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They have enough money to outsource lens making to a domestic company like Viltrox. I didn't say they would release a camera with DL mount. I think they're not interested to enter this market at all. The entire ILC market is 6 million units per year, and L mount is a small part of that small market. But if, for whatever reason, they want to enter this market, they should stick with their own mount. Otherwise that would send this message that they don't believe in their own system.

Anyone seen my tin foil hat? I’m sure I left it around here somewhere…

Then in 3 years, your battery are not working, or your lens is not working because they didn't update their software. I have my beef with Japanese companies, but at least in my case, the product I was buying was not completely obsolete after 3 years.

I am no Chinese hater, but I prefer China hegemony stop their. They already dominate in some tech like drone and you can't have anything that is, sorry to say, in one way the worst junk you can have, and it is product obsolescence. DJI completely bought the American (I am not American) influencer people to chant their laurels, while consumers like me can't find a battery two years, because most of what I bought was swelling, after having invested 1500-2500 USD. Or even some propellers, when my 10 year old battery in my Nikon camera is still working.

In the Alps, for clickbaiting purposes, they are still pushing the idea that it is an l-mount camera. ATM the most credible option is that it's just the S1R 🤣 That youtuber has also an S1R and he was trying the Blazar lens with ND filter on it. So the blurred camera (that he confirmed it will revealed next week) could be anything

Nikon wouldn't be supporting RF mount at all if they didn't buy a company already making cameras that used it. And what was the first (or one of the first, I don't track it that much) things they did? Release most of the same cameras again using their own mount. DL mount was invented for drones (I think for the X7), a category where DJI has no competition at all and where they can get away with selling a mediocre 35mm f/2.8 lens for $1,200-1,400 (prices on the others are similar). If DJI management are as dumb as you're implying and think that they can sell cameras that can only use those lenses, then they deserve the enormous failure they're about to suffer. I suspect they aren't idiots, though. The only reason that I have the 24/35/50 is that I got a really good used deal on the 24 and got a kit with the 16/35/50 from ebay for $2,200 and immediately sold the 16 for about $200 - and the only reason that I was willing to spend $1k/lens for the others is that I wanted aerodynamic lenses for when they're on a camera going around 100km/h. If buying a camera for a standard mirrorless camera that I don't plan to hang off the side of my car at high speed, though, if you give me the choice of a mediocre 50mm f/2.8 for $1,199 or an excellent G Master 50mm f/1.4 for $1,298 (current B&H pricing), you've given me the simplest choice of all time. I'd buy a Sony camera and the GM. Most people would. And I don't even like Sony that much (though I did shoot with them for 5+ years). As BTM_Pix already pointed out, DJI have been part of the L mount alliance for a while now and as I already pointed out, DJI already make and sell an L mount for the Ronin 4D. My hope would be, if they release a very small mirrorless camera (and if I want that camera) is that it would just accept the lens mounts for Ronin 4D since I already have them in DL, M, and EF mount (and I'm not opposed to also getting one in L mount)

The L Mount Alliance is actually governed by Leica though. Leica accepted DJI into the alliance over three years ago now. Whether there is a covenant limiting DJI to only ever using it on the Zenmuse X9 is open to interpretation I suppose but I would be surprised if it’s limited to a single camera. If there is a DJI mirrorless about to be launched then we will soon find out how much of a “full” member they are. https://leica-camera.com/en-GB/press/dji-joins-l-mount-alliance

Ooppsss... Sorry Andrew, please delete double posts.

Nikon is currently supporting RF mount with RED cameras, it doesn't mean they will make a RF mount mirrorless camera. In every transition process, support for non native mount makes sense; but its only a transition. If the ultimate goal wasn't to fully committed to their own mount, they wouldn't make it at the first place. There is also the Japanese side. Why you take their permission for granted? Why they should license their mount to a Chinese giant with billions of dollars of R&D? They can eat Panasonic for breakfast.

Nikon is currently supporting RF mount with RED cameras, it doesn't mean they will make a RF mount mirrorless camera. In every transition process, support for non native mount makes sense; but its only a transition. If the ultimate goal wasn't to fully committed to their own mount, they wouldn't make it at the first place. There is also the Japanese side. Why you take their permission for granted? Why they should license their mount to a Chinese giant with billions of dollars of R&D? They can eat Panasonic for breakfast.

Nikon is currently supporting RF mount with RED cameras, it doesn't mean they will make a RF mount mirrorless camera. In every transition process, support for non native mount makes sense; but its only a transition. If the ultimate goal wasn't to fully committed to their own mount, they wouldn't make it at the first place. There is also the Japanese side. Why you take their permission for granted? Why they should license their mount to a Chinese giant with billions of dollars of R&D? They can eat Panasonic for breakfast.

Nikon is currently supporting RF mount with RED cameras, it doesn't mean they will make a RF mount mirrorless camera. In every transition process, support for non native mount makes sense; but its only a transition. If the ultimate goal wasn't to fully committed to their own mount, they wouldn't make it at the first place. There is also the Japanese side. Why you take their permission for granted? Why they should license their mount to a Chinese giant with billions of dollars of R&D? They can eat Panasonic for breakfast.

I just checked and my initial enthusiasm for the cloud option for something like a 48hff or similar faded quickly. It looks like the option is not granular enough for a weekend project - minimum interval is 1 month and it's $30. At that price, I might just deal with the headache of sharing one of my licenses/seats with the editor for the weekend (bought one, got one with the UC12K, each has two seats). I was really more hoping for a thing that would let me toggle it on for the weekend for around $10. At least the free version of Resolve is able to download the proxies from BM cloud that were made when the DIT (which is sometimes me) imported media into my laptop on-site. I'm also kind of excited to experiment with the same with the UC12K's wifi since I think it can sync proxies to BM cloud directly from the camera. Hope they don't change that to push that use case into a $30 cost. FWIW, the rest of my cloud plan (that I am not actively using right now so I should probably cut down on) is $12.50 for 500GB of storage and $5 for a cloud project library. That's the minimum that I've found is needed to create Cloud projects with shared proxies. Wish I could pay a bit less for 100GB, though - proxies ain't that big.

