BTM_Pix

Yeah, their earlier years were sketchy to say the least. Some of their designs sailed close enough to the wind in similarity to people like Aphex and Drawmer (to name but two) to be actionable and thats before we get to the build quality. It wasn't uncommon to have to buy and return several examples of a product before you got a good one.
Its changed over time though, particularly with their manufacturing when they built their own plant in China, and the tipping point for me in acceptance was their X32 digital console. I think they've sold in the region of 50,000+ of that and it variants and its a superb product. I don't think anything they make is going to make you go wow (aside from the X consoles) but they're fall less likely to make you go ouch than they were and certainly will never make you go ouch when you look at the price tag.
With regard to MIDAS, its relative I suppose. Compare two Behringer products that have their own pre-amps in with the variant that has the MIDAS ones in (such as the ADA800 8 channel A/D and the MIDAS equipped ADA8200 version) and there is a difference. Its often related to changes in surrounding components as well to be fair to incorporate the MIDAS design but the overall end result is the same in terms of improvement. As I say, thats only relative to Behringer's 'own' design pre-amps though so whether it actually makes them better than other manufacturers is a lot more subjective. Its not just a marketing gimmick though to be fair, as the designs are genuinely still coming from within the MIDAS design team.
 
At the risk of sounding like a Behringer shill (  ) there's quite a lot of side by sides on YouTube with the U-PHORIA where it doesn't disgrace itself.
Gearslutz.com is a good resource for blind comparisons between lots of different interfaces too. Often these are conducted by - how can I put it politely - people with more recording experience than some of the enthusiastic YouTube 'Hey whats up guys, Ched here with another of my famous shootouts that you folks have been asking me for' ones. Ched with his 19 subscribers there.
 

Yes, it will do it.
If its for live use though, you might also want to consider their wireless hardware remote for reliability and ease of use. Battery life will be reduced on the camera if its using wifi permanently.
https://www.sony.co.uk/electronics/interchangeable-lens-cameras-tripods-remotes/rmt-vp1k
The A7Sii will work from what I understand providing you have one of Sony's power zoom lenses on it.

That sounds utterly bizarre if you're having to pad the mic and turn the input level down.
A slight difference between the camera may be understandable, but not to that extent.
For it to be that hot it almost sounds like a line level signal going into something expecting a mic level signal.
Its the sort of issue that sounds unusual enough - and I have had a bit of a nose about and haven't seen it anywhere else - to have it checked out.
To support your case with the dealer/Panasonic, set this test tone off on your laptop or monitor speakers and record it with identical settings on both cameras.
You'll then be able to see definitively what the difference is in dB when you look at the file in an NLE.
 

It too is dependent on the GH4 capture. 
Or alternatively a capture from the DVX200 connected to the app Panasonic do for it.

The two major problems those LED ad board actually present to us shooting in stadiums as they become so widely adopted are :
1) We've had to get taller stools.
2) They are quite temperamental so you often have their techs crouching next to you and fiddling about with them.
White balance changing in a fast burst due to floodlights pulsing is an order of magnitude higher as a lighting issue than the LED boards.
For this LED board stuff to be causing a genuine problem for people shooting at stadiums with the A9 then people would have to be actually shooting at stadiums with the A9 in the first place. And in my experience, they're not. For reasons that have zero to do with banding.
Such an odd thing to go after them for in the overall scheme of things with that camera.
This image they've used to show the banding though....
I'm not being catty, because I don't mind that fro fella, but I don't look at it and think "Wow, look at the banding"
I think "Where's the ball, why is your horizon off, why is the focus on the wrong player, why is it so noisy for a shot in broad daylight, why is it so heavily processed"
If I sent that on the wire, it wouldn't be the banding that would be preventing it from getting published.

If you've been to a gig in anything above a few hundred seater theatre in the past 40 years there's a reasonable chance you've been listening to it through a MIDAS mixing console. They are owned by Behringer now (or Music Group to be exact) but its not just a brand name ownership situation, the product design engineering is still done by the original team.

