The *new* Perpetual Photo Accessory thread


View: https://www.youtube.com/watch?v=HQlvKGYiY_A


My A74 is either a lemon or I use it way harder than the average owner does. Maybe both. Because I often have overheating issues where I'm riding the redline before shutdown.

My four month review of the Ulanzi fan:

IMG_6408.JPG

A month after I bought it, they replaced it with a new version that forgoes the tiny-tiny suction cups on the back and uses a spring loaded bar to keep tension against the edge of the LCD recession. OF COURSE that would happen to me and I'd get something that's out of date before I can even use it properly...

OTOH, so long as you press down on the unit every once and a while to re-stick the cups, it stays in place, mostly due to me keeping the LCD closed as much as possible as another point of pressure: I can get away with this because I have my LCD turned off when I'm running my HDMI out to my Atomos since I rarely use touch screen controls. But if you don't use a monitor or rely on touch a lot, the connection will be more tenuous. If I were in that situation, I'd probably be skeptical of the new model as well and I'd probably cut off the suction cups on mine with a razor and use velcro like most of the pre-Ulanzi fans did when you had to buy them from Wish.com or whatever.

My biggest problem with the fan is that the battery is too small: the run time is mostly ok but the bigger issue is that it's a device that's not really made for a tiny lithium battery in that you're often going to run it until it dies (not good for lithium) and if it's something you don't use that often -- I only typically need it once a week or maybe even once a month -- there's a good chance that a large portion of the total charge will have bled out before you start it up. So you need to charge it right before use (anticipating when you'll need it) and remember to turn it off before it dies, which isn't exactly plug and play, since it takes a bit of planning and mental real-estate.

OTOH, if you have a serious job where you have an external battery on your tripod/rig/or in your pocket and you have USBC going to both your camera and the fan simultaneously, it's well worth the money, but not really a silver bullet. I still think that shaking your camera or moving it helps more than a fan in a static environment because you kind of dissipate the film of hot air that surrounds the WHOLE camera, increasing the rate of thermal exchange. I don't have the tools to prove that but I've found that even on blistering hot days outside, there's enough wind that I don't run into the same heat problems I do inside a town hall or board room packed with too many people, etc.
 
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This is a surprising news! Nikon did acquire 100% of RED to compete directly with Sony in the Cine camera market. Full press text and additional info can be read at Nikoneye.com.

Quick considerations about the possible benefits for Nikon and RED

For Nikon:

  • Maybe some Nikon cameras will get the REDCODE RAW recording feature
  • Access to some amazing sensor tech
For RED

  • Maybe future RED camera will have Z-mount instead of the current Canon RF mount
  • Red could have access to Nikon glass

Sony and Canon being locked out of RAW video via patent seems pretty unfair with this shift. OTOH, Nikon has fallen behind in marketshare for video enough that most people working can't just switch and jump ship at this point.
 
According to trusted sources we should get four new Sony E-mount lenses between now and early Summer:


The Sigma 16-25 is $840 and their 14-24 is $1300 so I'm wondering what price premium people are willing to pay over that for Sony: most people don't require 16+ FPS shooting at that focal length. And if you're someone who needs to do both architecture and people with the same lens, you'd probably want to pay more for a X-35mm. Granted, if you're Sony or BUST, having a G option in addition to the GM is good, but I'm definitely someone who only bought into Sony because of the greater choice in third party lenses.

The rumor people were speculating that there'd also be an 85mm f1.2 GM (before they gave up on the rumor) and there probably should be: most people aren't too demanding at 85mm (I've shot basketball with their 85 F1.8 G and found it not nearly nimble enough) so if they want to be sure they blow away the all the Chinese F1.4s, they should probably go the extra mile and get to F1.2 to at least have parity with Canon. Every once and a while I see a deal on the 50mm F1.2 GM and I'm tempted because I don't currently have a modern 50 for e-mount; I'm not sure an upgraded 85 F1.4 would inspire the same lust, especially for people who already have the original or the serviceable F1.8 (some color fringe issues, otherwise great for the price).
 
