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  1. Hey All - I was trying to use my Sl2-S with my macbook. I was trying to help my nephew record reaction videos and also use the camera as external on Zoom calls. I connected HDMI to USB-C but it doesn't recognize anything when I connect it. I'm not sure if I'm missing a simple mistake during the process. I put the camera in video mode and i've tried putting in USB storage and PTP and still nothing. Am I missing a utility firmware to download ? I even tried my nephew's PC (hdmi to hdmi) and nothing; so I feel i'm just missing a step. Any help appreciated thank you!!
  2. Ich ärgere mich jedes mal darüber, dass ich beim Hineinzoomen in ein gerade geschossenes Foto immer irgendwo im Bild lande und nicht an der Stelle wo der Fokus zuvor beim Fotografieren festgelegt wurde. Was soll diese Sucherei? Wenn ich bei einem Porträt auf die Augen fokussiere, will ich bei der Bildkontrolle nicht irgendwo am Hals etc. landen, sondern genau auf den Augen. Bei anderen Marken wie z.B. Nikon klappt das immer! Ich habe vor Monaten schon einmal einen Verbesserungsvorschlag an Leica gesendet, der aber bisher nicht erhört wurde. Stört das niemanden von euch? Oder habe ich eine Funktion an meiner SL2 übersehen?
  3. Dear all, I've noticed recently that when I set EVF-LCD on Auto the EVF doesn't work when I lift the camera to my eye. When I lower it, the LCD works fine, so the proximity sensor isn't an issue. Selecting EVF only mode I can see my subject. Then when I select EVF extended mode EVF is black again. In LCD mode the LCD screen works fine. If my memory doesn't err this appeared after upgrading to FW v2, however it's still there after upgrading to FW v2.1... I could not find similar topic in the forum, so should I take her to the doctor? She's only 11 months old... Thank you in advance
  4. Hi, which accessories from previous SL cameras are compatible with the new SL2-s? In particular I am looking for a thumbs-up and an L-bracket, do you have recommendations? The L-bracket should be simple, small and easy to attach/detach. Thank you
  5. the manual says "This function is not available in conjunction with APS-C lenses and in some cases with some lenses attached via adapter." has anyone tried multishots with adapted lenses via a leica M/R>L adapter ?
  6. To Steve and all the rest on Leica Forum: Steve, what do you think? You mentioned that you went the the Cannes film festival with some form of movie if I remember correctly. So could a person adapt the old Leica-M lenses and make a film using the SL2-S? I don't care about super fast & easy professional lens and body use myself, only wondering if with a little extra effort could it be reasonably done? I have to convince my cinematographer friend to do this so any comment you have will interest me. Generally, myself, as someone who went to film school years ago, I am one of Leica's potential SL2-S purchasers. Their approach, to issue new lenses that have something different from their old lenses, is an artist's approach, and I love that. The high lens prices have knocked me out of the new ASPH lenses, which is ok, since as all makers products approach perfect like the ASPH lenses do, they all produce pictures looking more the same and loose their differentiation. Leica seems to be making a viable independent filmmaker camera in the SL2-S since it has so many of the needed features. Some comments on the needed features below: Auto focus is secondary in movie making, since it is usually done by hand, so the discount there is not a problem. Lens focus adjustment, marked on the lens barrel to exact distances, is one of the biggest differences between professional and home-user lenses. Yet with a monitor attached and some tape to mark the lens focus positions, possibly focus can still be done by hand as I did in film school using 16mm equipment. The differences from professional to amateur could also be called a camera support issue: tripod use (professional) verses walk around use (amateur) affects so many features like the movable screen articulation need and remote focus or auto focus adjustments. Of course today more professionals walk with the camera then in the past (SteadiCam was the old way - replaced by today's internal camera stabilization systems), but I would say that the video they make is rather cheesy not as professional looking, and that that poor video work has become acceptable do to the existence of youtube and selfies being so ubiquitous (found