eatstoomuchjam

The rumors about a 30ish megapixel sensor when combined with FX30 killer got me laughing out loud since Canon absolutely have a 30ish megapixel full frame sensor that they could put in a small cinema body and sell for a price slightly below the FX30... Putting all of that information together, we quickly arrive at the conclusion that Canon will be releasing a cinema version of the EOS R. Maybe they could even tweak their old stock sensors to be able to read out 4K from the whole sensor. 🤣

Yes, this is how HSS works. I'm not sure why you're describing it to me. I already acknowledged that some people are opposed to it. I also have some not-especially-expensive Godox/Flashpoint strobes that I've used to HSS in direct sunlight before with relatively wide apertures. They're about the size of an extended soda can. It seems like you read about 30% of what I write and and then respond to that instead of reading and understanding fully. I will repeat for you that the 100MP sensor that is used in this camera and the GFX is simply incapable of reading out 100 megapixels 24 times per second. It doesn't matter of Hasselblad want to try cooling it for that or not. It's just not an option. Otherwise, arguments against rolling shutter or alternative sensor readouts are silly. Many vendors do it and many people use their cameras successfully without complaint. And Hasselblad haven't had a reputation for the highest image quality in a long time. That crown went to companies like Phase One years ago. Once again, try reading every word that I say before responding. I am aware that Hasselblad have a small number of lenses that are price-competitive with the Fujinons. My statement was "Do prepare to break out the wallet, though, since many of the lenses cost 20-50% more than the equivalent Fujinon lens" - that's because if I go to B&H right now and search for Hasselblad lenses, I find that many of them are in the $4,000-5,000 range. The most expensive Fujinons are in the $3,000-3,500 range. You can also adapt a bunch of less expensive lenses to Fuji thanks to the focal plane shutter, where the Hasselblad will require the use of the slowest possible rolling shutter for any lens without a leaf shutter.` Are you talking about the fact that some lenses change focus slightly when stopping down the aperture? Because that's easily solved by just focusing at the aperture you plan to use (I also do this with some Canon camera/lens combos because the plane of sharpest focus seems to shift a little bit when stopping down). Otherwise, that sounds like absolute nonsense. I've done a number of timelapses with my GFX 100 and 100 II and the focus stays right where it should. And when using autofocus with GF lenses, when the autofocus hits right (less than people accustomed to Canon or Sony would expect), it's ridiculously razor sharp. This all really sounds like the usual toxic internet crap where somehow one of the best camera systems in existence is deemed "insufficient" by some troll whose only exposure to the camera comes from YouTube.

The GFX 100 series cameras support HSS with compatible flashes which, to some extent, reduces the usefulness of a leaf shutter for flash sync. Plus I doubt that there's anything technically that would make it impossible for Fuji to release a leaf shutter lens for GFX and just disable the focal plane shutter when it's attached. But sure, if right at this minute, you are religiously opposed to HSS flash and want to do high speed flash photography, the Hasselblad isn't the craziest choice. Do prepare to break out the wallet, though, since many of the lenses cost 20-50% more than the equivalent Fujinon lens. As far as video from the 100MP sensor being an exercise in frustration, Fuji have been able to do it since 2019 when the GFX 100 was released. Strong rolling shutter? Yes (though the GFX 100 II allows trading some quality in 4k mode for greatly reduced RS). Powerful processor to downsample 100MP? Nope, reading out 100MP from that sensor 24 times per second isn't a thing. Fuji do some sort of line skipping or binning to get there. The quality's still enough that in just a couple of months, they'll be releasing a cinema camera built around the same sensor. But with a different sensor, there's already a camera on the market that can do nearly 100MP at 80fps from a full frame sensor with really acceptable RS - the Ursa Cine 12K LF. And there's one that can do approximately 140MP at 60fps from a medium format sensor - the Ursa Cine 17K. So even those data rates aren't insurmountable (though those are big bodies with fans). Anyway, there's no reason that Hassy can't include video in the X2D series - they just choose not to.

