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I think you're discrediting the French. They were probably expecting a message from Nikon over Minitel, not fax.

As posted a few months ago after my haha moment while trying the Vision Pro 3 months ago I brought a dual fisheye (already had the R5c) and a Meta Quest 3 (kind of Vision Pro for the poor 🙂) So far I have filmed: -Bungee jumping on the James Bond Goldeneye jump, probably the most impressive so far that I did. -Basketball -Horse showjumping -Bike -Car -5 Star Luxus Hôtel Everybody that I have filmed, and I show them on the Quest they just say "ohhhh wow just incredible it seems to be there". It is definitely an early stage, but I feel the tech is finally mature enough for early adopters. Every time I look at the footage it seems unreal.... yet you need to wear a heavy and clumsy device to experience so the 1M$ question is: will Vision Pro style devices become mainstream and if yes when? I also started filming some family moment, not really a lot of work as the camera is normally static just to have some memories in case the tech will really take off. Anyway, I'm happy that Resolve will have tools for immersive (VR180) as right now is a bit of a pita the process, some stuff is quite complex like stabilization... What I would dream of an Insta360 X4 but VR180... I watched some of this year Alaskan Snowboard 360 trip video on the Quest and is just wow, but 360 is not as great as VR180...

Well it’s official now and we (those of us that are interested) have a date with units supposed to be available to purchase within a month. Living in France, that will take a little longer as stockists whether brick & mortar or on-line will have to wake up and say, “Huh? What? A new camera? No one told us”. Well they did, - just because they sent the info by email and not fax, does not mean Nikon HQ didn’t send it. But I digress. I can’t see me not pre-ordering a single unit to replace my current stills combo of Z6ii and Zf. Something like 15 shooting days into the combo, the simple summary is I need a single stills camera and not a pair and the capability of the Zf in the Z6ii body would be perfect as neither individually are ideal for my needs, the Z6ii just being too slow and the Zf being an ergonomic pain in the arse. Alongside my all L Mount set up for video, it will be the first time I will be able to say I am finally happy with the combo of bodies and lenses for my needs. And then, post season, November onwards, depending on what Lumix does with any S1 replacement, there are 3 contenders going forward: A. All Nikon B. All L Mount C. Continue with the combo of Nikon + Tamron for stills plus Panny + Sigma for video, but maybe get an S9 to replace the S1H just to lighten the load which is the only requirement I still have. Spec-wise, we have (for my needs) already reached the point where all boxes have been ticked. My last remaining aim is to streamline and lighten the load wherever I can. With Nikon + Tamron, I have achieved that so just need to do that now with L Mount. Or not. We shall see…

That's the US... so a budget of 30K per cam minus 25K for insurance coverage leaves 5K...

Did it fail? Have you tried one and watch one of your work on a high res big screen and you may change idea? I was very skeptical but I’m now a believer. Just watching my own movies on a big screen is impressive. The immersive stuff is scary good. Quest 3 is at the right price and already quite good much better than what I thought, now that finally there is competition fast forward 2-3 years and we will get Vision Pro quality at 500$. We may even change how we consume video no more low res vertical crap but this is more an hope than a prediction😂😂

But when you realise you lost your charger and you have a wedding in 2 days and live in a rural location… It’s a convenience.

Trust me. It's not necessarily a good thing to have Amazon. Your taxes will pay for their warehouses and run everyone out of business. In the end, you have a bunch minimum wage workers with Amazon never paying for the infrastructure they degrade. Never mind the fact they will soon have a monopoly and you'll have no choice but to work with them.