I finished my theater work for the kids and what I discovered is that:

* they did three performances and I tried a different lens for each, in order of appearance: 24-70 F2.8, 85mm F1.8, and... my 50-400 F4.5-6.3

* with the spot lights, it's a very thin line between over and underexposed and I was faster to react to changes in light with aperture rather than ISO. But that thin line is exacerbated by the requirement of SLOG3 being overexposed by 1.7 stops: even with Slog-assist and false color, I got a more accurate vision of things just by switching to SCinetone and eyeballing for detail in faces. And with that extra 1.7 stops of light, I found out that I was able to go up to F6 at ISO 500 (my camera's base ISO for SCINE, as opposed to 800 for SLOG), which is where I got the idea to bring in the 50-400 for the final show.

* unfortunately, I had really bad problems with rolling shutter at 400mm at 1/48 ("Summer Nights" in Grease makes you bounce 50 feet across the stage every 15 seconds) AND while my fluid head is really good at moving side to side smoothly, with a lens of this size, even with counterweights, there's no way I can hold it perfectly steady by hand for extended periods at 400mm without tightening the vertical down. So whenever I made a vertical adjustment there was some bounce before it steadied in its final position, locking in place. Maybe this would be slightly better if I were using a lens collar (it's a $70 add on for my lens since it's normally light enough to handhold) but I suspect not by much.

* the long and short is that, from now on, I'll shoot one show completely wide without any camera movement at all and then source extreme closeups (as well as audio) from another show. In the wide shot, most people won't be able to tell if the audio isn't perfectly synced unless they have a legit 4K tv operating in the correct mode (aka no one), so whenever I have to move with the big lens, I can just cut away in the edit to the other show version. (And I spliced in slow-mo shots from dress rehearsals where I could be on stage.) The only problem is deciding which show should be the master ahead of time. The last showing always has the most emotional performances but it also has the most improv and off-color stuff, which makes it harder to sync with other clips and I basically had a timeline of six shows to work on for this one since I had no idea what I was doing.

At any rate, it's more proof to me that the LOG or DIE people are off their rocker because unless you're going to apply garbage LUTs or do not just color correction but REcoloring, the advantages of ditching it here were huge for me, not just in freeing up light as a resource (letting me use a lens that wouldn't have been feasible with SLOG without going to ISO 3200), but in more accurately finding the line between over and underexposed when giant spotlights are hitting people directly in the face.
 
From sonyalpharumors:

New Sony Sensor for A7S4, FX4, FX8 cameras
2 layer sensor super good low light
Better Dynamic Range
4k 240 Hz
1080 480 Hz

480 sounds like it'd be fun to play with: sure, lots of Chinese phones do stuff like that, or much higher even, but they don't have a codec to really support appropriate file sizes or let in enough light to have better than a 1/1 shutter. Provided there's face tracking and sound recording in those modes, FX4 might be my next camera.* I really hope there are TypeB memory cards for 4K 240 though...

* All in all, I'm really happy with my A74: I never expected I'd be required to do as much photography as I do and I crop too much to have gotten away with the A7S3's 12mp (I thought the photography market was saturated, but most of the pros around here deliberately price themselves out of the jobs that I take -- events, fairs, concerts -- because they'd rather not work them. I mean, if I could get paid $250 to paste a picture of a baby over an AI generated basket, I'd probably do it too. Seriously, on Etsy there are people literally selling "AI 'prompts' for baby composites" as a category in its own.)
 
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I've decided to be less of a sourpuss over the total eclipse pandemonium:

I found some filters that are within my price range and aren't DIY that might have legs for the occasional other project: is a 20 stop ND just safer to use than a 16.6 since the price difference is marginal?


Or would that require the use of a tripod even for a basic shot? OTOH, the longest lens I have is a 400 and most of the reach shots are indistinguishable from fakeries, anyway, and will mostly be the same and you're only doing this to say you did it and be part of the experience?