Really? Tell me more. If you wanna mince words about "subscription" vs "upgrade," that's fine, but the one who is bullshit seems to be, in fact, you. As to the rest, if you want to make a statement that an article is full of easily-disproven facts, it is not even remotely unreasonable that somebody asks you to do just that. If they're so easy to disprove, it should hardly be a burden at all - barely an inconvenience! https://electrek.co/2024/07/12/tesla-starts-selling-30-50-miles-of-extra-range-if-you-have-a-recent-model-y-rwd/ Exactly this. And they have the power to crush any upstart competition like insects. And in cases where an upstart does give competition, it's only because they're burning VC money to sell at an unmaintainable discount until they've knocked off enough competition to enshittify and raise their prices (the Uber model).

Back in 1985, I saw a documentary about a guy who was able to travel back in time in a crappy steel sportscar with only 410 megawatts more than that. Maybe that guy could go back in time and stop AI before it even started!

I'm obviously not going to go and manually look up every single fact in that post and provide a citation for it. That's absurd. You said So now the burden is on you. Prove that bullshit wrong. It's apparently easy.

Someone loves Eeeeelllllooooonnnnnnn. If you stan him enough online, maybe he'll be your friend and give you a billion of his dollars. Keep it up!

Yes, this is also a symptom of late-stage unrestrained capitalism when there is no longer a lot of competition in the market, but instead there are a handful of well-established/entrenched players who can gamble with losing some sales in the short term. Don't buy a VW this time around because they added a stupid subscription? They'll be in the running next time after all the others add shitty subscriptions too. The same applies to stuff like car vendors trying to move away from supporting Carplay/Android Auto because they really want to sell you subscriptions to connected features in the car, despite that you already have all of those things paid for in your phone already.

Yes, but as long as some people still buy VW and some people buy the upgrade, other car manufacturers will be inspired to do the same. This is how the enshittification race to the bottom works. It used to be that if I bought a plane ticket on any airline, I got a checked bag for free. Not only that, but overhead space was plentiful and I could be a bit chill about boarding the plane. Then one airline started charging for checked bags. When people didn't stop flying with them, the other airlines followed suit. After all, people are apparently willing to accept a shittier flying experience. Now checked bags cost money and overhead space is crammed full which makes me one of the annoying boarding buzzards circling around the boarding stanchions so that I can be sure to get on in time to put my camera bag above me and not get into an argument with the boarding agent about whether I'm going to gate check it (and no, gate agent, I cannot relocate all of the lithium batteries into my other much smaller "personal item" that goes under the seat in front of me). Anyway, the shrugging and accepting it is basically what is at the core of enshittification.

The engineering DR range in the DR boost mode is well above 12 on the S1 II, nearly 16-bit, even. And when you say "Nikon didn't use," you mean on the Z6 III, right? And not on this upcoming camera that nobody has seen yet and which may use sensor modes that weren't used on the Z6 III? I'm not going to argue any more about a camera that nobody's seen, but outside of "has Redcode," or "uses a Red sensor," it's kind of hard to imagine what Nikon would claim makes the camera a hybrid with Red. Nikon's colors are already very nice so "has Red colors" would be basically garbage for advertising.

If it's the sensor that's used in S1 II, it has more than 12 stops of DR. The slope-based DR test on cined shows 15.1 stops visible and the OG Komodo shows 15.7. Also, did they say for sure it would use Expeed 7? And even if they do, is encoding Redcode really all that taxing? Red was shipping cameras that encoded 6K and 8K using it back in 2015 or so. I'd also keep in mind that whether or not Redcode has any advantage over nraw on this specific camera, there are marketing reasons to use it.

Volkswagen are now selling you the whole car, but requiring a subscription to get the full performance of it. 🤮 https://fortune.com/2025/08/19/volkswagen-horsepower-subscription-economy-cost-features/ (Relevant to enshittification, not to copyright strikes)

Almost certainly. My guess is a mirrorless camera with Redcode raw which could be fantastic for people in Nikon's ecosystem.