At least you have an Amazon!!! (not the case for me)

And don’t get me started on Amazon deliveries… Next or even same day in some UK cities, but min 3 days on anything it seems with Amazon.fr Hey ho, at least the weather is great. Except it hasn’t been. But apart from that… 🤪

That BM aquascooter looks pretty wild and you'd hope they are producing the lens system as a separate swappable option for the 17K camera rather than it just being a single unit. Its certainly got the resolution to make the most of shooting VR and commercially if you are one of few people shooting for a content starved device (and consumers) like the Vision Pro then it makes more sense maybe than being A.N. Other shooter of "regular" content. Its a risk though as you'd be gambling on this being the trigger for more widespread adoption of a very expensive device that has received far higher praise for its technology and conceptual aspects than its actual utility. Of course, the "consumer" priced version may be just around the corner but, again, thats a bit of a risk and the whole thing is very chicken and egg. The R7/3.9mm dual fisheye is a very different proposition entirely though. I think this is something where you have to forget about a wider audience or naysayers ("Its too low res bro") and likely any commercial use, particularly at the current time, and look at your own needs and say will creating stuff with this please me ? From content that I've watched on my Quest 2 that is made by its bigger brother R5/5.2mm combo then I'd say, yes, it does please me, particularly considering the price differential. The R7 is a very capable and compact camera that is great for travel and this (along with events) is what I would use it for to capture nice looking immersive 3D memories. Years ago, I had one of the Sony TD20 3D camcorders and I actually thought it was pretty great for that stuff but then, like a lot of people, got sucked into the "I'm going on holiday to France, I simply cannot shoot anything that doesn't look like it was shot by Roger Deakins" bollocks. I just don't enjoy a packing list that reads "Swimming shorts, sunglasses, flip flops, sunscreen, three lenses, ND filters, matte box, follow focus..." for holidays any more. Thats why I've gravitated towards the Osmo (if indeed I take any camera) these days and I think this combo would give me some way to bridge the gap and make something more interesting. With the option, of course, of taking one of those small RF primes or zooms if I felt like using it as a regular camera. However.....despite being far cheaper than the R5 equivalent, the R7/3.9 mm has a combo price of around £2300 which is way over the top for me these days for a "that might be fun" indulgence but I certainly look forward to enjoying what other people do with it. In this video, Canon are advocating using it the 4K/30/25 fine mode for maximum quality (as its from oversampled 7K) but it would be interesting to see it what it does in the R7's 4K/60/50 mode.

No, I never used Olympus cameras, only the f1.2 lenses. But I heard good things about their IBIS.

It might have been the S9 or the GH7 (or both). It would make a lot of sense on the S9, a camera being heavily marketed at people who would actually enjoy that functoinality.

You can attach an eGPU with an RTX 4090 to just about any PC laptop with either a Thunderbolt or USB 4 port. I'm not sure if there are any Oculink laptops yet, but if there aren't, it's only a matter of time. As for the processor, nearly every one of those mini PC's uses a laptop processor so... a decent laptop will have a similar processor. And still, if you're going with a desktop, you should probably just save the money by going with a normal-size one with a GPU in the case.

I'd suggest not getting too far into the weeds with this - people get all funny about things like this when in reality they don't really have much significance. Start with a goal, such as the ability to shoot some situation or other and have the final graded results be of a certain quality, and then work out what is required for that. Others might disagree about this, but I think there isn't a single situation where the difference between uncompressed raw and 3:1 compressed raw actually makes any visible difference to the final edit, let alone what is visible once it is compressed to the deliverable. Doubly-so if you're delivering to a streaming service who will compress the living daylights out of the file.

...a skintone comparison it sure 'aint! But if you know what you're looking at then other things can be inferred.

THIS. They're constantly seeking to make the site/app better. and "better" means more profitable. Absolutely. Changes are to bring something of value. Value. Shareholder... value. Maximise shareholder value. .... remember, if you're not paying, you're the product!

I have a vague recollection that a recent camera allowed multiple framing guides at the same time so you could put up the vertical and horizontal boxes at the same time on the monitor. Seems like a good idea, but can't remember where I heard it.

What about CDNG raw, though? There's an uncompressed version (in the Sigma fp and in older Blackmagic cameras including the original Pocket, BMMCC and some of the Ursas). The BMMCC also has a compressed (3:1) version of CDNG raw as an option.

I have used that Angénieux Super 16 zoom a fair bit on my Micro Cinema Camera and the original Pocket; neither of those cameras do well in low light but with careful noise reduction and crushing the blacks a bit you can get very usable footage in even dim light.