Looking through the "best" eclipse shots, most of them seem to be like 20mm shots of epic western scenery with a sun that is obviously way too big in the sky, so I don't trust them. The internet is going to be flooded with bull-shots for weeks, anyway, so I'm thinking I should try to focus on people.

636389317471534856-LP-pre-eclipse-082117-0010A.JPG


Would something like that require a solar filter? Or is that wide enough that it's just a shot you'd probably attempt on a normal sunny day (and expect some bad flaring)?

If things are half as crazy as they're claiming they'll be around here, if people are my goal, I'll probably have to learn to ride a bike again to get around since a car will be out of the question. And I definitely don't have a suitable equipment bag for bike riding.
 
Viltrox news:

Four new “LAB” series lenses (Full Frame autofocus lenses for Sony E and Nikon Z):

  • AF35mm F1.2 LAB
  • AF50mm F1.2 LAB
  • AF85mm F1.2 LAB
  • AF135mm F1.8 LAB
One new PRO APS-C lens (Sony E, Nikon Z, Fuji X):

  • Focal length not discloses but it will be a f/1.2 prime like the already existing 27mm f/1.2 and 75mm f/1.2
Three new PRO FF lenses (Sony E, Nikon Z):

  • AF35mm F1.4 Pro,
  • AF50mm F1.4 Pro,
  • AF85mm F1.4 Pro
Full Frame Cine lens::

  • Vitrox LUNA30-300mm T4.0 10X
Lense already announced that are coming soon:

  • Viltrox AF16mm F1.8 Nikon Z full frame.
  • Viltrox AF56mm F1.7 APS-C Nikon Z/Sony E/Fuji X,
  • Viltrox AF40mm F2.5 Nikon Z/Sony E full frame

Having both 1.2s and 1.4s come out at the same time (or in the same year, even) is a bit awkward: you're going to have head to head reviews that make things unnecessarily harsh one way or the other. Add in that Sony's 50mm F1.2 has 2x as many motors in it than their own F1.4 GM, it also brings something else to the table as a premium product and if your only differential is speed and maybe an extra custom button that 90% of people don't even use, it's not quite the same.

We also don't know details about weather sealing, etc.: I actually think Viltrox budget models FEEL fairly robust so there's a big difference between feeling robust and actually being robust (the reason I got the Sony 85mm F1.8 G over a Samyang F1.4) so I'm not sure what they'll be doing with either the Pro or the Lab lines to justify a premium that might take them up to near or parity with Sigma level pricing. (And, as a Tamron fanboy, their new/upcoming "weird focal-range" primes are probably too slow to fit into this new ecosystem.)

There are just infinite options when it comes to primes which makes price/performance so sensitive (and the fact that anyone shopping online will also have to mentally weed out all the APSC results popping up alongside them makes it more confusing).

I'm probably in for Viltrox's 135 F1.8 (primarily photo) and 35 F1.2 (primarily video use).
 
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Sigma with their own 50mm F1.2:

  • Lighter and more compact than the Sony 50mm f/1.2 GM
  • The size and chassis is about the same of that of the Sigma 50mm f/1.4. But filter diameter is 77mm instead of the 72mm.
  • The lens aperture has13 blades (50mm f1.2 GM got 11 only)
  • More affordable than the Sony
  • Comes for Sony E and Leica L
  • Announcement within two weeks

If it's the same cost as the Sony 1.4GM, that'd be awesome, and I'd be willing to drop to 15FPS provided all those frames were good -- however I know that the only person who might ever test these for challenging shooting situations is the Fro-guy.

For example, it's common knowledge on youtube that the Sony F1.4 is actually sharper than the Sony F1.2 ("Sony's own internal messaging agrees!") -- only, it seems that almost everyone who actually fired them up with a test chart says that the F1.2 sharpens up faster and wider. And the only people who have tested anything harder than that in the real world seem to believe that the older 4x motors of the F1.2 driving larger glass do it slightly faster, enough to be worth paying for, than the newer 2x motors of the F1.4.