With regard to audio, I think the innovation has largely come from the music side of the fence rather than the broadcast/film side to be honest.
From that point of view, there have been numerous 5DMKii moments.
The Portastudio was one, the LinnDrum was another, the Akai S900 sampler, the Atari ST with Cubase, the ADAT digital multitrack, the Yamaha 02R mixing console and of course SoundTools as it was and ProTools as it became.
Arguably, these were all much bigger game changers than the 5DMKii, particularly the latter ones as they changed the entire industry at the high end as well as the low.
The 5DMKii let you make images that looked somewhat  like the movie studios could do, the audio products didn’t just allow you to produce audio that sounded like a real recording studio did but actually became the real recording studios.
The nature of broadcast and film is intrinsically more conservative.
I’ve been involved in product development for one company where it seemed inconceivable why the BBC, for example, would spend five times more for something that did less and then for another company where it seemed inconceivable to me why they would spend five times more on what we were proposing to them than they could on something similar they could get from a music store.
Some days you’re the statue, some days you’re the pigeon !
The problem with audio developments for music is that it plateaued and then became a race to the bottom price wise from which it will never return. It means that the innovation is now in the cost reduction and arguably why not because there really isn’t many more places for it to go in terms of functionality or quality. Which is good for us!
As all of this rapid development was going on in music technology, say between 1982-2000, it was like the wild west at times with companies coming from nowhere with bombshell products that either drove their competitors out of business or drove them on to greater heights.
And the vast majority of these companies were small ones (generally created by musicians who had to invent what it was the market didn’t have for them to buy), which made them lean and agile.
Over time though, the eating each other’s lunch routines often combined with little, no or reckless business practices (and ESPECIALLY poor cash flow from over ambitious product developments) left them vulnerable to being put out of business or, more usually, being bought out by the major manufacturers who were predominantly large Japanese companies. The likes of Oberheim (Yamaha), Linn (Akai), PPG (Korg) and Sequential Circuits (Yamaha again) all went that way and the innovation generally went no further for them once they were under the wing of those bigger manufacturers.  Eventually freed from their ‘consultancy’ deals, most have resurfaced as boutique operations serving an ever more niche market.
If I look at someone like Fairlight and my relationship with them as an example of what happened to an innovative company, its quite informative. I went from being an awestruck kid when they brought the CMI out, to then working for a manufacturer who basically drove them out of the sampler business they’d created, to eventually working on OEM development with them when they transitioned to broadcast. In the subsequent 20 years they’ve changed hands countless times and are now just a tab on a piece of free(ish) software. Its hard to grasp such a transition for me but for anyone who’s too young to know what the CMI was, its the equivalent of RED’s RAW pipeline ending up as a free download in the Sony PlayMemories store for your RX100.
Lexicon are exactly the same. From making jaw dropping almost other worldly products to being gobbled up by a company that was making most of its money off providing car stereos for GM etc and Lexicon was reduced over time to being included in every low end mixing console and software bundle that it could be licensed to. The company that bought them has done the same to every company its bought and I can’t even dignify them by mentioning their name even 20 years after them destroying the company I worked for !
So there’s just no incentive there for anyone to be innovative in music audio anymore as its littered with similar stories and the ones left standing wouldn’t see the amount of volume in broadcast/film that they need to press the button on the mass production runs they now need due to how cheap everything has to be now.
The company that COULD do it are the much maligned Behringer. 
If you look at something like the X Air XR12 digital mixing console and see what they can knock out for £239 retail (inc VAT!!) then it doesn’t take a genius to see what they could do against Sound Devices if they had the inclination but there just isn’t the market there. Because, believe me, they wouldn’t have blinked if there was.
So, unfortunately, I don’t think we’re going to get that 5DMarkii moment and the innovation such as it is will come from individuals themselves looking at products from the music side of the fence and modifying it themselves. Like getting that X Air XR12 and powering it from Sony NP batteries to make an extremely capable digital field mixer and recorder for £269 (including the £30 for the bits to do it) or being a smartarse and using cheap midi controllers to create remote focus and control systems for Panasonic cameras for under £75  (ahem!).
Because music audio had its numerous 5DMKii moments a few years ago there is a backlog of a ton of cheap stuff that flies under the radar for film makers that is waiting for them if they look for it. 
 

