kye

I started using Lightroom to catalog and manage my footage but (IIRC) as soon as I moved from the 700D to the XC10 that stuffed it up because Lightroom wouldn't even recognise the files existed, so I think it depends on what file formats you're using. I can try it for you if you tell me what file format you're interested in using.

Here goes nothin'........ Camera #2

I think Kai sums it up well at the end of his review.....

They must have heard about the $150 camera challenge and wanted to cash in!!!

I'd suggest that a gorillapod is probably only required if, for example, you weren't going to be operating the camera, or that you wanted a steady shot that you couldn't do yourself if either it was from a funny angle you could only just reach or perhaps you wanted a time-lapse. Beyond that I'd suggest that a monopod is probably a much better choice

Truly outstanding! Well done @BTM_Pix !!!

Gorillapods get a lot of press from vloggers, but keep in mind that they are basically a consumable item because the friction on the joints wears out and there's no way to re-tension them. If you're interested in a tripod then get a tripod, but if you're frequently mounting your camera in a tree, on slippery rocks, on handrails, straddling fences, and other places that a traditional tripod won't cut it then by all means go for it. I have a love/hate relationship with the 5K gorillapod I own because it's pretty bad at most things, it's just that for mounting a camera on top of a fence everything else is literally useless. If you're concerned about sand then you could always take a few cheap plastic cups and put the legs in them when on the sand? I guess it depends on wet vs dry vs if it's windy, etc..

Not to mention that a touchscreen interface becomes somewhat useless.

I'm probably the last person to ask about such things, I own a tripod and a monopod which are both extremely cheap, which extends not only to their purchase price but also to their performance! In terms of table-top tripods, it depends on the size of the legs you want. I've used the larger of the Manfrotto Pocket tripods, but they're basically just fold out flaps on a plate that allows you to angle the camera setup or level out uneven surfaces, so they're ultra compact but not that flexible in terms of height. For something larger I've seen the Manfrotto Pixi get good reviews, and there's a more recent model of it that IIRC has some additional features, so that might be worthwhile having a look at.

Maybe a compromise is to be had where the legs are cheap and almost disposable but the head is decent quality so you can do pans/tilts smoothly?

Maybe someone will invent a connector that allows the screen to be mounted in either a tilt or floppy type arrangement. That would be cool. I'd appreciate having the option depending on what situation I was in.

I think screens are an impossible challenge. You either build it so it tilts up and down or so that it flips out and then tilts. There are pros and cons to both designs, and neither design helps that much in bright sunlight. I've had times when the flippy screen on the GH5 was a PITA because I wanted to tilt it up but didn't want to basically double the width of the camera. Other times I've appreciated the fact I could angle the screen more than facing directly up or down, and occasionally I've used it in selfie-mode. I also routinely use the EVF because it's not bright enough for full sun. At our current level of technology it's basically an unsolvable problem.

Out of Canon or Sony I picked the 10-bit internal recording of Panasonic. But the Canon colours are just lovely and every time I see something like this I remind myself to go and try to reverse-engineer their colour science!

It's a POV cam from someone stuck inside working on a follow-focus who really wants to go outside... with ADHD.

Setups that are larger and more complicated definitely have their downsides, that's for sure...

Thanks. There was nothing interesting for me in the discounts, but I found something else I liked.... *sigh* I thought I'd just have a quick look for 85mm lenses, and I found some Rokinon 85/1.4 lenses. Then I couldn't remember what the killer lens was from @BTM_Pixs advertisments for alchoholism lens tests, and for the 85mm lineup it was..... and the 24mm tests for a little triangulation.... So this leads me to the question - is Rokinon 85/1.4 the same as Samyang 85/1.4?

The problem with big / bright screens is battery life. All those nits have to come from somewhere!

Sorry to hear that your lens broke - my FD 70-210 is a lovely piece of kit and I'd imagine your FD 35-105 would have been similar. It will be interesting to see how well the Sigma holds up

Great work! What a classic moment! That's hilarious!!

I think it's about outcomes and priorities. If you're a working pro then a lot of it (or maybe almost all of it) is about getting the job done and getting paid and feeding your family, which is just as relevant a goal and perspective as any other, including the pursuit of art. My goals are to have fun, shoot stuff for my family, and learn new things, so I have minimal time while shooting (because I don't want shooting to be too impactful on my experiences) but I have heaps of time in post to play with footage because I have no deadlines or expectations. If you can get what you want SOOC then that's perfect because it's more efficient. Film-making has more aspects to it than anyone can possibly master, which is why it's always best to focus on the things you're good at and only work on the things that you're not good to ensure they're acceptable. Working in post is a pretty narrow aspect of the whole picture, so even though I'm into it as almost my main focus, I can understand why relatively few people overall give it the attention that I try to.

Yep, download links are still beta and main page still has the beta announcement too.

I do, but that's not what I was using. I think the tools I was using weren't precision enough... Lol.. not quite. While strictly not a cinema camera, it has been used in quite a number of Hollywood films, and the lens I was trying to attach to it is a genuine cine lens. Its actually a bit of a pity because I haven't seen anyone do it before and I have been wondering what this combo would be like for some time now, and kind of used this competition as an excuse to break things apart and give it a go.

Hahaha... the mystery of the dead camera!! I tried it again and still no joy, and I don't have the stupid obscure-shaped screwdriver to take it apart. I think I might have cracked a circuit board trying to screw the new lens into the mangled plastic of the old mount.

I was mucking around with camera #3 but now it won't turn on... Turning up my nose at the idea of "fixed lens" I'd almost cut away enough of the lens mount casing to get the right flange distance. I'd even been super careful to plug up the sensor so it didn't get metal filings in it and everything! I think I must have knocked something with the side-cutters.

Not necessarily.... That's camera #1. I'm still yet to shoot with camera #2. Stay tuned.