So if no one can accurately pit those head to head in a useful way (as opposed to "I tried shooting sunstars with both!"), I don't hold high hopes for quality reviews of the Sigma, let alone when Viltrox dumps its budget F1.2s on the scene.


Wow, it's 2x the size of the first party F1.8 while costing the same...

"The aperture ring is stiff and unpredictable but it should be good for video work"

That's basically a lens review meme by now and I'm not sure anyone who has ever said that has ever used a ring in their own video work because they can't even explain how it'd be useful.
 

Nikon will announce the new 28-400mm f/4.0-8.0 Z lens on March 26/27​


The new do-everything lens for outdoors: I love my Tamron 50-400 F4.5-6.3, which Nikon users now have access to as well. Would I choose this over it, just based on a few paper specs?

In most situations where you want a lens like this (where there's reasonable daylight to begin with), the difference between 6.3 and 8 isn't huge, you'd have to be more conservative when trying to freeze a baseball hit, for example, but in most circumstances you'd probably be getting a similar shot where most of your bokeh is based on range, rather than aperture, anyway. And you'd have a bit more light up front with the additional breathing room on top of it.

Nikon has historically killed everyone else besides Panasonic when it comes to video stabilization as well so I wouldn't be shocked if it destroyed my Tamron on that front. This lens could actually make me jealous. Maybe all the time I spent with 50mm back in the day has made me too accepting of it as a limitation on my Tamron but I've mostly gotten by with it just fine (and made it WELL worth the premium over cheaper 100-400s), but going to 28mm would certainly be cool.

OTOH, I do a lot of high school sports and the government seems to be pumping infinite money into that kind of stuff so even small schools are getting turf stadiums -- which means Friday Night Lights for ALL spring/fall sports now, meaning that a lot of events are pushed into the dark. This is great for parents who want to attend games. But for photography it means that you'll be trying to cram your pictures into the first half of a game and F6.3 vs. F8 might actually matter as it'll give you a few more minutes of shooting -- and you'll want to finish the game at F2.8 once the lights come on but you should probably just give up at that point, anyway.
 
I'm usually firmly in the 'fast glass only' section.

Except I bought a Lumix S 70-300 f/4.5-5.6 that was bargain priced and it is 'told you so' brilliant.

My camera is happy beyond 16k ISO, so shooting in relatively poor conditions at full zoom f/5.6 combined with OIS and a decently steady hand means I can probably take portraits at a distance under a full moon.

I've dropped a couple of photos in the phot thread using this thing, it is seriously sharp and the bokeh, such as it is, appears quite creamy.

Its not my favourite L-Mount lens (that is the Lumix S 85mm f.1.8), but it is good enough for me to stop lusting after lenses that are 2-3x the retail price.
 

continuum

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I'm usually firmly in the 'fast glass only' section.

Except I bought a Lumix S 70-300 f/4.5-5.6 that was bargain priced and it is 'told you so' brilliant.
Same. I much much much prefer fast glass, but I have the Canon RF 100-400mm/f5.6-8 and it's a very useful travel lens when the bulk of a bigger and faster zoom is not appealing. i.e. I just grabbed some sunset photos with it on a trip and that is basically the only thing I used the lens for, but given how small and light it is, I was glad I had it.
 
Yeah unless you're being deliberate, taking a lot of time to set up shots, lugging a big tripod around, the big faster lenses are something you have to carry around, either on the camera or in your case.

As opposed to going on a photo hike, covering a lot of ground on feet.

I tend to use a Monopod - it doubles as a walking stick, which for decent lengths walks in the countryside, is pretty useful.

Well it would be if I found myself needing my multi-kilo 70-200 f/2.8 when we are out, I tend to prefer to carry my Q2 with its glorious 28mm to capture dramatic landscapes. Monopods for motorsport rock though....

I think that this was with a 120-400 f/2.8 - one of the heaviest lenses I have ever owned.


IMG_1102.jpeg
 
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Ashe

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I tend to use a Monopod - it doubles as a walking stick, which for decent lengths walks in the countryside, is pretty useful.

