EP116 Canon C50, Nikon Zr and GFX Eterna with Bruce Moyle - The Random Photography Show

[00:00:06] Speaker A: We've got a dance squad dancing with my eyes closed. That's really sad. [00:00:25] Speaker B: This intro is way too long. [00:00:33] Speaker A: Well, good evening everybody and welcome back to the Camera Life podcast. It is Monday the 15th of September in, in 2025 and we're beaming to you live from Melbourne, from Bendigo and from Tasmania. [00:00:51] Speaker B: Yeah, okay, I'll have the whole state. [00:00:53] Speaker C: You just have the whole site. It's yours. [00:00:55] Speaker A: You got the whole thing. It's all yours, mate. But yes, this is the Camera Life podcast. Proudly, and I say that very, very proudly, brought to you by Lucky straps. Head to Luckystraps.com if you are looking for a premium handmade Aussie made leather camera strap made in Bendigo Victoria by team Lucky Straps, then yeah, head to the site, use Code Greg, get yourself a healthy little discount. [00:01:19] Speaker C: Yeah, or Code Justin, whatever. [00:01:21] Speaker A: Just couldn't give it to me, could you? Couldn't let me have it. [00:01:23] Speaker C: Yeah, okay. One tonight I'm gonna use Code Greg. No, don't use it. Where is he? Busy. He's had. He's been shooting a lot. He's busy. [00:01:32] Speaker A: Has been busy. Well, as many of you may have noticed, Jimmy is not here. It took me a while to pick the difference, but we are joined by superstar Bruce Moyle. G', day, Bruce. [00:01:42] Speaker B: Hey guys. [00:01:43] Speaker A: Please have you on board. [00:01:45] Speaker B: Superstar. [00:01:46] Speaker C: Superstar. [00:01:48] Speaker B: Before we get into anything else, what the deal with the thumbnail? [00:01:53] Speaker C: I nano bananaed you into a spaceman, right? Well, I was trying to come up with a fun way. So, okay, first of all, the only photo that I've got of you is black and white. And I was like, it's just not fun to have on our. And so I was like, all right, do I get Nano Banana to recolor that photo or do I get interested? [00:02:18] Speaker A: Conundrum. [00:02:19] Speaker C: So this is how it all unfolded. Then I decided I'll screen grab you from one of our shows, which as you can imagine, a 1080p live stream screen grab where you're taking up less than a quarter of the screen is not ideal with a bit of motion blur and stuff because it's video. So I took that screen grab, put that into Nano Banana, tried to up res, started to look weird, it didn't really look like you. So then I had Chat GPT open and Nano Banana open at the same time. I was trying to come up with the theme like a Star wars kind of a themed sci fi thing. And then one of them come up with the the title and then the other one come up with you as a spaceman and Then I tried to. This is where AI gets weird and glitchy. I tried to then add. I was like, this is great. So now I just need to make me and Greg Spaceman too. And it's going to be awesome. I put that in and it blended our three faces together. [00:03:19] Speaker A: Have you got that? [00:03:20] Speaker C: And had three sort of similar looking, weird, nondescript humans. And I was like, I think I've reached the. That's the shelf of AI, the top shelf currently. [00:03:34] Speaker A: Does it beat Chicken man, though? That's what I want to know. [00:03:37] Speaker C: I mean, it looked pretty good. [00:03:38] Speaker A: Can we get Chicken man on a T shirt for befop? [00:03:42] Speaker C: Probably not for Beef Up. That's only a few weeks away. [00:03:44] Speaker A: Yeah, come on. [00:03:45] Speaker C: We should have done that, though. [00:03:46] Speaker A: We should have done that. [00:03:47] Speaker C: I could do a fine art print of it on my new Canon printer. [00:03:50] Speaker A: Could you? [00:03:51] Speaker C: And you can have it at your. [00:03:52] Speaker A: House and I'll put it up on the wall so all the viewers can see it. [00:03:55] Speaker B: That'd be great. [00:03:56] Speaker A: I'll even frame it. [00:03:57] Speaker C: All right, we'll do that. We'll do that at bfop. [00:04:00] Speaker A: Yeah. [00:04:00] Speaker C: All right. [00:04:01] Speaker B: See previous podcasts for referencing. [00:04:03] Speaker C: Yeah, sorry, everyone. [00:04:05] Speaker A: For those of you that don't know, Beef up is the Bright Festival of Photography. It's an annual event held in the regional Victoria town of Bright. It was the first I met Bruce. First time at Bright. We were both too shy to talk to each other, but we were there. And, yeah, we're heading there in what, like 22 days or something? [00:04:23] Speaker B: Stupid close. [00:04:25] Speaker A: Yeah. [00:04:26] Speaker B: Crap. [00:04:26] Speaker A: Yeah. You got a lot to do in the meantime, Brucey? [00:04:29] Speaker B: Oh, yeah, I've got a lot to do, but it's not to do a Beef Up. I'm actually kind of good for Beef up, to be honest. I talked to KL today. They have got me sorted for gear. I. I'm kind of sweet, but everything else around Beef up is. [00:04:43] Speaker C: Yeah, spaghetti. Well, should I say hi to the chat? [00:04:51] Speaker A: It's already going off. Yeah. [00:04:53] Speaker C: Look at this. Lisa Leach. Hey, guys. Bruce Moyle again. How lucky are we exactly? Yeah, he's just a regular now. [00:04:59] Speaker A: And we will accept that pun too. [00:05:01] Speaker C: Paul liked the Tron outfit. I liked it too. [00:05:04] Speaker A: I like David Leferati. [00:05:06] Speaker C: Good evening. Thanks for sending some photos. So I got some more context on some of David Leporati's photos to bring up later on the show where he was, you know, taking photos of fighter jets above Sydney. Show off with film. Show Off. Love it. Love it. John Pickett. Good evening. Nev Clark at the gym, as always. Working out. Push harder, Nev. Harder, faster. [00:05:27] Speaker A: Yeah. [00:05:32] Speaker C: Les Okie. Good to see you. Philip Johnson. Apparently Jim mows your lawns, Nev. I don't know what that's about, but he probably does. Greg Carrick in the house. Paul Henderson. I thought you were late again. No, we were late. No, Neil Leach is here. Everyone's here. This is great. Ian Thompson. Anthony Stonehouse. Good evening. Love the dancing. Yeah. I mean we gotta do something. Yeah. [00:05:57] Speaker A: We're not very coordinated. [00:05:59] Speaker C: Yeah. The beard game. Bruce is really winning the beard game. [00:06:02] Speaker A: He is. It's quite masterful. [00:06:04] Speaker C: I don't even play. [00:06:06] Speaker A: No, you can't. It's not possible. I mean you've currently got. You've got. You've got a five week growth as it is. Hey, I like Yelena's comment. [00:06:20] Speaker C: What's this say? [00:06:20] Speaker A: Greg Chromie again. [00:06:22] Speaker C: How lucky are we? [00:06:23] Speaker A: How lucky are we? Thanks, Yelena. [00:06:25] Speaker B: Yeah, you're awesome. [00:06:27] Speaker C: A lot of calls for flanny. Tony says anyone filling in for Jim should have to wear a flanny shirt. That's. That could be a good rule. I think that's hard enough to get. Hard enough to get people on the show anyway. [00:06:40] Speaker B: Out like. And then you'd have tax and tariffs. [00:06:44] Speaker A: Tariffs, Plenty terrorists. [00:06:47] Speaker C: Plenty terrorists. [00:06:48] Speaker B: Unless. Unless you're getting all your guests from Canadia. Canadian, because that's. [00:06:55] Speaker C: That is the uniform. They would all have funnies up there. [00:06:58] Speaker A: Yeah. But should we get the show back on track? [00:07:02] Speaker C: Yeah. In what way? [00:07:06] Speaker A: I'm hoping, you know, the track. [00:07:08] Speaker B: The thing at the bottom is a. Suggested, like, you know, recommended. [00:07:11] Speaker A: Oh, how long has that been actually mean anything? [00:07:16] Speaker C: Yeah. [00:07:16] Speaker A: Just a word of warning to everyone. So far I've seen Justin. I've seen Justin today. He's fairly dysregulated. I'm incred. Incredibly dysregulated. Thank God for Bruce is all I can say. [00:07:25] Speaker C: He's running the show tonight. [00:07:26] Speaker A: He is running the show. [00:07:28] Speaker C: Before we get into even the. The viewer comments from our YouTube channel over the last week, which there was a couple of. So tonight's show we are going to be going over some of the cinema cameras that have been released in the last week. They've been pumped out from left, right, center. Fujifilm, Canon, Nikon. Who else? Red, I think released something. Well, sort of a variant. I just threw that on there because I wanted some more stuff on the thumbnail. So yeah, heap of cinematics. [00:07:59] Speaker A: Let's not forget Fujifilm. $25.25. [00:08:03] Speaker C: I said Fujifilm. [00:08:04] Speaker A: Yeah, but I need to say it to get the money. [00:08:06] Speaker C: I'm curious about that one because it sort of seems. It seems. I don't know, we're gonna, we'll dig into it. [00:08:11] Speaker A: I don't know, it's in a different class. Let's. We'll get to that. And that's, you know, fortunately we've got Bruce here because Justin knows sweet FA about video and I know even less than him. So we've got Bruce on board because he is the geek in the. In the. He's the capital V geek in. And that's a badge of honor. Brucey in the camera life community. Never have I met someone who knows so much about so little. Is that me? [00:08:42] Speaker C: Hey. [00:08:42] Speaker A: What? [00:08:43] Speaker C: I joke. [00:08:44] Speaker A: I joke. It's fine. I'll just gaslight you. [00:08:48] Speaker C: Bruce is going to Sherpa us through the world of cinema because, yes, as Greg said, we don't know much. So what I want to find out off Bruce is one who should be looking at cinema cameras because in my opinion, the average mirrorless, high end mirrorless these days, does a pretty damn good job at video. So at what point do we need to be taking that step from just a regular mirrorless hybrid camera like my R5 Mark II towards something like the Canon C50 that got released today? What are the benefits? Why would you bother? Why doesn't it have Ibis? That kind of stuff. The stuff I don't understand about cinema. [00:09:25] Speaker A: We'll get to that. [00:09:29] Speaker C: So yeah, that's the plan for this show. But we'll also be going through the regular camera news. There was a heap of stuff released over the past week as well. Heap of Len. [00:09:37] Speaker A: So much stuff. [00:09:38] Speaker C: And then a few people have sent in images for later in the show too. If you happen to be listening, you want to send an image in, just email me, justin Luckystraps.com if you email me in the next 20 minutes, you can make it in. [00:09:52] Speaker A: And we've also got a giveaway tonight. [00:09:54] Speaker C: Do we? Oh, I forgot about that. [00:09:59] Speaker A: In the notes. Dude, I get up at 5 o' clock on a Monday morning to make notes so that you have time to study them. [00:10:05] Speaker C: I was busy writing, making the graphics into a spaceman. [00:10:10] Speaker B: Giving away. What are we giving away here? We're giving away Justin's beard. Oh no, that's. [00:10:18] Speaker A: No, that's gone. [00:10:20] Speaker C: It's a booby prize. [00:10:22] Speaker A: Booby prize. I haven't heard that for so long. [00:10:24] Speaker C: No, we're giving away. [00:10:25] Speaker A: You're such a boomer. [00:10:27] Speaker C: A premium membership to Andrew Helmich's Photo Biz Ax podcast, which is a Premium podcast. Really great. Really only relevant if you are interested in starting or growing a professional photography business. If you want to make money from this thing that we do, it is probably the best and cheapest resource that you can find on the Internet about running a photography business. And he's given us. Is it a 12 month membership that he's given us? [00:10:56] Speaker A: Yeah, we've got two to give away. We're just going to give away one tonight. So sorry, I just lost my train of thought because Yelena, your partner has said give away the mercury. Where's the mercury? [00:11:10] Speaker B: And who's. Who's merkin you talking? [00:11:13] Speaker A: James? [00:11:13] Speaker B: No wonder he's not here. [00:11:15] Speaker A: Jim's merkin. Oh, we should build a website. [00:11:17] Speaker B: Don't somebody AI that actually do it? [00:11:23] Speaker A: He does have a merkin. Oh, no. Where did you get that from? You. [00:11:28] Speaker C: All right? You know. [00:11:31] Speaker B: You should have started with that. [00:11:32] Speaker C: It's not a real merkin. [00:11:35] Speaker B: Do you guys know the band the Beards? [00:11:38] Speaker C: No. [00:11:39] Speaker B: It's an Adelaide band. They've been around for a long time. Their song catalog is all about beards. Like classic song tracks, like, if your mum doesn't have a beard, you've got to. If your dad doesn't have a beard, you've got two mums. [00:11:52] Speaker C: I've heard that. [00:11:54] Speaker A: Yeah. [00:11:54] Speaker B: There's quite a few out there. Some terrible, terrible. But I had them in studio once in Launceston for a podcast and I always called shenanigans on their photo because one of the guys always had a merkin or a beard like you've got there. And I said, come on, what's the. He actually was wearing a fake beard over his beard. [00:12:20] Speaker C: He had a real beard under the fake. Yeah, it is super itchy. I'm taking it off. If anyone would like to win this, it'll be at bfop. [00:12:31] Speaker A: Yep, it'll be a special prize. [00:12:33] Speaker B: So how are we winning this? [00:12:35] Speaker A: Okay, so go on, Jay. [00:12:37] Speaker C: Oh, well, yeah. [00:12:38] Speaker A: Were you. [00:12:39] Speaker C: Were you thinking what I was thinking, Greg? [00:12:40] Speaker A: What's that? [00:12:42] Speaker C: Comment? Not in the live chat, but down below on the comments after this show and we'll announce the winner next week. So you'll have to comment in the regular old comment section later on after the show. Anytime between when. I don't think you can actually comment on the shows until they're finished. Otherwise it's the live chat. So, yeah, so yeah, you'll have to come back after the show's finished. Comment. Tell us basically why you would like to win a year membership or what? You know, what are you Trying to do? What business are you trying to build or what? What are you trying to grow? Where do you want to start? Just want to start a side hobby photography business. You want to make it a full time thing. You're already full time. You're trying to make a million dollars, whatever you want. Your dream business, what's your dream photography business down there? And we'll announce it on Monday show next week. [00:13:33] Speaker A: Let me just quickly share this with everybody just so they know what we're talking about because we've been a bit scattergunned about it. So Andrew Helmish, that's him, photo in the photo there. We interviewed him last Thursday on our Thursday morning show for the Camera podcast. Amazing and inspirational interview. And I think what was most impressive was just how much Justin fanboyed over over Andrew's videos and how it helped him to build his photography career over a decade ago now. So at the moment there's something like 630 videos pre recorded podcasts. [00:14:09] Speaker C: Audio, audio, audio, sorry, audio only. Not for. [00:14:12] Speaker A: Yes, sorry, force a habit audio podcast. They're all accessible to anyone, but with a premium membership you get. It's like having Patreon for, you know, a news site or an entertainment site. You pay a little bit of money each month and you get access to special content that no one else does. [00:14:30] Speaker C: And this is double, double the episode length basically. Yeah. [00:14:34] Speaker A: And a lot of other stuff like coaching support and information and guidance. And I think it's a great resource for anyone that's just starting out and, you know, looking to build their business into something that actually works for them. [00:14:48] Speaker C: Or way beyond just starting out too. Like a lot of the stuff we implemented in our business over the 10 years that Jim and I were shooting weddings together come from this podcast. So it's not, it's not just like how to get going, it's also how to refine your pricing structure, how to do album sales, all that kind of stuff. I mean you can get a taste of it. Just go back, not now, later on, go back and listen to our episode with Andrew to get a bit of a feel for the sort of info. But he has tons of pet photographers, portrait portrait photographers, wedding photographers, boudoir photographers. That's kind of his real headshot photographers. A lot of those kind of businesses. He digs into the real numbers behind them and how they make them work. [00:15:30] Speaker A: And one of the most interesting things about Andrew's journey with this podcast and this business that he's built around it is that he started interviewing people to get answers to the questions he had. You know, he was interested, he was doing photography. He wanted to make it into a profitable business and earn enough to, you know, support himself and his. His family. And so he started inviting guests that he thought he could learn from. And he's built it up from. From that. From that starting point, which is pretty amazing. So. So yes, it's on offer. 