Mmmbeats

When I walk around London I see small crews at least a couple of times a week, doing web-based stuff, factual, doc, fashion, whatever. I usually like to have a peek to see what they are shooting on. Lately there have been a few Ursa's and a few FS5's floating around, but still, and this has been the case so far as I can tell for many years now, I mostly see C100's and C300's (maybe C200 now as well?). I don't know the sales figures at all, but from the evidence of my own eyes I would say that Canon has a *massive* market advantage in the entry-level pro sector, and as such has much more motivation to protect it than it's rivals in prosumer video. I actually think their policy probably makes perfect sense for them (while being a bit of a shame for us).

Yes, 120d is reportedly 20% brighter. I assume the 300d is brighter still though. I've been disappointed with my Boltzen 30w. Heavy for what it is, and low output.

I've not used either, but two fixtures that come up a lot for this sort of thing are the Aputure C300D, and the RAYZR 7. https://www.aputure.com/products/ls-c300d-1 https://www.rayzr7.com/

You've given the marketing department a tough task - selling a photo-oriented camera with a 10 megapixel sensor!

The ease of use of the GH series is a real winner in fast-moving pro environments. I'd often take that over other factors.

Ah, I see. That's pretty cool.

Yeah, definitely works going a little bit faster from time to time (I shoot 25fps at 1/50 ordinarily). 1/60 I doubt it makes much difference (possibly even nicer to the eye sometimes in fact). 1/80 can just about work. 1/100 is already too much for me for 'average' levels of motion. Was forced to shoot some camera B stuff above this recently (newly purchased body, didn't have an ND I could use) - the footage just didn't cut into the piece at all and couldn't be used. True too that if there's no motion then the ND comes off and it's any number you like on the SS (if I remember!). ETA: Don't like slower though - seems 'effecty' to me.

I don't quite get it. The main point of 180° shutter is to emulate typical film motion blur, no? Switching to 1/200 SS is going to reduce the motion blur and leave you with that (to my taste) yucky video-ey feel. If so, the idea is dead in the water. Or have I missed something?

Can you pull multiple exposures off a sensor and still achieve 180° shutter?

The 4/3 lenses are the reason I see it as a realistic possibility rather than just an idle want. Of course they would be clunky and pricey, but for many pro shooters they would still be a godsend. A quick aside about light and portable setups - I love it that the M4/3 systems can do this, but I use it as an *option*. Sometimes it's great to be nifty, others it's better to utilise the functionality of adapted lenses, rigs, etc. and go a little heavier. Different tools for different jobs. I value the versatility overall.

I totally agree with the need to take a fresh look at manufacturing a general purpose fast zoom for M4/3. It's frustratingly just about the only thing I can't do within the system. I'd like to be able to wander around (chest rig or monopod) following live-action as it unfolds, with a zoom that gives me slightly wide to slightly beyond portrait, and shallow DoF options for when I choose them. This is all possible with a plethora of f/2.8 lenses at 35mm, but sadly options are very compromised (or non-existent) at M4/3 where it would require f/2 or greater really.

Focus peaking is a great tool. I use it a lot for live events, etc., where you have to focus on fast moving things. But it is a bit hit and miss to be honest (my experience is with the GH4. It doesn't always detect focus, depending on conditions (sorry I can't be more specific, I haven't quite worked out what factors make it more likely to work), and even on a high setting it isn't accurate enough to set focus for a very shallow dof. I'm not trying to put you off using it, just mentioning some of the limitations. Best used in conjunction with other tools in my experience. Btw - monochrome preview is an excellent partner tool with peaking.

Just bumping this a little in case anybody does want to have a listen to my errant file. My photography is way further advanced than my sound recording - something that I must address. So if anybody has any insights into what particularly might have gone wrong here, I'd be eager to hear them. Particularly paging @IronFilm

Here's the clip. Was recorded on Rodelink radio mic straight into the GH4 (I have a pre-amp which I foolishly didn't use on this occasion). I believe that gain was set to -20db on the transmitter, and -12db on the camera mic level. The limiter in the camera was set to 'on'. audiosample.wav

I've messed up an audio recording on a job I did recently. I'd like to get some opinion on whether it is recoverable or not. Would this thread be an okay place to post it up? Actually - scrap that - I've just heard we're doing a re-shoot. Not nice to have that fall on my head, but to be fair, the client is being really good about it all. It's a long-term client who I always deliver good work to, so I think they just appreciate it as a rare mistake. It helped that I just put my hand up straight away and said I'd messed up actually ?.

