JurijTurnsek

I omitted French Fred because his signature style is to try something new, but never really the same. Cannot really describe it. If I didn't know he filmed a video I would have no idea he did it, I would just know it is not totally conventional. It is not like a Tarantino or a Tim Burton movie where you can see their signature style from a mile away.

Yes, French Fred is highly regarded in skateboarding and is credited with inventing the "skate-by zoom-in shot", which he did on the VX1 coincidentally. I think there was a tour video where he was actually repairing a VX1 on his own. His work obviously left a mark outside of skateboarding, since Leica choose him to do a video for the release of Leica SL: The other such a luck guy was a former PRO skateboarder turned photographer, Arto Saari (shoots with Leica S3):

Apart from Miner's green cast for Emerica, there is hardly a filmer style that I could accurately describe. Stobeck created a style for himself, which is now at the point of parody. Ty Evans can be recognized by being more over the top with each new video. Beagle does not really have a personal style, but an eye for capturing hijinx. Most others know what looks good and exhibits the trick properly and the style is dictated by editing (usually to a company's image). I've seen and collected basically every skate video (my collection is at about 1000 full-lengths) and I have only once been so impressed by the filming and editing that I e-mailed the filmer to expresses my admiration and that was for the "Nuvelle vague" skate video. From the newer productions, Adidas makes incredible short web clips, each with its own different theme. Also Visual Traveling from Patrik Wallner, but that those are not true skate videos in a traditional sense. Also, KoRnholio8 is my Slap username.

The listed fisheyes are prohibitively expensive and I'd say that Samyang/Rokinon is used most. Beagle's moved onto HD because he films for companies and has to intercut his footage with the footage of supporting filmers (but he is hardly an authority on film-making). Independent filmers will push for VX1 until there are none left, since it is usually a one-man production. IMO skateboarding video/photography servers mainly a documentary purpose - showcasing what trick was done where and making it look as impressive as possible (fisheye distortion can be very handy for that). I would even go as far to say that "artsy" look has been used to make unimpressive tricks look passable for professional skateboarders that should have had retired already. That is why most don't really care about DOF and the DSLR film-making revolution never left a lasting mark on how videos look (Ty Evan still trying oh so hard), but it rather just upper the resolution and reduced the cost of the storage media.

Yeah, VX1 is a cult camera for skateboarding videos because of the Century Optics Fisheye MKI lens. That was the golden standard for filming in the 90s and early 2000s when first HD cams came on the scene. After the HD transition no other fisheye and camera combination established itself as such, but from what I can see the Sony FS700 is popular due to its slow-motion capabilities. The whole VX1 phenomenon is basically down to the 4:3 aspect ratio that allowed close-up follow shot of skateboarder without cutting off their heads and some have taken that into HD by filming with DSLRs cropping the footage to 4:3. CCD vs CMOS discussions were never really happening. To conclude, here is (a part of) one of the recent masterpieces of VX1 skate videos that is also extremely creative with editing: http://www.jenkemmag.com/home/2016/08/04/colin-read-aka-mandible-claw-discusses-his-last-skate-video/

Sony exec confirming that they previously had no access to their Alpha team know-how and that's why their smartphones never really wowed with their photo/video output: https://www.androidauthority.com/sony-smartphone-cameras-quality-962358/ The product managers behind such a strategy should be heavily penalized or fired, since a tiny smartphone sensor should not be a threat to their Alpha line even if every possible software feature was available across their product line. So much wasted potential.

There is also a Sony a7S II on the ISS, so this automatically means that Sony's cams are the best in the universe. Now we just need to compile a list of cameras that are not used in the ISS so we can avoid these non-worthy brands. See what I did there with your moronic discussion? https://petapixel.com/2017/07/27/theres-sony-a7s-ii-outside-iss-capturing-earth-4k/

Seriously, the Alpha team is going to be sour about their software features used on a tiny smartphone sensor? That is really not their true competition. Maybe they could get some super fast and convenient HDR processing from smartphones in the know-how exchange and we'll all benefit from it. If they have had collaborated before, Sony's smartphone business could be doing a lot better.