12 months free premium. Get in the chat later, not now. [00:16:05] Speaker C: Speaking of which, we'll go to the. The viewer comments because there's one on Andrew show. [00:16:10] Speaker B: Oh, cool. I got it ready. You went straight to News and Rumors. [00:16:18] Speaker A: Well done. [00:16:23] Speaker C: Dang it. Look, this isn't an easy show to run. There we go. I fixed it. [00:16:30] Speaker A: All right, hold on. [00:16:32] Speaker C: Okay, I gotta share my screen. You guys should fill the time in while I bumble around back here. Oh, that's good. Good filling in. [00:16:41] Speaker B: Yeah. [00:16:41] Speaker C: Feeling I've got nothing. I'm done. All right, first of all, the one. The comment we got on Andrew. How much is show from Icehorse 79. Great interview. Andrew is the man. He is the man. I'm gonna. I'm gonna have that one. That's a great interview. [00:16:58] Speaker A: It was. [00:16:59] Speaker C: This is a funny one. On our beef up booking party number two, which featured Bruce Moyle. Ah, it says. [00:17:07] Speaker B: And Dennis. [00:17:08] Speaker C: And Dennis at. [00:17:10] Speaker B: At. [00:17:11] Speaker C: John feel. I have a join button, but I'm too scared to see if it works. So the word on the street is Matt Crummond sent the. An email that to everyone to join this booking party live stream to watch and had to join now. But then Elena was like, how has the studio link ended up out in the world to where you can join this studio and actually be on the live stream? And that would happen. That. Yeah. So the image, thumbnail kind of picture they had put in the email. So the link was different. They put the studio link in that one. Matt Crummins did. So that's where it came from. That's right. And that's why this is very funny because. Because it's like this was a day ago when we. They were doing another release of the Bright. You know, whatever the next booking release is, and we weren't doing a live stream. But I love this. It's like I have a join button, but I'm too scared to see if it works. I might have to get sucked into the podcast world. [00:18:10] Speaker B: That reminds me, there was a website. It was like a thing. This is years and years and years ago where you would. It was like a random show. Like you could. It was like it'd spin like you'd go, and it'll give you somebody else who had their webcam on. [00:18:25] Speaker C: And was that Chat roulette. [00:18:27] Speaker B: Chat roulette, that's it. I forgot. [00:18:29] Speaker C: It kind of fell away because it was like, you'd like, chat to someone. Chat to someone. Chat to someone. Penis. Chat to someone, chat to. Chat to someone. Penis. And they were like. [00:18:38] Speaker A: I was gonna say it sounds. [00:18:40] Speaker C: We got to shut this down. [00:18:42] Speaker B: No, it was really popular for like, you know, it was 10 minutes or something like that. And they had some cool content that did come out of it. But yeah, that. That reminds me of that. [00:18:52] Speaker C: Yeah. You don't know what's going to happen. [00:18:55] Speaker B: What's going to happen. [00:18:57] Speaker C: Oh, dear. What else have we got in here? Oh, yeah. Andrew Connor, dash W4M compact camera section. What was this on? Oh yeah, when we were. This was on last Monday's show. From my observations, always been market for compact cameras. Not just as much of a market as the explosion of DSLRs and the twin lens kit took off. They went side by side for a few years and then combined with phone tech dramatically improving this together reduced the. Oh, wow. This is way bigger than I thought. Okay, we can, we can scan a little bit of this. Basically. I read this the other day, basically he was saying how it just like the canon PowerShot series led the way in those little compacts and they've just brought out a new one. That's what we're talking last week. Amazing tech in them for the times. And every 18 months the price plummeted and the specs increased in massive leaps. And now we're seeing people wanting to put their phones down and actually be more in the moment with the cameras as well. Not be distracted by messages or whatever or people not knowing if you're on your phone or if you're taking a photo or whatever when you're trying to hang out with friends. So basically, long may the compact live on. I say so. Yeah. Also I agree magical macro images there seen others use the hood with equally impressive results. Fuji is awesome. My OM also does lovely macro. [00:20:23] Speaker A: It does. OM is good for macro. A lot of the tutorial stuff I've been watching on YouTube to learn more about macro. A lot of them are shooting with OM system cameras. [00:20:35] Speaker C: Yes, yes. I think the depth of field for the, you know, the light gathering, being able to shoot at those. [00:20:44] Speaker B: Smaller. The sense of the deeper depth of field you get. Therefore when you're using a macro, you're not as shallow at relative apertures even with narrow apertures. [00:20:54] Speaker A: Yeah, yeah. I mean, most of mine I was shooting at like F8 to F16. [00:20:59] Speaker B: Yeah, you're on Fuji, which is a crop sensor anyway, isn't it? [00:21:04] Speaker A: Yeah, you watch your mouth, Brucey. [00:21:06] Speaker B: No, no, I'm just saying it's not a full frame. You get a bit more full frame. We can talk about that later. [00:21:13] Speaker C: Okay, Sorry. [00:21:16] Speaker A: Therapist said breathe. Okay. [00:21:20] Speaker C: David Leporati, 1958. Great show again. Nice macro shots, Greg. Soft lighting from the diffuser. The Fuji 30 mil macro minimum focus is close to the front of the lens, which can be an issue with light. Greg, you mentioned photographing peacock spiders. The photographer is Michael Loon and was featured in On Gardening Australia Series 36, Episode 24, Australian Geographic, Issue 0708. 2025 has an article on them as well. David Leporati is like the oracle of. He is the oracle information or just. [00:21:57] Speaker B: A very, very good Googler. [00:21:59] Speaker C: That too, maybe. [00:22:01] Speaker A: It doesn't matter. It doesn't matter. [00:22:03] Speaker C: I love it. [00:22:04] Speaker A: Even an oracle has to learn from something. [00:22:07] Speaker C: Yeah. [00:22:09] Speaker A: That'S pretty cool. Thank you. [00:22:13] Speaker C: Zachary Carr from six days ago on. Yeah, on the Monday show as well. I miss a couple of shows and come back to my cock. Jokes, clutches, pearls. It's funny because Jim had just said before Greg's makeup. My cock would love that. [00:22:32] Speaker A: Oh, he's my mate now. Lisa wants to suddenly my mate. [00:22:36] Speaker C: Where is Michael today? [00:22:38] Speaker A: Yeah. [00:22:39] Speaker C: Hey, Jeremy. Hey, Jeremy Brown. [00:22:41] Speaker B: What's up? [00:22:41] Speaker A: Poor Jeremy's just joined and you're talking about my. [00:22:46] Speaker C: Oh, dear. Elaine is just posting emojis that don't show up on our thing. [00:22:52] Speaker A: That joke is the gift that just keeps giving, isn't it, Michael? [00:22:55] Speaker B: Mega pickle. [00:22:57] Speaker C: The Mega pickle. I can't see those emojis on here. They must work on YouTube only. [00:23:01] Speaker A: Yeah, not poor Jeremy. Sorry, Jeremy, I didn't mean to downplay your. Your endurance and your. Your, you know, steely will against the filth that we sprout here on this show. [00:23:14] Speaker C: And I think that's all the comments. [00:23:16] Speaker A: All right, cool. [00:23:18] Speaker C: I think we. We got through it. We did it. [00:23:21] Speaker A: Nice. Should we talk about news and rumors? [00:23:24] Speaker C: We should. Hang on. I can get this one right. Wish I had just one button that pressed that did it. [00:23:33] Speaker A: Somehow I don't think that'd make a difference. Welcome to News and Rumors, everybody. It's the Monday 15th September edition and by God, there's a lot of news and rumors. I prep a running sheet for each podcast and there is a whole page just on news articles. So we're not going to Go through them all. Jake can show you. [00:23:52] Speaker C: Check it. [00:23:54] Speaker A: There's a lot. So I'm very thorough. I've even broken it down by brand. [00:23:58] Speaker C: Yeah, it's not usually broken into brand. [00:24:02] Speaker A: This is just so much. All right, let's, let's, let's. I'm going to read through the stories and, and I'll leave it for Justin or, or Bruce. Either one of you can jump in at any point and say hey, let's explore that. All right. Rather than explore every news article because you know, the Internet costs money the longer we leave it on. All right, let's start with Fujifilm. Surprise, surprise. I don't know how they're so definite about this but a headline read Fujifilm will announce a Fujinon XC 13 to 33 millimeter F 3.5 to 6.3 this year. Now for those that don't know an XC, Fujifilm or Fuji Non lens is like they're really really cheap entry level kit products. Anything with an XC, they had a 15 to 45 that was an XC. I think they brought out a 30 that was an XC and they also had a zoom which was like 50 to 200 or something. Ultra cheap plastic mounts. So no, no metal mount on, on most XC lenses. And yeah, this is another one which is really odd because they've already got a 15 to 45. We're going to cover this in more detail in our cine section. But Fujifilm have also announced a new filmmakers camera, the GFX Etern and a new lens which is a gf. So it's. I just lost my words. What mount is that? The G mount for Fujifilm GFX mount, 32 to 90 cine lens. So it's a T 3.5. And the final bit of Fuji news is The GF rumored GF165F 2.8 OIS lens. A patent has been put in by Fujifilm and someone picked up on it because these news and rumors sites just hover around the trademark site I think all day and all night waiting for something. [00:25:49] Speaker C: I don't know about Fuji but I know with Canon like they patent lens designs like constantly and they're just banking them for potential exploration. I think they have to patent them before they even sort of do anything. So it's yeah, I assume is Fuji the same like this could never materialize. It's just like hey, we can make it. [00:26:08] Speaker B: I assume it's just like you know, an engineer sitting in the lunch room and just farted an idea and they go fighting it. [00:26:13] Speaker C: Yep. [00:26:14] Speaker A: Quick, put it on. [00:26:16] Speaker B: Have you paid your idea today? It's on the wall. [00:26:18] Speaker C: Yeah. [00:26:19] Speaker A: Days since we haven't patented an idea. Yeah. God bless them. Fujifilm at it again. [00:26:28] Speaker C: Your idea today. [00:26:30] Speaker A: For a little perspective. These, you know these rumor sites they like to. When, even when it's not a quiet Newsweek, they do jump on little things and make them into bigger things. So that's. I don't know that there's anything worth exploring there because we're going to come back to the Eterna Cinema camera later. Let's talk about Lauer. According to the headline Lauer shocks the market, their new 200 mil F2 FE lens launches at just 1999 US dollars. Which is what Justin? About three grand Australian for 200. [00:27:04] Speaker C: It should be F2 if everything. Yeah, well it should be. [00:27:08] Speaker B: I'm actually interested in like, like not just with this but the pricing. So they're obviously announcing in US dollars. But are they going this is after whatever tariff decides to turn up now and do we get a different price or they're going to go no, that's the price and we'll do it like we've always done. It's just. [00:27:27] Speaker A: It varies. [00:27:28] Speaker C: Yeah. [00:27:29] Speaker B: It seems inflated for everywhere. [00:27:31] Speaker C: It seems like it's pushing it up a touch. Maybe not the same amount but like a little bit. And then. Yeah, yeah. [00:27:38] Speaker A: I'm trying to work that one.999 is a punchier headline than $2,359. Like you know, it just. It's under 2000. It sounds like a good catchy kind of headline. [00:27:48] Speaker B: I think a lot of creation element on the front of this lens. [00:27:52] Speaker C: Let's just have a quick look at it. [00:27:53] Speaker B: Yeah, let's just open the. I open the article and don't, don't even look at the video. Just look at the thumbnail of video. It's like 110 mil. [00:28:00] Speaker A: And while, while they're doing that, Lauer also have. There's been leaked Images of a 180mil f 4.5 full frame autofocus macro lens that will fit on a Canon RF provided you use an EF to RF mount adapter. [00:28:15] Speaker B: I'm pretty sure that's 110 mil. That the front element on that. [00:28:19] Speaker A: It's pretty big. Look at it compared to the camera. Even with the depth of. The depth of it. Like it's. [00:28:24] Speaker C: I don't know if an A7, an A7C is the perfect choice for that particular lens. Know, whatever floats your mind but. [00:28:31] Speaker B: Holy crap. [00:28:33] Speaker C: Yeah. [00:28:33] Speaker A: It's pretty big. But I mean you look at the, you look at the Fujifilm 200F2, that's huge. And that's got a huge element on the front as well. I think it's just the nature of the beast. [00:28:45] Speaker C: You know what they say about big front elements. [00:28:48] Speaker A: Yeah. [00:28:48] Speaker B: Compensating big lens cloths and even with bigger filters. [00:28:57] Speaker C: I had to buy a 95 mil filter and VND for my Canon 28-70 F2 that cost a decent amount. [00:29:08] Speaker B: I got a. I got a Nissi 95 variable ND. [00:29:14] Speaker C: Yep, that's what I had. [00:29:15] Speaker B: Ridiculously expensive. [00:29:17] Speaker C: Yeah. [00:29:18] Speaker A: Yeah. [00:29:18] Speaker C: And I scratched mine. So there's that. [00:29:22] Speaker A: You don't use lens caps. Like what did you expect? [00:29:25] Speaker C: I don't like lens caps. [00:29:27] Speaker A: Let's jump to Sony. We'll cover Sony's. We're going to use Sony's camera release as part of our cine discussion. But that was a couple of months ago now. But in other Sony news, they've announced the new affordable 240 and 480 CF Express 4.0 Type A cards. [00:29:43] Speaker B: I am actually kind of jazzed that they are comparatively to what they usually are, actually pretty cheap. Now they're bloody expensive, but they're a lot cheaper. [00:29:52] Speaker C: For what sort of price are we talking for something like that? [00:29:55] Speaker B: Well, I just open the thing. 