That's no different to Adobe's subscription. Access to the apps, and cloud storage. I hope it's not a slippery slope, but I also don't really understand how Resolve makes Blackmagic any money at all. As a solo op/editor, I have 3 Studio licenses from camera purchases, each one can run on two machines at the same time. So in theory, I could hire 5 other editors and we can all run the full version at no extra cost. Even if I didn't have the spare licenses, the rental cost would have to be very low to make it worth it for customers. How long could you rent it, while staying under the $300 for the full license? I hope they start introducing big features as plug-ins instead. Studio licence + $50 for Magic Mask 3 for example - and that's tied to your serial number / cloud account. (Cloud account is free if you don't need extra storage)

Watched and thought it was great but did spend a great deal of the time seeing BTS such as; someone is holding that door open, someone is cranking up the VND, the camera was just handed off out of the window to someone else, he's not really driving that van, it's being hooked up to the drone right...about...now. I've watched and read a couple of BTS pieces on it and somewhat surprisingly, they used just the second take on Episode 01 but all the rest were...if I remember correctly, between 11-16 takes. Any small mistakes they tended to let slide if they could get away with it, but obviously stuff happened and they had to restart at least 10 times on every episode after the first one. Very well acted, especially the kids. The single room psychologist scene, they both cocked up their lines a few times and ad libbed but this happens I believe in movies so... Really well done and as someone who took part in a movie that was filmed at my school as a kid https://www.imdb.com/title/tt0090310/ must have been a lot of fun for those that took part!

🙈

Willing to bet that was a typo and should have said "EF mount."

Is it?

Exactly. We live in a world where component and platform sharing becomes increasingly the norm. IMO, if DJI were to release a FF mirrorless and try making that fly (not literally, - they have other products that do that) with their own tiny range of lenses, good luck with that, but it would be a recipe for disaster. E Mount is dead so yes, using older lenses etc is all well and good, but Canon are all in now on RF. And to truly compete against the likes of Canon/Nikon/Sony/Lumix, it almost certainly needs to be a hybrid rather than a pure cinema camera. DJI already have strong links with Lumix, - the S1RII and Ronin 4D share a sensor (not officially stated but the general consensus is it is) and are already in the L Mount system, so a bit of a no-brainer. But then maybe the the whole DJI mirrorless camera is just a fantasy...

Sad to hear. Living and working with someone that long is truly remarkable, even if it didn't end up lasting. Gotta be careful about the wedding ring thing though, I've noticed couples that both simultaneously stopped wearing them and it's turned out to be them preparing to renew their vows and getting their existing rings polished / embellished / etc before the celebration! It was even a surprise so their close friends didn't even know it was happening!

Do you mean their cinema camera that has swappable mounts including DL mount, L mount, and M mount all coming first-party from DJI themselves? And E mount coming third-party rebranded by DJI? And EF and PL mount from third parties? If you go on any Ronin 4D user group, you will quickly see that Sony E mount seems to be the most popular followed by L mount. I think you're just flat-out wrong on this, sorry. DJi have a total of 6 lenses for DL mount, IIRC. 16/2.8 (APS-C), 24/2.8, 35/2.8, 50/2.8, 75/1.8, and 17-28/4 PZ. These lenses are generally considered mediocre - I have had every one, sold the 16 (since cropping for it is pretty redundant with 24 on FF) and returned the 75 after verifying that it didn't fix the autofocus lag I was getting on a manual mount Leica lens. The whole point of those DJI lenses (except the zoom) is that they are very light weight and designed to be aerodynamic - I use them when mounting the R4D on a car. I like the 17-28, but it's really a focal length that basically screams "use me on a gimbal" and would have everybody instantly demanding a 24-70 ASAP. There two third parties who have made a small number of lenses for the mount, the most interesting being Viltrox who have a set of f/1.8 lenses. This would put them in the position of having to play huge catch-up on lenses since everybody else has a many years-long head start and it'll be a major uphill fight to get third parties like Sigma to make lenses for it, given the lack of market penetration. So it makes perfect sense that DJI would release a new camera using a mount that they already support and offer on their cinema camera. That or that their cinema camera would just support the mount system for the R4D and all of the mounts that go with it.

Part of me wants to knee-jerk against anything even remotely resembling a subscription, but this is also something I've wanted when using BM Cloud on things like a 48 hour film project to collaborate with others. If the studio rental is cheap, I might even do this sometime.

They have announced film grain by the end of this year, in their picture profile as they just launched the silver version of the Nikon Zf.

Oh… On the surface this could appear to be the first step on the slippery slope but at least in this form it’s actually potentially a possible positive move. Its difficult to get the detail as their link provides no further information but my reading of that tweet is that if you are working on something and need an additional seat for a collaborator then you can rent it for the time needed without having to buy them another full license. Of course all of that still ties you in to having the paid version of their cloud account if you want to do collaborative working so there is an underlying subscription element involved albeit one with a useful every day function of storage. Based upon the comments under that tweet, Blackmagic will be in no doubt from their users about any progression to a full subscription model for Resolve. It might well be that this method of rented functionality tied to the Cloud account may be the way they go for access to what they consider premium new features in the future. Time will tell.