As easy as setting your Laptop to run on your studio's Wi-Fi network or your Bluetooth in-car handsfree to recognise your mobile phone. You only set it up once.
I think a lot of this sounds interesting but as everyone says it really doesn't matter until we see it during an actual production.
I can think of a few ways 3 or 4 ipod touches around a studio might be a good idea and not just for the wow factor.
Not every art director spends every second glued in front of the computer station, in fact few do.
Every AD, heck everyone multitasks now, whether they are taking phone calls, talking to the client, planning the next production so a device they can sit next to them and thumb though the images is a good idea. Once again it depends on how easy it works and if it's just a flip through system like photos application or it takes a learning curve.
Now for location, if it didn't require a computer i can see a great deal of value in this. A lot of the time I just want to be free from the computer and the tether. No matter how mobile the computer is you do begin to feel tied down.
When I shoot untethered it's a drag to constantly download cards for people to see or have a few people huddled around the camera when we flip though images.
And then there are those gigs where nobody wants to see a huge image on the screen when you shoot. Sometimes the AD doesn't want the interference, sometimes shooting a celeb or a sensitive subject with a 24" preivew can cause too much angst.
It's a shame that the ipod thing has to go through the tethered computer to get it into the ipod, but ....maybe someday.
As far as sending images in real time to a remote location, I don't know about that. I subscribed to a system for a year that let us do that very easily where you just shot and a hot folder that puts them on an html site and the client remotely got a constant refresh.
I paid for a year of service and we never really used it. It worked, it's just nobody wanted it. AD's don't want to work a job from afar and for the times that they want to send some images to their client's office, they first wanted to cull them down first.
Also when I would mention this system everyone said no, they don't want to try to art direct from 1,000 miles away or let anyone know that it's possible and I agree for a lot of reasons.
For some retail gigs I can see it and of course everyone works differently.
The 2:3 proportion kind of threw me at first. We all shoot a lot more horizontal than we used to, but I still shoot a lot of vertical and 2:3 just breaks my brains. For the Canons I have those black masks installed and it works well, until I go horizontal and then I have to somewhat guess, which is easier than it seems given the lcd on the Canons is quite good.
In ways though maybe the 2:3 thing will make sense and work ok. I still wonder if the proportion of the sensor is a technical decision or a contractural one with Dalsa.
The rotating sensor . . . yea ok, though it sure seems like a lot of engineering work to do that rather than just make a back that physicallly rotates, but as long as it's realiable it is a solution.
To me the best annoucement of the Leaf and the Sinar is that Rollei camera. From the brief moments I've held it I like it. Theirry was kind enough to send me lens prices and they stopped me dead in my tracks as I assume they must make them out of gold, silver, or kryptonite. Regardless at those prices they better come in either a red or blue box, though if the camera is a 10 year camera then the investment is not out of reach, just as long as you keep telling yourself . . . 10 years . . . 10 years . . . 10 years.
In black it sure looks a lot better than the H series blad.
Now if they just put a Rollei sticker on the front.
What I am most interested in is higher iso, especially a real clean and detailed 800. Some people want 50, which is fine cause they got that now but I only need 50 iso like once every 2 years but need 800 iso every 6 weeks, so I'd love to see a clean 800 minimum.
Also the real down to earth, working persons question is the software, the stability the ability to put the file into any processor.
Those are things you can only tell under heavy production and deadlines.