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Ahead of the IBC, Panasonic have announced two new box cameras. The UB-50 is a full frame L mount camera and the UB-10 is an MFT camera. Its a pity the didn't call the bigger one the UB-40 as that would've given some food for the thought and possibly make RED RED Whine (ask your Grandad) . Details are scant and no idea of pricing. Product pages here : https://eu.connect.panasonic.com/gb/en/broadcast-proav/aw-ub50 https://eu.connect.panasonic.com/gb/en/broadcast-proav/aw-ub10

Square pegs for round holes IMO. Sure these things take increasingly good photo and video and can you get ‘professional’ results from them? Of course, but should you? For business use, for me, can’t ever see it, but mainly because of the ergos. Using a phone without rigging it out, isn’t great and of course for any pro work, whipping out your phone out of your back pocket and holding at arms length? 😭x1000 On holiday or at a festival etc, why not, but beyond that, nah.

Res can stay right at 24MP IMO, it is the perfect goldilocks resolution. The Z6III has sub-10ms rolling shutter, if Panasonic can do similar without sacrificing DR or getting the weird flashing shadow effect I think it would be a big seller.

I think we were thinking about different kinds of "cinema" cameras; in this thread I wasn't so much thinking about cinema production for the big screen but what Nikon's interest in RED is, and that I believe mainly to be on improving the video capabilities of Nikon's mirrorless hybrid cameras, and likely also to offer a line of professional video cameras between the Z9 and the high-end cinema cameras (with similar color science across the lineup, perhaps giving Nikon's traditional and RED's as options). RED likely has technology which would enable Nikon to compete and improve at the various levels of video cameras and Nikon can help RED take benefit from technologies developed for mass-market manufacturing. When we talk about feature films made for the movie theatres or streaming, I realize that manual focus is the norm there and in that case an adapter may be fine, but in applications which benefit from autofocus, image stabilization, hand-held or gimbal use etc. the lens mount (and lens compatibility) is a factor (even if some compatibility is achieved within or across manufacturers and mounts, optimal performance of the advanced features is likely to be achieved only with native lenses). The lens mount is also important when designing lenses to be compact and of high quality; there is a considerable difference in optical quality between Nikon Z and F mount lenses especially at short and medium focal lengths. I'm surprised that PL lenses (with flange-back distance of 52 mm) are still used and nobody seems to be saying they aren't state-of-the-art (which is in stark contrast to how lenses for still photography are seen), but this may be due to the lack of requirement for the lenses to be compact as well as tradition. For stills the flange-back distance seems to make a huge difference. Lenses that weight a few hundred grams (on Z) can equal and better image quality previously only available from 1 kg lenses (in F mount), etc. As long as there are mechanical focus pulling systems attached to cinema cameras a smaller lens may not necessarily be a great motivation or a purchasing factor but for a lot of applications of video (where the operator may need to be mobile and has no help), size and weight can be important. And thus in the smaller "cinema" cameras (which really are not as much for the big screen but video for ads, social media, weddings, influencers, documentary, etc.) I do believe a possible lens mount change can affect purchase decisions. Anyway if people really only use manual focus lenses on RED cameras then the possible loss of RF mount as native option in some distant future may not be a problem; if anything, the larger diameter Z mount is likely to be more rugged and handle heavy lenses more easily than a mount with smaller diameter, and lenses of any other mount can probably be adapted. I do wonder if the 16 mm flange-back distance gives enough space to have ND filters built-in. But for Nikon I think what they really want is to sell Nikon lenses and so a Z mount RED camera is likely to be launched sooner than later.

There is not an equivalent for iPhone, an option would be one of this suction one but not sure how good it is. As the MIMO app can already control the pocket gimbal and the Ronin App has the gyro logic it would be a week max for DJI to code and test this feature. I dropped a couple of comments in the official dji forum a few months ago... not holding my breath...

I've always been interested in the Red One, not professionally but purely hobby. Have any stills from stuff you shot on it you'd care to share?

you post the dumbest shit in the world. if you can only make an image look nice on a shitty 1st gen red and not on anything better you are straight up not talented. in the grand scheme of things, if we’re talking pure image quality, when composing your shot, the color of the walls and curtains are variables that are a lot more important than camera choice.

Announcement given half-heartedly. Almost as if they were ashamed. Panasonic's marketing should be fired on the spot.

Without being able to see the complete spec for these new ones it is difficult to differentiate although the obvious advance Panasonic have made with their FF and MFT sensors since those two is PDAF so the speculation would be its that but then they'd make a big song and dance over it in the announcement if it was. Because, yes, otherwise its a case of ..

This might be worth looking into this to map a physical controller to operate the virtual controls in the app. The DJI mic can remotely start/stop the Pocket 3 so it does make me wonder whether the capability is there for gimbal control too that is not used. I quite fancy getting a Pocket 3 so if I do then I’ll be sure to, erm, “investigate” that avenue as well as the data between the app and the camera.

