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Looks promising! https://tascam.com//us/product/fr-av2 https://www.bhphotovideo.com/c/product/1852610-REG/tascam_fr_av2_32_bit_float_recorder_timecode_generator.html

What stood out for me is that it can do both regular timecode as well as wireless with the Atomos UltraSync Blue system. If it can convert the incoming timecode from the UltraSync Blue into regular timecode to output to the camera (and vice versa which is more unlikely) then that would be very useful. To do this otherwise would need an UltraSync One which is roughly 75% of the total price of the FR-AV2. The bluetooth headphone monitoring can easily be replicated with cheap add ons for other recorders but its good to see it integrated. The additional $100 over the F3 isn't onerous and if I didn't have an F3 then this would be my choice.

Number game interpretations. For RAW with no processing you should compare to the max DR possible so it would be 14.9 vs 13.4. The proof that in 4k Log R5II 13.6 stops of usable DR vs 12, indeed disappointing 😉 And view that you are disappointed can you point hybrid cameras with more than 13.6 stops? I believe only A1 has 0.2 more... But again, I don't care about the numbers too much as I just open the files from both camera that I own and is definitely visible the better DR.

Other than gt3rs' actual real-world experience with the R5 II, this is all nonsense anyway. It is based entirely on pixel peeping crap from internet reviewers. I'll stick with "if you love the R1 so very much, you should get in the preorder line and enjoy shooting it when it's released." Otherwise, beyond some chat about specs, it's really worth waiting for the camera to get into the hands of real users. Then the truth will be understood. As for me, I'm going to guess that we'll see a lot more owner-operators and documentary crews running around with C80's and C400's than we will see them using R1's. The R1 will likely be a niche camera, used primarily by sports photographers.

I posted this video to DPR over 3 years ago: In this thread: hxxps://www.dpreview.com/forums/thread/4560524 Caused all kinds of shit. The thread appears to be open again now but it was locked for some time and a lot of the replies have been deleted. Some people actually took the title seriously and obviously didn't bother watching the video, man were they pissed!

$7k!

When I opened the link I thought the most alarming thing in the video is that how fast Jeromy is gaining weight! Then I saw a comment by a random user claiming to be former employee, was making fun of him referring to his smoking of white powder in his office, which CineD deleted. But the real sad part was the technical subject. When asked about the future, or "why people should buy your next product?" in a polite way, he had no answer but "higher frame rates"! He can't explain why external recorder is needed, in this day and age that even a $2500 camera records 6k60p raw internally. He just begs the camera makers to add even higher fps to the specs that their own outdated 14nm chip can't handle, assuming they're stuck with that node forever. Here we have a CEO that doesn't know what to do next, and is very honest about that (probably because his tech bro vibe overtakes his financial ego). The reality is that hardware part of the industry is becoming like the Hollywood part. As we now have either $100m budget movies or $500k ones, and everything between is gone, you either get the high end most expensive gear, or get the cheapest available that is good enough. Basically SmallHD vs. any hard to pronounce Chinese brand. We can't have middle ground when someone who's supposed to make money from the middle ground can't tell us why it should exist.

The idea that the R1 is a camera that some people might choose instead of the C80 is not offensive. However, your continuous bombarding of this thread with test charts and graphs to demand that it's a better choice than the C80, once again despite that you have touched neither camera is not necessary. If the R1 is noticeably better than the C80 in real-world usage once both cameras have been released, Canon will sell more R1's than they would otherwise. I'd certainly consider it once it's available on the used market or there's a big sale, just as I am considering the C80 now (but no way I'm paying full price). Regardless, neither camera is "better" than the other - but one might be a better fit for you. If it is, that's great. You should get that camera. If you plan to buy/use neither camera, then you should stop caring about which one is "better."

Great. So since we agree that most of the discussion is useless until the cameras are released and in the hands of real users, you can stop the lengthy rants and pasting screenshots from YouTube and reviewer websites and demanding that one camera (that you have never actually touched) is better than another camera (that you have never actually touched).

