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So. Things sorted out. The reason for the strikes being that the label - one of the biggest on the planet - had an internal mixup of who directed the spot. So in about 72h he will have his vimeo account online again. So no. the agent didn't do anything wrong or stole anything. But for music videos going forward he needs to have the director double check the credentials with the label and even written permissions just to be safe. It is important to remember that just because you are a big company basically with license to bully it doesn't necessarily mean that you are right. And when you do mess up your lack of carefulness has consequences that hurt people. I have no issue with bots scanning through videos to flag for potential copyright infringers as long as it is used as an internal tool and not as a mechanism that automatically puts all the work on the 'innocent until the opposite is proven's shoulder to clear her or himself. Making a takedown notice you have to be sure beyond doubt that you actually have a case. Maybe the (in this case US law) law says something different? Does anybody know how explicit the paragraph in the DMCA is regarding wrongful / headless / loose blacklisting ? - so the rights-holders need to be just as sure in their case as the accused when countering their claim ? Oh well. stopping my mini ranting. I still do like vimeo's service. just not this part of it.

Yeah - a clips like that was the reason that YouTube had 25% of all music listeners online coming by. And YouTube earning money from commercials at the same time. No wonder the labels went for YouTube’s head

the agent of the director is stealing using directors work handed over by the director to the agent?...well. They are definitely stealing his time. This agent is not promoting his business he is hired by the director, creative. Author of the visual part of the music video. I know where you are going putting things on a stick. But we are not speaking about a random person taking a random song from a random music store making a video. We are speaking about a particular case where a known agent representing a known director hired by a big label to make a music video for a known band. There are a difference. A rigid lawyer may dissagree. Anyways it is a sensible area - music online. But in the case I described things are moving forward albeit slow. Agent/former agent speaking with director speaking with label speaking with rights organisation. There are no dispute between director and label. Things are sorting out moving towards acknowledging the right of use getting the last strike removed and the account reactivated. The other two are still in process. Obviously this agent is not a music pirate and should not be treated as such.

in these cases they where official music videos paid for by the labels themselves... With 500+ videos/films over 6 years and now suddenly the music videos gets flagged systematically...I don't have the big picture - but a few years ago youtube was in a similar situation as far a I remember. so we all should alljust accept it and assimilate ? because history never repeats ? ?

Nobody stole nothing! That was the point I was trying to make. They were the creaters ( and not dumbasses )

Andrew is spot on with his perspectives - If it would just be 'pirates' using vimeo then 99,99% would understand and not complain about the new policy- But I find it sad that Vimeo has given up the benefit of the doubt of its long term users and letting the vultures skinning their corpse. I.e. lets say you are an agent representing directors. And you i.e have been using vimeo pro since launch. One day you sign up a new director that also makes music videos for artists signed with 'the big 4' labels. He gives you a few music videos for his reel and you upload them to your vimeo account and embed them on to your webpage. All good. Suddenly you receive an email from vimeo's legal team about a takedown notice of exactly those music videos. Strike One! Ifpi London that represents the right holders wants the videos down unless you can prove you have a explicit permission to add them to your vimeo account. But unfortunately that email ends up in your spam folder so you have no idea. In the mean time the director changes agent you take his reel offline and you sign up new directors. Later some also with music videos...Strike2...Strike3... One morning a client calls you complaining why the links you send doesn't seem to work. Entering on your website all video links are dead. Your account on vimeo suddenly isn't there. You try contacting vimeo. You are desperate. No phone numbers. nothing. just a webpage where you can fill out a form. Vimeo comes back to you noting that they tried contacting you but are unable to do anything to help you other than giving you 1 week to download your hundreds of videos and giving you the contact info to the right holders if you wants to try get your strike count down to '2' in order to restore your account. Your years of trust towards a technical partner suddenly goes haywire. Sure. Very unfortunate not to have seen the strike emails. But disconnecting your business because of a technicality. 3 to be exact. It seems like a vey dystopic future. Especially since your aren't new on vimeo. The years spend trusting (and paying) vimeo. Actually representing 50+ filmmakers that are part of Vimeo's the core demographic using vimeo for showing their work to agents worldwide. Spending xxxxx€ integrating vimeo even closer with your publishing tools etc. All worth nothing when somebody is knocking on the dmca door. Then your have to prove your innocence. With the right to get disconnected. Later you spend months with letters, emails, phonecalls to get the right holders to understand that you represented or represents the guy or girl they hired to make the music video in question. But for some reason one director wasn't credited internally as director on one clip although he developed it and produced it because he send an AD abroad for a few takes... Well. Obviously it is not a made-up story. But the reality of a friend on mine. I think his situation could have been less dire if he would have seen one of the strike emails. But the very limited help and understanding from vimeo is quite surprising ( they actually mentioned that it happens to quite a few not receiving the notifications ) I find it quite distasteful that they doest at least offer a phone number to speak with a special dmca help line to give guidance. After all deactivating an account could easily mean hurting others businesses. People get shocked and stressed. No doubt that music rights is a hotter theme than ever especially since the big record companies have regained their power and are getting comfortable in the digital world. But the world still isn't binary (yet)