Those are great ideas. That thorlabs device is incredible, and just goes to show that lots of people end up trying to engineer solutions to similar problems. I'd feel way too self-conscious with that hanging off the end of my rig though. Plus 60mm max filter size is too restrictive for me.

So this is probably crazy / impossible, but anyway - can anyone think of a way of implementing a system for quick swapping fixed nd's (with the magnetic mounts). I'm thinking of some kind of pouch that sits on the camera cage itself, and allows for a one-handed swap in a matter of seconds?!?!?

And just to state the obvious, in case anyone had overlooked it, you could also use a 'smart' adaptor (with electronic aperture control but no optics) for the same reach advantages, but at a heftier price.

I feel like a bit of a 'dumb adapter' myself, for only just realising the potential of the 18-35 on a non-speedbooster adapter ?.

Useful info, cheers. Yes, after giving it a bit of thought, I'm now leaning back towards the GX80. Unfortunately the GH4 will have to go to part finance the GH5S (it's all a bit complicated!). Useful advice in the rest of your post, thanks.

I'm all manual focus, no auto, would that work with the 14-35? What does BiF stand for?

Thanks. Well, yes, as well as the upgrade (GH4 ---> GH5S), I'm also looking for a backup/ b-roll/ carry-about camera. I had my mind set on a GX80 (GX85 European naming). Can't believe I hadn't considered the LX100. Am now reconsidering.

Nice. But I think the 24 - 70 L looks superior for what ends up being a similar range. Totally agree about getting a non SB adaptor. Can't believe I only just considered it. Looks like a nifty compact. What thread were you discussing it on? Thanks. Yeah, that pretty much confirms my list really. GH4 / 5 also have Ex Tele Conversion mode, which extends view by cropping in to the sensor. Can get a bit noisy though. I think there's only a limited version of that on the GH5S ?. Thanks, yeah, I had listed the 12-40. Strong contender.

For events and fast-unfolding coverage I currently use the trusty Sigma 18-35 f/1.8, and a Samyang (Rokinon) 85mm f/1.4 on a GH4 with Speedbooster (S version, similar to Ultra). That combo has served me well, and I'm happy with just about every aspect of using them, except - lens changes is now driving me crazy. It's an inconvenience at best, and at worst means either making creative compromises or missing vital shots. I'm looking for a general (widish to portrait or even tele) zoom to take their place. I'm upgrading to the GH5S at some point soon, too. I have the following requirements: Manual focus (no focus-by-wire) Constant aperture Minimum f/2.8 (f/2 or more even better) Weight, size, not really an issue (within reason!) Zoom range replicating as much of my current available field of view as possible Apologies in advance if the following contains mathematical or conceptual errors! For reference, my current set-up covers: 18mm - 35mm on the Sigma w/SB, so that's ≡ 29mm - 56mm (FF), and 85mm on the Samyang w/SB ≡ 136mm So, here's some lenses that' I've considered so far: Olympus ZUIKO 14-35mm f/2.0 w/ 4/3 adaptor ≡ 28 - 70 This is an out-of-production FOUR THIRDS lens that I got interested in. It's the only viable f/2 zoom I could find. Bit of a scary purchase though, as it is both expensive, and out of production (there are a few around though - B&H lists it as new!) Sigma 18-35 f1.8 w/ Active adaptor ≡ 35 - 70 Then I had the inspired idea of taking my Sigma off of the Speedbooster and sticking it on a regular active EF-MFT adaptor. That would give me extra reach at the cost of some light sensitivity (not such an issue moving to the GH5S), and save me a ton of cash compared to buying a new lens. Samsung16-50mm f/2 -f/2.8 S w/ (sadly non-existent) adaptor ≡ 32 - 100 This breaks my 'constant aperture' rule, but I'd be willing to make an exception as it essentially adds in a bonus f/2 where ordinarily there would only be f/2.8 through the range. Despite being theoretically possible, I don't think there are any Samsung --> MFT adaptors out there ?. Olympus M.ZUIKO PRO 12–40mm f/2.8 (native) ≡ 24 - 80 On to the more obvious choices. Nothing wrong with this lens, of course. Only thing holding me back is the f/2.8. I'm not one of those people that plasters everything with shallow DoF shots, but I like to have (and have become used to having) the option when it enhances the production. Canon EF 24-70mm f/2.8L II w/ SB ≡ 38 - 112 I think this is currently my favourite option, because I like the zoom range, though obviously the f/2.8 limitation is irksome. So, any thoughts? Any lenses I've missed out? Am I going about this all wrong? Does one of the above stand out as a winner?