480 gig is 350 US. [00:30:01] Speaker A: Yeah. [00:30:02] Speaker B: And 240 is 300 US 500. So my, my 160s I got. And they're not Sony, they're Angel Bird. No, they're pro grade. They were like $900 for a packet 2 back in the day. Wow. Yeah, but that's like half the price of a Sony one at the time. [00:30:24] Speaker C: Yeah. Even more. And, and comparing them to CF Express type Bs, you're just like, God, why are these so expensive? You know, like you can get a really decent system uses them. [00:30:35] Speaker B: Yeah, they were hoping. [00:30:37] Speaker A: I don't know, it's like memories to go over again. [00:30:40] Speaker B: Isn't it just annoying. [00:30:42] Speaker A: Is that what you think it was, Bruce? They hoped that they would create the leading style and be the standard for everything. [00:30:48] Speaker B: Maybe it depends on what they've done on patents and stuff as well. Because the cool thing, I don't know if you've seen it, Greg, on the Sony cameras, the Alpha line is that you've got the SD and the CEF C Express. CF Express in one slot. They just reverse. [00:31:04] Speaker A: Oh, wow. Okay. [00:31:05] Speaker B: So you can have both cards in one slot. You can't have both at the same Time. Yeah. But you can either run SD or CF in the same slot. So it actually saves a lot of space. [00:31:14] Speaker C: That is cool. [00:31:15] Speaker B: It is really cool. [00:31:18] Speaker C: Yeah, that is very. [00:31:19] Speaker B: Camera manufacturer has done that. [00:31:21] Speaker A: Actually, while I was trolling through the news sites I saw again, I mentioned this a few. A couple of months back. I think that there's a brand who are releasing these. They're sort of golden color but they're. They're made of an alloy or steel SD cards. They're like ultra tough. They can be crushed. I can't remember who it was. [00:31:39] Speaker B: And doesn't dissipate heat. And this melts. [00:31:42] Speaker A: Melt your camera? Yeah. It'll smell just on the inside. [00:31:45] Speaker B: Like what's the NAND like on heat? [00:31:49] Speaker A: I don't know what he's talking about. Justin. Do you? What's a nand? Come on, Bruce. Layman's terms. [00:31:54] Speaker B: Land the memory chip, the actual individual bits that keep all the bits in it. [00:31:58] Speaker A: How would I know that? [00:31:59] Speaker C: Oh, I thought there was flubber in there. I didn't know what they actually put inside the card to store the. I thought it was like dark matter or something. [00:32:06] Speaker B: It's a little paint. [00:32:08] Speaker A: I thought it was unicorn Pierce. [00:32:09] Speaker C: But you know, Rick Nelson says none of the new cards are compatible with the new speeds for any camera on the market though. What does that mean? [00:32:18] Speaker A: He's saying the cards are too slow or the cameras are too fast or the camera. [00:32:24] Speaker C: Hang on. They work, but at the current speeds. The new speed is for next gen. Right. So as in you're saying most of the cameras don't have an interface that can handle like. Like when SD went to UHS2 or whatever. [00:32:37] Speaker B: And it won't. It won't maximize the usage of that bandwidth when it's writing to it. You'll be able to read off it if you've got a card reader that can read at that speed. [00:32:46] Speaker C: Yeah. [00:32:47] Speaker B: And then when you actually get offline. [00:32:49] Speaker C: In the future and they have faster interfaces. Hopefully. [00:32:54] Speaker A: Yeah. Where are we? Sony News. So, yeah, there's that. Sony. Sorry, it has been just announced. I think this is for other mounts as well, but Asta Hori 18 millimeter f 5 point and it's an APS C pancake shift lens. It's only email shift. So it's got. It's a little bit like. Well, it's got like. [00:33:16] Speaker B: Yeah, it can move back and forward like it's. It slides. [00:33:19] Speaker A: It's a toy. It's replying with tilt Shift photography or shift photography shift. [00:33:25] Speaker B: And I think we. [00:33:26] Speaker A: We talked about this last week but there was an official announcement. Tem announced the development of new 25 to 200 F 2.8 to 5.6. [00:33:37] Speaker B: Okay. [00:33:39] Speaker C: Adjusting my screen, see if I can get a little bit better. Oh, that's interesting. That's right there, you can almost see it. There it is. That's fancy. Okay, what else? Oh, Canon news. [00:33:55] Speaker A: There is some Canon news, but it's not really important. We can come back to it. Canon officially announced the RF85. We talked about this last week. It's an F14L VCM lens. Smallrig have announced cage kits as you would expect for the up for the new cinema EOS C50 that just. Just got announced and launched. [00:34:14] Speaker B: I think if your camera doesn't get a small rig cage then you're doing something wrong. [00:34:21] Speaker C: If it's not popular enough to get a small rig cage. [00:34:24] Speaker A: Well. [00:34:24] Speaker B: Or if a small rig just don't think it's worthwhile. [00:34:28] Speaker C: They make gauges for everything. [00:34:30] Speaker A: No. [00:34:32] Speaker C: I just need to Google something. Something small rig. [00:34:36] Speaker B: There is one thing they do. Fujifilm X while he's googling is Dream Rig. Have you ever seen that? [00:34:43] Speaker A: No, I haven't seen Dream Rig. [00:34:45] Speaker B: So Dream Rig is if you need something and that doesn't exist, you can prototype it with them and they'll make it for you. And if it's something that seems useful to the market, they will put it onto the store and make it for everybody. [00:34:59] Speaker A: And what do they just 3D print it with metal? [00:35:01] Speaker B: No, no, it's all machine made. [00:35:03] Speaker A: Oh wow. [00:35:04] Speaker B: Yeah, like the rest of their products. [00:35:06] Speaker A: Yep. That's cool. What were you bringing up, Justin? [00:35:11] Speaker C: I was just Google. I was googling whether they make a cage for the X half because Bruce said if they do, if they don't make it, they do. [00:35:19] Speaker A: But there's an L bracket with a grip. [00:35:21] Speaker C: Yeah, I was going to say it's not a cage. I was expecting like a little cine cage that you put a monitor on and stuff. Yeah. But they do actually have quite a few accessories for the X half including yeah. Nice looking sort of grip and thumb thing and stuff. Anyway. So yeah, they, they do. They make stuff for literally every camera. [00:35:38] Speaker A: That's cool. Yeah, I've ordered a grip for my XC5. That's like the L plate with the grip. No, I emailed them today because it still hasn't shipped. It's been since the 4th or 3rd September. So I think they're waiting for Temu or AliExpress to send them over because I. Because I Found I found them on AliExpress. The same one, same photos at least. So in other news. [00:36:04] Speaker C: Hold on, hold on. Is that the ender Canon? [00:36:06] Speaker A: No. [00:36:07] Speaker C: Oh, okay. I've got one more Canon thing once you're done. [00:36:10] Speaker A: All right, Canon announce. Busy week for Canon, obviously. The cine servo. It's an 11 to 55 millimeter T 2.95 to 3.95 cine lens. It's probably incredibly expensive and it's coming out on the 12th. Oh, that's already passed, hasn't it? It's designed for Super 35 sensors, but also includes a built in focal extender for full frame sensors. Well, I was. I'm glad I don't know what it. [00:36:39] Speaker B: Is for the C400 and stuff. [00:36:41] Speaker A: Oh, okay. The biggest cine cameras. All right, cool. One last little bit. Canon has officially announced a new power shot. Actually one or two. No, it's the PowerShot ELF 360 HSA. And also, sorry, it is to the IXUS 285 HSA. So they stopped updating these for quite some time and then all of a sudden they're back in the game. Finally someone has seen the value of point and shoots that actually take better photos than probably, probably some, some smartphones anyway. [00:37:17] Speaker B: Don't the RICO still make them? [00:37:20] Speaker A: Yeah, they do the tough ones and the. [00:37:24] Speaker B: God, I've got a power shot somewhere in the drawer. [00:37:27] Speaker A: I think everyone's got bottom kitchen drawer. That's where your power shot belongs. Just always the first camera bought. [00:37:34] Speaker B: Oh really? Outside of film. [00:37:35] Speaker A: Yeah. [00:37:37] Speaker B: God, that's. [00:37:38] Speaker C: Dig it up. [00:37:39] Speaker A: Yeah. [00:37:42] Speaker C: Just quickly on Canon. So speaking of rumor site. So yes, they, they released the 85mil 1.4 this week and immediately the rumor site said there will be two more of their VCM lenses. These are the lenses that are kind of designed for hybrid photo video. They're all the same size and it's close to the same weight. So you can swap them in and out on rigs and things and, and use the same accessories. And I've got the 50 and the 20 and they're great lenses. They're nice and light and very, very sharp. The 85 come out but now they're suggesting there will be two more. And they got me because I read the whole article, I was like, cool, maybe one will be the 28 that I've been waiting for. And it says maybe, maybe the 28. And then another possibility is that it could be somewhere between 100 and 135mil at an F2 maybe. And then I got to the end of the article. And it says when to expect them. Both sources suggest that these lens won't be coming in 25. Expect them sometime in 2026. Okay. So the rumor is Canon to announce lenses in future. [00:38:50] Speaker A: Oh, I didn't see that coming. [00:38:51] Speaker C: Solid. [00:38:52] Speaker A: Hey, just. Just an update on that Canon PowerShot camera. The ELF360 is US$380. [00:39:00] Speaker C: Oh. [00:39:01] Speaker A: So what's 550. [00:39:04] Speaker C: At the low end? It could be more. [00:39:07] Speaker A: Yeah, it could. [00:39:08] Speaker C: Depends on how the tariffs and stuff are shaking up. Like. [00:39:11] Speaker B: Yeah, just every. Every time anything has a price and I put an asterisk beside it. Tariffs. [00:39:17] Speaker C: Who knows? [00:39:18] Speaker A: Put prices. [00:39:19] Speaker C: Just make the prices. [00:39:20] Speaker A: Prices anymore. What else have we got? Should we move along? Leica. Yeah, like a news is. Everyone's still awake out there. Thank you. Leica launches the. This is a tongue twister. Leica launches lights. Hector. Cine lenses for mirrorless, including rf. [00:39:37] Speaker C: Everyone's getting into cine. Get them. Well, lights. [00:39:41] Speaker B: Leica's been gone forever. [00:39:43] Speaker C: Have they? Cine lenses for RF and all the modern mirrorless stuff. [00:39:49] Speaker B: Not so much mirrorless stuff, but like that. Like. Like Cook and. And Panavision and stuff. Have been making cinema lenses forever. [00:39:58] Speaker A: Yeah, and broadcast stuff too. [00:40:00] Speaker C: Yeah, Higher. Higher end. [00:40:02] Speaker A: Yeah. Well, this is their first line of cat lens cine lenses for mirrorless cameras. So. Yeah. [00:40:10] Speaker C: Right. [00:40:10] Speaker A: That's pretty big. [00:40:12] Speaker C: They'll be cheap. [00:40:13] Speaker A: Oh, yeah. Like, you know, a couple of hundred thousand for the kit? [00:40:19] Speaker B: No, through purchase. 3 for 21.59 for 3 or the whole lot for 42. 49. [00:40:27] Speaker C: Look at this. [00:40:29] Speaker A: They look very nice, you know, they do look good. [00:40:32] Speaker B: Which car do you want to use or not have? [00:40:35] Speaker A: Exactly. [00:40:36] Speaker C: Yeah. [00:40:36] Speaker A: Can I split payment? [00:40:39] Speaker C: What else? [00:40:40] Speaker A: Pope Francis's Leica, which is an MA film camera, will be auctioned for charity, estimated to fetch 700 to €800,000. [00:40:49] Speaker B: Does it come with a roll of film still in it? [00:40:52] Speaker A: Oh, that would be very good, wouldn't it? Imagine if it did and no one knew what was on. Could be. Or it could be like his last moments. Or like him taking photos. Like selfies of himself. [00:41:04] Speaker C: I was gonna say it's just selfies in front of stuff. [00:41:06] Speaker A: Yeah, yeah. [00:41:08] Speaker C: Here's my cat. George. [00:41:11] Speaker A: Have you opened this? Have a look at the pictures of this bloody camera. I know. [00:41:15] Speaker C: Hang on, hang on. I gotta. [00:41:16] Speaker A: It's. [00:41:16] Speaker C: But I'll bring it up. [00:41:17] Speaker A: All right, Bring it up. This is hilarious. Absolutely phenomenal. He. [00:41:22] Speaker B: He went like Jason Momoa to like her and just got himself blinged out, I suppose. It is the Catholic Church. [00:41:29] Speaker A: Yeah, it is the Pope. But look at the lens cap. But look at that. [00:41:35] Speaker B: Look at the hot shoe cover. I think there's a close up when you go down. [00:41:40] Speaker C: Is there? [00:41:41] Speaker B: Yeah, yeah. Say all these things like I need to get. [00:41:44] Speaker A: Oh, wow. [00:41:45] Speaker C: Yeah. Oh, there. Hang on. Yeah, There you go. [00:41:48] Speaker A: It's got a message engraved on the back. Does anyone speak Italian? Misarendo atque eleganzo. [00:41:54] Speaker B: Crap engraving. I would expect better engraving than that. [00:42:00] Speaker C: Do you think he wanted it or they just presented it to him as like a gift? [00:42:05] Speaker A: It was a. Yeah, probably a gift when the new Pope. When he became new Pope. [00:42:09] Speaker C: Maybe it's not like he. [00:42:11] Speaker A: Like it's been used. Key for. [00:42:15] Speaker C: For the box. [00:42:18] Speaker B: Comes in its own jewelry box. [00:42:23] Speaker A: That's crazy. Hopefully it goes to a worthy cause. [00:42:28] Speaker C: Yeah. Well, I'm sure whoever buys this camera is going to tell a lot of stories to their friends about the fact that they own it. [00:42:34] Speaker B: I want to see. I want to see a picture with it in his hand to like, you know. [00:42:39] Speaker C: Yeah. [00:42:40] Speaker B: To validate that it was his. [00:42:42] Speaker C: It's got a certificate of authenticity. [00:42:45] Speaker A: Yeah, but it photoshopped. [00:42:47] Speaker B: Yeah, I can make a certificate of authenticity as well. [00:42:51] Speaker A: Give me a second. You can print it larger than your printer, Justin. Yeah, yeah. Oh, yeah. Bruce got one too. And the last bit of like a new. Sigma announced three new full frame lenses for Leica. L Mount 135, 1 4, A 35, 12 and A 20 to 200, 3.5 to 6.3, which I think we covered a little bit earlier somewhere. [00:43:12] Speaker C: Anyway, just quickly, Rick Nelson wants to