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I’m looking forward to all the ‘Why I Switched’ videos on YouTube when the thing gets launched.

Your turn now Panasonic! Give us a Sony A1 but with the smaller 4/3" sensor in a GH6 and at the low price of $1995! 8K 10bit? 4K 120fps 10bit? Yes please!

S-cinetone available, improved AF, 8K; 5.8k oversampling to 4K in super 35... It's the perfect stills/video professional all in one. What Canon failed to provide with the R5.

Of course everyone say that, but unfortunately that wont drive much traffic nowadays, open box photos get more likes than actual photos shot with said gear.

While I think some of the FD L lenses are at ridiculous prices (24 1.4 especially) I till think it I a lovely lens and I wish I had kept my 50 1.2 L and that my 85 1.2 L did not have the dissolving bearing issue. The 85 L can be had for (sort of) reasonable prices (be careful about the bearing problem). I think most older lenses now should be looked at individually because you do not know how hard their "lives" have been or if they were even good copies to begin with. Shot from my FD 24 1.4 L at 1.4 on my old A7s.

Filmmaking is not (nor should) be a show off from (any) gear specs to us salivate over anything in the path of the show. It's just another one, a new camera won't bring you more skills to your craft (E :- ) Filmmaking is time and how skilful you're able to manage it. Other than that, amateurism in any of both senses.

US$6500... ouch!

It really seems that 4k FF is not oversampled only S35 is but the spec are so cryptic..... also no 8k DCI or 4k DCI. Nice thing is 1/400 flash sync with mechanical shutter, the EVF seems also great. I don't like that it has no articulating screen as is much better imo for gimbal like ronin S etc..

I don't think so, Canon is already working on the R1; this is in the 1DXIII price territory so its not a direct competitor to the R5, the A7SIII is more of a competitor to the R5. The R1 will be Canon's answer to this camera both in price and functionality. I thought the exact same thing...except the MFT part. Panasonic is dependent on Sony for their sensors, so if they are able to use this sensor in a next gen S1H (and change their AF system).......oh never mind who am I kidding, Panasonic will never change their AF system; but anyway if they were to make a S1H II with this sensor that would be interesting...but probably at least $5500

Few things to note. They did not blast demo units to YouTube people. This is incredible. For someone that has invested in Sony glass over the years it is great to have a versatile hybrid camera by Sony. I am looking forward to seeing more over the coming months. This is the first Sony video that I've been impressed by the look. Same color as the FX series with Cinetone. I like it!

It can't record Raw internally? The 8K is 420, really? 30-min limit? $6500? What a miss. I'd rather drop a copper heatsink into a R5 and save $2500. And it would still be a better camera.

This looks amazing, however I can't afford it with the current pandemic workload. Which is ultimately good because I'll be able to see what problems other people have with it. My only complaint with the A7SIII was the sensor was too lo-res for cropping or photography, so this seems to have solved that problem to be the ultimate hybrid camera.

Maybe a step for Sony to be the first to eliminate the mechanical shutter in their cameras. I can see them taking it out of their next A7S camera and replacing it with their eND + IBIS technology.

I think with YouTube in general the problem is people are told to set their camera to 24fps because it's the movie standard. That is fine. But then they go on to record their video without thinking about their frame rate: camera pans that are too fast, subjects moving in the frame too fast, parallaxing shots that are too fast and look weird. I see this commonly with drone shots with parallax shots. Maybe their shutter speed was off, or they filmed in 30fps and then forgot to conform it. I definitely notice it at the 0:28 mark in the video. Maybe in the future the world will standardized on PAL (or something close) and we can just make 25fps the new cinema standard and do away with the weird (but genius) quirks with NTSC cathode ray tube jiggery they did.

The 8K is 10-bit 4:2:0 (XAVC HS) according to the Sony website

LOL Indeed, I bought a couple of ASUS Zenfone 7 Pro units for less than 600 euros each ; ) Same 8K 30fps + 4K 120fps specs... :- )

And the price was released too: U$ 6500

30 minute limit due to heat in 8K and 4K/60p 😂 Otherwise looks good. Definitely has the edge on the EOS R5.

The stills spec was impressive enough but Its an absolute monster on the video side as well. 8K, Cinetone, 16bit RAW out over HDMI. They've even put some cooling in it 😉

I definitely think with 24fps you have to be very precise when panning or you get that jitter effect.

Yeah A lot of folks I know bought some laptop/desktops for gaming again during lockdown. But I know one couple that dont own any pc or laptop, they only use iphone which is mindboggling to me how you do everything on your phone. Searching for stuff on my desktop is way more efficiënt then scrolling through my smartphone.

It is a standard switch with three prongs where you need to solder three wires. No point in a video really if you get a switch, a suitable tip and some wire. I have done one without having a diagram, just by trial and error. I suggest that your soldering will give you more trouble , so here are a couple of tips. Apply solder to both sides of a connection before applying them together. Warm up the joint before applying solder. You will probably get "cold" joints in your first tries but you will get there.

