eatstoomuchjam

Their strategy is similar to the one that I've been taking for a little while now - I used to hard mount more things to the cameras, but now I'm doing more with nato mounts and arri rosettes, but still keeping things compact. I've also been experimenting a little bit with some of the newer locking quick swap stuff - hawklock from Smallrig and the spider crab stuff from ifootage. They're both alright. Their setup is really clean/nice, but if it's shown cabled up at some point, I missed it. That's the biggest problem I've had (and still haven't solved in a way that I find satisfactory) in moving away from hard mounting my rig/parts. That one is gonna need an HDMI going from the camera to the monitor as well as the power cable going from the battery to the monitor. Their short type c cable shouldn't be too intrusive when plugged in, but the rest of the cables can get/feel a bit obnoxious.

The $700 price tag in the US is already there!

As a counterpoint, their marketing seems to be working, given that they are now reporting big delays due to higher-than-expected preorders. https://nofilmschool.com/panasonic-lumix-l10-delays Of course, that could also be marketing and/or indicative that they just didn't make many in the first batch to force Fujifilm-esque shortages. This is somewhat true, I suppose, but Sony is still announcing/releasing 4K full frame MILC cameras and people are buying them. Nothing says Panasonic has to release 6K or 8K in a tiny body. If Panasonic released a camera in the GM5 body with the sensor from the GH5 or GH5s for $700, I'd be all over it. In fact, GoPro is releasing an action camera with terrible ergonomics, a smaller sensor, and a 1" mount for $700 and there's all kinds of buzz/excitement around it. If GoPro can cool an 8K sensor in an action camera body, why not Panasonic in a MILC body with 2x the volume? How long can the new GoPro bodies record 4K without overheating? Bet it's "until the battery dies."

Not quite. It's announced, but not available yet, last I checked - unless the latest Resolve 21 beta included it. Though if there's really something to inclusion of additional near-infrared wavelengths making the subtle difference for skin tones is true and if BMD's ir cut filter removes that wavelength, there would always be at least some difference. That said, a lot of the way that guy describes things remind me of someone explaining why they think their $4,000 toslink cable is giving richer midtones than someone else's $30 toslink cable. There seems to be a mix of some genuine understanding of things mixed in with pseudo-scientific bullshit. Regardless, even if were all 100% true and based in pure science, a decent colorist is a big equalizer for a bunch of differences in the SOOC image. 😅

I'm not sure about how to answer parts of your question, but I would suggest that if you want IBIS, but to be able to fully lock down the sensor when IBIS is off, some of the Nikon cameras do that.

The trailer is gorgeous. Great job!

He's also harmful in that I've dealt with more than one director who said that we wouldn't be taking the time to light things on set and referenced him. "We're going to do this more like Malick - natural light only, no lighting." "Right, but have you seen most of his films? They don't look very good." "That's the aesthetic I'm going for." "Cool, well I'm out then. Wish you the best with your film." (Their shorts, when done, made you long for a Malick film)

It's a good start! Are you targeting a specific film stock to emulate? It seems like you're aiming for negative film now since you're talking about wide DR. Positive film actually has a lot more limited DR, generally speaking. The color images, while nice, don't really "feel" like any film stocks that I know which seems a little more digital. The black and white images, for me, feel like something shot on a modern t-grain film (T-Max, in particular). I think that's a combination of the sharpness of the image, the contrast applied, and the very fine grain. I probably wouldn't think of it if not paying close attention, though!

This sort of question comes up often in a photo context on GFX forums and the most correct/accepted answer to it is "it doesn't matter." And any discussion of that sort of thing is going to quickly devolve into arguments about how bayer sensors work (hint: 4K from a bayer sensor isn't 4K of actual information and is actually closer to 1.5K-3.5K, depending on who you ask). But the short answer is "that depends on the lens, but some do for sure, some do near the center and not at the edges, and some definitely do not."

As of now, RF mount is the only one they're promising, but who knows after that? I'll just need to grab one quick before Canon's lawyers get to them. 😅

If Megadap's website/YouTube is to be believed, sometime this month or next, their M mount autofocus adapter (M2RF) will be released this month sometime. 🤞

I now think that calling it the L10 was also a mistake. I watched the Micro Four Nerds video about it earlier anud the camera looked very big in the presenter's hands. I looked it up the Panasonic L10 on cameradecision and compared it to some other cameras and was outraged by how much bigger it was than the LX100. Then I noticed something about 10 megapixels and realized that the Panasonic L10 was a 10 megapixel Micro 4/3 camera from 2007. The Panasonic Lumix L10, on the other hand, is quite small. Was L10 such a great name that they couldn't change it after somebody pointed out that they already had a camera called the L10 and there would be some confusion from people who looked it up?

There are a bunch of weird 🔨 limitations on the R6 V. Nowadays, I'd expect a $2,500 video-centric camera to have shutter angle, at least. I'm not sure if a dedicated timecode port is a reasonable expectation, but in my mind, it should have one. Those would go al long way to making it a proper B cam to one of the cinema line cameras.

It looks like a solid upgrade if you're in the Sony world and want your stills-first camera to have a bit better video. 67 vs 61 mp is 🥱. Internal video codecs are industry-trailing (H.265/H.264 only). The standout feature, for me, is 4K DGO video with only a 15ms readout - but if that were the only spec that I wanted, I wouldn't have sold my C70 (and it could do it in raw). Wish they would have done an 8K DGO - would gladly take 22-28ms readout speeds for the extra DR on scenes without fast movement. This seems to me like a camera that's designed to throw a bone to Sony shooters who might otherwise be thinking of jumping ship. It's fine, but not very exciting. I think Sony sent some spies over to the Canon headquarters to learn the secrets of the 🔨

Ah, I guess that makes sense if it's based on lens coverage. At least there's OIS in the lens!