Well it would be if I found myself needing my multi-kilo 70-200 f/2.8 when we are out, I tend to prefer to carry my Q2 with its glorious 28mm to capture dramatic landscapes. Monopods for motorsport rock though....

I think that this was with a 120-400 f/.8 - one of the heaviest lenses I have ever owned.


View attachment 77186
What brand monopod do you use?
 
What brand monopod do you use?
That is a Velbron - I have had the thing for years and years - I added a Quick Release head on it that interfaces with my bigger lenses.

Its not the lightest in the world - its Alloy - it is very tough though and that phone was at least ten years ago and it is still perfectly fine - I used it last weekend with a 600mm f/8 mirror lens.
 
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View: https://www.youtube.com/watch?v=vcuFmhCT-_E


For the same price, I'd rather have the Sony F1.4 GM over the Sigma F1.2, even as someone who is currently obsessed with getting at least one F1.2 option: focusing speed/accuracy matters and I'm not someone who tends to just hold down the shutter to max out fps -- I still shoot film style for the most part, so taking more shots than I need just to maybe get 50% of shots in focus isn't something I want to deal with. (And this is a basic walking test with only one subject, not a live game with chaos.)

Youtube spit me out Northrupp's previous E-mount 50mm roundup the other day and their sports winner was actually the F2.5G which basically nailed everything. Is F2.5 easier? Maybe, but critical focus is different than just sorta being in focus. And that's something I find in my 120FPS video as well: these walking or even running straight at the camera "tests" at 30FPS don't reveal the things that I tend to see in my real work where my Tamron and Sony G equipment can lag behind the action and it's visibly evident when slowed down to 25% or even 10% speed.

But my larger point: basically the entire elite photo community (which owns and uses GM gear) says that no one else besides them needs the level of auto-focus ability that THEY themselves do.

I'm not sure if that's true: on the other hand, lens manufacturers are bending over backwards to eliminate focus breathing, a video-only "flaw" that probably impacts just about no-one. I will go out on my shield saying that more people are affected by auto-focus speed/accuracy for photography than focus breathing for video. And yet Viltrox will never be put in the position of having to even attempt to match GM focus precision because everyone just shrugs and thinks it's fine that Sigma can deliver the same images as Sony for less, the 50% of time that challenging shots are in focus...

So I think the influencers and their thoughts about US (and what they think we want/need) are having a detrimental effect on lens production as a whole.
 
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I have a whole collection of 50 (ish) mm lenses

They range from the sublime to the ridiculous really

  • Canon FD 50mm f/1.4 SSC
  • Canon FD 50mm f/1.8
  • Canon FD 50mm f/2.0
  • TTArtisan 50mm f/1.2
  • Jupiter 52mm f/2.8
  • Helios 58mm f/2
  • Sigma 45mm f/2.8

I really, truly love the TTArtisan f/1.2 and the Sigma 45mm they are wildly different, but both awesome in their own way - the IQ of both is just wonderful.

The FD SSC is a Bokeh monster and is awesome on a crop (Lecia CL) body as its about a 75mm f/1.4 The other Canon's are so-so at best.

The Jupiter is rubbish, total garbage, but fun to use for vintage look monochrome.

Which leave the Helios in all of its swirly Bokeh flavour. It's cool but its just about the last ~50mm I reach for most of the time.
 

View: https://www.youtube.com/watch?v=YYIFPdxTMsE


Didn't even bother talking about focus. Which is good, imho: If all you shoot is your friends standing around and plastic bags, it really isn't an issue so I'm glad they're not pretending to be hardcore about this with a fake test they'll ignore, anyway.

OTOH, in the conclusion they talk about the 15FPS limit Sony puts on 3rd party glass: I know they're trying to get a critical mass of complainants here, which I sympathize and agree with, but I'd rather take three shots with a lens that nails each of them with confidence than 15 shots just to ensure that I get three keepers. Sure, if 3rd party glass could take 120 shots with an A9III and get 20 of them to come out, that'd be even better! But either way it's a lot of work on the back end culling garbage and that doesn't really save you money in the long run...