know, is it blessed? I mean, if it was blessed, if there was footage of it being blessed by the Pope, that'd probably add another couple hundred thousand to that. [00:43:25] Speaker B: It could be like a Monty Python sketch. Like the holy hand grenade, but for shutter or f. Stop. [00:43:33] Speaker A: I don't know. Somebody write that sketch? [00:43:34] Speaker C: Yes. [00:43:35] Speaker B: All right. [00:43:35] Speaker C: Someone needs to make this. [00:43:38] Speaker A: Someone said Nev said pray you don't drop it. [00:43:40] Speaker C: Yeah, I like Paul. Like, I might be upset. The Vatican is flogging it off on ebay. [00:43:46] Speaker A: Things must be tough in Italy. [00:43:50] Speaker C: Yeah. No lucky straps there. Holy water. Holy water ruined it. Yeah. Does it have weather ceiling? [00:43:55] Speaker A: Yeah, I doubt it. [00:43:57] Speaker C: Oh, dear. Just quickly, Nev Clark says I want a Leica Q328. Justin, tell me not to. [00:44:04] Speaker B: Ha ha ha. [00:44:05] Speaker C: Don't do it, Nev. Your. Your photography is amazing. Just keep doing that. You're crushing it. You don't need it. [00:44:12] Speaker A: Spend the money on a trip. Go To Japan. [00:44:14] Speaker C: Yeah. [00:44:15] Speaker A: Go to New Zealand, go to Germany, go anywhere. [00:44:19] Speaker C: I'll sell you mine cheap. I'm gonna get rid of it. [00:44:21] Speaker B: Don't go to Bendigo. [00:44:23] Speaker C: No, don't go to Bendigo. [00:44:24] Speaker A: Hey, Bendigo's nice. [00:44:26] Speaker C: Being silly. [00:44:28] Speaker A: Okay. Nikon News couple of quick OM has announced a high volume of pre orders and apologizes for potential shipment delays of the new 50-200-millimeter Pro lens. [00:44:42] Speaker C: Oh, you literally did skip Nikon. That's funny. [00:44:44] Speaker A: I'll go back to it. I know Jim's watching. I do it for him. [00:44:48] Speaker C: It sounds like that lens was a bit of a hit in the om world. [00:44:52] Speaker A: 50 to 200 is pretty convenient. [00:44:54] Speaker C: Yeah, it's 2.8. [00:44:56] Speaker A: Yeah, it's nice. And finally, Nikon News saved the best for last. Jim Typoc announced a new Samara 50 millimeter f14 lens for Nikon Z mount, which is interesting. So Taip. I reviewed a couple of Taipoc lenses that kind of like a full metal bodies, manual focus, exquisite optics. They're made to kind of replicate, you know, high quality Sumilux or something similar from Leica. So. And expensive. Like I. I think purlins. I had like a 35 and maybe a 23 for Fuji Mount and they're about a thousand bucks each. And I got gifted them for the review. Yeah. To actually test them. Not as a Here. Right. It's a nice review. I got to keep them. [00:45:42] Speaker C: Wow. [00:45:43] Speaker A: Still, which I sold them. Did I get one to Greg Carrick? I think I offered one to Greg. Anyway, moving right along. New small rig cage kit for the new Nikon zr. No surprises there. If they could just get on top of their shipping and handling, I would have mine. And Nikon has also announced a new ME D10 shotgun microphone for ZR. And I saw this thing and I. I'm so incredibly compute confused by it. [00:46:09] Speaker C: I'll pull it up. [00:46:10] Speaker A: Bring up the picture please, boss. [00:46:12] Speaker C: Bringing it up. It's up. [00:46:15] Speaker A: I don't understand what that is. [00:46:16] Speaker C: It's a flash trigger. [00:46:18] Speaker A: No, it's not. It's meant to be a shotgun mic. [00:46:22] Speaker C: Yeah, I mean I saw. We'll talk about this soon. I saw that this has some sort of weird audio mic setup built into this ZR camera as it is. I wonder if this mic does that same thing. I can't remember what. [00:46:34] Speaker A: That just answers it. Maybe it's a trippy little device. It's got lots of little switches and stuff on it. I just don't understand the shape of it. [00:46:43] Speaker B: Yeah, I'm just Looking at close up of the spoke settings on it I think it's like. Yeah it's just got a couple of different capsules in it so it can get forward or back or you combine a figure eight. [00:46:55] Speaker A: Oh there's better photos on B and H. [00:47:00] Speaker C: Yeah. Attaches via the digital accessory shoe which also provides power which is the same as what Sony have been doing for a long time and Canon do as well now and I'm sure other brands are doing supports 32 bit float audio recording. Recording Pure mode is for recording audio as is which is generally what you want. Three direction, three directional point. [00:47:25] Speaker A: Yeah according to B and H it. [00:47:28] Speaker C: Does look like that's a tally light. A big one. [00:47:30] Speaker A: Yeah according to B H it includes a wind muffler. Speaking of Merkins pictured right here there's some slang that I haven't heard for a very long time. [00:47:41] Speaker C: Yeah like a dead. It's not a dead cat, it's a dead rat. It's just a little one. Yeah, a dead mouse. So we've got focus and pure and then front all and rear and then the LED is high, low and off. So you can switch that light off if it's annoying. [00:48:00] Speaker B: Okay. [00:48:01] Speaker C: The tally light I assume it's tally lights red have to be. [00:48:04] Speaker A: It's US$336. [00:48:08] Speaker C: Speaking of microphones. Hang on, let me just pull it off my camera. I've got this, this microphone. [00:48:18] Speaker A: What is it? [00:48:19] Speaker B: It's in front of your Justin Castle's name. [00:48:22] Speaker C: There we go. Oh yeah, this Canon. What is it? EM1D. EM DM. I don't know. It's the Canon's digital microphone so it interfaces directly with the hot shoe. Sony have a big range of these Canons only sort of just catching up. [00:48:40] Speaker B: Everybody's starting to put their multi interface shoe on. [00:48:43] Speaker C: It's far better than having to plug a stupid little 3.5 mil jack in to the side. Lose your weather ceiling because your little flappy flaps open and muck around with that and it locks properly like it's got a locking hot shoe thing which I really enjoyed that Canon used to have on their speed lights comes with a wind muff and it's even got a nice little switch, a button on the back which Come on focus. That brings them in. [00:49:07] Speaker A: You're talking to me the camera. I'm giggling at windmuff. Flappy flaps being open. I'm sorry, I'm a child, I'm tired. [00:49:16] Speaker C: It's so funny. You thought I was telling you to fucking. Anyway there's a button on the back that brings the audio menu straight up on the camera. So it makes it really fast to switch like the attenuator on or whatever. Just basically gives you an extra button. So I haven't given it a good test, but I've got a shoot on the weekend, a mountain bike shoot which is going to be like Run and Gun vlog style video. And then I've told CPS that I'd like to keep this for BFOP and I'll use. [00:49:46] Speaker A: Oh, so you borrowed that, did you? [00:49:48] Speaker C: Yeah, they didn't have any in stock. I was just gonna buy one and they. [00:49:51] Speaker A: Oh, from Canon Professional. [00:49:52] Speaker C: From cannons. [00:49:53] Speaker A: Okay. Yep, yep. Because you're fancy. [00:49:55] Speaker C: I am fancy. And so yeah, got this. Okay, here we go. We've got Rick Nelson says it's, it's a ripped copy of Sony's mics. Could be better. You don't know. What's this? The continuum transfunctioner, Jim says. Made by Nikon. [00:50:12] Speaker A: And Jim. [00:50:15] Speaker C: Robert Varna says I always make sure my flappy things is closed before I leave the house. [00:50:20] Speaker A: Smart. [00:50:20] Speaker B: That's very good plan. Very good plan. [00:50:23] Speaker A: Yeah. That's almost as important as a clean pair of underwears. That's it for the new. Yeah, just. Yeah. You don't want that. [00:50:31] Speaker C: No. [00:50:33] Speaker A: All right, well that's, that's the news. Let's, let's talk about cinema. [00:50:40] Speaker C: Okay. [00:50:44] Speaker B: Push the buttons. [00:50:47] Speaker A: Worked and everything. Just before we hand over to Bruce to you know, cripple our eardrums with facts and details about cine cameras. We love you for it, Brucey. That's why you're here. So in the space of basically 36 hours, Canon, I think Canon was first out the gate to, to announce the Canon EOS C50, a new sort of entry level model in their Sydney range, potentially placing. What was it, the R5C basically. [00:51:18] Speaker B: Is that right? [00:51:19] Speaker A: Yeah, we've also got. And then Nikon kind of that same night, well, you know, within a few hours announced the Nikon zr, which again is. Looks like it's marketed as an entry level cinema camera. And it finally celebrates the merger or the acquisition, whichever it was, of Nikon and Red. Thank you, Bruce. And then Fujifilm came out guns blazing with a, a new gfx sensor equipped Eterna 55 Cinema camera, which is a different class to the other two. But we'll, we'll cover that off in a little bit more detail soon. [00:51:58] Speaker C: Which I think that had been. Had that been leaked or, or. [00:52:01] Speaker B: Yeah, yeah, yeah. [00:52:04] Speaker C: So everyone obviously they'll probably trying to Warm the market and do all that sort of stuff because it is kind of a new entry for them. [00:52:11] Speaker B: Yeah, yeah, they announced it like six, eight months ago actually. They just said like this is what we're doing. But they hadn't actually. They had a basic body and stuff but they were saying we're working on this. They we don't have a final product. [00:52:24] Speaker A: Yeah. But what is interesting, I guess just before we dive into each camera this, the marketing around these things, you know, you see. So the C50 gets announced the Canon and you see the usual suspects like Kyman, Wong and Locke and the guys at Petapixel, you know, all those usual people are very quick to put out a video. So clearly they've had their hands on product for a while. The ZR was a little less. And maybe I wasn't looking at the right channels but it felt like there was a little less kind of community involvement in that launch. It almost felt a bit rushed. And then like I said, Fujifilm came out and they dropped onto YouTube, I think like maybe a dozen short films created by different video make filmmakers, cinematographers from all around the world. So clearly they've had product in people's hands for a long time and they put out short films of just how what this camera can capture and do. So yeah, it's really interesting to see when that sort of thing happens. And because they all happen back to back, it was, it was even more fascinating to see how each brand handled it differently in such close proximity. It almost felt like, oh, quick, quick, quick, babe. Canon have already announced it. Quick, let's get ours out. And then the next one, oh, you know, let's get ours out as well. And it just felt like we were flooded with Cine talk. [00:53:44] Speaker C: Obviously they would have planned it because you can't just quickly, you know, hit the button on a release, you know that, that there's a lot of moving parts to. But I wonder whether that those dates shift as they hear rumors from each other and they're like, oh, they're going to be at the. What was the event called? I. [00:54:00] Speaker B: So IBC's was on, on the weekend, which is the, was the International Broadcast Conference or whatever in Amsterdam. So that that's, it's like, like I'd say they're announcing all this stuff because then they could showcase and talk about it on the floor. [00:54:19] Speaker C: Yeah, yeah. Okay. Before we dig into the specs of each one and, and why they suck or don't suck and that sort of thing, tell me, Bruce, why would I Buy a cine camera. I shoot a fair bit of video, but not a lot. What advantages do cine cameras give me over something like the R5 Mark II or the Sony, like a 74 or you know, those kind of like mid range, mid to high range mirrorless cameras. [00:54:51] Speaker A: Of today that are sold as hybrids. They're promoting as hybrid. Yep. [00:54:57] Speaker B: It really comes down to the use case. You've got a lot of creators want to do photo and video so that makes total sense to have a hybrid. And the difference generally is in how you're going to use the equipment. A proper cinema camera, I'll use the words proper in verdict has is usually geared towards one or two, two operators simultaneously. So a lot of people don't realize a lot of reasons why the cinema like the Aries and like the bigger cameras and that are big is they're doing a lot of stuff in them but they're also made to be used by a operator who's moving the camera and a. And somebody who's actually manipulating the other parts of the camera. Like the first ic. Well first I see is usually focus pull. The second AC is doing the other stuff. So there can be three people working on a camera simultaneously. So you have a lot of buttons and a lot of tactic tactility to it and a lot of mounting systems on it. So that's the hardware of it. But then you've also got the codecs that go with it. So codecs that come out of a cinema camera are usually in a different format, which is a lot heavier, usually needs bigger cards, faster cards and things like that because they're made to go into an imaging pipeline with color grading and everything else to that nature without the loss of quality. So the actual ability to use a cinema camera, a proper big one is it adds a lot more to this, to your actual workflow because there's more people involved potentially and you can do a lot more things with it. But you're also limited as well. It's not as pure cinema camera doesn't do stills. They're limited to their, their different styles of codecs and they have other accessories as well in there which are completely useless like timecode or Genlock or other other things as well. One thing they you'll tend to find on some cameras is that they'll have the camcorders like which is what some of the cinema cameras are really like. This one here, I call them a cinema body now but they're really just a fancy cam quarter body with interchangeable lens. They have things Like ND filters built in which they've been doing that forever in a day. So you don't. So you put a bit of glass on it and you can just turn them on and off and do what you need to. Different companies have different ways of doing that because it's literally glass in front of the front of the sensor. [00:57:36] Speaker C: I always wondered that and then I've realized that that is literally what's happening inside the body of a camera with the built in nd. Is it moving glass in front of the sensor? [00:57:43] Speaker B: Yeah, it's moving the glass in front. [00:57:45] Speaker C: Of the sensor, yeah. Special trick or anything. It's literally just. [00:57:49] Speaker B: That's the reason why the body's usually taller because it has to rotate it in pretty. Sony has a patent on a variable nd, electronic variable nd which is one of the advantages of using Sony because you don't get stuck with hard stops because they're like four or five bits of glass. So that's something I think. I think Nikon's actually might have got some of that as well coming in with that camera. So yeah, it really comes down to the use case. Like I love my FX6 there because I can rig it, I've got all the points on it, I can do lots of stuff with it, but it's big. I also have an A7SIII because the FX3 didn't come out until after I bought it like and stuff and