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I've done hundreds of hours now in English training. It's not my main gig, but it's good to do something a little different. I use a GH2 with the Olympus 17mm f/1.8, a M2 MacMini, a Behringer mixer, a Atem Mini, a Audio-Technica AT 875 R, an iPad Pro 12.9", an Apple Pencil, 3 cheap lights with softboxes, and some decent headphones. I've tried many other things too, but so far, this works best for me. My cardinal rule is to have as much as possible with a cord and no batteries as to reduce my single point failures. My only exception is the Apple Pencil, but I plug it in whenever I'm done. The key for me is to have as little setup time as possible- just flip one or two switches and I'm up and ready to go.

I thought I would resurrect this thread as it looks like Logitech will be announcing a new MEVO product on the 17th with the m43 sensor/mount. The video specs are not great but it will be interesting to see how far they take this. The 6400mAh battery should provide a very long run time. https://asobinet.com/logitech-announces-micro-four-thirds-camera-for-live-streaming-on-march-19/ Interchangeable lens camera Mevo Core micro four thirds system Dual USB-C ports 3.5mm audio interface HDMI output microSD card slot 6400mAh replaceable battery 1/4 inch screw cold shoe USB-C 20W power supply 4K 30fps output Compatible with Mevo Multicum APP

Thanks, I appreciate that. I have a running thread on Fred Miranda soliciting submissions and so far the response has been good. To encourage participation I've been buying the Arduino boards on Amazon and having them shipped directly to members who have cameras I would like tested. Going forward my hope with the crowdsourcing is that the group interested in these kinds of measurements would be enthusiastic about having their own reliable method for measuring readout speeds whenever they need, so that the small investment in the Arduino board wouldn't be an impediment. Time will tell if that turns out to be true.

Nikon is going to release a Komodo competitor next month: Z6m3 with 6k30p raw 😄

I think if we look at the Komodo which is around the price of a C70, uses RF mount and has AF, it gives us basis to speculate that future entry level RED cams with Nikon tech and Asian manufacturing could venture out of the high-end cine market and compete with Canon & Sony C/FX line. And reverse wise Nikon high-end cams will benefit from Redcode and other ciné savoir-faire like color science, anamorphic support, open gate etc.. it also finally gives Nikon users an upgrade path to a cine line and creates a more viable ecosystem. That is great news for consumers and further increases my desire to switch to Nikon.

People keep talking about the patent, but I really don't think it is the reason behind the purchase at all. Nikon wants to get into the video/cinema market. Their recent releases are evidence of that. They have very little chance though of getting a foothold in the market on their own. Purchasing RED, even though it lags behind ARRI and probably even Sony, makes a lot more sense than creating something on their own from scratch that will likely fail. Major blockbusters and shows are filmed using RED cameras. Tons of independent films are shot on RED cameras. It has a loyal user base. Those are reasons enough for any company looking to get into the cinema/video market to purchase them instead of starting from scratch. Will it work? Who knows, but it's a better building block than what they had to work with. Better to own the company whose camera was used to film blockbusters like Guardians of the Galaxy and Aquaman than to release a cinema camera that will see minimal adoption,

At some point both costs of SSDs will be so low and data transfer rates will be so high (Thunderbolt 4, etc.) that it won't matter much in practical terms if raw files are not compressed. I could see new cameras saving internally in uncompressed raw, (ProResRaw or uncompressed BRaw) which would not be subject to the patent. At one time shooting HD was super expensive, now it's super cheap, the same with 4K and other things. If the cost of media is within the budget of a production, and the transfer times for copying the cards is short enough for the shooting schedule, then it doesn't matter.

My signature in another forum is: "your new gear will not make you produce any better art than you already do" Maybe it was something someone wrote here years ago. I only i could remember, I would credit him

Same for a lot of us, ie, more idle chat and musing than anything. Some folks immediately think that because you have an interest in such things, you are unhappy with your current situation and simply believe ‘The Next Thing’ will fix all your issues. I don’t think that is so much the case here where a lot of our musings are more, “if I was not invested in X, I might be looking at Y or Z” and nothing wrong with that in my book! And ultimately it’s all harmless!

It's perfectly unclear here what kind of Sony sensors Nikon use or to what extent any modifications are made by Sony sensor engineers or team Nikon themselves. And neither will tell you the truth.

The new patent is only for the specific tweak, not the old stuff. Like I said, evolving CD into Blu-Ray doesn't prolong the patent for CD.

With today's news, I feel like I made the right choice going with the Z9s, not just for now, but for the future.

From what I read on this forum, Clog flavours on their hybrids lag behind their counterparts C300 II and Mark III even moreso. R5 in Raw does perform same latitude as S1H in its h264 codec in test by German test site slashcam, but less in dynamic range according to Cined tests. NRaw has been a bit of a riddle in post to some youtubers due to akward Nlog curve. But an Aces or other adequate workflow should solve that. It has almost the same but even a tiny bit better latitude than a S1H and the same as C70 Raw according to slashcam, bettering also a R5 in that same test. Colour fidelity is supposely astonishing. Nikon has put out convincing 8bit video hybrids with the Z6/7. Even their HD Dslrs D750 and 850 have been 8bit video marvels, such as their Apsc D5300, 5500, 7500. So they are no newbies regarding convincing image quality in video. @ghostwind That is only talking about image quality, not even mentioning full Hdmi, sturdiness, internal Prores besides Nraw. Nikon had a few aces in their sleeve during their law case with Red. You could find all about that in the insightful Eoshd thread about that topic. @Jedi Master