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Sooner or later EVERYONE is in trouble I think. I just got an old Australian photography magazine from Feb 1988 I opened it to a random page and it was "Video news" The three stories listed.... Sanyo Vision-8, 8mm camcorder VHS-C- The future of video cameras Polaroid aims to be Number one.

You are taking sentence out of the context. Yes, a drive is not removable easily from the enclosure and, no you may not swap drive on the fly. It's like saying SSD are not removable media. Still, they are used everyday as removable media cause the interface is something else that what is inside the enclosure. But this system is an enclosure for NVMe drive that will put the heat away from the card reader , allowing cheaper and very large drive capacity. The heat generated by the card can be way easier dissipated than a CFExpress card. I actually have such enclosure for another project, it's all aluminium with a thermal pad around And, by the way, you should talk to DJI; this is what they use on their Inspire 2 as drive.... But they change the connector type to be more sturdy. If you look at ZITAY product, they already successfully implement such solution for black-magic camera, without a need for extra external power. (CFFast to SSD) The product needs to be tested, but it specifically states R5 and Z6 / Z7 (and other C300 camera) It have a screw thread to secure it to a cage. This will help dissipate heat. And if you go for large version, it's a great option to reduce overall cost. CFExpress card are kinda 512 GB max, with nvme you can go to 4TB for similar price. You unscrew the drive when you have 4TB of data, so, maybe one a day. This product come with a cover to push the door switch and so let the cable going out. So the door will be open during shooting. I have 0 test so far, but it's look great to me on the paper. I let you do some research on their website, and not just pick up sentences from a different discussion in a blog.

I film my dog and then never edit the footage.

I think it's about intent. Christian starts his video saying "Most of the people I got to know in the last two years, let it be photographers videographers film-makers whatever, tend to only go out and shoot if they got something in mind to achieve, maybe it's a vlog, maybe it's a client project, maybe it's just a travel film". Trout and Coffee starts his most recent video saying "Hudson and I hadn't been on an adventure together for a year, by now it was the very end of August, I had been spending a lot of time staring at my computer in my office and could tell I needed to break off, spend some time away and do what I love most - make a simple film". So, the whole premise of that video was to make a film, ie, no shot in that was C-Roll. Sure, it's not scripted, but every time he hit record during that trip would have been in the context of "I'm making a film about an adventure with my dog" - ie, he had something in mind to achieve, like Christian said. The shot in the one you posted where he was talking with his dad about fly fishing might not have been scripted, and he might not have even shot it with a specific context in mind, but this is where we get to the tricky parts of YouTube and how it becomes all-pervasive. This is the hidden side that people typically only talk about when they're having some kind of meltdown. This is something that lots of people have spoken about - "and you start losing focus on like, what am I doing - am I doing this because I love her or am I doing this for the video? That's toxic for any relationship" (from the below video about 2:30 IIRC.). Most people put on a facade when they go out in public, or when a camera is pointed at them (which is basically the same except the public are invited into your life via the camera). When you're filming your life it's hard not to start living your life like people are always watching. There are great articles on surveillance and how privacy is kind of related to being able to relax in some way. In a sense, C-Roll might be different to A or B-roll due to the expectation of what will be done with the footage, because that's what matters in the relaxation and the creativity. I make home videos, but no vlogs. I make a video of when my family has a holiday, or goes out somewhere, maybe for a party or something. If I'm doing the dad-with-camcorder thing at some occasion where we all got ready, got dressed, and went out to do something special, then that's not C-Roll. What is C-Roll is the shot I got of my daughter (who loves drama and acting) that starts with me testing mixed lighting in the kitchen/dining room and the kids had been home from school for about 20 minutes, and my son comes through to raid the fridge and my daughter is telling my wife about some thing that happened at school and I kind of cheekily kept rolling and she saw the camera and then started making faces and then came over to the camera, took a breath, held for a beat, then dropped into character and then proceeded to give a highly bumbling and misguided tour of our house from the perspective of the character she was in that didn't understand 21st century western living. That shot is the one that was shot for no purpose, wasn't aligned with any project, was definitely not shot for publication, and I will probably drag out for her 21st birthday 🙂

Big sensor, small body - has always marketed well to photographers....

35mm Schneider Cine-Xenon Trees and windows.