they're very much the similar camera. I use them together and they work really well and. But I've also used my SMS3 as a pure stills camera even though it's 12 megapixels. I have megapixels for. For your fans out there. [00:58:49] Speaker A: Thanks Bruce. [00:58:50] Speaker B: So it comes down to use case. I think some people get it because it's like I have a cinema camera. Like I am fancy now I'm a professional now I am a professional but a lot of the like creator market doesn't need it or if they want to upgrade or do better stuff they just need to learn how to shoot in log and other things and just get better at it. There is a. There is jumps in bit rate and stuff because there was a lot of time that everything was only 8 bit and then 10 bit just make things a lot better. But a lot of people discount that you need audio and audio solutions on a lot of the cameras has been pretty lacking. They're a lot better now but they're not been great. But you can say that about red as well. Red have always been house at their audio solutions. Solutions. And they're a pure cinema camera. [00:59:39] Speaker C: Yeah, some of the best. [00:59:42] Speaker A: Yeah. [00:59:43] Speaker C: So Lee Herbert says enough with these cities shenanigans. Just put an ND filter on your phone and get on with it. [00:59:49] Speaker A: Yeah, let me just share a picture. That's. That's very rich coming from this man. Where is he? Oh no, I kicked Bruce out, sorry. There's Lee Herbert, his fancy camera. [01:00:02] Speaker C: That's him with his iPhone. Just getting on with it. [01:00:04] Speaker B: Yeah, well that little EVF he's using their gratical is that when that came out is not a cheap bit of. [01:00:11] Speaker C: Kit more than an iPhone they like probably. [01:00:16] Speaker B: Yeah. I haven't looked at the prices of them in a long time. [01:00:19] Speaker A: Oh, how do I stop sharing? I should know that by now. [01:00:24] Speaker B: So it comes down to use case I find I can. I'm a lot faster on the run and gun with my FX6 because it has the NDS in it has dedicated good audio ports and things like that. So I can, I can rig up and go and, and I am good for hours and hours and hours. I can put a V mount on it. I can do lots of different things. If I go with the A7s III or something of similar ilk, I'm having to worry about batteries, cards, putting a variable ND on the front of the lens and if I need to change lenses then I have to take the ND off. Or if I've got multiple ones I have to. To put them on. Take us more. You know, you'll spend money in different spaces to do the job. [01:01:11] Speaker C: Image quality wise, obviously there's a difference and especially that depends on a few things obviously what codec you decide to shoot in on. On the cinema camera or whatever camera it is that you have. But like taking my, my R5 mark II for example, which can shoot in. It can shoot in C log 2 and 3, it can shoot in RAW. It's an 8K sensor and it can shoot in 8K, does 10 bit. Obviously it's going to be limited with its heating and things like that, but if we forget about that side of it and just talk purely about what you're getting out of the sensor, image quality wise, is there huge leaps in image quality. Not going to these $20,000 cinema cameras, but going to something like the C50 or the C80 or whatever that's released that are using similar level image pipelines. [01:02:10] Speaker B: It always comes down to the codec and how it's been compressed, the lens you're using a lot of time and Depending on how the brain, how the actual sensor is sampled. Because sometimes you. Even with an 8k camera they might go, you can shoot it in 4k but it might line skipped or other ways. So. Yeah, or it could be binned. There's lots of different ways of the camera manufacturers work their magic to make an image go onto it. And that's, that's where you get into the mud of this. I find that you can get really overwhelmed and you're not thinking about what is useful to you. If you have a pipeline of where you're going from acquisition to edit to grade to output and you know what that's going with, go test your cameras and find the one that works for you for most situations because they're all pretty good. Like yes, you can get sharper and sharper stuff. But what like the one thing I find really funny is people want these 8K, 12K or 6K or whatever things. And you know, the K's are useful for some things, but then you want to go and throw vintage or cinema glass on it, which have got softness and other things. So it removes all the sharpness out of it. [01:03:31] Speaker A: Well, I remember someone saying to me, I don't know if it was. Maybe it was Adam Kopf who he works with Lauer here in Australia. He'll. He'll be at BFOP this year again. I think it was him that was saying to me, because he does working with Laura. There's a whole range of cine lenses. [01:03:49] Speaker B: Right here on this camera. [01:03:50] Speaker A: Yeah. That, you know, it's a whole nother side of the business compared to their photography camera lenses. And he was saying often with cinematographers there's two kind of key elements with glass. Photographers look for the sharpness and often cinematographers look for the, the out of focus. How's it going to handle out of focus? So how dynamic and creative can my folk can my focus pulls be? And the second element, which Lee Herbert has also touched on and you touched on too, Bruce, that it's also the audio inputs and the time codes that you get with my cine cameras that you don't always get with say a mirrorless hybrid photography photographer video camera. [01:04:31] Speaker B: So XLR inputs on the camera. Not some of them have mini XLR like the blackmagics and stuff because they want to save space, which is a pain in the butt because you guys use adapters, timecode in and out on the back. And then the bigger ones have what's called Genlock. And Genlock is a more special case and most people don't need it. It's where it makes sure that if you're using multiple cameras at the same time, they all open and close and record the image simultaneously so there's no micro drift in there or sampling in the way it's shot. They used to be really important back in the day with analog switches and then it sort of disappeared for a long time. It wasn't so necessary because we got better technology to handle those slight drifts. But it's become really important again for virtual production because then you match your camera shutter to the LED wall or something like that. So it all fires at the same time. And in audio it's called word clock. [01:05:30] Speaker A: It's called what? [01:05:31] Speaker C: Oh, Word clock. [01:05:32] Speaker A: A word clock. [01:05:35] Speaker C: I remember that back in the day very quickly. A couple of comments here. Rick Nelson says I do like cine lines becoming more consumer level now. Short films and YouTube getting better and better. That's true. Quality is pretty nuts. [01:05:49] Speaker A: And these entry, these models like the C50 and the ZR and you know the, the Sony version, even that's a bit more expensive than the other two. Oh no, the C50 is up there. You know, it makes it more accessible to more people. People that are looking at making that leap, say from an R5 mark one or you know, an older Canon camera to jumping into a C50 where they can use their, their existing glass. That's correct, isn't it? Yeah. [01:06:16] Speaker B: So they're using the RF mount and stuff. Yeah, that's the reason why I ended up in Sony. I don't know if I said that before. I was a Canon user and I was shooting hybrid right back in the a 5D mark three days and stuff like that. And I fell in drink with the 5D Mark III and I had a job coming up and the A7s first version came, was, came out and it was like this low light king and everything like that. And they had a whole adapter rebate so you get a Metabones adapter for your EF mounts. And I was like, well I've got to send this off. I need a camera now and I need it for video. I'm gonna buy that with the adapter and I'll just use my Canon glass and do that for years. And I just. And Canon just didn't, didn't pick up the ball for what, eight years or something. It's just like. Well, by that time I've moved on. [01:07:02] Speaker C: Yeah. Lee, I'll come back to Paul's comment a bit later. It's an interesting one. Lee Herbert says it's an interesting conversation about image quality. No doubt they have great image quality, but consider that often when you're shooting with a cine camera, you also have gaffer lighting your scene, I guess makes it even, even better. [01:07:23] Speaker A: And he then follows up with a second question. Let me just. Sorry, Bruce. I'll just jump in with Lee's second point. The cameras may be more accessible, which I said, you know, it's becoming more accessible to people, which it is. But consider how many hard drives you're going to need to buy and faster computer to edit. It's a really good point, Lee. Even from a photography standpoint, reviewing Fujifilm's X cameras, which is what I used to do, and then they sent me a GFX and my old imac just shattered self like it just didn't know how to process those files. [01:07:54] Speaker B: Yeah, and it happens to me regularly if I'm doing multiple camera streams, you know, and I'm only shooting in 4k and everything I put out is in 1080 unless requested differently because nearly everything only needs to be 1080. If you give you. If I give you a 4, a 1080 and a 4K image and I get you just a full screen, both of them side by side, you probably only just tell the difference between them. Most people can't. So if for the most part it doesn't matter, I prefer. But it's. It's a point where you. If you put harder and heavier codecs and stuff to work with, then you need. Yeah, more hard drives. I got. Well, I was just looking at the stuff I've been done in the last three years. I'm at 50 terabytes plus another 50 for. For backup just on the stuff I've shot in the last three years. And that's just the last three years. I have so much stuff sitting around, it's ridiculous. [01:08:55] Speaker A: Should we talk about the specific cameras that we're looking at? [01:08:57] Speaker C: Yeah, I was going to say we'll get into them because there's a question that'll jump us straight into there. Let me. Let me do my thing. Ready? And. Okay, so we've got three new cameras. We might as well just kick it off with this question from LTK. The Eterna 55, that's the Fujifilm not having internal raw. What are your thoughts, Bruce? [01:09:18] Speaker B: Roar is a. RAW is going to be. That has been that thing where everybody goes, oh, every. You know, we've got raw. We've got raw. And actually, just. Just to kind of sidestep this for a second DaVinci resolve didn't have the ability to use Prores RAW until this week. There's a whole bullshit thing going on there for years and I'm really sure it was to do with Atomos if there's history there with two Australian companies. Anyway, that finally happened and I think it was more because of the pressure of Apple working with Apple to do stuff that, that finally got unlocked, which is great. But the thing is raw is 9. 99 of the time not useful for most people. Like it's, it's. It's even harder on your workflow because it's got all your noise in it. You have to denoise everything. You've gotta, you've got to debayer and you've got to do all this other work to it. If you're doing visual effects and other things or if you are doing a high end cinema, you know, AAA cinema thing, yeah, it can be really, really useful. But it's still. There's no. You're still getting a log, you're still doing this stuff. So it's for the most, most part it's for. For the creators out there who are now going yeah, we've got internal RAW and stuff like that. You, you're probably making so much work for yourself for so little return in the long run and it'd be nice to live that. My mind was changing that. But I don't think it's going to happen, not for a long time now in regards to the Fuji not having it. I don't know if there is a codec that can actually take like a container that can take that image potentially at the minute or unless they have to license something and that could be a problem. It. I don't know. I, I had no idea. But the Eterna is really aimed at the high end productions. They're looking at trying to take on IMAX style productions. That's because I think the only other so IMAX to do stuff re the re 65 then you've got the now new Fuji and I think the Sony finished as well. Venice 2 they're the, they're the containers in that market. So they've got some heavy hitters to go up against. I'm not like a lot of people really enjoying the IMAX shooting and stuff like that but everybody that's going to. That is doing it still on film for the most part. [01:11:55] Speaker A: Yeah, yeah. [01:11:58] Speaker B: Was done on digital though. [01:12:00] Speaker A: So just, just a few. Sorry Bruce, just a couple of specs on the Fujifilm Eterna. I couldn't find an Australian price just yet, but at the moment it's listed for 16, 500 US so about what, 25 grand Australian. It's in a completely different ballpark to the, the, the EOS C50 and the Nikon ZR. Yeah. [01:12:23] Speaker B: And this is complete. This is the top end of the spectrum. The other stuff is at the consumer. [01:12:28] Speaker A: Level and I noticed in, in one of the videos I watched yesterday about it that it has the controls and the LCD on both sides of the camera and that goes with a team of people actually operating a camera. It's not just the one person. There's, there's people supporting them, isn't there? [01:12:46] Speaker B: Yeah. You have a camera, camera crew. So you have, yeah, dop, you have your camera operator, you have your first ac, your second AC and stuff. You, you have a team at work together to manage this package. [01:12:58] Speaker A: Yep. [01:12:58] Speaker B: So this is not something you just bring out just to shoot an interview by yourself like you could. [01:13:05] Speaker A: I can't ask Justin for this for the podcast. Is that what you said? [01:13:07] Speaker C: I was gonna say I shouldn't vlog with it, Bruce. Just like I need, I need a webcam. [01:13:12] Speaker B: I don't know. Have you got big guns? [01:13:14] Speaker C: What's up everybody? I'm just, I'm just, you know, going to get a coffee and then I'm going to shoot it. 10. [01:13:21] Speaker A: Tell us about it is a larger than full frame. We won't say medium format because that gets people in trouble in Fujifilm larger format sensor as a cinema camera. Does that make sense? And, and how does that differ say from other, you know, other size sensors in the market? [01:13:43] Speaker B: So classically obviously you're, you've got 35 and Super 35. A lot of stuff has been shot on Super 35 for forever. Yeah, a lot of broadcast stuff is still done on Super 35. It means you don't get as shallow depth of field, but your glasses can be smaller and you can do a lot more with them as you get bigger like medium format photography, your depth of field gets more and more shallow. You need bigger lenses and they bigger glass and stuff and it gives you that look. So that's, that's the main thing. It just gives you that look. Now I'm not sure what aspect ratio this is in when it acquires. Is it a 4 by 3 or. [01:14:21] Speaker C: 4 by 3 is the full sensor? Yeah, I know it seems to be that