There's a lot of "well...." and "it depends" in there. - If you have a manual focus lens with FF gears on it, the R4D is infinitely better, in that it can do it at all (after you buy the focus gear for additional money and spend time calibrating the lens) - If the subject is within between 1.5m and 4m of the camera, the R4D might be better (it's really good here, but I haven't tested the S1R II which might also be very good there) - If there is haze in the air, the S1R II will probably be infinitely better. Haze reflects light which makes lidar throw up its hands and give up - If focusing closer than 1m or so, R4D can get weird because of parallax (the lidar unit sits above the lens - this becomes more relevant the closer you get) - If focusing more than 4-5m away with r4d, the lidar keeps doing alright until about 10m or so and then it just doesn't work at all and calls it infinity. This is fine with wider lenses, but awful with long lenses. That's probably also why the calibration doesn't understand that there are lenses longer than 100mm or so.

I own one. It's a fantastic second camera. There's no way I would want one as my primary camera. Pros: - Image quality is brilliant - Integrated gimbal and 4th axis (the whole reason for the camera to exist) - Very flexible to use in many scenarios with options like the Flex unit - Raw license is now $1 (too bad I didn't wait!) - The 8k is one of the best low-light cameras on the market - Probably matches really well with the S1R II - Lidar autofocus works really well (within its limitations) - Subject tracking mode is really fantastic - Integration with high bright remote monitor is amazing - Swappable lens mounts means you can use DJI's DL lenses, Sony E mount lenses (I had infinity calibration problems and sold the E mount unit), L mount, M mount, and thanks to third parties, EF mount and PL mount lenses Subject tracking, in particular, is great for stuff like vehicle mounting. The high bright + flex integrations also allow for some really cool creative stuff if the flex unit is mounted on a monopod, for example (think jib/crane shots, zooming into spaces, etc) Cons: - A really awkward camera to use for non-gimbal stuff - Weirdly inflexible (like if you choose ProRes, it'll be ProRes HQ, if you choose PRR, it will be PRR HQ except in hfr modes where it will be PRR standard) - To get the better recording codecs (ProRes 4444/PRR), you need to use DJI's special media ($800/TB + $300 reader) - Lidar autofocus doesn't work past around 10m - Flex unit is expensive - High bright remote monitor is also expensive (plus needs transmitter for more $) - A bit heavy (I use mine with Ready Rig most of the time so I don't think of the weight much) - 6k model has fairly poor RS, 8k model allows choosing really bad RS or less DR - Even though many lens mounts are available, lens selection is very limited by gimbal capacity, if you don't want to use the 4th axis, you can use more lenses if you add a counterweight, but the 4th axis is really one of the big selling points - TB50 batteries, though you can get third-party battery plate replacements for v-mount or TB51 (I just have 3 TB50's - when they crap out, I'll switch to the Alvin's v-mount plate which I ordered early on, but didn't end up using (yet)) There are probably more of both that aren't coming right to mind. Glad to answer any specific questions.

This is always the problem with any AI discussion. I abhor GenAI, but I do like the ML tools in various software that they refer to as "AI" (even though it's really just a better magnetic lasso or something like that).

I picked up the Nikkor after watching CP's review and doing some searching and seeing how many people described it as not only the worst lens Nikon ever made, but also possibly the worst zoom ever made. They might be right, but I'm sure I'll find the right time to use it someday. I'm not sure if this true of all of them, but mine also has the problem that when I put it on an EF adapter, the back of the aperture selector is so tight against the edge of the adapter that it can't even possibly be moved. I had to use a pliers to take it off to make sure I didn't do something wrong. Maybe there are other EF adapters that would work better, but for anything I'd use the Nikkor to shoot, I'm sure I'd want it wide open anyway. I'm looking forward to watching the video on the Makinon. I've not heard of that one before - and if it's still $30ish on eBay, I guess there's not a reason not to buy it.

I'm not sure of the current prices, but I have an old Elmar 35mm f/3.5 which is one of the most gorgeous pieces of glass I've ever seen or used. Also, I have an old Elmar 90mm f/4 collapsible which is pretty gorgeous. I'd take the 90/2 'cron over it any day, but I'd shed no tears if the 90/4 were the only portrait lens in my bag. Sorry neither one is even remotely adaptable to EF, though!

The reason that I've been avoiding (and maybe others have to) mentioning the GH7 has nothing to do with low light and everything to do with it being as large and heavy as a lot of FF bodies. If you're willing to go that big, you could also get an EOS R5 or a Z6 III.