They did advertise it but I haven't seen any Super 16 footage shot with this camera, a shame. I would love to use my Angénieux 17.5-70 Super 16 lens (in PL mount) on that camera; might try renting one just to test it.

Good question, you'd have to look into it; the Ursas come with a choice of mounts: PL, EF, Nikon F/G if I remember correctly.

Also keep in mind that the giants have become so giant that it somewhat flips the usual rules when it comes to improving the user interface to delight users. If YouTube make the interface worse, will you stop using it? How many people will? Does the new UI somehow result in people staying on their site and seeing ads longer, even if that time is spent frustrated and clicking on things? If so, they get more revenue. This is also why sites like instagram and facebook so strongly prefer the algorithmic feed to a chronological feed (despite that most users seem to prefer chronological). If you catch up on a chronological feed, you stop browsing facebook. If they randomly show you new posts mixed in with a bunch of garbage that you already saw, you spend more time clicking around and searching for the new posts, during which time they can send you more ads.

To start with, "raw" is not capitalized when referring to "raw video." However, it is when referring to specific codecs such as "ProRes RAW" because somebody at Apple said it would be. Second, to answer your first question, no. Even "raw" on many cameras is less raw thatn you expect. Anyway, there will always be a certain amount of navel gazing and discussions about which format is and is not really "raw." If applying "visually lossless" compression would make you consider raw not to be raw enough, you'll have to take that up with the likes of Red, Canon, Apple, BlackMagic, Cineform, and just about any other company who has sold a camera with a raw option. Most of the time, what people care about is the ability to change white balance/color in a pretty big way without loss of quality - that and in most cases, getting 12+ bits per color channel can be nice. They'll also say that you can change ISO, but there are a lot of asterisks around what that actually means. If the raw format allows those things, then that's effectively enough.

Probably not. But you probably don't want uncompressed RAW because the file sizes are astronomical. There are compression schemes which are very close to be visually lossless, which are almost as good, and save a significant amount of storage. Depending on your needs, you're likely willing to sacrifice some image quality for some space savings. For example, you might accept a 1% loss in quality for a 50%+ reduction in file size, etc. BRAW has compression ratios between 3:1 and 12:1, even on their top cameras, so the artefacts from huge compression ratios can't be that bad, and you can get a lot of compression before people can even notice.

I guess mileage varies depending on how you look at the footage. What I see in it is: pretty heavy grade done but footage looks consistent and hues look right, including skin-tones this indicates that the sensor and profile behave well in the grade and don't get pulled around in unnatural ways - this is a lot less common than you'd imagine and many of the grades I've done end up making different tonal or colour regions of the footage don't look coherent with each other.. saturated edges look fine this is very difficult because doing a strong subtractive saturation operation is very challenging as it stretches tones apart significantly based on their hue. this is especially difficult on edges where if you have an edge of a coloured object against a neutral object then in the space of a few pixels you go from saturation being low to being high, now this wouldn't normally be a challenge because maybe they're at a similar luma level but after the subtractive saturation operation the saturated pixel is now significantly more saturated but more importantly its also now dramatically darker. this will ruthlessly reveal compression artefacts on edges, and is the primary reason that I have to go B&W and blur the absolute crap out of any footage I shoot on the cheap action cameras etc for cheap camera challenges greens look good shots like the dog at 0:54 show deep saturated greens in the foliage in the background, which have clearly been significantly altered. in real life the graduations in greens amongst footage like this are very subtle, and yet the colours in the video look dense and the opposite of stretched low-quality footage, they have a density that is reminiscent of the things that the 5D with ML does very well (but I'm not saying this is at that same level - this video isn't enough to judge that) anyone who has declared war on yellow-ish greens like I have and tried to grade them back into looking lush (or even just not dead-looking) will know the whole thing exists on a knife edge. the fact that you're cooling the shadows and warming the highlights (which this grade does quite considerably) also stretches the greens too shots look to have usable DR in outside scenes in full-sun on surfaces that would be blindingly-white there is an effortlessness to the colours when you look at film there is an effortless coherence to the whole thing, like it was always going to be this way that it would be silly for it to be any other way - the colours in film look like this was their destiny - you don't question it. this coherence is incredibly rare for digital and especially smaller sensors when not given enough light, so although the outside sunshine pics are great, it's the inside shots with the deep shadows that show off a coherency into the lower registers of the tonal ranges. the colours don't cheapen, they don't thin, they don't shift, or become glaring or dull, etc. etc. Hollywood colourists can work low-level miracles, but will be the first to tell you that if the footage is lacking then there's a limit to what they can do - more would be asking for high-level miracles! Either this footage is good and the colourist was a super-star, but considering this is a YT video, I'm leaning on it being a good-to-very-good grade on top of very capable footage. The more I colour grade my own footage, the more I see when I look into the footage of others.