Please test the new Rec.709 LUT too. "The LUTs for N-Log, which were previously provided for each individual camera, have been consolidated into a single file and optimized for video production based on color science developed by RED (Red Digital Cinema, LLC). The Technical LUT converts the N-Log color space to the Rec.709 standard, making it suitable for general viewing."

They should make a pro version with dual lens and aperture control! I used to have a Phantom 4 Pro that had 1inch with aperture control and it was amazing not sure why they dropped aperture. Touch could be a bit better, the need of an adapter for tripod is also not great and they should add a gimbal lock mechanism. My biggest grip with the pocket 3 is the lack of phone gimbal control using gyros.... the virtual joystick is super bad... I can place the pocket 3 in placed that no big camera would be allowed but controlling it via virtual joystick is not good. All the Ronin have this feature not sure why they did not implement it on the mimo app...

Not true at all. As I'm certain the vast majority of RED shooters are not primarily using Canon RF lenses on their RED.

https://www.nikonusa.com/content/red-luts Excited to try these. RED color (or maybe RED-ish color) for Nikon is a win in my book. The fact that these work on my 6 year old OG Z6 is awesome. That camera truly has aged like fine wine.

Indeed. The only minus I see on one of my fav devices today is the lack of tele range...

Mine overheats in 4k 25 and 50fps 10bit log h265 internal, no attached storage. It is a phone and can do already miracles but quality and usability is still far off a Mirrorless, yet you can use it everywhere and is very convenient. Osmo Pocket 3 has imo quite a bit better image quality and dji log can take more post processing.

You're making a bunch of incorrect assumptions. If there is a difference in "optical quality" between F and Z mount lenses at medium focal lengths, it likely has more to do with a combination of modern lens design and correcting certain types of lens defect in software which means fewer compromises in the physical design of the lens to mitigate those problems. Anyway, assuming that by "optical quality," you mean "sharpness," it's a horribly incorrect assumption that it's what people shooting cinema want. K35's are far from tack sharp. Vintage Zeiss Superspeed lenses aren't all that sharp. Vintage Cookes are FAR from sharp. Modern EF glass was already a lot better in many ways than them - but yet, people love the older lenses and how they looked. Go watch even the trailers for The Witch or the Lighthouse. The latter went even beyond the "modern" lenses that I listed before and was shot, at least partly, on Baltars. Not Super Baltars. Baltars. Anyway, even if you're talking about autofocus stuff, again, newer EF glass is going to be good enough for most things and on RF cameras (and I'm told on Z cameras, with the right adapter) autofocuses like a native lens. The focus motors on older glass weren't as good, but the newer stuff can focus almost as fast as any native lens that I have for RF mount - and certainly fast enough for any time I've needed/wanted it on a short. My personal strategy is to focus on EF lenses for anything needing modern sharp glass. I've definitely not had any complaints from anybody that I've worked with that the lenses weren't up to their expectations - whether using the L mount variant or the CN-E variant. It's great - I have no stress about changing between any modern camera systems.

Yes, overheating is exactly my concern, even though with the SSD attached no idea if the issue stands the same way?

Huh? EF lenses work perfectly with an adapter on RF bodies. Just about anybody buying $4,000 cinema lenses will be savvy enough to understand that. Especially at the higher end (v-raptor, etc), the number of people using native RF lenses on their Red is a lot less than you seem to be suggesting. The cost of a new PL to Z mount adapter ($300ish for a fairly high-end model) is pretty negligible compared with the price of a shiny new v-raptor ($20k+). The users of the $6k-10k cameras might be more apt to jump ship - then it's more of a question of whether Nikon care about ceding some portion of that market to Canon/Sony.

20 I think would be a very acceptable figure.

Maybe it’s time they began to think in a more ‘Western’ manner? But then again, maybe the Asian market is bigger? I have no idea… I’m a strategic planner by nature. I want to know what I am doing next year and the year after and 5 years down the line with my business. If I had a company, brand loyalty would be my number one priority, not leaving any and every next model to pure speculation what it will be, never mind if it will even exist. And I get they want to keep their secrets to themselves as much as they can, but I think they are too secretive about it. Does it hurt sales for instance if there is a timeline for the next model? I doubt it and we can assume and speculate it will be ‘better’ than the last, but give us an idea at least. I don’t know if they still are, but Fuji at least used to have a lens road map. I think Lumix kind of had/has one, but one they more add to as stuff appears which is less map and more product list. Ultimately it’s their business not mine, but I think it hurts them more than it helps them.

I'll jump on the "gosh, the C70 sure gets noisy when you go above ISO 3200 or so" train. I like mine a lot, but the noise is real. As far as softness, I find it to be really pleasant and flattering to skin tones - and it's rare that I'm trying to count the molecules in a brick wall 100 meters away. (But hey, I'm also a person who just overpaid for a used OG Dog Schidt optics flare factory so take any statements I make about liking softness with that in mind)