Andrew Reid

The 18-50 will be a really nice run and gun lens on the R7 for not too many pennies Exactly what the cheaper Canon bodies needed, as the full frame RF lenses are completely wasted on them. Small, cheap, fun, yet high quality - that is what the Sigma APS-C lenses bring to the table. The 23mm F1.4 looks like one to get as well. Will be interesting to see if this paves the way to full frame Sigma RF releases and if Canon have decided that their too big, too expensive and too clinical technically perfect full frame RF lenses are tanking the system, as I have heard the RF lens sales are going a bit iffy. Also with Nikon and the Z8, Sony and their successes, and Fuji taking a slice of the take with GFX, I think the high-end of Canon's line-up will need some Sigma help pretty soon.

Did you test it with the GFX 100? I have one again if you need any experiments doing.

Future support cancelled. That's the main thing.

*Ring ring* "Hello Adobe. This is Nikon calling" "Oh hi Nikon" "Don't waste any more time on N-RAW from now on, OK..." https://www.eoshd.com/news/adobe-cancel-nikon-n-raw-support-is-redcode-raw-coming-to-a-mirrorless-camera-near-you/

Mark my words TicoRAW is a dead dodo Nikon is all about R3D from now on and it will be on all their cameras in place of N-RAW which is going away. I don't know if it has already been mentioned earlier in the thread but Adobe has already put on hold support for it.

Jarred Land speaks out about the Nikon buyout here: The question is.... is he sticking around at the helm, or will Nikon replace him?

Indeed, no thanks! (Although I don't mind paying a small one off fee for big updates that really add something special)

Yeah, and no real image quality advantage over 500Mbit H.265 8K on the Sony A1 Cinema DNG on the other hand 🙂

There’s talk in the camera industry of introducing a subscription model for firmware updates, with Sony being one of the companies believed to be considering this as an option for larger updates in the future. Currently, Sony is planning an A7S III update in the coming weeks with DCI 4K and content authenticity ID, but major updates have been few and far between for a camera released nearly 4 years ago. https://www.eoshd.com/news/firmware-updates-could-become-subscription-model-under-new-plans/

RED's patent has stood up so many times in court, it is pretty much beyond doubt that it's valid for raw recording. Nikon will be pleased to get that, as they can now force Canon into paying them royalties or choose not to license it at all, meaning Canon RAW has to come out of the entire Cinema EOS line and EOS R cameras, as it is internal compressed RAW. Nikon also get their own Cinema EOS line now, a big presence in video and cinema with RED. So the purchase makes sense, but it remains to be seen whether they will gain long term sales due to the threat to real-life filmmaking posted by AI production and cinema. One day I think Sony will buy Nikon and ultimately control RED's product line.

Nikon Z9 Mark II with REDCODE RED Komodo Z - with Nikon Z mount Nikon refusing to renew patent / tech transfer for compressed Canon-RAW! This is a big move on Canon, against Canon. Fascinating. Just don't mention a certain yellow jersey cyclist.

Great news and I hope they can concentrate on EOS R and the mirrorless cameras, as the DSLRs don't appeal to me any more. I have my doubts the 7D Mark II will do 4K RAW... EOS R on the other hand, much more promising.

My thoughts on Sora, the long version: https://www.eoshd.com/news/sora-destroyer-of-worlds-also-world-generator/ After a few more days of reflecting I think there's a lot of positives, this can be the democratising of filmmaking the DSLR revolution promised but with bells on... almost zero cost barriers in terms of these virtual actors, locations, crews, cameras, lighting. A democracy of ideas can flourish and your imagination will be able to run wild on the screen. All I can say is your ideas better be good because we are heading for a big over-saturation of content out there. It will be tougher and tougher to stand out and get noticed. Tougher to earn any money from it. Tougher to rise above the immense competition out there. Will help to get in early, to show you are experienced in it. Will help when it comes to jobs. There will be a lot of jobs in curation of AI media, and also in the policing of it. The problem I have with all of this is... How enjoyable and satisfying is it going to be for both artists and the audience? Cinematographers love the real world process of filming, and if that is reduced to button-pressing and typing prompts, it isn't the same in terms of craft. So those that enjoy the traditional craft will want to continue doing it, especially those who already have the privilege of being able to do it for a living. And the same goes for all the other film roles... acting, writing, directing, and the social aspect of having a team, a crew. AI also has an authenticity problem. Will audiences get tired of watching synthetic content, no matter how good the "end result" is?