they're, they're touting that the, the flexibility of having that full sensor gives you so many options. [01:14:34] Speaker B: It does. Because yeah, so a 4x3 is traditionally used for anamorphic, so you'd shoot it right, it looks like a square format, but then you. It will de. Squeeze out wider. So that's. That's what would be used for. But you can also like crop it into something like a 16 by 9 or 2. Check it 2.0, whatever. So there you go. But see, the. The thing about it is, like cinematographers, good cinematographers use different aspect ratios to do different things in storytelling. They don't just shoot wide because it looks cool. I think I said it when we first talked. It's like if you look at the original Jurassic park, it's actually not that wide a film. It's actually quite a tall film in frame. And that's to make the dinosaurs look big compared to the people in the frame. The modern stuff is quite wide and it makes the people look quite, you know, big against a dinosaur. So you don't get the epic scale. So that's a really good example of which you can. Which most people can reference. There's a lot of other stuff out there as well. So it's a. It's a look. But you got to compare that. You got to add the glass to do that look. Yeah. And everything else and then. [01:15:54] Speaker A: And the data storage alone. Yeah, yeah, just. Sorry, Bruce, I cut you off there, mate. Terrible habit. Question from Greg Carrick that I want to just quickly answer. Does the Eterna have a GF mount? Yes, it does. I'm not sure if you're taking the piss there, crackers, but it actually has a. Both a Fujifilm G and an REPL lens mount. So it's got an adapter and you can actually either mount it, like lock it in using like a bayonet. I think it uses a bayonet or you can actually bolt it to the front of the camera so you've got a more secure mount on the front. [01:16:29] Speaker B: Yeah. So most PL mounts, which is the ARI mount, which is used generally like on big Stuff, Aria and others, and including Sony and stuff, have a locking bayonet system. So you put it in and you lock the lens in so it can't. It cannot come off. It's. Yeah, it's a much better way of doing it. But the flange on a PL mount is actually quite deep because of it, so it changes the way things are mounted a little bit. [01:17:01] Speaker A: I love that word flange. [01:17:03] Speaker C: Something about it rolls off the tongue. It does, doesn't. [01:17:07] Speaker A: It's just. Yeah. [01:17:12] Speaker C: Film winder, like the X, that's the cop Button, maybe. Yeah. It'd be funny if it had some old 35 mil film canisters that just like rotate or something that looks. But they don't do anything. You've got to do that to start the camera up or something. Completely off topic question from Ciro's cuts from a while ago. Which wireless mic is best under $10? I don't know. Head to. To Moo. What you could get is two cups and a string. Yeah. No, I'm assuming you're thinking under a hundred dollars. And if so, I'm not up with it at the moment. I know tons of places like Lark and Hollyland are putting out all these like wireless competitors to DJI and RODE and stuff. But I still gravitate towards DJI and Rode for those systems. But they're. They're over a hundred dollars. [01:18:08] Speaker A: They've just released third gen, haven't they? [01:18:10] Speaker B: The dji. [01:18:10] Speaker C: Yeah, yeah. You don't like it? Yeah. Because it won't do a lapel for you. [01:18:16] Speaker B: Yeah, pretty much. It's, it's different use cases as per usual, but I think, I think they. [01:18:23] Speaker C: Yeah. [01:18:23] Speaker B: Threw a little bit of the baby out with the bath water on that one. [01:18:26] Speaker C: Yeah. Np, I know it's not proper wireless, but if you use fishing line, you won't be able to see it. [01:18:31] Speaker B: Yeah. [01:18:32] Speaker C: So look, with that budget, you've got to work with what you've got. [01:18:37] Speaker A: Yeah, absolutely. [01:18:38] Speaker B: I believe the term is speak louder. [01:18:41] Speaker C: Well, that works too. [01:18:42] Speaker A: Oh, yeah, there is that. Let's move on to the Canon E50. [01:18:47] Speaker C: Unless there's anything else, Bruce, about this, this GFX Eterna that, particularly pictures, you. [01:18:52] Speaker B: Won'T see anybody using it unless you're watching stuff about ACs and stuff like that, bigger movies. It's not a broadcast camera, it's a cinema camera. [01:19:02] Speaker C: So it's not for us. We're not. [01:19:03] Speaker B: Not for us. That's me. [01:19:05] Speaker C: Immortals C50. So, yeah, essentially, as Greg mentioned before, basically the Canon used to have that. We had the R5 and then we had the R5C, which was like, hey, here's your cinema entry level. Ish kind of cinema camera. But it was still really based around the Canon R5. And then they cinematized it with some cooling and they ditched the IBIS and stuff like that. And it was very popular. A lot of people really liked it. And then this, this really takes over from that as the. I believe the Internet has been set on fire with the phrase FX3 killer. Seems to be the tagline on every YouTube video about this camera, I'm sure Canon had that in their PR kit that they sent out to the reviewers or whatever. So what are your thoughts on this one, Bruce? [01:19:59] Speaker B: I think they're going to sell a shitload of them, I'll be honest. Yeah, no, I, I think it looks really good from what I've seen of it. Saying fx3 killer is easy because fx3 is like 4 years old. [01:20:13] Speaker C: Yeah. [01:20:14] Speaker B: So you know, it, it's still an amazing camera. So I know a lot of people still use them and I, I'm gonna, I use them as well. So I think, I think, yeah, it's, I've used the C70 and I, I've never been impressed with the C70 for ergonomics and the way it's set up, 400, 300, 100 when it came out in the 200. So I've had a good go at all these different cameras at different points in time. I think this is probably the right form factor. They need to go up against Sony with the Alpha Alpha Cine line. Yeah, it's. A lot of people are going to buy it if they're going to see 300, 400 and have it as their B cam, like it's going to be used a lot. [01:21:02] Speaker A: So yeah, I think just a comparison. Sorry guys. [01:21:05] Speaker B: The. [01:21:05] Speaker A: So the FX2 is 52.99. That was the one that they announced and launched about three months ago. We decided about that two to three months ago. The, the Canon ERC 50, this is Australian dollars too, is 58.99. So it's up there with the Sony pricing. But tell us what you get from this Bruce, over say the FX2, which is Sony's entry level cine offering, they're. [01:21:32] Speaker B: Completely different use cases in reality. So this one, like the big one they're going to sell it on is the open gate recording. Because the only other camera, I think camera system that has been doing open gate in this sort of level is Lumix and what open gate is and sensors in cameras are not, are not 16 by 9. Normally they're, you know, they're higher, they're a bit tall out. So you're losing stuff at the top. Yeah. So what they do, so this you're not using, you pay for this sensor and you're not using it all the time for all the bits and pieces. So but being able to use the whole sensor in what's called open gate. So the whole, and, and getting not a 16x9 image but this bigger image you can do anamorphic and de squeeze it, because anamorphic generally wants like a more square image to do more with it. But you also, as you can see there, you can crop it for vertical stuff which is obviously become a big thing. Yeah, I believe. Is it this one or is it a nickel that. Is it this one where you can actually. No, I think it's Nikon maybe. [01:22:46] Speaker C: It is Nikon. Yeah. [01:22:47] Speaker B: Shoot, shoot a vertical at the same time as a, as a horizontal and. [01:22:52] Speaker C: You can select where you want the vertical to go. B in that. Yeah, but you have to. [01:22:57] Speaker A: Oh, really? [01:22:57] Speaker C: Select it. Yeah, it's really interesting. [01:22:59] Speaker B: There is a catch to that. [01:23:00] Speaker C: Yeah. [01:23:01] Speaker B: And it's not the full sensor so you're getting like, if you're looking at that, the vision we've got on the screen now, it's got 16 by 9 by 16. That 9 by 16 would actually be in the 16 by 9. It's actually something they haven't said. [01:23:14] Speaker C: Yeah. So they're not using the full sense because it doesn't open, does it? [01:23:18] Speaker B: Yeah, I, I, yeah, I don't know. But yeah, so we're talking about the Nikon. Yeah, I think that's the Nick on. Yeah, but, but for content creators this is going to be great. This is going to do like this, this will do good for them if they can keep the stock up and people have bought into their, to their lens mount and stuff. But it is a catch 22 at the same time because you can't get autofocus lenses on this mount from any other manufacturer and that. [01:23:48] Speaker A: So you. [01:23:49] Speaker B: Not yet. [01:23:50] Speaker C: Yeah, so, so it's, it's really for people that are like, you say they're kind of, maybe they're already in the Canon ecosystem. [01:23:57] Speaker B: Yeah. [01:23:58] Speaker C: And this fits as a, as a B camera or if they're. So if you're, if you're like a Pro with a C400, this is your, your B camera. Oh yeah, perfect. [01:24:06] Speaker B: Definitely. [01:24:06] Speaker C: Or if you're, say if you were me and I've got an RF system but I'm like I'm, I'm going heavier into cine. I need like, I need more professional results. I could get one of these as my A camera. [01:24:18] Speaker A: Because you've already got a lens range, haven't you? [01:24:21] Speaker C: Yeah, yeah. And then I guess a lot of people, if they're starting to use anamorphics and stuff, there are plenty of options for those because they're not autofocus. [01:24:32] Speaker B: There are Wells, the Suray have got a couple of autofocus coming out, but I don't think it's not well it's not for this mount so no, not. [01:24:39] Speaker C: For this mount but. But most of your anamorphics in general are manual focus and that, that then allows them to be used on this system. No problem if you're doing that kind of work. [01:24:50] Speaker B: Yeah, exactly. And then. [01:24:52] Speaker A: Yeah, sorry mate. So you know we've often talked about how the RF mount is, you know, it's locked. Third parties can't make full frame lenses with autofocus performance. How does that, how do you think that impacts this cine offering that, that they're gatekeeping yet again the mount and preventing people from investing in Surui glass or you know something has a native. Yeah, whatever it's, It's a catch 22 right. [01:25:23] Speaker B: Because the old, old guard will be like never use, never use autofocus. But in documentary, in the run and gun environment autofocus is a super handy tool and like yes, if you're going up and you've got assistance and stuff like that, you don't hit autofocus. You've got a focus puller and knows how to do it. So I find it really funny that auto. There's a lot of people out there who don't like you're not a professional user if you use autofocus but autofocus is a tool that helps you if you want it or need it and it's one of those things that everything is going that way. Why, why limit yourself? Like yeah, buy it and you don't use it 95 of the time. Which is not the case for nearly anybody that's going to buy this stuff. Sure. But that one time you need to do it. So for me as a one man band operational all the time I've got two or three cameras with my stuff and I can lock it onto an eye or a person and just say don't subject, move, track that person and I can walk around with another camera. I am generally guaranteed that that's going to keep focus through a whole 50 minute interview and I can keep it shallow. Whereas if I was doing it with a manual focus I'd have to increase my depth field generally and I need to either I've got to trust that person's not going to go in and out of that space or whatever else. Yeah. So there's, there's advantages for it and I think then gatekeeping will make it harder for people to switch over because it's just such a, like anytime you're switching from one system to another it's always going to be hard. But I think yeah People already in that ecosystem are just going to love it. And then that. Yeah, that's awesome. [01:27:14] Speaker C: Yeah, yeah. Final, final thoughts on. On this before we go to the zr because we are way over time we still got to look at a couple like us. It's not like us at all. Final thing, why hasn't it got Ibis? What's the deal? Cinema people just got super steady hands or what? What's the deal? [01:27:32] Speaker B: It's. It's a catch 22. Right. Ibis is useful as well and. But Ibis. I actually, I was looking into this actually and Canon have got an actually interesting argument for it. Ibis is actually a stills camera technology and a lot of time it's not done very well which I'll agree with. And it's just. And if you've got in camera stabilization plus Ibis and they don't talk to each other the results can be quite terrible. [01:28:02] Speaker C: Like lens, lens stabilization and Ibis not working together. Yeah, you mean. Yeah, they could like. [01:28:08] Speaker B: Yeah. So you've got a floating sensor and a floating element in the camera and they've. Yeah, so. So Canon have said that they're just going to use stabilized lens and not an IBIS module. They're not gonna have a. They're gonna have a locked block in in their cameras because they reckon, because they're the only people making their lenses back to that whole thing. They've got. They've got the ability to tune their lenses to their camera and they will use a digital stabilization within the sensor and that's actually not a bad way of doing it in some respects. And the reason why is something a lot of people don't realize is that there's a thing on Sony which is clear image zoom which allows you to push in on. I think it's like 10% on your. On your camera and it up resses to the full scale and there's very significant lesser less of loss of quality. Like I guarantee you wouldn't be able to tell. So they're using that same sort of idea is that they're going to crop in to stabilize and then pull back out. So you might lose a little bit of width to your image but it's going to be so insignificant because you'll get that stabilization. So people will probably be totally happy with it. It's just a different methodology and I, I get it. It's an interesting way. I'll be interesting to see how it works in the real world. [01:29:41] Speaker C: Okay. With that said we'll jump to this one which does have IBIs. [01:29:49] Speaker A: Let's just quickly jump to a comment just before we. Sorry guys, a comment just dropped in from Harrison living. G' day Harrison. You are living solo operator here. Wrapping up an in house role in the coming weeks and moving to freelance. Okay, one run and gun cam for mostly socials and YouTube. I'm stuck between committing to the ZR or the FX3 and I imagine Bruce, your advice would be. Well, what do you currently have? What system do you. Are you already invested in. In terms of glass? Would that be fair to say? [01:30:19] Speaker B: I. I would be. I'd be fair to say that yeah. I've got. And it depends on what your client base is. That's actually a good question