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"The best motion cadence I've ever shot was on the Digital Bolex with the CCD sensor." i wish i have a digital bolex.

Well, with Venezuela. As of now, there's minimal/no saber rattling with any of the other 11 other countries.

I think anyone can submit? Nikon probably curates the top ones based on social media reach. Honestly though it's not great. It isn't in the same league as a Panasonic Real Time LUT. All the processing seems to be in 8bit. I'll release what I've been working on soon but only when it can be made to look absolutely 100% right unlike the shitty shot above with its two green tones.

Motion cadence for me, is matching the target frame rate with the sensor and shutter speed-sensor interplay. It is also about rolling shutter vs global shutter as that plays into the look of motion. The less distortion or jello the better. I wish people would SHOW things again. Where are all the tests on the a9 III with global shutter showing what it's like in video mode at 24p vs the a1 II? I miss the Vimeo days of being able to compare with meaningful shots rather than the standard YouTube guff of a candle for low light, ridiculous whip pans for rolling shutter that nobody ever does in proper cinema, a model staring blankly at the camera for skin tones and a crazy underexposed shot with the shadows lifted until everything looks flat and dirty with no tonality - yeah that's a dynamic range test, sure. The best motion cadence I've ever shot was on the Digital Bolex with the CCD sensor. I think some of the faster sensor readouts are losing something important. They all look like 60p in their 24p modes. For 60p and 120p motion cadence has less meaning. Since there's no motion blur subtleties that need taking care of.

It's really deeply unpopular. You're right 4 year old a7 IV hardware doesn't help the marketing appeal even though I rate the image as one of the best ever. So we can chalk up the reasons as follows: 1. Filmmakers want FX3 instead 2. a7 IV old hardware cropped 4K60 / higher rolling shutter 3. Missing newer features - no open gate, anamorphic, 6K, 7K, no internal raw codec 4. Photographers will all go a7v or a7rv instead for similar price Hybrid cameras are now a crowded market so if you really want best of both worlds, I reckon they are going Nikon Zr, Canon C50, Sony a1 or some of the popular used cameras like a Z8 or even plain old a7 IV. Canon R6 III going to make it even tougher for FX2. This is great as used price will plummet and it could be under £1500 before long like our much maligned S1H

Laying the ground for a full on war with South America, to seize their oil and natural resources. He can then have a war in full flow by time the elections come round again.

alexa has no global shutter, yet has better motion cadence, say, than f35, or komodo? what is motion cadence, then? probably my om-1 in 6k 120p burst mode has better motion cadence than alexa in slow mo mode, as om-1 treats each frame as a single photo?

I think people didn't buy it because at it's heart it's a 4 year old camera re-released in a Sony cinema body (albeit in a vastly improved form, with the awesome EVF), using a sensor that wasn't necessarily optimized for video to begin with. Now that they've released the A7V it makes it an even harder sell. Now people are wondering why they didn't put that sensor into the FX2. I think there probably is something to the story of having to try and get rid of those older sensors, but almost immediately undermining it with the A7V doesn't make sense either. It was a weird release a few months back and even more so in hindsight.

Chinese lenses have gotten really good in general while remaining really affordable. I'm not shocked of the reports that the A7V isn't working well with them, and that Sony is now stressing they don't guarantee compatability. It's bad business every time one of the YouTuber shills favorably compare them to G Master lenses. The anamorphic lenses, including the auto focusing ones, coming out are very interesting. I've been waiting for a really good deal to pop up to try one out.

Had the 75mm Saturn with the S5II. With 6k25p open gate occasionally the footage looked awesome, but most of the times it looked like not in focus and crappy. All Panas have 1.5x desqueeze, and this Sirui is 1.6x so focusing was a bit of pain via S5II’s mediocre EVF, or my Saturn copy was just bad at focusing. In 4:3 3.3k50p mode it looked just bad and like out of focus all the time. Sold the Saturn, as frame graps from the 6k footage did not look as good as with spherical lenses. Miss the 2.4:1 AR though.

After two or three years of editing HDR out of S5, S5II and GH6 footage and then from GH7, Z6III and ZR I wouldn’t say they look the same. Panny’s footage can be tweaked to look almost similar than Z6III, but still it just doesn’t look as good to my eye. The ZR R3D NE also looks a bit different than NRaw, but it is debatable which one’s colors are better. In this same context Iphone 15 Pro Proress footage stands out, and not in a good way, when viewed on a big screen.

A Parrot would now be a more appropriate bird, since they are resorting to piracy... https://www.washingtonpost.com/world/2025/12/10/venezuela-oil-tanker-seizure/?itid=hp-mv-top-stories_top-table-main_p001_f001

FX3 ended up as both elixir and poison for Sony. It established E mount as go-to choice for professional video, and at the same time became the benchmark of "good enough". They will update it with a super fast sensor (either a 6k120 from 12k, or 5k240 from a 67MP sensor with dual gain HDR, both available next year), but that makes it a $5000 camera, then FX3 wins again with just being cheaper.