Any chance this cfexpress to nvme ssd could work? https://www.ebay.com/itm/184438464836

100%. No way a 12mgpxl sensor can cover my photographic needs, and I was shooting film (and S8) for years and years before even the Mavica (so I am not "digitally" spoiled). I have decided that 24mgpxls are ok, and I am trying to decide if the R6 is enough..42mp are too much for my needs though, I am not specializing that much. Maybe A7iv will be the answear to our prayers, 7Siii brings so many vital improvements to the A ecosystem, but still is not a true 50 - 50 hybrid, is a video orientated one that can take pictures, if 12 is your magic number, then some of you are going to be very happy very soon. I am not!

It is a mildly warm camera... Simply adding a cage with wooden grip would allow you to shoot handheld without touching any of the hot parts - if that is, it ever went above 43C. No evidence it does. Also, the aluminium cage would disperse the heat, radiate it to the air, and the wooden grip wouldn't conduct much heat towards your hand - so that kind of simple cage is a win-win all over really.

No way to mount meikes/veydras on the fp unfortunately. M43 also gives access to vazen anamorphics and some cine zooms that are quite small. Also the fp has micro hdmi which is the most beloved connection known to cine standards 😉

That is amazing news! Looking forward to the update and AFX pre-orders !

I'm just going with the free Sigma 45mm f2.8 I am getting as part of the deal with the Lumix S5 + 20-60mm. Actually, I am going to flip between these 2 lenses. With the Sigma prime, I will be using the combo just like a fixed prime lens compact for all my 'personal' work. For family trips, I'll use just the 20-60 as it has more flexibility and on holiday, I'd like that extra versatility for less serious use. I've also decided that I will use the FP + 20-60 at the widest end only, all day at weddings purely as a stills camera for those rare times I want a really wide, but also on the tripod with power bank and Rode Wireless Go for pure long form static video capture during ceremony & speeches. So kind of 4 uses out of 1 unit with the 2 lenses which is pretty cool.

Very much my thoughts too. The low key point and shoot design holds a lot of attraction to me. BUT just because it looks like a point and shoot doesnt mean I want it to have the controls of a point and shoot. The lack of front dial is a deal breaker for me... Also an 'R' sensor would be great so you can zoom with a small fast prime. All in all though, I like the concept and can see buying one (for me or the GF) in the future...

Also just got the FP, decided between it and the Fuji x-t3. Been trying to replace my bmpccOG for quite a while and didn't like any of the "stills body"-cameras I tested, also having a hard time justifying keeping several cameras. The FP seemed like a no-brainer. Payed about 1070 GBP body only, looks unused. Still undecided as for what lenses to get for it, vintage for sure. Maybe Minoltas? The metabones MD to L mount adapter seems nice.

Equivalency is such a silly topic, especially with mirrorless. Who actually walk around with a MFT, APS-C, or medium format camera and says: what would this look like on FF? That person is missing the point IMO. Is it really that hard to understand that 24mm f2 is a 24mm f2 regardless the size of the sensor or lens? The only question that comes into play is: does the image produced by the lens cover the sensor or not. This is easy to know because we now have mirrorless WYSIWYG.

I find if I hide any layer in the edit page, those clips don't show up in the colour tab. I often use this to separate drone, different cameras. Hiding all layers except the one devoted to the camera files I wish to grade. It also works on adjustment layers and transition layers I have, making sure I don't accidentally grade these when I apply a node to all clips.

I know I know (here I am again). Three quick and dirty photos 24 1.8 FF, 24 equivalent at 1.8 1 inch camera (funnily enough the camera said 24mm the exif says 8.8mm), 24mm ff at 4.8. Close but not quite exact and the 24mm lens is more than 30 years old and manual focus (though still a very good lens) while the 1 inch is a very good zoom lens that is aprox 4.8 equivalent at 1.8. All at 1/25 auto iso 1000 for the RX100, 4000 for the 4.8 and 640 for the 24 1.8 (again, close but not exact matches. Errors are down to me, not equivalence. All resized to the same size. BTW, to match or better the little RX100 to M43 at 24mm equivalent I woud need a 12mm prime and even a 12-40 2.8 pro zoom would not beat it at the wide end (but pass it from 26mm equivalent and up). I just thought i should give samples ...now I am out , really, truly well maybe , ok probably.

The trailer for part 2 is now up.