Just pointing out that "weather sealing" is useful for more than just filming in the rain. It's also protection against dust (which is a very common problem in arid areas). It's protection against something in your bag breaking open and leaking on the camera. Or your tent leaks in the rain at night and you had your camera sitting out. Or you just drop it in a puddle/fountain/shallow water for a second. And yes, it is good to understand how weatherproof something really is, but simply having gaskets around a lot of the buttons and on the lens mount is a big deal. And sealing on a zoom lens can be even more important in a dusty area so that zooming the lens doesn't suck in a ton of dust.

The S9 isn't weather sealed, though, is it? It's not the only consideration, but I'd definitely consider that a "would be nice" for a multi-year bike tour which will probably include a lot of camping.

An OM-3 with a 14-140mm and a small M43 prime barely takes up any space. An action camera barely takes up any space. A phone is probably coming anyway. That's a primary camera and two backup cameras. For lights, if they're needed at all for the style of documentary being done, a small pop-up reflector weighs almost nothing and can do a lot. Combine that with one or two Aputure MC's and maybe an ultra-portable light stand and you've got a workable lighting setup. Don't want the reflector? Include a white t-shirt or hoodie in the package and use it as a bounce. It'll look ridiculous on set, but I've made it work with worse. The MC's are also nice because they have a magnet built-in so with some creativity, you can find a place to put them without necessarily needing a light stand (if it were me, I'd bring at least one small one, though. For mics, a DJI mic 2 kit and one of the tiny Deity or R0de on-camera shotguns? The Mic will pair with an Action 4 and can also record internally. Total weight of that entire kit? <2kg Not bad for a setup that can record fantastic-looking video (in the right hands) and capture acceptable audio! Need a tripod? If it were me, I'd skip a traditional tripod and go with something like a Cobra 3 monopod with the little "tripod" that folds out at the bottom and a foot pedal to unlock the top. With such a small and light camera, it'd be stable enough (I'd set a bag on the feet on a windy day) and with a fluid head or ball head on top, you can also fake a slider, a dolly, and to some extent, a steadicam. That's another 1kg or so. Don't want to offload media using the phone (this is doable with a modern iPhone and a USB-C hub these days) or want to edit on the go? Add an M4 Macbook Air which adds just about 1kg more. It'll be plenty for just about any editing OM3/action camera/phone video. The rest of the stuff mentioned that's needed (sleeping bags, etc) is all a sunk cost in terms of weight for a long biking trip.

I'd be apt to leave that to the micro 4/3 enthusiasts like @kye and @John Matthews. My guess, and please do take this with a huge grain of salt, as I haven't owned a real micro 4/3 camera in years, is that the camera body suggestion will look something like a GX85 or OM-3/OM-5 II for small/light/sealed, but I don't follow m43 enough to know off the top of my head which have 10 bit. If the Panasonic 14/2.5 or 20/1.7 are weather sealed, they could be alright. Otherwise, the humble Panasonic 14-42mm kit lens is not bad. The Olympus equivalent might be alright too. You'd probably want one of the primes for low light.

If it's being mounted to the bike, then yes, any of the current crop of decent action cameras would be a good choice, especially assuming that some parts of the tour would be in the rain or dusty areas, etc. Even better yet if they can pair directly with the manufacturer's wireless microphone system (DJI and Insta360 both do this). This can also be augmented with any halfway decent modern phone. Otherwise, if you wouldn't want to go the action camera+phone route, I'd find the smallest and lightest camera on the market with decent weatherproofing and go with that, making sure that all of the lenses are similarly weather-sealed. There are lots of used options, especially that are M43 mount, that would be good fits for small and light and can give better results than an action camera. Better than 1080p is nice, but as far as I know, any festival will still accept it as a resolution. More than 4K is realistically unnecessary unless you plan to crop/reframe in post.

This whole thing is a really silly take. I can absolutely afford the RX1R Mark III and I can also say it's too expensive and there's no way I'd buy it at that price. And being mentioned in the same sentence as the Q is not a win when the sentence is "this damn thing is nearly as expensive as the Q, but isn't even a Leica." Otherwise, Fuji could just kick up the price on the X Half to $6,500 and enjoy that sweet victory. Obviously some people are going to buy the RX1R III. That was never in doubt. There are always some people who will pay any price for something they want. That's not to say that it's priceworthy.