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Well as I asked before: I thought I'd given you the answer at the time but obviously I didn't . Trying to get "absolute certainty" is the cop out to hide behind the "everyone was at it" defence thrown up by Armstrong and his enablers when he was eventually forced to admit the truth. No one can be "absolutely certain" of the actions of another person at every moment of their life. Armstrong himself used the "I've never tested positive" benchmark until it was discovered he had but had colluded with the UCI to cover it up, thus muddying the waters for everyone else as well. So, again, because of his shithousery, the benchmark then gets lowered to suspicion to justify it but even that doesn't make the "everyone else was at it" defence stand up to much scrutiny. Even if we take out all those with subsequent failed tests in their whole career and/or implication in the known indicator stuff like Festina, Michele Ferrari, Bologna raid, Puerto/Fentes etc then are there any that match a top ten finish that you are challenging ? Of course there are. Asking for just one is pretty facile so here is one from each of Armstrong's seven Tour de France "winning" years. 1999 - Daniele Nardello (7th) 2000 - Daniele Nardello (10th) 2001 - Andrei Kivilev (4th) 2002 - Jose Azevedo (6th) 2003 - Haimar Zubledia (5th) 2004 - Jose Azevedo (5th) 2005 - Cadel Evans (8th) The 2006 edition, following Armstrong's first retirement from cycling, five of the top ten finishers hold similarly "clean" records. So, no, they weren't all at it. Anyway, the 2024 edition starts today so lets enjoy the spectacle and hope the little fella gets that 35th stage win.

One of my all-time favorite lenses is a single coated collapsible Summicron 50/2. The only bummer is that short of rehousing it (which I won't do), it's impossible to use it with a follow focus. I also have a collapsible 90/4 which I've wanted to try for a shoot, but never get around to bringing with me.

But how come that it couldn't just be a simple google search, I asked myself, scratched my head and gave it a try. Digital bolex Cannes 2021, voilà.😊

10 years ago I used ltm Leica 50mm f2 on em-5 for video. In the bright sun, there is dreamy look, not sharp, milky like, maybe due to the single coating. if paired with a latest sharp camera, it will look nice. modern lenses cannot have this kind of vintage look. just like super baltar s35 lenses. very artistic. not everyone's cup of tea though.

I grew up skating with all those guys in the 90’s and was around for a lot of the fun video shoots. Once Spike Jonze moved from skate videos to music videos and commercials, the production quality got crazy on the skate stuff. It was wild to watch us go from super 8/16 and good Mini DV video to Arri Cameras and the Phantom Flex. Plus full Hollywood production crews and amenities. the main thing on the “slow motion explosion day” was how the timing was hard to get for the explosions. You can see the scared reactions on a few of the guys as they land. A couple of them couldn’t hear for an hour or so after…

Same for me.:) They must have shot the film ahead some time in 2020. That's quiet a demonstration of trust in a camera that has been released only a few months beforehand, to be used for a 2 million Euro production. The two directors have been nominated for the Camera D'Or with this film btw. Mission accomplished for the Lumix and the Dop I would say. Why Panasonic has not been taking advantage of such a testimony to their brandnew flagship camera, that question remains to be answered. I just watched through a 30min horror flick shot 10bit internally with a FX3. It was graded by a skilled post production pro. I could still recognize the mush at high iso shots. S1H has pro internal processing and image quality for cinema productions on the other hand.

S1H has been the main camera for two french cinema films that I know of. That was before Fx3 fame. This film was at Cannes in 2021 and was shot on the S1H. The actress is french movie star Adèle Exarchopoulo who starred together with Léa Seydoux in the Cannes Palm d'Or winner of 2014, which was shot on the og C300 btw. So here is some S1H Cannes motion picture glory.:)

Look no further than the music industry. Songs can now be made up on the fly in the style of X musician/group and according to some, they sound good enough. The same is done for stock photography and video. The real question is: will the masses pay for such material in the long term; or, will it be viewed as "it should be free because they stole it anyway"? If the past few years is an indicator, many people are looking for more authentic means to interpret reality: film cameras, adapted lenses, point and shoot digital cameras of old, camcorders from the early 2000s, etc. Also, people are still looking for ways of remembering family events. Sure, a photo can do the job, but I cannot imagine it'll ever really compare to the "authentic" photo or video (even if it's digital), never mind the experience of shooting a photo on a phone versus a real camera. My bet is: if there's not enough buyers for mirrorless and some companies close up shop, the prices for current digital and old stuff will skyrocket, not the opposite. Why? People don't want to interpret reality through AI; they want something more authentic. Stock up while you can!

A FF box-cam would make a lot of sense as a crash-cam, for drones, or for mounting in odd locations etc. It would have FF, good DR, good low-light, thermal management fans, and potentially the ARRI LogC curve / Prores RAW in it. L-mount primes can be quite compact, and the camera body itself would probably be smaller than the GH7 as well!

I think they did. As a semi-disruptive startup company, RED didn't manage to dominate their market so instead they've sold out while there's still some value in the company.

And honestly f2.8 is about the shallowest depth of field you could want for most standard work

this is the most difficult scene, because dr is so drastic. yet gh7 is ok, not as good as Alexa but not bad neither. in real world project, it is easy to adjust the light intensity and direction and distance to reduce the dr. gh7 in real world shooting in one of the previous pool scenes is very close to Alexa.

We live in a bizarre world where a large chunk of the middle class and low income folks think the guy that literally shits on gold toilets cares about them.

Me too - big companies rarely buy much smaller ones and then leave them alone, especially one that's been losing market share to it's competitors.

Jannard (now 74) retired from RED five years ago - https://h4vuser.net/t/everything-changes/10600 - so I very much doubt he'd want an executive role anyway. I suspect that Nikon saying that Jannard and Land are now 'close advisors' is mostly about trying to reassure RED users that the RED philosophy isn't going to change overnight.

Nikon a bit naively, have a very conservative (Contrasty) Nlog which make it look very bad compared to others on DR test. On CineD on its Nraw test, it scored very low in the Sythetic DR imatest results. But It shines in the truer real life latitude test. In their the Z9 is better than every Sony camera by at least half if not 1 stop better DR. +4 stop above and - 5 stop lower. In fact their are big surprise in this test, from Canon baked in NR RAW, that makes it look good, but once you have real life latitude it falls apart... except for their C70 with the DGO sensor. The biggest surprise for me is the Venice 2, at least a stop bellow the Z9!!!

For comparing two different codecs, you have to use the same or similar sensors.

Aww fiddlesticks. I was really interested in the Crusher… 😏