So the conclusion of "why not get more light for the same price?" (the Sigma F1.2 is actually $100 more than the F1.4GM) kinda ignores every other form of versatility beyond portrait shooting (like even the ever convenient 67mm filter size of the GM). No one buys a $1400 lens by accident and while I might consider a Viltrox F1.2 over a Sony F1.8 G, where there's not much of an accuracy difference and I could ignore weather proofing since I'm intending it for a niche use, I think in the case of these 50mms, the "why not?" question is more complicated than Petapixel suggests.
 

wco81

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I carried a monopod a couple of times but I prefer to shoot handheld and the monopod wasn't long enough to come up to my eye level unless I crouched down.

I thought it might be a defense weapon as a last resort because you hear about wild boars in some woods near towns. One time I ended up in an unplanned hike and came across this antelope or goat type of animal, except it was almost as big as a horse. I was going uphill and it was above me, looked at me. I stopped, kind of frozen. Then two smaller animals passed from behind so it appears to be guarding the path in case I did something it perceived as hostile.

Thing I was thinking of is that if that thing charged me, it would knock me way downhill or off the trail. There wasn't a cliff, but pretty steep terrain off the side of the trail. Had my camera packed away so didn't get a picture.

But an aluminum monopod with a heavy head probably isn't going to stop a large animal or even an aggressive one like a charging boar.
 
But an aluminum monopod with a heavy head probably isn't going to stop a large animal or even an aggressive one like a charging boar.

I have a Manfrotto that is not only crazy long, but with the QR head and the spike foot it would double as a decent weapon.

Mount something like a Zenit E on that thing and you would be invincible.

The trend towards Carbon Fibre everything really does reduce that utility.
 
I've never gotten the hang of photography with a monopod. (currently on the ifootage cobra 2) I just don't get it. I'm not even that enthusiastic about it for short form video content, either, because it still feels unnecessarily wobbly. There's a very narrow usage case for me between "just handhold a rig with counterweights + top-handle" to "just bring the dang tripod." It's a very narrow stripe between those two categories for me. I'm glad I own it (and that I chose the model I did at the time) but it's gotten way less use than the creative industrial complex led me to believe it would.

I have a Manfrotto that is not only crazy long, but with the QR head and the spike foot it would double as a decent weapon.

Get the Manfrotto 502 fluid head. My monopod fell over once and hit the pavement. The pavement lost and now has a fluid head shaped hole in it.


View: https://www.youtube.com/watch?v=1__qJy0rx9o


I know Nikon gives more control over IBIS/IS than Sony does but no stabilization selector switches might make that a deal breaker for me were I on that platform, especially since they didn't even bother to test handheld video at 400mm. (I also like having programmable buttons on mine to enable manual focus when looking for birds through tree branches.) The double extension on the barrel makes me wonder about its weather sealing, too. They were a lot more generous for this lens review than they were for the Tamron 50-400 back when they were at DPReview: there, they were like "this sure is handy but we only shoot at F2.8 and think you should too if you're not a scrub" (this is an exaggeration but only slightly.) Also, the idea that "focus is easy at F8 and at a distance so we're sure it's fine without testing it" feels lazy: focus is easy, being critically sharp on target, not necessarily. My Tamron is decent at sports. I wouldn't say it's exceptional though. Since the lens is on Nikon now, too, they should have at least compared these head to head. (edit: the announcement was made so long ago that I thought it was on the market now, evidently not.)

edit:


View: https://youtu.be/ePeYscX6SK4?t=271


Useful breakdown of the aperture changes. At 50mm, it's at F5.6 so it's actually slower than the Tamron at comparable settings (F4.5 at 50mm) across the board. Fro guy's "only noobs use Auto-ISO" is unnecessarily harsh. Never scare someone away from using the most useful setting on a modern camera. Auto-ISO isn't the same as the "auto" general setting.
 