I think it just effects your whole vibe as well to be honest.
All this stuff I'm doing with hardware controllers and stuff is a laugh and it fires you up creatively to make these cameras do more because its trying to bridge these gaps and get more out of less.
And do it for the benefit of everyone.
If I was developing stuff to control REDs etc I'd be far more po faced about it and undoubtedly looking to make money off it.
You and I haven't actually met but the first time I came across you - and then in turn discovered this blog - was at the Convergence event in London about six years ago. You were there, Bloom was there (and already seemed to me to be interested in commercially riding the wave of what was happening if you know what I mean) and I remember you had a Teradek hdmi transmitter that could do the at the time magical feat of streaming live to an iPad. At that point you were already eschewing the 5DMKII in favour of the GH2 as it was more interesting and more versatile and cheaper etc for young film makers whereas the vibe even then was heading towards the 5DMKII being the entry point and wanting to go up in price from there. 
So, whilst I understood where people were coming from on that C200 thread, in terms of how people view this stuff now compared to then where a C200 is now almost like a base point then it really felt like a shark jumping moment reading it.
It felt like punk then. 
It feels like prog rock now.

Its the close season so I won't be in a stadium for a couple of weeks yet to do an exact test but I'll offer you this in the meantime which I've just done.
This is a picture of my Philips Hue LED strip light in my kitchen taken with a Fuji X-T2
One of these images is shot with the electronic shutter and the other one is shot with the mechanical shutter.
For a bit of actual real world perspective on this camera threatening scenario, also here are a random collection of shots I've taken with the X-T2 at a football stadium with LED boards around the pitch.
If you point any camera with an electronic shutter at an LED light source its likely to have more bands than a music festival.
The fact that you can clearly see it in the EVF while you are taking the shot should alert you to the fact that you need to switch to mechanical.
Did I shoot those football images on electronic shutter? 
Nope.
Not a fair test then?
It is because its do with where these boards will actually be and hence an indicator of the real world potential of this issue.. They're not exactly on top of anyone and being the only source of illumination.
But there is a much bigger reason why its a fair test of real world use of a camera with electronic shutter for sports.
The reason for that is in the third picture. If you are tracking action at 1/4000th shooting at 15fps the rolling shutter is horrendous with an electronic shutter.
Its a far bigger problem.
And a very, very real one.
Because it will be affecting far more than 2% of your shots and thats why you just wouldn't shoot with an electronic shutter in the first place.
Anyway, here is an article from Richard Butler on DPReview explaining why you should use mechanical and not electronic shutter when shooting at high shutter speeds with artificial light. It was six weeks ago though so, hey, maybe the rest of the camera industry has made some massive leap in the meantime meaning only Sony have a problem now.... 
Otherwise why would it be such a shock horror revelation when you've already wrote a piece about it being 'a thing' ?
https://***URL removed***/articles/5816661591/electronic-shutter-rolling-shutter-and-flash-what-you-need-to-know/2

Its the calibration target Neatlab provide for creating the profiles.

I don't use the app myself but have you tried using the ones created by users of the still version?
https://ni.neatvideo.com/download/noise-profiles/cameras/panasonic
 

Richard and Lars are great on the technical side at DPReview. Much respect!
The rest of the team come across through their work as clickbait obsessed hipsters.
Someone else I consider a friend, Mattias, is on a really negative anti-video path right now and I just hope you snap out of it.
I just bought a Leica T for stills because of your YouTube channel. You're an inspiration and a huge talent. Why do you have to sour it by being devils advocate all the time?
A handy test subject. I have the Hue LEDs as well and they are hell for banding. Very fast pulsing refresh rate to generate colour.
So the fundamental tech is similar to the LED advertising boards.
Exactly, you see the problem, and switch.
That's why we need global shutter to come of age... taking ages!
If on Richard had some input on the Jared-based article... It could have been a great lesson on when to shoot electronic, when to shoot mechanical, instead of a 'let's slam an innovative camera for clicks' piece.
The only way Sony could have avoided the shock-horror coverage is to put a global shutter on there and it just isn't feasible in 2017 with the current expectations for low light performance, colour, battery economy and so on.
 