Sure, If that is the objective. or sending a link with Dropbox, google drive or WeTransfer

I had some issues with vimeo when they first introduced 4K and adaptive streaming (2-3 years ago?). For a while it was quite a bit more sluggish than youtube. But at least for me (anywhere in EU) I experience good vimeo performance. If you want all or most of the world to see or experience your videos a dedicated web server isn't good enough. You need dedicated video hosting with proper CDN otherwise people will get tired of waiting for the video to buffer up/download. I cannot not recommend a web server for the video part - If your bread and butter is that people can see your films/videos no matter where they are and with what device they have at hand (which is expected in 2018) it is simply not recommend. You will not be able to control the delivery quality (time it take to buffer up/download depending on region) Back in 2012 a client of mine (DIR and DOP agency) changed their web hosted videos (300+) to a dedicated video hosting. Finally we settled for vimeo pro using the API to make a custom interface after evaluating most services in the market. We we also evaluating building our own buying bulk video hosting space and bandwidth and using online encoding services - you have to build in quite a few commodities to compete - But it would be more expensive - It is not only building the service it is also continuous maintenance and scaling. Today web services or apps is just as depended of workshops as a car. From 2007-2011 they where relying on self hosted video on a dedicated server on a really good web host. While working great regionally. Globally it was more hit and miss. And back then it was only focused on laptop / desktop users. For them choosing vimeo not only saved €xxxx a year. The result was better video delivery in all the countries where they represented people or showing reels. And the fact that all they had to do was uploading one video and all the rest happened automatic saved them a bunch of time. (wrongly encoding videos for their target bandwidth results in inferior user experience) I am not trying to scare you. But consider an alternative way to host the video part. Speak with amazon, with encoding.com etc. There are a market bigger than ever for selling/buying bulk video hosting, bandwidth and distribution. it depends on bandwidth available too - Imagine you are on the countryside and you get spotty 4g coverage. If you only can see a 1080p version of a video you will have to be patient with multiple stops occurring or even give up trying. a 720p or 540p version might have worked ok. - Video going mobile changed the game. Most likely you don't have constant bandwidth available. Only on desktops. I loved the progressive download days. But if the content is the important part of the video - consuming - it is quite nice that the video adapts to whatever bandwidth is available in the moment. However if I am on a desktop / laptops connected to a fibernet I do expect instant performance. Up to 1080p/2K I get it with vimeo. 4k starts to perform better (at least in my part of the world)

Sure, that is the basic way embedding a video onto a webpage today. If that’s all you need you are good to go ? However if you need stats or having the minimum ambition regarding the player functionality and looks it is another story. And more importantly the distribution on the internet. The user experience. If you want your 1080p or 4K video to play relatively fast forget about uploading it to your shared web host plan thinking that is it. To perform well and stream fast the video has to be hosted on a good CdN too Further more people are used to adaptive streaming. Not just one bitrate version of the video being downloaded. It is more important than ever since many are watching using their phone on the go. It seems simple but for high performance delivery and smooth experience the embed code is just a very small part of the equation.

I noticed today that when using the external usb C drive (at least mine) it takes some seconds before it is available to record on. After booting/turning on the camera! The more full the ssd is, the longer it takes. With 350GB occupied it takes the camera around 6s extra to calculate available recording time and indexing clips or something. So the 3-4s startup time suddenly gets 2-3x longer. That should (hopefully)be fixable with a firmware update. is the behaviour the same on big SD/CF cards? Update: My ssd is ExFat formatted, Will try with HFS+ and report back it it acts different.

Batteries: I bought two Dynacore LP-E6 batteries however they last less than the BM battery since they are 7,2V / 1800mAh / 12,96Wh and not 7,4V / 2000mAh / 14,8Wh as the BM battery. So they last less. Buy quite a bit. At least it feels like that. Not recommended (the shop recommended them for the BMPCC4K so I didn't double check the specs...) However at least they show linear % value in the camera ( not like the BM battery that gives a super odd and jumpy readout without % ) Thinking of trying this: (25% extra capacity than the BM battery) https://www.amazon.com/Opteka-2600mAh-Capacity-Battery-Digital/dp/B00CHT37LQ Storage: Besides a couple of 64GB V90 sd cards (great for up to 4K DCI 25fps prores HQ/ 1080p120 prores HQ) I have a Sandisk Extreme portable SSD 500GB. It works great with raw as well up to 4K DCI 60fps 3:1 raw without dropped frames. (400+MB/s write speed)

Here it rains every second day ?

