BTM_Pix

It is a complex problem with a simple answer which is to just not fucking do it
Sadly, the level of reasoned debate in our parliament is several notches below the typical episode of Jeremy Kyle.

Does the IBIS help to stabilize... the camera?

I dunno.
Once you've taken that step of walking along in public talking into any camera it is debatable whether there is any self-consciousness left that can be challenged by a mere bracket being attached to the camera 
 

Nah, you only need a flight of stairs.

Don't get me wrong, I don't mind a bit of technical jousting and whatever myself but at some point all this shit has to mean something tangible in terms of an image.
The amount of A/B/C/D camera comparisons that I see getting chewed over that use completely different lenses on each camera bewilders me to be honest, like the lens is somehow incidental.
I've posted this before with regard to making a Cinecorder but I'm definitely going to get rid of a few bits and pieces and buy one of these Angenieux 25-250mm if I can find a decent one.
 

@BTM_Pix yeah I must admit, other than the past few days, I’ve been steering clear of this site a little because quite frankly I am tired of defending myself when using words like cinematic, mojo, etc... I’m definitely not the most talented or skilled person around these parts but if somebody needs quantifiable definitions for mojo, then they’re not using their eyes or capturing with their gut.
If this stuff was one hundred percent scientific, then I’d be a lot better and we’d all be Kubrick but it isn’t no matter how much math you throw at an explanation. Art isn’t always describable and a brush stroke can only explain so much. It’s when science and art melds with craft and emotion does a beautiful image appear. I am far from that goal but it doesn’t mean I can’t recognize it without explanation.
end rant
That Angenieux looks beautiful. I’m always tempted to pick up the 35-70mm Nikon Mount Angenieux until I see the price tag. With my brief stint with the Micro, I had the 15mm c-mount and it was like painting with pastels and sharp as a tack at the same time.
Does that 25-250mm cover S35 or is that using the magic zoom function of the LS300?
With that being said, here's a shot of the same subject from the Zeiss 50mm 1.8 Rollei mount lens...

I think its safe to say 'mojo' in this particular area of the forum  
 

I dunno.
Once you've taken that step of walking along in public talking into any camera it is debatable whether there is any self-consciousness left that can be challenged by a mere bracket being attached to the camera 
 

I think if you match the white balance and exposure between them it gets a lot closer.
I personally prefer the Zeiss image largely because its a more subtle settled look overall with enough (and smoother) separation to the background without being as jarring as the Nikkor is though I dare say this would be the case with the Nikkor at f2.8 as well.

So, I took a drive yesterday in the cold to do a test of a few lenses... the Nikkor 24mm f/2 vs the Carl Zeiss 25mm f/2.8 in the Rollei QBM mount. 
Here are the results...
Nikkor 24mm f/2
Carl Zeiss 25mm f/2.8

I found the speed of the Nikkor to be pretty helpful considering that that shot was taken about 10 minutes after the Zeiss shot, but there is just something about that cold Zeiss look that has a definite pop to it that seems more cinematic... maybe it's in my head? 
Full disclosure... I didn't attempt to match these images, I just did a basic Rec709 conversion and a little bit of curves and saturation. Also I am still using my MacBook Air screen for all of this preliminary color work and lens tests. I'm in the process of deciding on a monitor upgrade... so these may look like crap compared to what I am seeing in Resolve... oh the fun of hobbyist color work... lol.

I think once you accept that DPReview an Amazon owned company, which basically makes it an Amazon message board masquerading as a legitimate user driven community, then you should just let stuff like that wash over you.
By contributing any expertise or insight to those forums then you are effectively just helping build and add credibility to a stealth advertising platform for Amazon (for free!) which they will always ultimately exert control over in the way that fits in with their agenda of selling gear.
Thats why in your situation they turn a blind eye to people being attacked rather than the camera.
As I mentioned earlier in the thread, the fact that the 64/24 year old filmmaker/dentist/banged to rights scam artist is one of their respected contributors should be enough reason for people to ask themselves if they wan't to belong to a club that would have someone like that as a member.
 