everywhere). Amateur is not a bad word. It comes from the Latin "amator" meaning "lover of" something. Those that love an avocation like photography may outdo those doing the same for daily work who are stuck with producing professional standards that may be boring. France produced the "French New Wave" movie makers in the 1960's, who used 16mm equipment and also the new lighter Arri 35mm cameras, leaving behind the enormous Mitchel studio cameras that the USA film companies used. Also, just look at the photos on this site and others where I see many stunning shots that seldom occur in the commercial world which is aimed mostly at selling something or copying someone else's work. Anyway, my professional Los Angles based cinematographer friend, says yes the new mirrorless cameras produce a good enough file for professional filmmaking and he only has qualms (concerns) about the work methods needed to hit focus and generally have a fluid effective efficient working environment. Comments please!
  7. The following is a lengthy post. But perhaps there are others out there who are in my shoes, so please bear with me. I’m a newbie to this forum, and I’m a newbie to Leica in the digital age. However, I own an R4 with a Summicron 50mm that I bought in 1990. The camera is dead, but the lens works still nicely. By profession, I work in the advertising and media industry, mostly as a director and writer. The first half of my career, I have spent with lensing commercials. The brands back then were Arri, Kodak, Zeiss, Cooke and Angenieux. Today, Kodak is dead, Arri is still leading the pack, the traditional cine lens manufacturers are still around but facing intense competition from Japan and now from China. What’s more, the market itself has changed immensely too. There’s still the high-budget production with expensive talent requiring all the bells and whistles on set, but the projects, which a small and dedicated team can accomplish, grow more and more these days. And they can be more interesting and challenging in good ways. I’ve owned cinema orientated gear for ten years (Red cameras, set of Zeiss Super Speeds) but sold most of it right in time before the full-format hype in cinema land kicked in badly and before COVID-19 killed the market altogether. Thus, lucky me, I have some funds to invest in new gear after re-orientating and re-evaluating what I need — no GAS here After investing a year of thought into this, with COVID-19 sending me into a not so much welcomed hiatus (the industry is coming back slowly now), I concluded that economically I don’t need cinema-orientated gear anymore since these jobs are in decline; I can rent whenever I have to. But, as it seems, jobs that require both video and photos, what I call media coverage because it’s not genuine filmmaking, are on the rise. I have professional relations to Canon and have test-driven some of their offerings, albeit not yet the R5 but their recent cinema products. I’m stunned what their tech can do. AF is a sensation, and some RF lenses are impressive. I also use every here and then a Nikon Z6, mostly for wildlife and people. Plus I own a Fuji EX3 for private usage on travels. In a nutshell: while they all make great images possible none of these cameras create skin tones comparable to Arri or Red cameras, plus their lenses mostly don’t reach the levels of dimensionality I’m used to. I then read articles in the FD Times about the Leica SL2 and the new SL2-S, and about the L-log video gamma which seems to be fully compatible with Arri Log-C; that would make the Leica’s footage fitting seamlessly into my postproduction workflow. Now, catching my attention, I’ve searched the web. With the sparse video footage that I found on the web but the many great pictures I see on this forum, and the accumulation of very likeable skin tones, I assumed that the SL2-S with its video capabilities quite likely could be my next camera. Ok. From now on I’m in uncharted territory because I have no experience with digital Leicas whatsoever. I figure that I get an SL2-S as the primary hybrid camera. To make it fully video compatible I’m thinking of getting a Vocas L- to PL-mount adaptor with 15 mm rods. That way I could make use of my trusty Angenieux 16-42 S-35 mm zoom in S-35 mm mode. I also might want a cage - or not. I own an Atomos Ninja for monitoring which can record ProRes in various flavours via HDMI. I’m also thinking of getting me a 35 mm APO SL prime as my go-to setup for AF-based photography and videography. But when I cross