Its the close season so I won't be in a stadium for a couple of weeks yet to do an exact test but I'll offer you this in the meantime which I've just done.
This is a picture of my Philips Hue LED strip light in my kitchen taken with a Fuji X-T2
One of these images is shot with the electronic shutter and the other one is shot with the mechanical shutter.
For a bit of actual real world perspective on this camera threatening scenario, also here are a random collection of shots I've taken with the X-T2 at a football stadium with LED boards around the pitch.
If you point any camera with an electronic shutter at an LED light source its likely to have more bands than a music festival.
The fact that you can clearly see it in the EVF while you are taking the shot should alert you to the fact that you need to switch to mechanical.
Did I shoot those football images on electronic shutter? 
Nope.
Not a fair test then?
It is because its do with where these boards will actually be and hence an indicator of the real world potential of this issue.. They're not exactly on top of anyone and being the only source of illumination.
But there is a much bigger reason why its a fair test of real world use of a camera with electronic shutter for sports.
The reason for that is in the third picture. If you are tracking action at 1/4000th shooting at 15fps the rolling shutter is horrendous with an electronic shutter.
Its a far bigger problem.
And a very, very real one.
Because it will be affecting far more than 2% of your shots and thats why you just wouldn't shoot with an electronic shutter in the first place.
Anyway, here is an article from Richard Butler on DPReview explaining why you should use mechanical and not electronic shutter when shooting at high shutter speeds with artificial light. It was six weeks ago though so, hey, maybe the rest of the camera industry has made some massive leap in the meantime meaning only Sony have a problem now.... 
Otherwise why would it be such a shock horror revelation when you've already wrote a piece about it being 'a thing' ?
https://***URL removed***/articles/5816661591/electronic-shutter-rolling-shutter-and-flash-what-you-need-to-know/2

Its the close season so I won't be in a stadium for a couple of weeks yet to do an exact test but I'll offer you this in the meantime which I've just done.
This is a picture of my Philips Hue LED strip light in my kitchen taken with a Fuji X-T2
One of these images is shot with the electronic shutter and the other one is shot with the mechanical shutter.
For a bit of actual real world perspective on this camera threatening scenario, also here are a random collection of shots I've taken with the X-T2 at a football stadium with LED boards around the pitch.
If you point any camera with an electronic shutter at an LED light source its likely to have more bands than a music festival.
The fact that you can clearly see it in the EVF while you are taking the shot should alert you to the fact that you need to switch to mechanical.
Did I shoot those football images on electronic shutter? 
Nope.
Not a fair test then?
It is because its do with where these boards will actually be and hence an indicator of the real world potential of this issue.. They're not exactly on top of anyone and being the only source of illumination.
But there is a much bigger reason why its a fair test of real world use of a camera with electronic shutter for sports.
The reason for that is in the third picture. If you are tracking action at 1/4000th shooting at 15fps the rolling shutter is horrendous with an electronic shutter.
Its a far bigger problem.
And a very, very real one.
Because it will be affecting far more than 2% of your shots and thats why you just wouldn't shoot with an electronic shutter in the first place.
Anyway, here is an article from Richard Butler on DPReview explaining why you should use mechanical and not electronic shutter when shooting at high shutter speeds with artificial light. It was six weeks ago though so, hey, maybe the rest of the camera industry has made some massive leap in the meantime meaning only Sony have a problem now.... 
Otherwise why would it be such a shock horror revelation when you've already wrote a piece about it being 'a thing' ?
https://***URL removed***/articles/5816661591/electronic-shutter-rolling-shutter-and-flash-what-you-need-to-know/2