Hmm. I see this as Bye bye pro AV business. Could see it coming with the lack of Panasonic cine cameras and no EVA1 follow-up, and quite a lot else from the pro AV division seemed to have reached a dead end. Looks like the pro AV business has basically been folded, and merged into the consumer business. If it were such a successful and profitable business it could have stood apart and independently, but no.

Hopefully it will get all the features, and none of the resolution 🙂 The Z7 III meanwhile, I cannot see how they will make that fit under Z8 without crippling it, and how they can make it fit above Z6 III without crippling the Z6 III so that there's a gap for the Z7 to fit in between that and Z8! So Z8 might yet turn out to have upper hand on both. Let's see how hard they swing the cripple hammer

What’s this got to do with anything. Thread will be locked soon due to troll-like behaviour and the lack of appreciation towards our community and the advice given.

LOL closing this crap down. If as a mod I decided to allow people to leak their DOBs on a public forum, I'll make that decision. It is not for you to do it.

Exactly

Thanks for sharing this. If only more people would share valuable info and stay on topic. @eatstoomuchjamlooking forward to seeing your experience of the GFX 100 II play out 👍

What an essay! It's nothing personal, I just think a better fit for the forum would be less URLs, and shorter posts, on the subject of mirrorless cameras and I don't propose for one minute to dictate to people what cameras they can and can't talk about, but I do have a duty as the admin to make the place readable and moderate too much off of any one thing. After all the EOSHD forum is about mirrorless cameras and cinema, not really action cams, and honestly a lot of these kinds of post I am a bit suspicious about, they seem to be spam: I am not going to stop people from talking about GoPros I just don't want to be spammed with it. It is dominating the forum topics list and damaging the SEO of the forum.

Recently there's been a lot of action cam posts on the forum, and I'd like to take the focus back to cinema. The action cam stuff and GoPro is a very different type of tool and belongs in a different place. So I kindly request @Emanuel that you stop with all the frequent outlinks to drones and action cams, and the very spammy YouTube content. Thank you.

There's no currently active Sony or NEX hacks, so long dead I'm afraid. And it isn't very useful. I don't think it went very far beyond the menu language hack. There are much better areas to focus on if you're interested in camera hacks, like Magic Lantern, ML RAW and of course the GH1/GH2 with PTools. Also the Samsung NX1 with the Linux based hacks and high bitrates in H265.

I agree, 24fps is more abstract, less in-the-face, and this means it is a tool to deploy with a logic behind using it. At this sweet spot frame rate it lets the audience's mind wonder, they will have more capacity for the emotional impact of the story rather than sitting there like hypnotised chickens or a droog in A Clockwork Orange with matchsticks in his eyes. It is more melecony, more wistful and poetic, can you imagine converting a Tarkovsky film and all that visual poetry and symbolism to an in-your-face documentary/reality style at 60fps, it just wouldn't suit it. A quiet scene of dialogue and suspense is not supposed to be a visceral hypnotic rollercoaster either, and the camera is there simply to observe and not supposed to snap you out of the story, cinema is supposed to immerse you in it and 24p does that very well. On the other hand if I want to feel like I am watching reality through a window, then 8K 60p would do the job perfectly but the higher the resolution, visual fidelity and frame rate, the more the emphasis in your brain changes towards the visual stimuli and your mind has less capacity remaining for everything else, such as feeling emotional impact of the story and so on. This is why the Hobbit was such a bad fit for 3D 48p, it became hypnotic as if you were standing on a film set looking at props, rather than escaping into a fairytale fantasy. Nobody laughed, nobody engaged emotionally in the screenings I went to of it. Although that was partly the fault of it being a bit rubbish, the format didn't help at all.

I found with my own YouTube stuff that 24p and vintage lenses don't suit the content! It is better to film it as reality, with a clear view on the studio and myself. So this is why blanket statements don't work... It all depends on what you're filming.

The display format and venue also matter. Oppenheimer doesn't look dated in the IMAX theatre in 24p. Looks incredible, to old and new generations alike. So to say 24p is outdated is just a blanket statement really. And equally, to say 60p isn't cinematic is also a blanket statement. It can be.... All depends on a lot else, other than just frame rate.