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View: https://www.facebook.com/philipbloom/posts/969263141235365



Massive firmware dump for Sony cameras. I'll be holding off on my A74 for at least a week but it was nice to see that the Sony app on my phone already asked for an update to match the latest stuff.

I know the "adult thing" these days is supposedly to say "when you buy a camera, you get what you get, be happy!" and that anyone acting like the companies owe you updates is being a petulant child. I think that's pretty ignorant since at these prices cameras are tools/platforms for real work (enterprise servers get updates, too!) and I also think that A1 owners were treated poorly in that they paid for a great sensor that was paired with hardware/software that rapidly depreciated in relative value. If Sony wants people to buy an A2 someday, they need to step up and prove they can support the A1, so this isn't coddling children who don't understand how the world works, it's just capitalism.

I'd still probably buy an A7R5 + an A7S4 instead of an A2 though...
 

Aleamapper

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I’m not sure if this is the right thread, hopefully it is - does anyone know of a good alternative to the GoPro Max for 360° filming? I’ve got mountain biking/festival trips coming up and want to finally get a camera to film my rides.

I’ve used GoPro Max’s a fair amount and they’d be my default choice, but have found they can look a bit cruddy in low light situations, particularly in woods in typical UK overcast weather. Also the battery life seems a bit disappointing. AFAIK the Max hasn’t had an upgrade in forever, so was wondering if people knew if something better had come along?
 

I've watched a lot of youtube reviews of most of these and it's hard for the algorithm to feed you ones that aren't the 95% positive ones that come out the first week from the whores where they put in one random nitpick just to act like they're really reviewing the product. It's the week 2 + 3 ones where real people discuss the real issues and they're actually hard to track down. I wish there were a way to filter out any channel with more than 1000 subscribers...

That goes for all hardware, obviously, but I think all-in-one solutions are especially subject to this sort of thing for a variety of reasons.

If I were to buy one, I'd probably get the One RS, not because I believe it's better, but because I'm paranoid and I don't think I could protect any of the other ones from suffering a debilitating lens scratch but if you've managed to do well with your Max, maybe you're better than me!

If you were to drop the 360 requirement and were willing to go narrower, several of the newer action cams have much larger sensors than in the past making their low light cleaner.
 

Andrewcw

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I’m not sure if this is the right thread, hopefully it is - does anyone know of a good alternative to the GoPro Max for 360° filming? I’ve got mountain biking/festival trips coming up and want to finally get a camera to film my rides.

I’ve used GoPro Max’s a fair amount and they’d be my default choice, but have found they can look a bit cruddy in low light situations, particularly in woods in typical UK overcast weather. Also the battery life seems a bit disappointing. AFAIK the Max hasn’t had an upgrade in forever, so was wondering if people knew if something better had come along?
I would say everyone's gone to Insta360. However to make it rugged and pure action cam. The base model without accessories won't cut it. You have to spend more to get their cage etc.
 

Aleamapper

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Thanks for the feedback. After a bunch of reading and watching there seems to be a few people complaining about image quality with the X3, but every time there's a direct comparison, the X3 comes out on top. The X3 also wins pretty thoroughly on form factor and software and video export options too, so it seems like a bit of a no-brainer.

I might drop a review in a couple weeks :giggle:
 
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Sony now reports that the A1 firmware update has been suspended

This keeps happening over and over again. Which is why I haven't touched my A74's update yet.

Does anyone have any recs for my first heavy-duty tripod? AKA something you're not terrified to leave unattended without sandbags (on my ifootage tc5, I sometimes use an 8lb hand weight, set it on the ground, and then bungee it to the hook on the bottom of the center column*)? Something that's compatible with cheaper dolly systems, too? I know the prices put the travel ones to shame so it's a long term goal and I'm just trying to calibrate how many pennies I'll have to save.

*This doesn't stop it from tipping over, only it'll start to tip over and then spring back to upright. It seems to work well but I'm not sure how ideal it is, but I think it's less weird than the tripod testicles you fill with water...