Speaking as one of those pros, I have to say that this particular niche market will collapse in its entirety before Sony gain any significant foothold in it due to a combination of video frame extraction, rights issues and brand image control.
The burst mode is a red herring if its using electronic shutter due to the environments its being used in and even if they got it above the 12/14fps of the D5 and EOS 1DXii with the mechanical shutter its not going to be anything more than fiddling around the margins.
I have absolutely no idea why Sony came to what is a dying market in the first place and then approached it in such a half arsed fashion when they did.
Its not far off 2 years since the a9 release and there wasn't much latitude for a gradual roll out of the eco system around it even when it was released let alone now after all this time.
I can see why those such as the Northrups who don't do this for a living can look at an a9 and come to the conclusion it has everything a professional sports photographer would need and that it will surely be adopted because it does slightly more here and there but its too simplistic a viewpoint that honestly betrays a lack of understanding of the speciality.
One could even say it lacks nuance.

I bought it in 1966 from the Naples, Italy Navel station duty free store. I think it was around 355 dollars without taxes, or duty fees which I didn't have to pay. Funny My father was a Radio operator in the Navy, and I am a Ham radio operator since I was 11. Haven't done any of it for years and years. Picture even sort of looks like him! He was a radio operator for Admiral Halsey in WW II. I think there were four operators that went anyplace the Admiral did. They changed ships like every 2 to 3 weeks to not be detected. My father was on a TON of ships. He was in 4 years like me.

With one of those guns that everyone should own. 

I think once you accept that DPReview an Amazon owned company, which basically makes it an Amazon message board masquerading as a legitimate user driven community, then you should just let stuff like that wash over you.
By contributing any expertise or insight to those forums then you are effectively just helping build and add credibility to a stealth advertising platform for Amazon (for free!) which they will always ultimately exert control over in the way that fits in with their agenda of selling gear.
Thats why in your situation they turn a blind eye to people being attacked rather than the camera.
As I mentioned earlier in the thread, the fact that the 64/24 year old filmmaker/dentist/banged to rights scam artist is one of their respected contributors should be enough reason for people to ask themselves if they wan't to belong to a club that would have someone like that as a member.
 

The front page is a decent resource for press release aggregation so its useful for that.
I do fear for the safety of the poor souls who have to share their lives and homes with the circa 90% of commenters who lose their shit whenever a story about Leica is featured.

But..But I Love Amazon! Even though I have been banned on the DPR Sony forum for 4 years LoL. I don't spend 15 minutes a week on DPR anymore I will admit.

This will probably only have an audience of one - hello @IronFilm - but might be of use for anyone else who has a need for what it does.
So what is it?
Its a small(ish) box that takes an HDMI input and encodes it into a live H.264 IP data stream that can then be used for monitoring or as an input source by devices on a local network or pushed to streaming services such as YouTube, Facebook etc.

The version I have has an integrated Sony NP battery mount and hotshoe mount so is a completely standalone solution for use in the field but it can also be powered via a mains adapter. If you want to save some money and will only be using it in a studio environment then the version without the battery mount and hotshoe mount is also available.
There is also a version with an integrated 4G modem so you can live broadcast from your camera on to YouTube or whatever service you use without any additional equipment.
There is also an H.265 version available as well.
Physically, the unit isn’t massive but isn’t what you would call compact either.
Seen here on my LS300 camera (which ironically doesn’t need to use one because it has this stuff built in ) it looks in proportion but to be fair it does dwarf a small mirrorless camera a little bit.

Seen here alongside its far more expensive alternative - the Teradek Vidiu - you can see that the base units its not that much bigger but obviously it gets much bigger when you slap the battery on as opposed to the Vidiu which has a built in rechargeable one.

What has to be borne in mind though is the functionality you are getting here and should consider how much more unwieldy things would be if you had to mount a laptop to your A6500 as that would be the only way to get the same functionality.
At this point, I’m going to have to say that if you’re not comfortable with some basic network configuration stuff then this product is not going to make you any more comfortable and you might want to walk away now
OK, after plugging our camera into the HDMI port, we have to log in to the device and configure it. 
This is done by attaching an ethernet cable to the LAN port and typing in an address in a browser that brings up a control panel of the sort which will be familiar to you if you’ve ever setup a router.
In here you set up all the options for the type of stream that you will be generating from the incoming camera signal and you can alter everything from re-scaling it, to frame rate and a wide range of quality settings from data rate to encoding profile.