This is less of a devil in the details than it might seem at first. Recording 4:2:0 in 6K (or nearly 6K) is going to be a lot closer to the quality of 4:4:4 when that footage is dropped on a 4K timeline. Long GOP only in those modes is not ideal, but it is a compact camera. Is that a moving 85% of the sensor? As in, does that allow turning on EIS without any additional crop?

I'm not worried about fixed lens, especially since it's a sufficiently fast zoom lens. The bummer for me with the X100 VI series was that 35mm equivalent can feel a little cramped for tourist photos indoors - and the GFX 100RF isn't all that portable (for being a 44x33mm sensor, quite small, but enormous compared with an ZV-1). Giving me a 24mm equivalent for indoors is great - and f/5.6 equivalent at 75mm should make for portraits with backgrounds just blurry enough to separate the subject from the background without converting the background into a toneh-esque watercolor painting with blobs of green and blue in place of trees and water. It's pretty similar to the focal ranges for the ZV-1 which, overall, is still fantastic today - but I'd really prefer 10-bit recording to 8-bit... and I'd gladly trade a little bit of body size for a battery that lasts a little longer. Mostly, I'd see this as a "better than my phone" option to throw in a pocket when traveling - and that I could more easily bring out with me in places with high rates of gear theft and use without being too overt - and with a form factor that feels both more robust and more comfortable/ergonomic to use than the Pocket 3.

Just looking at the specs for this on B&H, it seems beyond exciting. It's almost like someone from Panasonic is reading our messages on this forum and paying attention to what we'd want! At $1,500, I'm not a buyer, but between $1,000-1,200 on the used market or on sale, I'll definitely become more interested. Maybe some vendor will give a deal on a trade-in for my Sony ZV-1 that I still have kicking around here somewhere.

From Canon's support people, someone has to examine the camera to determine the level of work, but a rough estimate of prices, based on the perceived difficulty is: Minor = $269 Standard = $359 Major = $499 That's before my CPS discount on repairs which is, I think, 30%. So I guess that'd be $180, $270, or $340, give or take. Added to the approx. $1,500 below new price (and about $1,100 below most used prices I've been seeing), that ain't bad at all. (Though I do really need to sell something now, my gear list is getting ridiculous - anybody want a used Z Cam E2-S6G in good shape with a bunch of accessories including the eND?)

Or in their QA department - for all I know, the first owner received the camera with the dust already in place! Maybe they didn't care or notice - if I hadn't been told of its existence, I don't think I'd have sat here with a lens off clicking through the ND filters and I probably wouldn't have seen it until I filmed something with a solid that happens to be behind it, probably stopped down a little bit. Anyway, I registered it with CPS. The website didn't want to give me a price estimate since based on my purchase date, it's likely under warranty (maybe?). So I sent them a note explaining that I bought it used, asking if there is a way to know if it's still under warranty from the original purchase date, and if not, what the price would be for them to remove the dust. Sadly, a somewhat vigorous shaking doesn't seem to have dislodged it and it didn't budge when I blasted a little air in through the exhaust (the intake is not in a place to have a direct path) This is the way!

Are you looking for a generic one that covers all phones? Most of the smaller ones that keep the phone vaguely phone-sized are pretty model-specific.

It does! Though from what I read when googling it, some Canons have been notorious for it in the past - they even had an upgrade for the C300 to install a better filter to prevent it. The camera looks really clean otherwise, though. It also included the power adapter which MPB said it didn't - I think they just didn't realize that the same power adapter works for both the battery charger and camera. I could call or I can just register it on the website and fill out the maintenance form. Also nice that I'd get 30% off. But it is really small - I'm not completely certain I'll even bother yet. I'm not usually shooting stopped down, it's only on the strongest ND filter, and it's also thankfully near the top of the sensor which means it's where the ground will be if I'm shooting (I'd be more likely to notice it against a blue sky or other patch of solid color vs in the details that tend to come with whatever is on teh ground). Of course, CPS also just recently gave me an estimate that my 85/1.2L that I sent in for cleaning/maintenance needed a new motor because the manual focus ring wasn't working and that it'd be a $700 repair. I asked them to just clean it and send it back because for that price, I could just buy another on the used market. Got it back and both autofocus and manual focus are working exactly as expected. I suspect the technician didn't realize it's focus-by-wire?

I should clarify - the dust is under the outside layer of protective glass in front of the sensor/ND assembly. It's on one of the internal ND filters. Without some disassembly, it can't be reached with a brush. I'm more hoping that one of the air intakes for the camera's fan has some path that goes there and that blasting in air from the rocket blower will dislodge it. 😄 I am somewhere between those people and fastidious. While on set, it's not usually a reasonable investment of time to move to a sheltered area to swap lenses. I don't walk around doing other things while the lens is off, but it often takes 15-60 seconds. Usually the rocket blower is plenty to handle any dust that sneaks in, no biggie. But the fact that it's under the external protective glass is why I can't figure out how someone got it in there. Worst case, I need to decide whether to send it to CPS for what should be a pretty easy fix for them - or I just sent it back to MPB within the returns window.

That's a conversion kit, not an adapter. The FD 85mm f/1.2L, which I have, and maybe some other FD lenses, are non-trivial to convert. With the 85, you need to get a special adapter and remove the rear element. What's that have to do with the discussion?

Canon FD is a 42mm FFD and LPL is a 44mm FFD. A recessed adapter could do that, but I'm unaware of anybody making one. Do you have a link to somebody making an FD to LPL adapter (that isn't a full mount conversion)?