It is about getting the "same" photo (DOF, noise levels ETC). If you just want it as the same focal length, then that is a different story but a 50mm f1 lens on M43 does not make a 100mm f1 lens, it is still a 50mm f1 lens but is equivalent to a 100 f2. If you took three photos.. 50mm f2 on M43, 100mm f2 on FF and 100mm f4 on FF (all things being equal) first and third will look the same second will not. That is how it works.....Now why on Earth you would want to or need to do that is an entirely different issue. As for getting as much DOF as possible, you do realize that even with an 85 1.2 lens FF you can have infinite DOF wide open? Otherwise, just stop down or use a different shutter speed. I have not been DOF limited yet with any system really (used many P&S including a Pentax Q. 1 inch Sony, M43 mirrorless, 43 DSLR, 1.5x APSC mirrorless, 1.6x APSC DSLR, several APSC 1.5x DSLRs, several FF mirrorless and larger format with film). I only need FF because it gives me what I want that is not available with smaller formats and when/if they ever do, I will always go with smaller where possible.

Btw u can downgrade firmware

It is not just "theory". A 50mm lens is a 50mm lens no matter the format but if you are multiplying the focal length to get an equivalent focal length, you should ALSO multiply the f stop.....if for some god forsaken reason you actually wanted to shoot two cameras with different size sensors alongside each other (and everything else was equal), you would need (aprox) a f1 lens on a 1 inch sensor camera, a 1.4 lens on a M43 camera, a f2 lens on an APSC sensor camera and a 2.8 lens on a FF sensor and a f4 lens on MF (though MF sensor size varies). A 50mm f1 lens has a aperture of 50mm, an f2 50mm lens has an aperture of 25mm. If you use that 50mm lens on M43, you are using it as if it was a 100mm lens but it still only has a 50mm aperture and 100/50 is 2...hence f2. That said, I have NEVER chosen a camera lens based on equivalence but again, FF is no less necessary than ANY other format so those saying it is not necessary should also be saying M43 is not necessary or APSC or anything. If I want a similar photo using my RX100 iv against my A7s with 55 1.8, I have to use f8 on the FF and 2.8 at 55 (equivalent...the camera even says 55 but it isn't) on the RX100. There are advantages to all systems. Now, that said equivalence arguments belong on DPR, not here.

The sigma fp is more appealing/intriguing and a straight competition. I really like small form factors and once Panasonic s5 and this are available and compared, they are going to fight to be my next personal camera.

Exactly. Plus a MacbookPro gets hot where you put your wrist. So are some phones. Yet the biggest company in the world did not bother with that. Be careful with cell temperature thing. Cells die when they reach a certain temperature yes which does not mean it's the case if you touch a camera body with your hands. It takes more heat and time for the cells to reach that temperature. And nobody has the camera in the hands for hours straight. You let it rest at your neck, use a tripod, gimbal, pack it etc. All in all, all that Canon could do if this was true was sending a warning once the camera is hot (instead of shutting down) to let the user know the camera can get hot to the touch. Let me use it on a gimbal for how long I want. Let me do lots of short recording : YES the camera will not have time to cool, but my cells will and I will be fine no worries. That's a kind of BS excuse. In the interview Canon says they have never crippled any product because it would be foolish to want a customer buy a 5000$ cinema camera instead and the customer is more likely to switch to competition than buy a Cine camera. It's absolute BS that they did not cripple any product. They did, like many other manufacturers in many industries. There are many reasons for a customer not to switch brands like being already invested in the system for example or loyalty (which is high at Canon)

Exactly. An LED panel is in itself a soft light source (as long as you don't get those with 6 LED diodes), the only thing it lacks is size. Adding diffusion in itself doesn't do anything, what is needed is to increase the size. For an on-camera-light, that's pretty much impossible without making it cumbersome to use. I use the Aputure HR672C a lot. I would estimate that it is as soft as most of the diffusers suggested in this thread except the umbrellas and it's still fairly small. On the plus side it's a single unit and it doesn't lose any output through diffusion/reflection. If it's far away from the subject it will still be a rather hard light, so to get as much softness as possible out of it I sometimes cram it as close to the frame as possible.

Lack of front dial is a mistake. Especially at the rumored price.

No you would be too happy if it was the case right ahah. Little brother let it fell off... Thank you, im going to check this but i really don't know if there is such a thing where i live, i already did some soldering myself on small parts like this but this seem very tricky this time, might have to buy an other one but that's ok, i reaally want to use the f3 at its best again.

