s car with its brake light on !
 

Funnily enough, he landed here in it yesterday so he must be coming to pre-order it.
We also had an earthquake at roughly the same time, though his hair remained unmoved obviously.

At first glance I thought that was some sort of Lake Placid Blue coloured fin tailed 50s car with its brake light on !
 

Nikkor 24mm f/2 wide open, at 800 ISO. This is a test shot of the 14bit Lossless Raw setting in Magic Lantern on the 5D Mark III. I was really trying to push the exposure and stress test the codec. 

Funnily enough, he landed here in it yesterday so he must be coming to pre-order it.
We also had an earthquake at roughly the same time, though his hair remained unmoved obviously.

A few stills using the BMPCC 4K for a corporate promotional video. Shot in DCI 4K ProRes LT with the Tokina 28-70 2.6, Speedbooster XL (maybe a Tiffen VND on some of the shots.)

I know it has its faults and doesn't get much love but, purely in terms of what I've seen people shoot with them, I've never seen much from the BM 4K Production Camera that I didn't think looked pretty good.
I saw one in the window at a CEX branch a while ago for £650 and I see MPB have got one now for £709.
Won't be long before they reach my totally arbitrary  "oh go on then" price of £500!
 

That’s exactly how I used the BMPCC as well. With my first one, I splurged on the 12-35mm 2.8 and with the second one I used the 14-42mm. Personally, I would never use the BMPCC rigged up... it just goes against the point of the camera to me. The most I would do is add a loupe and that cheap Lanc trigger handle and treat it like a Super 8 camera. As far as battery life, the official Nikon battery is supposed to last the longest.

Yeah, this has an amazing image in good light. It's really an ISO 200 camera max, but it delivers. Global shutter Super 35mm sensor for that price is pretty unique now.
Will be interesting to look into what the firmware update history was like...
Ages since I used it.

New picture I took with FD 35-105 F/3.5

Hard to believe it, but EOSHD is nearly 10 years old!
2010 was a big year for digital cinema. The 5D Mark II was in full stride kickstarting DSLR filmmaking. Arri's first proper digital film camera the Alexa was released and revolutionised filmmaking at the highest levels. Now all these years later I'm still looking - not for the sharpest, highest K, most featured packed modern camera but for a camera costing less than $1000 which has the most Alexa-like image.
Not on a technical level, of course, but in terms of the feel of the images and how cinematic the end-results are when viewed on the big screen.
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