With regard to audio, I think the innovation has largely come from the music side of the fence rather than the broadcast/film side to be honest.
From that point of view, there have been numerous 5DMKii moments.
The Portastudio was one, the LinnDrum was another, the Akai S900 sampler, the Atari ST with Cubase, the ADAT digital multitrack, the Yamaha 02R mixing console and of course SoundTools as it was and ProTools as it became.
Arguably, these were all much bigger game changers than the 5DMKii, particularly the latter ones as they changed the entire industry at the high end as well as the low.
The 5DMKii let you make images that looked somewhat  like the movie studios could do, the audio products didn’t just allow you to produce audio that sounded like a real recording studio did but actually became the real recording studios.
The nature of broadcast and film is intrinsically more conservative.
I’ve been involved in product development for one company where it seemed inconceivable why the BBC, for example, would spend five times more for something that did less and then for another company where it seemed inconceivable to me why they would spend five times more on what we were proposing to them than they could on something similar they could get from a music store.
Some days you’re the statue, some days you’re the pigeon !
The problem with audio developments for music is that it plateaued and then became a race to the bottom price wise from which it will never return. It means that the innovation is now in the cost reduction and arguably why not because there really isn’t many more places for it to go in terms of functionality or quality. Which is good for us!
As all of this rapid development was going on in music technology, say between 1982-2000, it was like the wild west at times with companies coming from nowhere with bombshell products that either drove their competitors out of business or drove them on to greater heights.
And the vast majority of these companies were small ones (generally created by musicians who had to invent what it was the market didn’t have for them to buy), which made them lean and agile.
Over time though, the eating each other’s lunch routines often combined with little, no or reckless business practices (and ESPECIALLY poor cash flow from over ambitious product developments) left them vulnerable to being put out of business or, more usually, being bought out by the major manufacturers who were predominantly large Japanese companies. The likes of Oberheim (Yamaha), Linn (Akai), PPG (Korg) and Sequential Circuits (Yamaha again) all went that way and the innovation generally went no further for them once they were under the wing of those bigger manufacturers.  Eventually freed from their ‘consultancy’ deals, most have resurfaced as boutique operations serving an ever more niche market.
If I look at someone like Fairlight and my relationship with them as an example of what happened to an innovative company, its quite informative. I went from being an awestruck kid when they brought the CMI out, to then working for a manufacturer who basically drove them out of the sampler business they’d created, to eventually working on OEM development with them when they transitioned to broadcast. In the subsequent 20 years they’ve changed hands countless times and are now just a tab on a piece of free(ish) software. Its hard to grasp such a transition for me but for anyone who’s too young to know what the CMI was, its the equivalent of RED’s RAW pipeline ending up as a free download in the Sony PlayMemories store for your RX100.
Lexicon are exactly the same. From making jaw dropping almost other worldly products to being gobbled up by a company that was making most of its money off providing car stereos for GM etc and Lexicon was reduced over time to being included in every low end mixing console and software bundle that it could be licensed to. The company that bought them has done the same to every company its bought and I can’t even dignify them by mentioning their name even 20 years after them destroying the company I worked for !
So there’s just no incentive there for anyone to be innovative in music audio anymore as its littered with similar stories and the ones left standing wouldn’t see the amount of volume in broadcast/film that they need to press the button on the mass production runs they now need due to how cheap everything has to be now.
The company that COULD do it are the much maligned Behringer. 
If you look at something like the X Air XR12 digital mixing console and see what they can knock out for £239 retail (inc VAT!!) then it doesn’t take a genius to see what they could do against Sound Devices if they had the inclination but there just isn’t the market there. Because, believe me, they wouldn’t have blinked if there was.
So, unfortunately, I don’t think we’re going to get that 5DMarkii moment and the innovation such as it is will come from individuals themselves looking at products from the music side of the fence and modifying it themselves. Like getting that X Air XR12 and powering it from Sony NP batteries to make an extremely capable digital field mixer and recorder for £269 (including the £30 for the bits to do it) or being a smartarse and using cheap midi controllers to create remote focus and control systems for Panasonic cameras for under £75  (ahem!).
Because music audio had its numerous 5DMKii moments a few years ago there is a backlog of a ton of cheap stuff that flies under the radar for film makers that is waiting for them if they look for it. 
 