The green cast does not bother me, and there's no way I am going back to a lens end vND after using a lens mount vND. I get 1.5-9 stops of ND, no X pattern, and the cast is consistent so when I choose to remove it, it takes seconds in post, or a few seconds on set using WB. It also provides another layer of protection for the interior of the camera if I have to switch lenses on set. My point is, casts don't matter in the real world if they are consistent. I have yet to see a single thing in all of your charts and graphs that matters in the real world. I also have yet to have a single customer tell me in the real world that they want a discount or reshoot because my camera did not have enough stops of DR. I have been shooting with the R7 for the past 2yrs and it paid for itself many times over.....to this day I still have no idea how many stops of DR it has nor do I care. If I went by YT BS, and all of these uselsess charts and graphs I would have been lugging around the C70 to every hybrid shoot and brought the R5 for the photography part of it, and likely had less satisfied customers because I would have had a lower photography and video shot count and missed valuable moments throughout the events because I was too busy fiddling with the gear or switching cameras. If you are not filming the next Hollywood feature length blockbuster these charts mean nothing and if you are then you still aren't looking at these charts and you are just renting trailers worth of equipment packages that will work for your project.

Tascam did a great job with the feature set on this. I'll definitely buy one if reviewers don't find anything silly, and the sound quality is comparable to the F3. Timecode is great, plus builtin wireless monitoring eliminates one more device to mount and power. If it weren't for the FR-AV2, I considered a Sennheiser EW-DP SKP, but one of these is way cheaper than a transmitter/receiver setup. My goal is to have two boom mics, where each has a recorder directly on the boom pole, and the op uses wireless headphones (one will continue to use my F3). What I have found on amateur sets is that A. boom ops are not skillful enough to consistently swap back and forth during dialog. Training an extra person on the day of the shoot and having independent booms does actually sound better than an intermediate-skill person booming 2 people. B. lavs don't work perfectly--we simply don't have the skill or resources to hide them securely and properly C. it's impossible to understate the efficiency value of each boom mic being completely wireless. Letting a boom op put their mic down and quickly help with something else speeds us up. Wireless headphones are an important part of that! D. gain staging--wireless in particular--is difficult for beginners to nail every time. Wired 32 bit is easy to nail every time. I know all the audio pros are going to squirm reading that, lol. But for my triangle of price/required skill/output quality, this might be it.

I went for a walk in the park yesterday and took a few minutes to check things out. It was about 21C here yesterday and I was by a river so the entire area was in the shade because it's down in a valley. The setup is a filter adapter that connects by Magsafe and the Angelbird CF express adapter which connects with magnets to that. I set it up on a rock and rolled 4kp120 ProRes in the Blackmagic Camera app with the 1x/24mm equiv lens. Sometime between 4 and 8 minutes, the BM app started showing a warning on the record button which seems to indicate that the camera is heating up. At 13 minutes, I got bored and stopped the recording. The phone was a bit warm to the touch. The CF Express adapter was warmer. At least for me, I don't expect that there will be a lot of times when I need to roll 120 fps for 10+ minutes. Detaching the reader from the phone would probably help with cooling. After that, I played around a bit with the phone. I really like the 5x lens (not sure if I like it enough to replace the 3x) - but I ran into a bug in the BM app where stabilization gets weird with the 5x or 0.5x lenses. It jumps around a lot. Hopefully they fix that soon.

The batteries I got for the Canon MV20 duly arrived, were charged, put onto the camera and.... Fuck all. Well, slightly more than fuck all as the powered tape eject mechanism works which shows they were doing something but there was not a sign of life otherwise. Pondering that my "search by cheapest" method of selection might have been flawed I decided to power it off the mains. So, as the original is lost somewhere inside the storage room of shame, I ordered a variable voltage PSU using the search term "cheap but not likely to kill me" and it duly arrived this morning and I plugged it in and ... Fuck all. Well, it too also does the powered tape eject mechanism and, to taunt me, also appears to be charging the battery when attached. My carefully considered technical analysis of the situation leads me to the conclusion that it is, indeed, fucked.