to go into the next thing. [01:30:31] Speaker C: Okay. [01:30:31] Speaker B: The FX3 is made for long run times within reason and stuff and it's got accessories out there wazoo and you can do a lot with it. Is it the zr? The ZR is new and we'll have. And you're gonna have to buy into the Nikon mount which is expensive. I didn't realize until about two days ago. There is a, A, an adapter from E mount to Nikon's new mount which actually allows you to autofocus. It's probably cost a bomb. So there is ability to bring Sony lenses to this camera which is really cool. It's not as tied down obviously as Canon, which is great. But my use case on this is it's really entry level creator and somebody rigging it out like that needs to be shot. [01:31:23] Speaker C: I was just gonna say is. Is this basically like this is not. You shouldn't buy. [01:31:28] Speaker B: Go buy a proper camera if you. [01:31:30] Speaker C: Want to do that. If you're gonna do this is like if you went and you just. You put every potential accessory on your Hyundai xl. You know, the rims spoiler and the big exhaust and some flames down the side and all that sort of stuff. And then you're like dude, you could have just bought a nice car. [01:31:48] Speaker B: Yeah. Rick Nelson says can the 4 inch screen with a thousand nits become standard? And that's the biggest thing I've heard about is that the screen is best in class, which is awesome. Well done. [01:32:00] Speaker C: Interesting. [01:32:01] Speaker B: Yeah, so it's a big but go to the bottom of it. [01:32:06] Speaker C: Hang on, that's not the bottom, that's the bottom. [01:32:10] Speaker B: Okay. So this is a stills camera. You've got a quarter 20 mount there with the anti roll anti twist lock on the side instead of being in front of it. Why only photography Tripods have a plate that works like that any sort of cinema, any sort of normal tripod for use in video will have it different. So that instantly means it's. Somebody wasn't thinking in the engineering of this. And under that actual battery tab is also where the, the media goes. [01:32:47] Speaker C: Yeah, that's one of the biggest complaints I've heard is that hot swapping cards potentially means you might have to move your camera off its tripod mount and off its tripod. Not hot swapping, but even just swapping cards, you might have to literally move it and then getting the exact same shot set up again is a pain in the ass. [01:33:04] Speaker B: Yeah. And this I think, as when I was talking to Greg about coming on tonight, I think the biggest thing I see this is like what happened a little bit with Sony when they were first doing the alpha line and they had the cinema line because they're two different divisions and they seem to not talk. This to me is the guys at Nikon got the tech from Red but didn't talk to the guys from Red about how to make a cinema camera. [01:33:28] Speaker C: Yeah. And that is such a shame with this one because so, you know, Sony have the vlogging camera, what's it called, the ZV1. It's got like, it's got that sensor in it and it's a nice camera but it's essentially a vlogging camera with high, higher ish and image quality. Whereas this is kind of being pitched at, you know, it's a red, it's a cinema camera. It's not a vlogging camera, but it's kind of built more like a vlogging camera in terms of its form factor. [01:33:58] Speaker B: I think it's purely a vlogging camera with, for creators who want to be on the run and do short stuff with like in the pocket and want to have that red quality with it, which is great. Like that's awesome. I think. Yeah. Some of the ideas in it are just counterintuitive, but it's not going to be. If you're doing professional production, this is not the camera you would use. [01:34:21] Speaker A: So who is it for though, Bruce? [01:34:23] Speaker B: I think it is for vloggers for, for content creators who want something that's easy but good quality and they can stick it in their bag because it's very small. [01:34:33] Speaker A: Yeah. [01:34:33] Speaker B: Like throw a, like a 35 or a 24 or 20 on it or like a 1635. Yeah. And, and yeah, you can run around and just do it, but if you want to do long form interview or anything like that, it ain't going to Cut the mustard. It might also be somebody who wants to use it with a gimbal. Like I, I'm going to go shoot a wedding. I've got all this other stuff here, but I just want to have a gimbal set up and this is a cheap and easy way to have it ready to go. And it's not my main camera. [01:35:02] Speaker A: I do wonder about its runtime, its ability for long run time because there's, you know, you look at the Canon C50 and there's cooling vents and there's obviously some, some, you know, there's some depth to that camera body that's packing a big fan. But the, the zr, from what I've seen, you know, they're saying that there's no obvious. I'm sure there's heatsink built into the engineering of it but you know, it doesn't seem to be set up for that sort of long form. [01:35:30] Speaker C: That's a cooling fan there Greg, that, that spins this thing here. That'll cool, that'll cool it for you. Got to do it manual, optional extra. Yeah, you spin it and it'll force air. It's like a turbocharger. [01:35:41] Speaker B: Kind of what I love about that is that the gear, the gear of the focus pool is going on to this lens and I'm pretty sure the ratio of that gear versus the lens gear are completely different. So they wouldn't mesh. [01:35:57] Speaker C: Surely not. [01:35:58] Speaker A: I will say this and going back to, I mean it looks cool going back to Rick Nelson's point that, you know, can the 4 inch screen become, with a thousand nits of brightness become standard? [01:36:10] Speaker B: So useful for me it's. [01:36:12] Speaker A: Well I think it would be for a lot of people. [01:36:13] Speaker C: You know, even photography cameras like. [01:36:17] Speaker A: Yeah, that's, Yeah, I think if, if they could make that standard. I mean granted they've used up most of the rear end real estate. There's a, there's a small amount of space for you to grip it. But yeah, the idea of having a 4 inch screen either for vlogging, videography or stills photography is quite compelling. [01:36:36] Speaker C: It gives you a crisp clear view even in direct sunlight. [01:36:40] Speaker B: I, I reckon for how cheap it is, it's. You're going to see it as a crash cam against reds. They're going to use it and they go, we're going to use red as our primary camera like Raptor or something like that and we'll use this as our crash cam or to stick it in weird spots. Yeah, yeah, that, that's. [01:36:55] Speaker C: So that was the question is, is that Is that what it is? Because I was like, do vloggers really? Is, is red just a. The red curated imaging recipes, is that just basically a marketing hype spin for a vlogger to be able to be like, oh, it's got the red, but, but they're not really, you know, like they don't really need it or is. Is it literally our cinematographer is going to be like, boom, let's get 10 of these. Because I need to. [01:37:19] Speaker B: Yeah. [01:37:20] Speaker C: This car for a chase sequence or something like that. [01:37:22] Speaker A: You know, like those surrounding rigs, they'll take the photo at the same time so you can create. But it doesn't have genlock. [01:37:28] Speaker C: But bullet time. [01:37:30] Speaker A: Yeah, yeah, bullet time. [01:37:32] Speaker C: Yeah, that. [01:37:34] Speaker B: I, I do think, I do think people will use it in that way. Yes. Red. The one thing about red and their codec, their raw code at red raw is it is extremely good because they've owned the patent forever. So it, it does do a very nice image. There is a reason why people like that flavor. [01:38:01] Speaker C: Okay. [01:38:01] Speaker A: But Nikon perhaps banking against that, that's going to carry this through that people will just want access to that sort of. That, that red magic, maybe. Yeah, it's micro SD card. [01:38:14] Speaker B: I think it's, I really think this is a taster for what's coming, to be honest. [01:38:19] Speaker C: Just like the first one. [01:38:20] Speaker B: I just think it's a weird one to open on. [01:38:23] Speaker C: Yeah, that's what I thought. I was like, you'd think they would hit it with like a seven thousand dollar, like, like not, not huge, but like, like everyone's gonna want this. That's say in that, you know, mid rangy, I guess something slightly better than the C50 that got released. [01:38:40] Speaker A: Yeah, yeah. [01:38:41] Speaker B: But I think the one thing I think you, I look at it like this is like the launch of the blackmagic Pocket. When that, like when that first came out, it feels that sort of strategy. It's like we'll get people, we'll get some runs on the board, see how it goes and then we'll keep going from there. Like there's definitely going to be better cameras coming down the line, I think. But I think they've also got to work out where Nikon camera offerings and red camera offerings are the same and when they diverge because at the moment we don't know or do they end up just amalgamating and it becomes Nikon and, and with red tech in it and we don't see a red camera anymore. [01:39:26] Speaker A: I think they'll, they'll cling to the, to the red branding and, and magic. For as long as they can, they'll milk it because, you know, obviously they've made an investment in red. Oh, yeah, they're going to push that for a while just from a, just quickly from a price standpoint. The Canon EOS C50, as we said earlier, is $5,900 Australian. The Nikon ZR is 3, 500 Australian. So it's quite, quite a lot less. But obviously, yeah, and like you said, it does make sense for say a cinematographer that needs a bunch of cameras to create a. Some sort of special shot. So I also. [01:40:05] Speaker B: It just came to me. I bet you a lot of schools buy them who are doing media classes because they're cheap enough to do that with. [01:40:13] Speaker A: That makes sense. [01:40:14] Speaker C: Yeah, that's interesting. [01:40:17] Speaker A: No, I think it's a fair call, but like we said earlier, it's weird that Nikon have come out with this and when you. And especially given they, they released it like within 12 hours of the C50. [01:40:29] Speaker B: I think that was your pure happenstance. [01:40:32] Speaker A: I do too. If it had come out on its own, it would have looked like a very different offering. But naturally people are going to compare it to the number one, Nikon's number one competitor, Canon, and see what they're doing and see that, you know, for a little bit more, 1500 bucks more. Yeah. You get a camera that's twice as good. [01:40:53] Speaker B: Yeah, yeah. [01:40:54] Speaker C: It's an interesting one because, yeah, Canon doesn't really have a competitor to this zr. They've got some cheaper offerings now that they've released in the video. Sort of video. Ish, vloggy, ish space. But they don't really have anything at that price point. They've got hybrid cameras. They don't have a, like a Cinema Focus camera at like three, three and a half thousand dollars. You just buy the, you buy the R6 mark. Whatever we're up to, you know. So anyway, yep, it's interesting. [01:41:25] Speaker A: It is very interesting. [01:41:27] Speaker C: Anything before we move on to the images of the night and then go to bed, any other thoughts on these cinema cameras? [01:41:34] Speaker B: Bed sounds good though. Feel free to send me all of the above to review. I don't do reviews, but I'm happy. [01:41:41] Speaker C: To have reach out to Bruce, he's ready to go. Canon. Come on, Canon. Send him everything you've got. Everything, Everything. All right, let's. Let's look at some images. Not many tonight, which is good because it's late. Hang on, Gotta stop sharing that. Start sharing. [01:42:08] Speaker A: Stop sharing. Justin. [01:42:09] Speaker C: No one wants to hear your There we go. [01:42:12] Speaker B: So while we're doing this, I think every time we go on a live stream, I'm on a live stream, you guys. It rains. So I'm. We're single handedly trying to get rid of the drought in parts of Tajika. [01:42:25] Speaker A: Well, we have a duty, don't we? Yeah, that's right. [01:42:27] Speaker C: It's. It's what we do. Okay, this is. It probably looks a little bit dark through the stream but it's quite a moody image. [01:42:35] Speaker A: Who's this one from? Set the scene? Justin. [01:42:38] Speaker C: This is from Paul. Is he still in the chat? He was here before. Oh, he had a good question to talk about too, I think. Or was that different? [01:42:47] Speaker B: Get on with it. [01:42:48] Speaker C: We'll get what we'll get. We'll get it. If you're looking at New Zealand images tonight. Well we weren't but I wanted to bring yours up anyway. Here's one taken during my trip last month. Taken shortly after dawn from Hast on the west coast while in direct sunlight was just starting to break through the gaps in the hills. This was with the R5 and the RF100 to 500 at 223 mil handheld ISO 100F 5.61/400 of a second and yeah, it looks pretty. You can't. It's hard to see. There's a lot of detail and mood going on in the clouds. It's quite cool on my screen but pretty dark on your screen. I like it. Oh, there he is. Yes, still here. He actually had an interesting comment earlier that I was going to get back to. He basically said at BFOP last year Jen from Canon ran a Q A coffee catch up session and my question was whether there was a market for a full frame camera totally optimized for stills. The short answer was no, we won't. [01:43:53] Speaker B: Everybody expects bit of both these days and they do. [01:43:58] Speaker A: We were chatting about this this morning, weren't we? [01:44:00] Speaker C: We were. Well, we might have to reserve it for another night to go deeper on it. But like, like what, what could be possible if a brand focused only on stills? What is there, is there anything or, or are these cameras that have got amazing video capabilities also already? Like my R5 Mark II, is it already optimized for stills? And it's got great video. Is there anything else they could do for stills? That was what we're talking about. So yeah, that might be a topic. [01:44:26] Speaker A: We'll come back to that another time. Yeah, maybe we'll get a panel. [01:44:29] Speaker C: We had a panel. Yeah, we had a panel. All right. And then so the other thing that I got, which was pretty fun here is. [01:44:38] Speaker A: Thanks for sending your image in, Paul. [01:44:40] Speaker B: Yeah, it's great. [01:44:41] Speaker C: It is a beautiful image and much better on my big screen. [01:44:44] Speaker A: Yeah. It's a shame we can't see it properly. [01:44:46] Speaker B: Yeah. I blame Justin. [01:44:50] Speaker C: From David Leporardi. I thought that I might send you the F18 over Sydney images as a 2up already shown and a proof sheet of the shoot. [01:45:00] Speaker B: I think the proof sheet's more impressive. [01:45:02] Speaker C: Yeah. [01:45:03] Speaker B: My. [01:45:04] Speaker C: My comment on episode 114, the photo of the F18 over Sydney was lucky placement. Everything is moving fast, bounce around, pulling 1.5 to two GS wearing a helmet oxygen mask. You can't get your eye to the viewfinder. It wasn't shot with wet plate, but it was with the Mamiya 645 with power grip motor drive, 80 mil lens weighing over 2.5 kilos. One frame a second, 15 shots