Most of it is self explanatory but you’d better get used to this interface because you’ll be seeing a lot of it as you tweak the settings for the optimum results.
OK, so once its encoded your video and is merrily streaming it you can access it directly through its own LAN or WiFi interfaces or you via a wider network if you connect it to another router (which you will need to do if you want to get your stream out to the internet).
This router can be anything from your home router to an internet access point in Starbucks or your mobile phone’s hotspot function for onward broadcast to the internet.
So lets get down to some actual use cases.
The first use - and the one that @IronFilmis waiting on - is to use it as a way of remote wireless monitoring on set from a camera.  In this mode, we set it up as a WiFi access point and connect whatever device or devices to it that we want to monitor on and use a media player that can play network streams to watch it. 
Basically, any device that can run VLC will do so you use your phone, tablet, computer or even smart TV to monitor the signal. All you need to do is to enter the address that the stream is playing on into VLC and away you go.
And if there are a few of you, then as you can see here with my MacBook, my iPad and my Android phone, you can all watch it together.

Although, as I said, its more likely that you would use the encoder in access point mode for this, you could actually use a larger network infrastructure if you wanted to for extending the range and extent of the monitoring. These devices are used in this capacity to deliver digital TV service to hotel rooms so its very much a scalable thing !
The other use case that I have it for is to use to encode camera signals so that they can be accessed inside Live:Air which is Teradek’s live video production software that runs on the iPad.
In this scenario, cameras can be connected to multiple encoder units which can then be brought into Live:Air and switched and have overlays added etc and streamed out to the internet for a pretty comprehensive live broadcast.

When used in this way, the encoders and iPad are connected wirelessly though a portable 4G router to move the data around get the final output from Live:Air out on to the internet. The encoder can operate with 2.4G and 5G routers and clients.
If you just want to do direct from the camera live broadcasts then the encoder can also be configured to overlay some lines of text and graphic logos onto the outgoing stream.
Price wise, you can pick up the encoders for about £110 for the non battery version and about £180 for the version I’ve got. To be honest, you can easily knock up your own powering solutions for these for far less than the £70 difference so I’d be inclined to go for the lower priced one unless you need the really, really long run times you can get out of the NP ones.
For comparison, even the basic version of the Teradek Vidiu (which doesn’t support the RTS protocol for monitoring on VLC) to encode live video for Live:Air or for YouTube broadcast is around £700 so it represents a significant saving - particularly for a multi-camera setup.
So, is it any good?
Yes for me but maybe not for you.
It does what it needs to do well enough but the nature of the beast with these devices is that there will be latency and how much of that is acceptable is down to you and what you are using it for.
The bigger problem is that this latency is also very dependent on how you configure it and your network infrastructure and even location if you are in a highly saturated place (which is where the 5G capability actually does help).
All of this variance makes it difficult to recommend with any confidence purely as a MONITOR solution only.
You can tweak away and noodle about with scaling down, bit rate, GOP, profiles etc and mitigate the latency but its never going to go away completely and I’d say that its difficult to find an acceptable balance thats not going to be below 1/2 a second.
That doesn’t mean to say it is without utility when used as a monitoring solution but it would be in a secondary capacity as a distribution method where absolute real time instant monitoring isn’t necessary. So in this way you would loop it through from the primary operator’s monitor and allow everyone else on set to wirelessly monitor after that.
There is also the question of how much real time you may need if you are using it in the capacity of primarily a framing monitor. If you have a Fuji XT/XH for example, this offers a solution to not being able to monitor and trigger the camera over wifi without it dropping to 720p resolution like it does with Fuji’s app. For Vlogging for example where you just want a remote view of the framing then this would give you that and allied with a cheap wireless shutter trigger you can get round the abysmal state of affairs with the Fuji app.
Bear in mind that there is latency but not dropped frames.
For my purposes of using it as a (much, much) cheaper way of getting camera signals into Live:Air than using Teradek’s own encoders then the latency is not an issue at all as each channel has an individual time align control to compensate for the latency.
Similarly when broadcasting direct out of the camera to the internet, the latency at that level is not relevant.
In summary then, if you have a need for the things that it does then it works well and is a huge saving on the alternatives. Its a bit clunky getting it going as the documentation wasn’t exactly readily available so I wasted a lot of time being unable to connect to it as an access point because the router address it uses when wireless is entirely different (and undocumented) to what it is when you are using the LAN port or it is in bridge mode.( Its 192.168.8.8 by the way  )
Being able to live stream to YouTube directly out of your DSLR might not be something you want to do every day but if you ever have the need for it (especially away from the studio) then it doesn't come much cheaper and simpler (once you've unearthed the manual) than this.
If you want to use it as your primary real time wireless monitor (other than just for framing or as per the Fuji example where its the only game in town) then I don’t think its the way to go because of the latency. If you are interested in purely doing that then I have another solution for that that is really low latency but thats for another day.
Full product link here
http://www.szuray.com/h-pd-84.html#_pp=0_304_9_-1
And here is the manual that you won’t find on their site either .
User Manual Of Mini Video Encoder copy.pdf