Not a clue. Seems odd to criticise a video if it doesn't answer every question you ever had about something! 😂😂😂 But, it's ok, comparisons are coming.

It's not a question of quality, but purpose. Is a car better than a truck? Is a TV better than a tablet? Are headphones better than loudspeakers?

You're watching a video with a single person in an otherwise-quiet room. Unless listening on high-quality speakers/headphones, the differences will be negligible. Here's a more useful YouTube search for you to be able to understand why a cardioid or supercardioid mic is different from an omnidirectional mic and when you might choose to use one vs the other. https://www.youtube.com/results?search_query=omnidirectional+microphone+vs+cardioid

I think there will be features from the S9 and GH7 coming to the S5ii... I hope. The S2H, I presume, will be a GH7 full-frame, if it's possible to make that MFT sensor into full-frame. It's going to be WAY out of my budget though. Should we also expect internal VND? Hopefully.

Seems like the BMD EVF works on the Canon C400's USB-C output? Or that is what I've read.

🙌 Not 100% but a pair of GH7’s with the 10-25 and 25-50 twins is just about the perfect set up for me, especially compared with my current set up. First of all, it’s two matched cameras for ergos, batteries etc. Second, whilst there are comparable zooms in FF at the wider end, there are not at the longer end. Third, lighter and more portable set up for me. I don’t actually need all the bells and whistles and it’s the PDAF that swings it for me and why I skipped the GH6, but dabbled with the OM-1. The ONLY issue I had with the OM-1 was I was not a fan of the video quality, - it’s very purpose for me 😏 A single FF camera with a fast wider ‘indoor’ zoom plus a fast longer zoom for ‘outdoor’ and I’m done. 👾

I'm declaring this a successful launch. Some leaks, but not massive. No one knew about the Arri partnership as far as I know- surprise is always good. No one is crying in their corner because they weren't invited to the "show". I loved the GH6, but I replaced it with a S5ii. The main reason was for photography. Still, I miss all the other cool video features of the GH6 that the S5ii doesn't have, but suspect some will soon come (and better) in a firmware update (like PDAF at 100fps).

Makes it very easy to fit in with established workflows using ARRI cameras. (if that's not your world, then it's much less of a big deal this particular announcement)

Official certification by ARRI is surprising indeed! If anything can cause an explosion in seeing Panasonic mirrorless on film sets I work on, it would be THIS! Would instantly make the GH7 the #1 choice for crash cam / B Cam / etc, anything that needs very awkward mounting, such as mounting a camera for a shower scene or riding a motorbike or a snorricam.

They pretty clearly didn't- "fx3/a7s3 sensor vs. A7iv sensor" obviously acknowledges the FX3 and A7sIII are the same.

Chivo is a monster, the 0:20 take with the horizon being a breaking wave was beautiful. Bit I follow the guy on Instagram, he could make a great shot from a Galaxy S3.

I've had my eye on the Sony A1 for a long time. I was hoping Sony would announce the A1 II, so that the prices on it could drop a little. At $6500, it is a bit steep. LongGOP 8K is also not ideal, but the video footage overall is very impressive for a mirrorless full-frame camera. The DR, roll-off, ISO performance, and texture are all amazing. These are video frame stills if you can believe it!