For those that don't see it, it's on me to explain it better:
DPR run sponsored content and advertorial, which is often thinly disguised by appearance aside from the tags lost at the bottom of the page DPR are paid by Canon for the sponsored content DPR are owned by Amazon, with the end goal to sell more cameras Some people may not mind this or even see the implications but you have to appreciate that when you take money from someone you are beholden to them in terms of maintaining a good relationship. It's really that simple.
In order to maintain the good relationship and carry on going to the PR events for new camera releases, the unspoken rule is -
Don't criticise too heavily (6D Mark II) Favour the manufacturer who is paying the most Answer to Amazon, after all they are the owners and expect results There are two issues here, maybe some confusion as to how they relate.
Let's look at the 6D Mark II coverage on DPReview first.
For nearly every other site and blogger (including myself) the lack of 4K was big news.
This camera warrants strong criticism for lacking good video and the crowds agree - see the massive Reddit thread, forum reactions, Kai's video even and ironically Jared's video for clicks. They all criticise it for the lack of 4K.
DPR ducked it.
There is some tiny line about it and it's glossed over, but it warranted an entire article on the lack of 4K and the soft 1080p and moire.
Why? Because at least 1/3rd of the potential customer base for this camera is expecting it to shoot very good video.
Some may not care. So what? That's a moot point.
The crux of it is, DPR's editor is trying to maintain the close relationship with Canon's PR team, to keep the sponsored content onboard.
So the criticism is watered down compared to EOSHD and others.
This isn't hard to understand.
And now to the crux of what I am saying about the A9...
Did the A9 warrant a front page sticky post about banding?
A big long post warning sports shooters to be careful of the electronic shutter?
Yes it did.
But the 6D Mark II warranted one about the shit video mode, and only the A9 got it in the neck.
And that to me is deeply suspicious.
Then there is a separate issue with the A9 coverage and that it is the research is flawed clickbait and blown way out of proportion.
The problem with Jared's clickbate in the first place is that he only tested the electronic shutter at the football match and not the mechanical one.
Any talented pro would have immediately changed the settings at the first sight of banding and had the technical knowledge to understand what was going on immediately.
Had he done so he'd have got a different result and I for one would be interested to see if it fixed the problem, which would have made for an entirely different kind of article and video.
Instead we are none-the-wiser.
How is this useful?
The only take-away we have from the article on DPR is that the A9 has a serious banding problem.
... and that sports shooters who are the main target audience for the Sony camera should think very carefully about not buying it.
This is absolutely disastrous PR for Sony and a real trophy piece for Canon in persuading sports shooters, their key pro customer, to stay with the 1D X range and L lenses.
Sony's engineers and innovative technology does not deserve this kind of publicity.
Electronic shutters are the future and have huge benefits.
Sony should be rewarded for innovating.
Instead they are scolded for it and Canon get of the hook completely free for having a lazy, un-innovative product that doesn't even try. No electronic shutter. No 20fps. No 4K. No 5 axis stabilisation. No EVF.
And it doesn't end here...
The two most-read A9 pieces on DPR in the past 2 months have been about why the main target audience for the camera should think twice about buying it instead of a Canon. What's worse is both were flawed pieces of writing and research.
The article about a Canon pro making a hypothetical switch was pure tosh. They priced all the Canon gear way too low on the used market and then claimed it would cost 10's of thousands of dollars for pros to sell-up and switch lenses, even though all pros are different and not all of them need to suddenly replace $30,000 worth of telephoto lenses in order to pick up an A9.
The article was out of touch because for many pros, making the switch is as simple as buying a few lenses and the body, or using their existing Canon lenses, depending on their line of work.
And the article didn't even apply to enthusiasts... it completely forgot about them and again the main take-away from this pro-Canon propaganda was...
---
So when, dear DPR, is Canon going to get it in the neck in the same way? I'm not fucking holding my breath!
You all saw the Canon Rumors poll which is in no way a video-orientated site and very much full to the brim of photographers...
Nearly 40% of these photographers said they wanted 4K video.
So if you look at the narrative at DPR it is out of step with the people...
They're not addressing the negative side of Canon's products in the way that I and others expect them to do as reviewers.
When I tried to do it in my 5D Mark III review, it was the beginning of the end for me as a writer at DPReview...
I know it first hand! I've had account managers from retailers come up to me out of the blue at trade shows saying, we agree 100% with what you write about Canon, but in no way can give you an affiliate account because Canon are one of our biggest manufacturer accounts. With all due respect to Mattias (and I have a ton), You're not the one who has been forced out of DPReview by Barney who find my truth-bearing a bit inconvenient.
I know what I am talking about here and it's rude to suggest I don't.
So please bear with me... and try to appreciate the wider picture. It is not just about one article.
The least Jared can do is be more balanced and creative....
It's obvious that a 7700hz refresh rate light source interferes with a rolling shutter. 7700HZ!! So give us a fucking solution!
There was one right in front of him on the A9 and he chose to ignore it!
Don't dress it up for clicks and make a big attention grabbing headline out if it as if to paint the A9 as broken for all intents and purposes.
Otherwise the manufacturers won't bother innovating and everything new they introduce will be as conservative as possible so to avoid sales-killing problems like this.
Also let's see DPR readdress the balance to...
1. Test the damned mechanical shutter. Take Jared and his A9 back to that stadium and get him to do what any pro worth their salt does on encountering a problem... Use an alternative method available right in front of you! It's not hard!
2. Tell us how the mechanical and electronic shutter compare with regards to the banding so we can see how the solution stacks up!
3. Test head to head vs the Canon and Nikon pro DSLR cameras and see if they have banding too. Some pros claim they do. So let's see it!
4. Give Sony some fucking credit for being innovative... 20fps!! 4K!
Then when it comes to the 6D Mark II which underperforms by 5 years with regards to video, THAT is when the headline is warranted.
That is a proper fucking headline.
This effects each and every single person who will buy the camera, not just the ones who happen to use it at a sports ground with 7700hz ad boards without realising that maybe they should avoid using the electronic shutter! DUH!