of roll on 120 film. Kodak varicolor VPS 160 ISO film. [01:45:35] Speaker A: You're a wizard. No, no, you're a sorcerer. [01:45:39] Speaker C: So that I'll just. I'll show you. Let me just see what we can see here. Okay. [01:45:45] Speaker A: That is crazy. [01:45:46] Speaker C: And then there's this other shot of. Of both of those shots that we've seen on the previous. So now more info. These are the best emails. Just wanted to give more. More info on the requirements to do this job. I was one of the lucky RAF photographers to fly in jets. Not all RAAF photographers got the chance to fly at all. I had to pass an aero medical test on understanding how hypoxia, which is a lack of oxygen, can affect you. Before being permitted to fly at altitude in jets, this type of shoot required wearing a G suit, helmet, oxygen mask, as well as being restricted to the tight straps of the ejection seat. Limited space. Care to interfere with the pilot controls while pulling GS? Like don't touch his stuff. Aircraft speed was approximately 200 to 250 knots, which is 370 to 460 kilometers an hour. And two orbits of the city due to restricted airspace. The approximate cost of the shoot was 15 to $20,000 per hour per aircraft. [01:46:57] Speaker A: What? [01:46:59] Speaker C: An hour and a half? Sorty. Two aircraft equals 45,000 to 60K. There were no excuses for failure. Holy moly. [01:47:10] Speaker A: Just hear the comment from Paul. Paul says I had that top pick up on my wall as a kid. [01:47:16] Speaker B: Oh, that's awesome. [01:47:17] Speaker A: That's so cool, Paul. [01:47:19] Speaker C: That exact pick. [01:47:21] Speaker A: Wow, that's crazy. [01:47:25] Speaker B: Raph would have been stoked with that top pick. [01:47:33] Speaker C: The framing is insane. [01:47:34] Speaker B: It's just perfect. [01:47:37] Speaker C: It's basically. [01:47:45] Speaker A: What was your call? Your been hovering over that button all night. [01:47:49] Speaker C: I've been waiting. I had to record that before the show started. That's fantastic. [01:47:54] Speaker B: David, did you have a call sign? [01:47:57] Speaker A: Yeah. David, what was your call sign? [01:47:59] Speaker B: Yeah, come on. [01:48:01] Speaker C: Yeah, did you have a call sign? [01:48:02] Speaker B: No. [01:48:03] Speaker C: I don't think photographers get call signs, do they? [01:48:06] Speaker B: These images were published. [01:48:08] Speaker A: He's got a helmet. [01:48:09] Speaker C: Oh, it's awesome. It's so cool that it was shot on a medium format and. Yeah, I can't really. Yeah, I can't get in too close on this contact sheet, but, like, these are nuts. [01:48:21] Speaker A: Like, every shot's a cracker. [01:48:23] Speaker C: Yeah, every. Every shot on film. Yeah, yeah. [01:48:28] Speaker A: Amazing. [01:48:28] Speaker B: David Field is a bit too deep. I. I need it to blow it. [01:48:32] Speaker A: Oh, shut up, Bruce. [01:48:33] Speaker C: No, yeah, yeah. [01:48:35] Speaker A: No call sign. [01:48:36] Speaker B: Well, we need to make up a call sign now. Yeah. Actually put that in the comments. What's David's call sign? [01:48:43] Speaker C: Yeah, what's David's call sign? [01:48:45] Speaker A: Yep. [01:48:50] Speaker C: Paul's got a picture of a hornet landing on a carrier. Well, Paul, if it wasn't shot on film at 460km an hour, I'm sorry, it's just not. It's not. Well, I love that new button. He's got it. [01:49:07] Speaker A: He's got a button dedicated. [01:49:11] Speaker C: Snappy's pretty good. [01:49:12] Speaker A: Snappy is good shooter. Yeah, yeah, yeah. [01:49:16] Speaker C: Snappy's better. [01:49:17] Speaker A: Yeah. Snappy's a winner so far, but, yeah, everyone in the chat have a crack, let us know what David Liparati's call sign should have been. And it should have been painted onto his helmet in some way. [01:49:30] Speaker B: That's so cool. [01:49:31] Speaker A: Like the leopard. Like a play on his name. [01:49:34] Speaker C: Oh, yeah, the Snappy Leopard. [01:49:38] Speaker A: The Snappy Leopard. [01:49:40] Speaker C: I like that. [01:49:43] Speaker A: Yep. [01:49:44] Speaker C: Doesn't count. Yeah, yeah, Leopard's good. If you. If you're listening later, throw it in the comments as well. Yeah, we can talk about it next week. We'll get him a call sign. We'll get him. Yeah. [01:49:55] Speaker A: Or at least a strap. Let's start small, boss. [01:50:01] Speaker C: Yeah, well, we could actually do that. [01:50:03] Speaker A: We could. Amazing shots, David. Like, just phenomenal. What an opportunity and experience, like. And yeah, you're right. Like, Paul's right. As a kid, I thought the Hornet was because they were making hornets, the Australian Hornets. David might correct me on this or someone else might. I'm pretty sure they're making them over in Laverton or somewhere, sort of on the Far end of the Docklands. There was a. An aerospace engineering place there. I don't know if it's still there. And I remember we used to drive past it on the freeway in the old days and, and I. Yeah, I loved the Hornet when, when the Hornets came to Australia, I thought that was the. I thought that was the chisel. I loved it. [01:50:41] Speaker C: It's cool. I wanted to be a fighter pilot. This is going to be me. [01:50:45] Speaker A: You did? I wanted to do helicopters. [01:50:48] Speaker C: Helicopters. Helicopters, yeah. Sweet. [01:50:51] Speaker A: When I was younger to be a helicopter pirate. [01:50:53] Speaker C: Yeah. [01:50:58] Speaker A: No, because I used to live near the Essendon airport and the, the, like the police air wing was, was and I think still is based there. At least they've got a hangar there. And I used to deliver newspapers to Essendon Airport to all the factories that were working on planes and helicopters. And I got like up really, you know, close and personal while I was delivering all the factory workers their Playboy and Penthouse magazines. Because back in the day magazines were a thing. Google them. [01:51:26] Speaker B: Just not at work. [01:51:27] Speaker C: Anyway, the original only fans. Paul says the government aircraft factory at Fisherman's Bend. [01:51:35] Speaker B: Thank you, David. Put Fisherman's Bend, I think. [01:51:38] Speaker C: Oh, yeah. [01:51:39] Speaker B: Just before that. [01:51:40] Speaker A: Right. [01:51:40] Speaker B: But I glanced at that and I thought somebody was giving that as his call sign. Not sure if that's a favorable one. [01:51:51] Speaker C: Snapper Art is pretty good. [01:51:55] Speaker B: Yeah. [01:51:55] Speaker C: Yeah, I love that. This is very. It's just so old school. You wouldn't hear something called this anymore, I don't think. The government aircraft Factory. Where do you work? At the government aircraft factory. [01:52:05] Speaker A: Yeah. It feels a bit 50s, doesn't it? [01:52:07] Speaker C: Yeah. What do you do? Well, make aircraft. [01:52:10] Speaker A: I build government aircraft. [01:52:11] Speaker C: It's for the government. [01:52:13] Speaker A: Yeah, but I'm pretty sure it was there. Paul, you probably know better than me, but I'm. I'm fairly certain they were building at least components of the FA18 Hornets when they first came to Australia were eventually being built there. But yeah, it was cool. [01:52:27] Speaker C: I don't know if NP's messing with this, but apparently it's talk like a pirate day this Friday. Don't miss it. [01:52:33] Speaker A: Oh, I think it is in March. [01:52:35] Speaker B: Was that something else, that towel day? [01:52:37] Speaker C: Well, it's, it's. [01:52:39] Speaker A: It's like. [01:52:40] Speaker C: I feel like World Photography Day comes around four or five times a year. It seems to pop up. [01:52:47] Speaker A: Feels that way, doesn't it? [01:52:50] Speaker C: Is it? Yeah. [01:52:52] Speaker B: 19Th of September. [01:52:53] Speaker A: It's already been. [01:52:55] Speaker C: Yeah. [01:52:56] Speaker A: Oh, I'm sure it's already been. [01:52:58] Speaker C: It's been this year three times. [01:53:00] Speaker B: You can't be wrong. September 19th each year it's like Father's Day. [01:53:06] Speaker A: There's a different Father's Day depending on where you live. [01:53:08] Speaker C: So I actually haven't missed it. [01:53:10] Speaker B: Haven't missed it? [01:53:12] Speaker A: No. [01:53:12] Speaker C: That's so weird. I see it all the time and I'm like, oh, Lucky should have posted something, but it's too late. I think that's happened a hundred times. Great characters every day as well. Photography day. Good answer, Greg. [01:53:26] Speaker A: Love it. Let's combine them. Let's merge the days. All right, we're gonna hit more pickies Next image, boss. [01:53:33] Speaker C: That's it. That's it. [01:53:34] Speaker A: Oh, wow. Congratulations, David. Thank you so much for sending. That's fascinating. [01:53:39] Speaker C: Yeah, very cool. [01:53:40] Speaker A: Absolutely fascinating. And thanks to guys in the chat for contributing to that discussion too. And I think down the track, we'll have to get a couple of you on to talk about your experiences in the craft of shooting for the raaf or if you, you know, photographed overseas for a different navy or air force or. [01:53:59] Speaker C: That's not true, actually. I lie. I have. Sorry. There was two more photos that I didn't bring up of David's that I skipped because he's. He's. He just wanted to show you up a little bit harder, Greg, on the macro stuff. [01:54:10] Speaker A: Oh, that's nice. [01:54:12] Speaker C: Yeah. [01:54:14] Speaker B: So that was shot at like 5,000 kilometers per hour. [01:54:19] Speaker C: Yeah, funny. So the B images were shot with a Fujifilm XT2 Nikon 60 mil F2.8 micro manual Focus, Godox V480 manual 18 power, fitted with a gauge macro flash diffuser, diffuser, like Greg's Cygnus Tech diffuser. [01:54:43] Speaker A: Very cool. Really nice, really crisp. [01:54:46] Speaker C: Yeah. So there's that one and it is. It is crisp, like you can see. [01:54:50] Speaker A: Yeah. What's that thing about a bees, Dick? The guy that. We've had a guy doing renovations here, and he goes, oh, it's just. It's just out by bees, Dick, whatever that means. [01:54:59] Speaker C: You were like, I've got a photo of that and it's actually smaller than you think. [01:55:03] Speaker A: Let me go take a photo of that. [01:55:07] Speaker C: That's fine. That's gorgeous. Oh, David says the bees are harder to shoot than the. The jets. Crazy. [01:55:15] Speaker A: They're tricksters, the bees. [01:55:16] Speaker C: And Philip Johnson says World photography day was the 19th of August. Yeah, I was sure I saw it pop up recently. [01:55:23] Speaker B: Yeah. [01:55:24] Speaker C: So maybe it's just every month they just run it. [01:55:27] Speaker A: Great shots every month. Yeah. [01:55:29] Speaker C: Maybe it just cash it in and shot at F11. [01:55:34] Speaker A: That's beautiful. Yes. That is absolutely stunning. Very cool. [01:55:41] Speaker C: Yeah. Great images as always. Thanks for Sending them in. Otherwise we wouldn't have had any if it wasn't for you two guys. So thank you and that's that. We're done. [01:55:52] Speaker A: Gotta play the music. [01:55:53] Speaker C: I know. [01:55:54] Speaker A: End of this. [01:55:58] Speaker C: We'Re gonna get copyright. [01:55:59] Speaker B: Oh, Dennis has finally arrived. [01:56:02] Speaker C: You missed it. Bloody missed this. Packing the drives in Melbourne. Well, just go back to the start and you'll have a great time. [01:56:09] Speaker A: Yeah. What are you doing in Melbourne? Why am I not involved? [01:56:14] Speaker C: Go visit Greg. [01:56:15] Speaker A: Yeah, all right. [01:56:18] Speaker C: Just in time. [01:56:19] Speaker A: Just in time for us to finish. Great for you to join us and contribute, Dennis. Thank you. But just before we wrap. Boss, is there anything else we wanted to cover off today? [01:56:28] Speaker C: No. Don't forget comment below sometime between now and Monday show next week. What sort of. What are you trying to do with your photography? Business wise? Are you trying to grow your business? Are you thinking about starting a business? You want just do a little bit on the side so you can pay for all of your new cinema cameras. And we will pick a random winner for a year's membership to photobiz X Premium Membership so you can get all the juicy info about how to grow your business. [01:56:54] Speaker A: Yeah, but also go back into YouTube and watch the episode with. With Andrew Helmich. As I said earlier at the top of the show, really entertaining but also informative and inspiring that, you know, he's. He started off as a. As a sparky, he was an electrician and eventually merged into photography and, you know, now he's running the world's number one audio podcast for photography businesses. Amazing, amazing dedication and focus. So well worth a look. But next up, Bruce, what have you got on the cards, mate? What are you working on? [01:57:32] Speaker B: Well, I fired a Mildura on Wednesday for a job. I got a lot on the plate actually. I've got that and we've got B flop and then I come home for beef up for like four days and I fly to Hawaii on another job for a week and then. [01:57:48] Speaker C: Cool. [01:57:50] Speaker B: And then other things in between that. So, yeah, lots going on. I've been trying to be more active on the Instagram. You have, which has been interesting. So yeah, B Moil art not be Moyal. That is my old account which I never use. So just add art to the end of it. [01:58:11] Speaker A: Yeah, very cool. Go check it out. Indeed. Just before we roll the music and. And run away to our beds. This has been the Camera Live podcast and I have to say it has been brought to you by the team at Lucky straps. Head to Luckystraps.com if you are looking for a premium handmade Aussie made leather camera strap. Any camera that you could possibly ever own and it will outlive your camera and you, most likely you'll be leaving it in your will to your children and maybe your grandchildren. That's how good they are. But putting that aside, this is the Camera Life podcast. We run two shows a week. We have our Monday night random photography show 7:30pm Australian Eastern Standard Time. And we have a Thursday morning interview show where we interview an amazing photographer to learn about their journey, their inspiration, their projects, their craft and their art. So you can dive into that Every Thursday morning 9am Australian Eastern Standard Time. But if you subscribe and you tickle the bell for notifications, you will get notifications in your time zone. So you never miss an episode, a live episode of the Camera Life podcast. And with that, thank you, Bruce Moyle for joining us yet again and sharing your wisdom. [01:59:26] Speaker C: Thanks. [01:59:26] Speaker A: The boss is going to hit the button and we're going to say goodbye to some people. Let's do it. Thanks everyone. [01:59:35] Speaker C: Paul says see you for your Friday class at Beef Up Bruce. [01:59:38] Speaker B: Oh cool. I better turn up, mate. [01:59:41] Speaker C: Dennis Smith says Beef Up. David Liberati. Thanks everyone. Thank you, David. Nev Clark's finished at the gym. That was only an hour and 59 minutes of bicep curls. Well done. Philip Johnson. Thanks. Greg Carrick says. Cheers chaps. And to all of you others that I've forgotten, N.P. paul, Rick Nelson, Les Okey everybody, it was great to see you and we'll see you on the next one. [02:00:06] Speaker A: Thanks guys. Bye.