As I say, specs don't always translate into something breaking into the market when it comes to working professionals, particularly one thats dominated by two systems.
And 'systems' is the key word there as Nikon and Canon have not only the equipment range (including the boring stuff to do with image transmission) but also the infrastructure with service centres and on site event support to keep it all working.
Incidentally, when you use the mechanical shutter on the a9 (which you would do to minimise the banding with the ES from pitchside LED ad boards) then the a9 is a rather less than stellar 5fps.
With all due respect to the Northrups, I think they have some ideas about what a professional sports photographer needs and does without much if any practical experience of ever actually having done it.
For one thing they look far too healthy, wealthy and happy to have done it 

As I say, specs don't always translate into something breaking into the market when it comes to working professionals, particularly one thats dominated by two systems.
And 'systems' is the key word there as Nikon and Canon have not only the equipment range (including the boring stuff to do with image transmission) but also the infrastructure with service centres and on site event support to keep it all working.
Incidentally, when you use the mechanical shutter on the a9 (which you would do to minimise the banding with the ES from pitchside LED ad boards) then the a9 is a rather less than stellar 5fps.
With all due respect to the Northrups, I think they have some ideas about what a professional sports photographer needs and does without much if any practical experience of ever actually having done it.
For one thing they look far too healthy, wealthy and happy to have done it 

Get off the fence and tell us what you really think of it
Was looking at the list of updates they announced in the new firmware for the a9 thinking "surely somewhere in that long list they'll have finally added picture profiles...."
Nope.

There is some interesting bits of information contained within the (lengthy) share offer prospectus for Atomos from a few months ago.
Aside from them licensing an SoC to JVC for upcoming video cameras (which may mean hello LS300 MKii ?), four new products for 2019 described as 'next generation' and some interesting data about how big the market is for external recorders, which is bigger than I thought.
One other thing, though, which crops up several times throughout the prospectus as a risk factor is a dispute with RED.

Elsewhere in the document it states that RED are in the same dispute with another party and, whilst it might not necessarily mean its to do with ProRes RAW and REDCODE it does seem a coincidence that the date of the dispute coincides with the announcement from NAB.
Hopefully it will get resolved and if it is about ProRes RAW that it won't put the brakes on the development of it and expanding it to other camera brands and models.
Full document here 
http://downloads.atomos.com/investor/IPO Prospectus.pdf

I hadn't but I've just watched it on YouTube
They used to scare the shit out of me as a kid. My Dad preyed on this to keep me from playing in the electricity sub station (it was the 70s, we had a different benchmark for danger back then) by saying the loud buzzing noise coming out of it was from the daleks that lived in there.
 

I'm still hopeful they can work together to add ProRes RAW to my original one as one last firmware hurrah.
I'd buy the Ninja V in a heartbeat, not least to gain an actual viable monitoring capability !

Well I did actually shoot an international match with the Leica SL a few months ago but that's another story!
To be brutually honest, nothing has come along in the mirrorless realm from any of the manufacturers (including Nikon and Canon themselves) that has come close to usurping mirrored versions for sport at that level anyway so in that respect it won't be much different.
For all the specs of these cameras, you know full well that I'm still going to beat that drum and say it none of it translates into them breaking that stranglehold at the sharp end.
The long lens issue is an unknown until Sigma produce their roadmap as I would expect it to be them rather than Panasonic that would service that end. They have a serious back catalogue to work from though and one thing that isn't talked about much is that they have always had to reverse engineer and make tweaks to get them to work with other cameras so it will be interesting to see how much performance boost they can get when they are involved from the ground up.
Having said that, I have an SD Quattro with a 30mm ART that is entirely their design from end to end and the AF on it is absolutely shit so probably not