So as I've hinted more than a few times in the other thread, the discovery of the Cinelike D and other bits and pieces for the GX80 etc was actually a bit of a happy accident while I was trying to do understand the Panasonic wifi stuff for something else.
And here is that something else.
Well at least a prototype of it but it is fully functioning and will just be finessed a bit more.
Basically, its a wireless hardware remote for the G series cameras that operates over wifi and can currently control record start/stop, shutter speed as well as aperture and focus if you're using a native lens, including a single shot AF switch.
For the non-Cinelike D cameras that can now be hacked to have Cinelike D there is also a dedicated button to toggle it on and off so you don't need to mess about with browsers and computers or smartphones anymore.
Focus and aperture control are done on a joystick and everything else is switches.
I'll be putting a layer switch on so that it can be toggled back and forth to a different control mode for ISO, WB and other stuff.
As this is the prototype it is nowhere near the finished piece and it will be reduced in form factor to just be about the size of the control board. Power is by any USB source so there are billions of options.
There is a lot more finessing and feature enhancement to go on with regard to the focus control (and yes, I know exactly what you'll all want it to do !) but the hard part is done now.
It does support the display of the values on a screen and I'll be sorting some options out for that.
The purpose of this gadget is primarily for use with a gimbal but it can also be really useful on a tripod bar for anyone shooting live event stuff. For cameras with inbuilt lenses I'm going to add a zoom mode on the joystick.
A very quick very rough demo so you can see it in action.
Any lag you might see between me operating the controller and the camera video is just a sync issue between me throwing the two recordings on very quickly  
 
 

Maybe they wanted to stay nimble in case Vlad rode in on a bear?

I was referring to being a kid in England in the 1970s.
We frequently ate soil.

A patriot in his little front garden, which he thinks is a battleship.

This man is a complete and utter patriot.

The Expodsic (or at least this £13 'equivalent' version) is a good cheap alternative to an incident light meter as well as being a quick and reliable way to set white balance.
You just hold it over your lens whilst pointing to the light source that is falling on your subject so and when the camera meter hits centre then thats the exposure set correctly as the camera expects it to be because it is seeing 18% grey through the Expodisc.
Its quite interesting to see how that can look on screen when you then take away the Expodisc and on the histogram (especially with cinelike d) as it is definitely not ETTR but sure enough with zebras at 100% the peak highlights are only just pinging the zebras.
I wouldn't say its a definitive way to expose but its a very consistent starting point from which to make the decision and as its measuring whats falling on the subject rather than whats reflecting from it then its more appropriate IMO.
Kicks arse for white balance setting.
 

Maybe they wanted to stay nimble in case Vlad rode in on a bear?

Yeah, sure it was