View: https://www.amazon.com/Tripod-Weight-Stability-Photography-Convenient/dp/B0BCHBK459


[it's a real thing]
 

CUclimber

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This stuff is pretty amazing. If you've ever struggled to get all of the dust out of the nooks & crannies in/around the controls on a camera or a lens, this will get the job done. Just gloop it in there and peel it back off. It doesn't leave any residue and it instantly brings everything back to looking like it did when it first came out of the box.

I bought it for our cars but it does an amazing job on keyboards and other things as well.
 
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Baenwort

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This stuff is pretty amazing. If you've ever struggled to get all of the dust out of the nooks & crannies in/around the controls on a camera or a lens, this will get the job done. Just gloop it in there and peel it back off. It doesn't leave any residue and it instantly brings everything back to looking like it did when it first came out of the box.

I bought it for our cars but it does an amazing job on keyboards and other things as well.
And for cheapies like me or if you get a counter fit from Amazon, test it first as some of then can be a bit oily and leave something behind that makes stuff slick for a while but does rub off if you buff it with a lint free for a bit.

This technique does work great with cracks and recesses!
 

Andrewcw

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View: https://youtu.be/OQBoIU96Ae0?t=185


Using dtap to USBC-PD adaptors to get 100 watts out of batteries (since often their USB ports are rated for much less)

The guy is a hackjob. He's been popping up in my video feed. Also it will really depend on the battery and how they do the circuitry for the Raw voltage out D-Tap or whatever connection that is straight power with no Protocol/Handshaking. What the guy is finding out is that he's "Magically" able to draw more power out by bypassing any safety circuitry. The two connectors he say "Don't buy" maybe are the ones that the engineer that made it might of made it safe by having their unit shut off when it's not getting 10A of power to satisfy a 100W USB PD discharge.

He's basically doing everything possible to create a lithium battery thermal runaway situation and showing it like it is safe and everyone should do it to save a few dollars. Not his first video with a strange presentation. He had one where he was trying to show Vmount D-Tap and Sony F-platform batteries where he took alligator clips and just put them into the sony battery.

--Edit granted the C-rate discharge might be fine. But i'm putting together other video's he's done. One of which was the D-Tap to multiple D-Tap output connectors. So you know the overload situation. 🤦‍♂️
 
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Also it will really depend on the battery and how they do the circuitry for the Raw voltage out D-Tap or whatever connection that is straight power with no Protocol/Handshaking. What the guy is finding out is that he's "Magically" able to draw more power out by bypassing any safety circuitry.

I assumed all of that was one-side only: if the battery is ok with sending it out via d-tap, it must be happy with the draw. Good to know that's not the case then?
 

Andrewcw

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The answer is. You don't know unless you trust the manufacturer and what they tell you.

D-Tap is a like the universal answer of. We want you to buy our expensive battery from the manufactuer. Sure you could just buy a crapton of 18650 cells and build your own pack for 1/8th the price. But really want you to buy their battery. But you can't afford the V-mount (Gold Mount, Whatever mount) system in the first place. So they offer D-Tap. Which the only real specification i've ever noticed is the connection is shaped like a D.

In this example the manufacturer tells you.

Here's the first battery i picked from some random google search. https://www.canford.co.uk/ProductResources/resources/P/PAG/PAGlink V-Mount Batteries User Guide.pdf

In their spec. They state "The maximum continuous discharge current for a single PAGlink V-Mount battery is 8A. The batteries incorporate a current limit, and consumption above this for more than 5 seconds will trigger the overcurrent protection, turning the battery output off."
So in this example they put some thought into some moron trying to pull too much power from just 1 unit at once.
This is what a responsible equipment manufacturer does. They spec their units and put some kind of protection on it. They even list the V-mount specs on data communication etc.

VS


Where the only spec is Output 14.4V 15A(Max) Which roughly translated. Means. We'll let you burn your house down at a discount. You want a 15A discharge? Go for it! Freedom!