Very modest hint 🙂 yes, you are right! I did eventually went to a big Supermarket and just started browsing in its manufactured goods department as someone suggested. And you anticapated my godsend, but I forgot to give you credit. Lets correct that. I've also ordered gels you've mentioned above, gonna play with them as well.

That's "F2.8 equivalent" by the usual Super 35mm standard. S35 F2.8 DoF is plenty fast enough for shallow DoF for many filmmaking purposes.

Sony A6000 + GHAlex Hello everyone, Been playing around with GHALex v3 on my Sony A6000 footage since a while. Loving it. Eagerly awaiting native support to Sony camera. https://www.imgur.com/a/2Igb9YI

Great test of (almost) all the Meike MFT lenses:

Hey Sage, are you planning to support new eos R5-R6?

It's just that Canon knew they couldn't get away with overheating bullshit on the 1D X M3 which is sold on the premise of cast iron reliability to news organisations, sports photographers, agencies and journalists.

Hey @Hicham , I'm working on that next. Upon finishing the 4.2 update recently, I just kept working on the engine, and made some major revisions last week. Now, the S1/H

So I was bored enough this afternoon to shoot a quick comparison using 3 different formats and a couple of lenses. Representing full frame,APS-C and M4/3 we have my battered Nikon Df, slightly less battered Nikon D500 and criminally underused Panasonic GX80 respectively. Lenses are my - even more battered than my Df - Nikon 24-70 2.8G and Nikon 70-200 2.8GII with an original Metabones Speedbooster for the GX80. A multitude of caveats for this quick comparison are The 24-70 shots are a bit soft but its the same for all cameras (mis focused on the Df then it was left in manual for other bodies so error followed through to them) so doesn't really impact the results. It was quick so a couple of (minor) crops and exposure adjustments were done in Aperture. These were corrective for uniformity where I was a bit sloppy with the setups and again do not change the spirit of the results. Included in number 2, because it was a quick comparison, I've took a slight rounding liberty with the speedbooster calculation to make it easier to 'centre' the tests around the APS-C sensor. By this, I mean the 24-70 should really have been shot at 23mm on the APS-C to match what the M4/3 was doing at 24mm with the 0.71 Speedbooster but, well, that would've meant a different lens and I was already losing the will to live. Everything was shot in jpeg with standard profiles and then mangled into these lowish res comps so pixel peeping is moot but, again, it doesn't impact the spirit of the results. For everything else, did I mention it was a quick comparison ? The first comparison is at 24mm on the 24-70 and is 'centred' around the D500 at 24mm/f2.8 so the GX80 is 17mm/f2 and the Df was set for 34mm/f4. The second comparison is at 70mm on the 70-200 and is 'centred' around the D500 at 70mm/f2.8 so the GX80 is 52mm/f2 and the Df was set for 105mm/f4. My conclusions are : With the same (high quality but pretty soulless) lenses on three different sensors representative of popular formats there is not enough difference to be losing sleep over. I need to have the Df serviced. I need to pressure wash the patio.

YouTuber Gaston Shutters reporting unconfirmed pricing of €2100 and €2400 respectively for body only and with kit lens. That...is...insane.

Today a large part of the social media comments, articles and reviews on controversial subjects are written by diverse armies of paid shills, "fact-checking", creating fake news, exposing "fake news" with fake news, whitewashing their employers and smearing critics. This was documented by The Intercept in 2014 and by political campaigners in 2016. Corporations like Google, Twitter and Facebook, powerful private interest groups (Club of Rome, climate change, global taxes, vaccinations etc) and state agencies, spend hundreds of millions for this modern and extended PR. Canon last year spent over 400 million dollars on public relations and advertising. Almost double what the Bill and Melinda Gates foundation pays, which is in the media all the time. The latter has given over $2 million to groups such as fact-checker Africa Check ($1.48 million), media company Gannett ($499,651), and the journalism school the Poynter Institute ($382,997). In return, when you google "gates foundation fact checkers millions", the second link goes to the Poynter Institute-owned fact-checker Politifact.com, where their "factcheckers" whitewash the Gates Foundation. The only reason we ever knew that, for example, the Clinton campaign was hiring professional shills to pose as real Hillary supporters online in order to deceive people and manipulate public discourse is because they were forced to disclose it due to FEC regulations. https://extranewsfeed.com/media-war-toolkit-the-seven-deadliest-weapons-against-establishment-propaganda-d535c311d0eb