that bridge, I surely want a 50 mm or/and a 75 mm APO SL prime too. Why these and not explicitly cheaper offerings from Sigma, for instance? I’ve shot a few projects with the superb Canon RF 50mm 1.2. It’s an excellent lens for sure. But it lacks a creamy focus fall-off and some dimensionality, plus it renders people’s faces more rounded in the opposite to comparable Leica lenses which tend to render people more on the slimmer side. I know that Sigma is not Canon, but they are very similar in their aim: sharp as hell, excellent at specs and offering decent build quality. But personality is not their aim. On the other hand, Leica lenses provide plenty of character and thus push my motivation to accomplish better imagery. I’ve also tried the Nikon 24-70 f2.8 zoom, and its colleague from Canon and find them both flat and uninspiring. I assume that’s the case with the well-acclaimed Sigma 24-70 zoom too. The Leica 24-90 is probably the best zoom out there. But do I want a zoom for photography, I’m shooting mostly people in landscapes, streets and other environments? Not really. Then the question of light travel and fall-back camera. I find the Q2 intriguing, to say the least. Its concept seems to make it an ideal travel companion. Its fast and wide 28 mm lens, the possibility to crop the sensor to S-35 mm/APS-C without scarifying much resolution (25-27 mm in S-35 mm is my pet focal length), and its sturdiness would make it a great addition in the bag. From time to time, I’m shooting wildlife. For that, I might purchase the Sigma 100-400. I know that 400 mm isn’t long enough for birds, and I know that the Leica’s AF will be frustrating with flying birds. For the time being, I’m probably leaving this task to a Nikon Z6 with a 500mm lens, but perhaps there are hopes for a CL-2 with a much improved AF sporting an animal eye detection (one can dream). The Sigma 100-400 would be long enough for proper wildlife photography or even videography on the CL. That’d be making a lightweight hiking/wildlife combo. We’ll see. If anyone here in the forum can chime in with valuable information or interesting insights, I’d be more than grateful.
  8. Hi all, I've noticed there isn't a dedicated thread for editing L-Log footage, so I will begin one here. I realize that colouring and re-touching video is a very subjective field, but I wanted to see how others work within Leica's limited literature surrounding post-production in video. I've just updated my Atomos Ninja V to the latest firmware, which now allows for L-Log recording from leica (the past year with the SL2 was a little tedious working with both internally and externally recorded video footage). Now, with this update, BT2020 seems a lot nicer. I've just done my first video about this update here:
  9. Can anyone with an SL2-S tell me please if it is possible to use it without anything appearing on the rear screen? Reason for asking is that one of my interests is photographing live music in dark venues (*). Pretty much the last thing I want to do in a dark concert hall is distract the audience behind me with the glow from a screen. I am currently using Olympus an OM-D (the E-M1 Mark II) which does a pretty good job, but the crazy high ISO performance of the SL2-S is very tempting for this application and the sample photos on here do a great job of fuelling the GAS With the Oly the rear screen is articulated so I just turn it round to face the body. I can then compose, review images, and bring up menus though the EVF without disturbing anybody (although I usually get some wit who wonders why I am photographing the carpet). The Oly also has what it calls the "Super Control Panel" which has most of the options you might want to change on the fly, like ISO or AF modes. I don't know whether the SLs have something similar, it is very useful and also works though the EVF. (*) Not that there is any at the moment, nor is there likely to be any for some while - so there is no rush to make a decision! TIA ... John
  10. From the album: SWISS BLACK/WHITE

    © Laurenc Riese

  11. From the album: SWISS BLACK/WHITE

    © Laurenc Riese

  12. From the album: SWISS BLACK/WHITE

    "SWISS BLACK/WHITE"

    © Laurenc Riese

  13. From the album: SWISS BLACK/WHITE

    "SWISS BLACK/WHITE"

    © Laurenc Riese

  14. From the album: SWISS BLACK/WHITE

    "SWISS BLACK/WHITE"

    © Laurenc Riese

  15. From the album: SWISS BLACK/WHITE

    "SWISS BLACK/WHITE"

    © Laurenc Riese

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