Ok so I decided to test once more - and I a complete idiot overly happy after waiting almost 7 month finally having this bloody camera - I forgot to change the target disk mode of the test app... aaaaegh - sorry for me misinformation about max speed. But It do works great with the BMPCC4K with 500GB available DCI 4k in raw 3:1 gives me 66min @25fps , 4:1 82 min. To get 2+ hours from 500gb I have to 'downgrade' to prores 422 (not HQ)

I know - I saw those test before deciding to buy that ssd over the T5 - hence my supprise. I will post screenshot tomorrow. My best bet is that they use a 10Gbit usb3c interface and a higher end ssd than Samsung And maybe are using faster SSDs in their latest batch - the review is from 6 month ago. I am being an idiot...

Just received my BMPCC4K today . yay - (What a joy using a camera with an intuitive UI) Finally I bought a Sandisk Extreme Portable Ssd instead of the Samsung T5. (or making my own) Better price for the same config and better performance. Amazon had an offer: https://www.amazon.es/gp/product/B078SWJ3CF/ref=oh_aui_detailpage_o00_s00?ie=UTF8&psc=1 To my surprise it performs quite a bit better than the announced 550MB/s read speed - In the BM speed test I got R:800+MB/s and W:700+MB/s !! (formatted in ExFat) even after a few minutes run. Recording with the ssd it delivers too. No dropped frames in any settings (raw 4k dci @ 60 fps is no problem) So solar very recommendable. I tested a few 64GB v90 sd cards as well (Lexmark and Sandisk). 4K DCI 25fps in prores (all flavours) works fine no dropped frames (in LT get 23 min recording time - in HQ 11...). Even 1080p100 works (24 min in LT) So if slowmo in 4k isn't necessary no need to spend cash on the fastest sd/cf cards (at least in PAL-land) ( in 1080p25 you get 45m in HQ and 97m in LT - pretty descent) I have been reading quite some complaints regarding the battery door. It doesn't seem flawed to me. Though the door locking mechanism can probably trick/annoy some. One have to put the locking nod back in place after closing the door. Doing that it should be just fine (not the best design but no deal breaker) Since the camera got released there has been quite a few critical voices complaining just about anything it had to offer (or missing). Having had it in my hands for a few hours I find a lot of the comments quite a bit exaggerated. Sure an articulated screen could be great in some occasions and sure the battery life depletes quite fast. But those are things one can easily work around. I know I can. I am more than confident that I will enjoy the results filming with this camera ?

https://wistia.com or https://vzaar.com/ or https://swarmify.com/ could be an alternative to vimeo all are quite a bit more costly than vimeo pro. Not sure how much better their cdn are - And suddenly extra fees for bandwidth use and amount of hosted videos and play counts comes in to play. More enterprise level cost structure (read: not very transparent) One thing for sure, making your own player and maintaining it is a full-time job with constant browser, device OS updates with ever changing features and policies. I continue to stick with Vimeo.

Zacuto’s big camera battle showed exactly that - some cameras need more CC work / post than other depending on the scene. But with careful production quality you can get far. The IPhone even faired rather well too (albeit with a lot of post work)

It is the entire 2018 production of the BMPCC4K ?

Well, just because because there are a new kid in class doesn’t mean that the other cool kid is suddenly shit. Can we get past that, please?

All pure speculating. But since it is Sonys premium handheld vidoe shooter. 4:2:2 10bit slog2/3 at a high bit rate internally is the minimum expected plus a sdi out in 10 bit allowing for prores raw/ raw recording with an external recorder. Internal NDs maybe.

Ups, disclaimer: that particular enclosure isn’t compatible with NVMe ssd

USB C storage: has anybody with the camera in hand tried custom NVMe ssd + enclosures for external recording? Something like this or similar: https://www.transcend-info.com/Products/No-760 the Samsung 970 Evo are fair priced and really fast toping out at 2500MB/s write speed And the new released Corsair Force 510 are even higher performing and more aggressive priced (2TB for less than $500!) and write speeds that exceeds 3000MB/s the usb interface theoretically tops out at 1280MB/s (if it is 10Gb). Not sure if camera usb bandwidth can handle those speeds but at least the bottleneck will not be the media. And price/performance will be better than cfast for raw (sure, with other inconveniences like have the storage externaly) Any opinions, real world experiences? cheers

The thing is - if it can do a 4K/UHD 60p readout. Then it should be possible to do a cropped 1080p240 readout as well ( haha being demanding on my side. Maybe it is saved for a future firmware update )

You mean communists, right? At that price point they are giving ‘the people’ without deep pockets a pockets cinema camera ( that almost fits Blooms pocket)

10bit log is more than fine when it is accompanied with enough bandwidth - The 150mbit from gh5 wasn't enough. The 400mbit codec upgrade helped ( But the bare minimum at 4K with h264) And it is already a really big step up in these small cameras - Awesome that Fuji has made the jump. But when you can shoot BRAW 12:1 at roughly 400mbit why shoot prores? or h264/h265 for that matter (given you have the option available in camera) Time will tell how it performs in the workflow. Hopefully Adobe and Apple implements support for it fast in PP, AE and FCPX.