Like other picture profiles provided by Nikon, it would be way better at 50% intensity. But I don't think you can change that with these recipes. How can someone submit their recipes for Nikon Cloud? I like to see EOSHD in that list.

The Nikon samples seem to mirror my experience with Flexicolor. Tones mash together, it's tough to get it looking right on the more extreme kind of looks to say the least.

netflix could win, but they'll have to pony up twice as much cash as Ellison , it will be the person who gives trump, the most kickbacks in cash, that wins... and maybe a few "promises" about bringing more work back to america. That will really help sell it..

Has anyone tried the latest "recipes" https://imagingcloud.nikon.com/recipe/release?bookId=01HXDGH38PHJ0KZJHF2N7M8VMC They use Flexicolor so Z6 III, Zf, Z8 CineBias by RED CineBias-T - Cool Atmosphere by RED CineBias-C - Crisp Teal Contrast by RED CineBias-CC - Noir Vibes by RED CineBias WC - Grit & Glow by RED CineBias-TC - Green Edge Experimental by RED CineBiasOffset by RED CineBias Achromic by RED CineBias BleachBypass by RED I am curious as to what the fuck Green Edge is

The Alexa Mini in that video looks much better than the Zr in rec.709 The LOG modes are just a wide gamut colour space. Nearly all cameras look the same in rec 2020.

This is what the French all thought when Hitler turned up at the border. You're right about the small battles though... Not worth it is it? The big ones on the other hand... It has to be approved by shareholders, they've only decided at board level (at both Netflix and Warner) that they want the buyout to go ahead. Only the hostile takeover by Ellison will get the regulator seal of approval, stamped with the famous United States bald eagle emblem. What is it with the Eagle and these nazi countries?

Had a bit of time with the Sony FX2 today along with a Canon C50, same sensor as EOS R6 III but no IBIS or EVF, and it takes forever to switch photo / video mode. The FX2's viewfinder was chunkier than expected, it's massive and crisp, and articulated. I love it. The screen is so-so. The a7v has less rolling shutter, better screen and screen tilt method. But I do like the FX2, it's the only modern small CINEMA CAMERA that has the full photography feature-set. I just wish they'd put the a7v architecture in there, new sensor... I was told that apparently the Sony a7c II uses a different sensor to the a7 IV, it's tweaked, but didn't sell - so Sony had loads left over and hence needed a way to use them so FX2 was born. Sounds like a typical sales rep story to me so take that with a pinch of salt but it did come originally from a Sony employee. I am happy with the FX2's image, it's enough for me for just Cinema 24p. There's no denying the C50 and R6 III have a specs advantage with the 7K RAW but I just think it's complete overkill. Where is our footage being seen? IMAX screen? Phone more like, laptop if you're lucky. I'm not suggesting to go back to 1080p... lol. I just think 4K H.265 is fine. A lot of people are asking "who is FX2 for"? Well I guess it's for weird people like me who has always valued the hybrid convergence of stills and cinema. There's a nimbleness to it. No faffing, no huge weight, just as capable at photography.... It's the polar opposite of a Blackmagic Pyxis or Ursa. Yet the "it ain't selling" problem is really concerning... It's as if the market has gone a bit batty. All the stills people are buying the a7r V instead and all the video people hanker after an FX3. So the FX2 sat in-between the two suffers from that dreaded "middle" failure because people are unable to snap out of their binary thinking. In a way, the Nikon Zr because it doesn't have a mechanical shutter or EVF, and is lower resolution, in not pretending to be also a really good stills camera has made it appeal more for video. Also Nikon are undercutting Sony pretty deep on price at the moment. So not hard to see why that will further pummel the FX2's sales. Sony need to be careful. Their customer service is poor, the reliability is iffy (the firmware update problems in particular) and their pricing strategy is becoming Canon-like. At the same time meanwhile, Canon are putting top-level specs in a 6 series enthusiast body and getting aggressive on price with the R8, and Nikon is putting RED codecs in things that cost $2k... So in sales terms they may have peaked and might see a downturn. But I for one will be picking up a lovely FX2 if it ever drops below $2000 used.

I think people see politics these days as a form of show-biz entertainment soap opera drama, what a surprise they are going to get when the frogmen smash their door in next.

It's not time I need, EOSHD peaked in 2018. I need to break the strangulation of the gatekeepers, I could post an exclusive about Canon leaving the camera market on the front page or even aliens landing and nobody will fucking see it because the gatekeeping sites and social media influencers all have a major EOSHD grudge.

A bit of a stretch to go from developing an Alice in Wonderland app to accusing Tim Cook of being a pedo.

The new entry-rule is doubleplusgood. Giving five-year socmedia record to Borderforce is only goodthink. Right citizens with nothing to hide welcome full truthcheck, for it keeps out crimethink, facecrime, and all ungood elements. Freedom is Strength, and more watch means more freedom. The Party merely sees what all goodthinkers already show. Only unpersons fear oversight.

Providing a five-year social media history to border agents may become a pre-condition to entry as part of the rise of fascism in America. https://www.bbc.com/news/articles/c1dz0g2ykpeo