jonpais

@nigelbb I was the staff photographer at the headquarters of a Fortune 500 company; exhibited my work in museums and galleries; worked as a wedding photographer; spent some time working at a professional lab; did product photography and automotive shoots; and freelanced for newspapers and magazines. I’ve worked under tight deadlines for very demanding clients. You can kiss my ass.

Other possibilities: 1) She skipped the tutorial on moving the subject to a different location or shooting from a different angle to get the best lighting. 2) There was a photographer standing over her shoulder but he (or she) was photo-shopped out of the image. 3) The clients genuinely like ugly video. 4) Parker mischievously graded her clips to look bad in order to not look as good as his own. 5) She forgot the ND filter in the car and was too lazy to walk back and get it. I agree with @GreekBeast - she's gotta be one helluva good salesperson, because the shots are pretty awful. @Jimmy No hard feelings. You're right, it might be better to get fifteen interesting shots than five well-lit ones - but she didn't even accomplish that.

And I suggest you do some more boudoir shots of your mutt or whatever you assholes call it.

aren't we cute? because in Vietnam, we don't use 'farang'. we say người nước ngoài. on the contrary, my little mutt lover, you made it quite clear that 10-bit is unnecessary, even if that was one of huge selling points of the EOS R, X-T3 and Z7 cameras.

That kind of language is just expressly calculated to piss off anyone you happen to disagree with. So good on you, Mattias. But there just might be one or two filmmakers on the planet who very well might want to shoot 10-bit FHD. (Mattias edited his post, which read he could give two shits and a popsicle about external recording and 10-bit, to which I replied that we could give two shits about his opinion, for those who are joining this entertainment late.)

The comment above about cinema cameras not needing stabilization because of global shutter is utterly ridiculous.

But in the video I posted, she is working alone, with nobody telling her what to do. No photographer telling her to use different lighting (she's shooting in available light). So I don't see how your first argument holds any water. Can we agree to just deal with the video I posted? So we can't blame it on the photographer. Because there isn't one present. Are you saying the videographer is intentionally shooting garbage video in order to please the clients? Because that is what you are implying - past clients have adored her crap video, so she's just doing it to make them happy? The footage looks nasty. Sorry to be so contentious, but your remarks that you messed up a shoot, that the client loved it and that this person might be doing the same for the same reason just doesn't make any sense at all. I'm sure the 5D Mark IV (not the 1DX Mark II) which she is shooting with has plenty of dynamic range for a wedding shoot - provided she poses her clients in good lighting, chooses her angles wisely or uses a reflector or diffuser. Why make excuses for bad practices?

Crop?

Mine is rated 8-18kg, but I think those figures might be a touch optimistic. It was uncomfortable trying to shoot with the GH5, cage, Veydra and Inferno. Maybe if I'd fiddled around with the tension it would have been better, not sure. The only thing that gives me pause with mine is the clamp that attaches to the rig. It is spring loaded and I'm always afraid it will slip off, which is why I'd never let go of the camera while using the easyrig. Whichever model I got, I'd make sure that it fastens securely. i think you have good reason to be skeptical about the payloads. Parker Wallbeck is shooting this commercial handheld with a Red and beefy Sigma Art lens, but not all of us have got biceps like that!

Perhaps, but 10-bit 4:2:2 60p will not be internal. I was mistaken: 10-bit 150Mbps should probably be just enough to see a qualitative difference to 8-bit 100Mbps.

I got the easyrig because carrying that kind of weight around would kill my back, but it helps with stabilization too and allows me to pan up and down or sideways smoothly. I'm a pretty shaky fellow. They do make you look like part of the Jetson family, though! I was only able to find that particular model here in Vietnam. I think they have one with a higher payload as well, with a correspondingly higher price. It would be worth it if you were shooting with say, the Ninja Inferno all day, since that sucker is heavy as heck. Best advice is to not buy the Inferno.

Yes, the one I’m shooting with in the video I shared above.

His review is detailed, thorough and comprehensive. And their ‘Chinglish’ seems pretty understandable to me, better in fact than many native English speakers I’ve come across. “We’re very concerned to hear about the reliability and HDMI issue in the camera Matt used. It’s a pity that the camera we sent to Matt is a pre-production model which was just for functional verification and not for field usage (all camera manufacturers have such pre-production models). So this is not representative of the production cameras we ship to our customers. Kinefinity has full and rigorous QA process on every camera, and these especially focus on stability. We’re planning to supply Matt with another camera to test that is 100% production so he can better evaluate. There are many improvements on MAVO to fix the minor issues Matt talked about, with the latest firmware KineOS6.1 and we appreciate his feedback and suggestions – as with all our customers, users and beta testers. Anyway, I would like to thank Matt for spending a great deal of time on this MAVO review and the long article. It clearly shows Newsshooter supports new companies and innovative products as well.” – Jihua Zheng, Kinefinity

Weight + balance. An easyrig is a great idea. You will still need to stabilize in post just like the pros do.The Chinese knockoffs work just fine in my experience.

Again, wrong! He specifically states in his review that he reported his findings to Kinefinity. What is up with you today? Anyhow, you just called Matthew Allard a liar, so I think we should end this here and now.

You are sorely mistaken. He looks at it from all angles, incl. documentary, live events, narrative and so on. He focuses on aspects like handling, image quality, codecs, reliability and customer support, all of which are of great interest to any working photographer regardless of specialty. You also misrepresent what Matthew Allard takes pains to point out in his review: that at no point during their correspondence did Kinefinity inform Matthew that he had a pre-production camera. They also said they were working on firmware updates to address the problems he encountered. If they had an issue with his testing procedure, I’m quite certain they would have politely told him so in their response to his review. Instead, they will be sending him a production version with the firmware updates for a follow-up review. You know I always try to be polite in my comments ?, but as can be seen by anyone who takes the time to read Matthew’s extremely thorough report, he was never told that he had a pre-production camera, and your second point is an outright fabrication.

Are my eyes deceiving me? 4K 24p 150Mbps 10-bit 4:2:2 internal? ? I still wonder, with such a low bitrate, whether it’s possible to even take full advantage of 10-bit. My guess is it’s severely compromised. At $2,500, looks like Sony isn’t in the least concerned about competing with the rock-bottom priced X-T3. However, I’ve got to be consistent here: having the best codec in the world and 4K 60p in and of itself is of little use if Sony doesn’t support it with lenses. Fuji is the clear winner here.

I’d pass on the KineMon if it’s only 500 nits.

If you were making over $120,000 a year shooting weddings, couldn’t you afford at the very least an assistant to hold a reflector or diffuser, or learn how to use ND filters properly? In Parker Wallbeck’s shameless plug ? for his filmmaking tutorials, he talks with a young woman who shoots 80 weddings a year. His footage, presumably shot with a 1DX Mk II, looks gorgeous, with nice backlighting, beautiful skin tones and pleasingly shallow depth of field. Which made it all the more shocking to see the harsh looking images produced by Kaylor with her 5D Mark IV (at around 11’15”).

A really comprehensive review by Matthew Allard.

I think wide angle primes and zooms seldom have OIS, no?

That is just ... crazy.

I’d return it and wait in the queue for another year. ? But yeah, if it’s got scratches, it’s been used.

I think it looks awesome, especially skin tones and how clean it is at ISO 3200. Very natural looking.

I'm loving the image quality I'm seeing from this camera.