Shameless plug for a friend of mine who made a really special MTB promo for an enduro cave trail in Slovenia using a7SII (pics and finished clip included): http://www.podzemljepece.com/en/main/black-hole-trail

If their mobile division does not completely tank in the following year, they could just make a RX phone with a prime lens and finally come full circle(joining all of their in-house expertise).

Sony has finally put their digital camera and mobile team on the same e-mail chain and things have started moving in the right direction: triple camera, albeit the main sensor is a bit smaller than the best competition 21:9 4K OLED screen cinema mode app, 23.98 shooting with different color profiles and Eye-AF from their a7 series meager battery, unfortunately Remains to be seen if their post processing was fixed this time, Bionz X is being mentioned. https://www.gsmarena.com/sony_xperia_1_10_10plus_l3_hands_on-review-1894p2.php The thing will probably be very expensive, with limited availability, since Sony's mobile division is struggling.

EIS is nice for video if you have more than 12mpx to work with. But for photos, nothing beast OIS, not even computational arrays. If Sony was able to do fucking magic with XZ3 Premium RGB+BW array, a pair of modules should be enough for any focal length. Add the very fast HDR+ from Pixels and you can process those module pairs in real time video too. I am disappointed that HMD (Nokia) still stubbornly uses smaller sensors to avoid a hump (like LG does), which puts them behind the competition from the start.

Behold, no OIS and only one sensor used in video recording. Hopefully, when they do a SnapDragon 855 refresher, they enable some of this goodness in video too.

I wouldn't want it as a daily driver, but it could be a useful concept for camera or camcorder bodies.

Yup, limitations are negligible when Canon does them, but a catastrophe when any other OEM does it.

Going by Canon's reputation, they've been said not to include (bleeding edge) half-baked features, like Sony would for example, just because they release things when they are robust and reliable. But having 4K without DPAF and severe crop is just that, half-baked. The intended customers would not even flinch if 4K wouldn't even be there in the first place, so maybe they just get a kick out of teasing rumor sites and people who have not lost hope of Canon ever changing.

Oh my lawd, why won't anybody think of the lens body balance, said Canon shooters of yesteryear. God, I hated that argument with a passion.

Cannot quote actual statistics, but on average consumers (non PROs) have about two lenses, so think of something like a basic kit lens or a 18-135mm and probably a 50mm. If you wish to cater to these consumers, smaller and lighter (and cheaper) is better. RP does not sound like a PRO tool, but a (big) volume seller. Canon has always been good at that and once they get you hooked into their system (and their color profiles), they begin a long lasting loyal customer relationship. These customer don't necessarily fear losing thousands when switching systems, but they prefer familiarity.

Compare it to a9 with the latest FW and the comparison becomes much more balanced. Should match its AF, but the color would not satisfy anyone used to Canon.

I can believe that, but that original question was about lack of crop. Also comparing apples and oranges won't lead anywhere. A 6K machine should be a lot better than any a7 body.

FOV and DOF not your cup of tea?

All Sony a7 series bodies have no-crop video. a7s was the first to do no-crop 4K, but to HDMI out.

So I won't have to repeat myself: Xiaomi Mi 9 is supposed to come with a triple cam setup (wide, standard and tele) and will be using the 48mpx as the main shooter, so I am putting a lot of hopes into that one. Samsung has been using the ridicules curved screens that make the phone extra fragile, so no go for me (also incredibly hard to apply a screen protector).

Haha, yeez - when Sony was doing their small and light bodies everybody went ape-shit about lens-body balance and now it is a selling point. The naming scheme remains a mystery and Canon sure does know how to ugly cameras. Also, remember how Canon announced that they are moving R&D to industrial markets ? Anyway, it will sell well, (the lower the price, the greater the volume) but where are those budget lenses to pair it with? Hopefully, Sony et al. will be forced into a pricing battle and consumers win.

Canon is coming out with 4 L lenses and one super zoom on the 14th, so where is the PRO body to go along with them? At least it shows that Canon is seriously committed to EOS R and where it is eventually headed.