It looks like Canon released the first FW update for the R5II. Download Link Firmware Version 1.0.1 incorporates the following fixes: 1. Fixes an issue in which movies captured in RAW/SRAW format may not play back properly on applications due to the attached lens and camera not communicating. (This kind of sounds like what I experienced where AF stopped working) 2. Improves the stability of the touch operation control when the [Touch control] is set to [Sensitive]. 3. Fixes an issue in which the camera's LCD display may become abnormal after the camera resumes operations from the [Viewfinder off] state. (I think this is the black/green screen problem) 4. Fixes an issue in which the camera may stop working properly when the shutter button is operated while the BUSY message is being displayed on the screen. 5. Fixes an issue in which Err70 may be displayed when the display mode is switched between the LCD screen and viewfinder while the BUSY message is being displayed on the screen. (I got the busy message a lot, but no Err70) 6. Fixes an issue, in which the camera's LCD display becomes abnormal after using EOS Utility to capture and import movies. 7. Fixes an issue, in which movies captured using EOS Utility may not be played back on the camera. 8. Optimizes the auto white balance for specific environments when the Custom Picture function is set to [On]. I took no chances and sent mine back, I should get the replacement next week and I will update the FW once I get it. Nothing about rapid battery drain, but who knows...maybe one of these fixes fixed that as well.

Both brands refuse to add an option to let the user experience other brand's approach. Nikon's approach gives a stable EVF, but poor AF performance at low light, which created this widespread notion that their AF system is a generation behind compared to competition, whereas in reality its just getting less light. Funny thing is they tried to address this issue with introduction of 30fps EVF feed at low light, which created laggy image in panning movements and worsened the EVF experience. DPR, Petapixel, or youtubers didn't push them to let the user choose the tradeoff depending on his/her priority.

People would still buy their products with all the reputation wreck behind the brand if the product had a good value proposition, just look how Elon still manages to sell expensive cars.

Why should people buy any Atomos product? They shouldn't. Atomos is a terrible company who moved a while ago from selling customers a working tool and supporting it to trying to build new revenue streams from their existing customer base. The whole reason to release a "new" Ninja V model seems to have been to release the same hardware again, but with a few licenses that were an additional cost on the original NInja V (such as H.265), but that nobody in their right mind was going to buy (why would I get a Ninja V to record in the codec that my camera already uses?)... difference in price for the new monitor? Basically the cost of buying those add-ons for the original. It's also why getting the activation code for ProRes RAW for the Ninja V went from a simple basic website where you entered a serial number and it gave you an activation code - now the site forces you to register and wade through a bunch of ads (for things like add-on software licenses) before you can register it. Meanwhile, you take the Video Assist 12G out of a box, plug in your camera, and start recording BM Raw. And that's all in addition to the bad press, sexual harassment allegations, covid fuckery, etc. If Atomos are struggling, they have only themselves and their own terrible choices to blame.

Canon claims 16 stops for both so not sure why you are expecting significant improvements from the r1 vs r5 II. In my experience shooting R5c and R5 II (I own both) side by side the R5 II has better DR. The numbers also confirm this. On the IBIS issue I agree with you. Same for the overheating. Btw I owned 1D III, 1Dx, 1Dx II and 1Dx III and I'm so happy that R3 and R1 does not look any better than the R5 II so I can skip those huge body that are a pita on gimbal and heavy. I use big lenses like the 100-300 2.8 on the R5 II and compared to my sports steup of years ago 1Dx III + 200-400 is much lighter and compact for a better picture quality.

It is crazy that they'd use a DOF adapter on a high-end production like this. The ground glass doesn't work very well and introduces all sorts of softness and corner blur. If that is the look they are going for, why the fuck are they using 50k ARRI primes? I can only assume it might be a specially modified iPhone from Apple with an interchangeable PL mount for modern Super 16mm lenses.

I'll be picking mine up tomorrow. Maybe at some point, I'll plug in an external drive and see how long it can record without overheating. 🙂