Following on from the Shane Hurlbut lens comparison, I'm interested in hearing about which lenses have desirable rendering properties, like a 3D quality, or a more flattering rendering of faces, etc. Some stills from the test I linked above: It seems that somehow the older optical properties of the Cooke give more depth to the image. I've also encountered this in my own tests with the Takumars, which seemed very flat in comparison to other equivalent lenses at identical apertures. Another strange example is this comparison of two 35mm lenses at the same distance and aperture: The K35 looks like it has more wide-angle distortion, almost like it is a wider lens that's closer to the subject, but that isn't the case. Of the more affordable lenses around, what are the ones that stand out? and why?

Yeah, I just watched the second part (the two hour one) and Chris said that he's trying to work a couple of years ahead of what he's shooting, so doesn't want to talk about what he's looking into because as soon as he talks about a particular vintage lens then the prices go through the roof, so he doesn't want to disclose that until he's already bought the lenses he needs to build his own set. I feel like some of these vintage lenses are already too expensive to own, and that time is running out for other series.

Funny how perception and difference coexist amongst the human race, distinct periods of life, backgrounds, etc... In a line: Cinema is a lie told @ 24 frames-per-second; it doesn't matter what Godard thought ; ) Irreal, a replaced, pictured reality as alternative is everything we want when we suspend our own disbelief (E ;- )

While watching the latest @Tito Ferradans anamorphic video, he references a great conversation about lenses and especially vintage vs modern glass. The video is 1-hour and they present screen grabs from lens tests as well as talk about lots of interesting stuff, especially K35s. @Andrew Reid - there was even some stuff mentioned in here about them that Media Division didn't include in their excellent video on the FD vs K35 lenses. There's also a part 2 that is 2-hours that I am yet to watch: In the first part above they make reference to a comparison that Shane Hurlbut made between the modern and optically excellent Leica Summilux-C and the vintage and less perfect Cooke S4, including some side-by-sides that really show a difference in how 3D the lenses are. Spoiler, the Cooke is the more 3-dimensional of the two. Going back to Jay Holben and Christopher Probst, apparently they're working on The Cine Lens Manual which is a book and has been in development for many years now and is up to 1000 pages. Apparently it's taking so long because of the extensive testing of various lenses that they have done in researching the book, so it seems like it might be an encyclopaedia when it's finally done. I'll be keeping and eye out for it, although with the work they've put in it'll probably cost more than what I'd be willing to invest! The other thing that they mentioned in the test is the previous tests done by Sharegrid. Their site is here: https://www.sharegrid.com/learn and it features a quad player feature where you can load up four lenses and play their studio test from the four of them simultaneously, which is fantastic for comparing lenses, or even the modern vs more vintage lenses. It's just a pity there aren't more affordable lenses in there!

Why not use the Manfrotto 2909 Super Clamp with 2907 Reversible Short Stud 2909 (bhphotovideo.com) I use them everywhere from Basket, Hockey Nets, Stadium rails to Balcony. Long exposure mounted on a balcony rail: Long exposure mounted on a wood pier: Mounted on the hockey net

It's worth mentioning that with the right geometry you don't even need to tighten the clamp at all. This hook, which is designed to sit on top of a door, works because all the force is applied to one side of the door, and because the force from gravity is down, which keeps the hook securely on top of the door: Obviously the clamps we're talking about can easily rotate if kept loose, but I'm just saying that they don't need to be super tight because they're not fighting gravity, they're working with it.

@kye I'd suggest investing in some industry standard grip equipment. As an example I put an overload loaded FS5MII (~10 lb) on single cardellini clamp. Wood adds rigidity and makes surface even, improving the clamping force. Note: this is a totally unsafe rig, if it pivots kiss your camera goodbye, but if all you had was just a cardellini and gobo head... 😆

As standalone cameras? Sure. As part of a pocket computer, aka smartphones? The market size will approach the human population. How many people buy a phone because of how well it makes phone calls? How many buy a phone based on the improving cameras? 4K 10-bit, IBIS, Lidar, Dolby vision. Sadly, some traditional camera companies have been having trouble putting these features in their flagship cameras. Consumer digital cameras are simply being displaced and integrated into another product, which isn’t unusual, as seen in the case of cassette players, CD players, MP3 players, pagers, cell phones, blackberrys, watches, etc. Thus, those graphs are misleading. The market for better digital cameras has never been bigger. The problem, if there is one, is that some old camera companies haven’t been able to justify their existence. Never have consumers, hobbyists, and professionals had such access to creative video filmmaking tools as we all do now. Innovation hasn’t slowed, it’s accelerating—over the dead bodies of dinosaurs.