https://www.youtube.com/@CommonHub/videos

In this case, MidJourney, Runway ML e ElevenLabs have been used according to the sources found:

Now I hear about this new product called Niyien Senseflow A1. A tiny little thing that you can put in your cold shoe and only have to start it once per day. Seems pretty neat. I'm pondering getting one and trying it out. I'll let you know how it goes. Does anyone on here have one and can give their experience with it?

I've decided to make all of the music on my site free for commercial use as well as noncommercial. Just please credit me properly as detailed on my homepage.

If you decide to use one or more of my pieces, a donation would be greatly appreciated...any amount you can swing would be helpful.

As always, thanks for your feedback and I hope you find something you can use.

Eric

So then I started thinking about s5ii and whether I could adapt my old f Nikon glass. That 15 stops of DR is tempting… on paper.  If the shadows are a noisy mess then 🤷.  And now I’ve just seen Andrew raving about the G9 (and of course I just gave away my m/43 glass and speed booster 🤦😆)  

I like the sound of iso 4000 and the DR of the s5ii.  I shoot with the z8, and today was in a super contrasty setting, I know the z8 will have bleached out windows and the highlight rolloff is not too good.   But maybe I’m just trying to fend off the yawning chasm of mundanity that is my job.  
 

I’ve not actually seen any real world examples of the s5ii, I need to see what its highlight rolloff is like and whether I’ll gain anything from the extra Dr over the z8.  Has anyone seen any? And is this a terrible idea?  

• GH7 shooting V-Log in C4K Prores 422 internally, at around 500Mbps
• 14-140mm F3.5-5.6 lens for daytime, 12-35mm F2.8 for night-time
• K&F True Colour 1-5 stop vND
• Pipeline in Resolve:
  • CST to DWG as working colour space
  • Plugin for basic shot adjustments
  • Film Look Creator for overall look (and for taking the digititis out of the image)
  • ARRI709 LUT to get to 709 output

I went on a walk on Monday to test the full setup, and it was a crazy hot day (37C/99F) and direct midday sun, so seriously challenging conditions.  Here are a few grabs (be sure to click-through rather than viewing the preview files embedded in the post).

My notes and impressions - while shooting:

• Setup was GH7, 14-140mm lens, vND, and a wrist-strap and that's it
• I used the integrated screen, showing histogram, zebras, and focus-peaking to monitor
• I used back-button focus to AF before hitting record, so no AF-C going on while shooting (and randomly changing its mind about what to focus on)
• All shots were 14-140mm at F5.6 for constant exposure
• The K&F 1-5 stop vND had enough range, when combined with the DR of the GH7, so I never needed to change settings, despite going in and out of shadow (and even inside, which isn't included in the above images)
• The vND had a much more consistent sky and colour render than my old (crappy) vND, so I'm really happy with it
• I did ETTR and bring images down in post, but my tests indicated that V-LOG is very linear so there are a good few stops of latitude there
• The "tripod mode" of IBIS, which locks the frame completely, was very effective (despite me being hot and not having eaten for hours) and I could hand-hold past 70mm without it needing to drift, and even at 140mm (280mm FF equivalent) the shots will be fine with a bit of stabilisation in post (C4K on 1080p timeline)
• I shot about 18mins of footage in about 1.5 hours, camera was on most of the time with screen at full brightness, and didn't get any notifications about the battery, and didn't look to see how much was left since I have a spare

My notes and impressions - in post:

• I chose a Film Look Creator preset and then just messed with it for maybe 10 mins, while scrolling back and forth through the footage, and I deliberately pushed the contrast to create a really strong sense of the contrast between the beating sun and the deep shadows
• Shots had exposure adjusted (obviously, due to ETTR) and some had contrast lowered and a few had slight WB tweaks, but that's it
• I never felt like I was fighting with the footage, and it didn't feel like work when creating the look..  I've shot with a lot of cheap cameras with tiny sensors and you always feel like you're trying to make gold out of lead, but playing in the FLC was more like choosing between a large range of high-quality options
• I used another copy of the FLC to adjust exposure etc per shot, with it set to not impart and 'look'.  The advantage of that is that in Resolve there is a mode (Shift-F) that maximises the preview image and gets rid of the GUI except for the vertical toolbar on the right-hand-side where the DCTL and OFX plugins are, so it's a way of getting almost a full-screen view but keeping the controls visible..  very useful if you don't have a control surface or a second monitor handy.

I'll talk more about my thought process and how I got to this setup in a later post, and also go into some of the technical stuff (DR, high-ISO, etc) but more importantly than that, I finally feel like the tech has come of age.

What I mean by that is that I now have a setup where:

• I can shoot with a conveniently sized setup that doesn't need a rig and is ergonomic to use
• It has the right usability features, such as histograms, zebras, focus-peaking etc internally
• The monitor is bright enough
• The GH7 plus lenses (14-140mm F3.5-5.6 and 12-35mm F2.8) are long enough and fast enough to shoot what I see, without being too large, heavy, or prohibitively expensive
• It has enough spec that it can deal with almost all the situations that I actually shoot in, with enough DR for the sun, enough ISO for night-time, and fans so it doesn't overheat before I do, etc
• It shoots internally using a colour space and codec that don't look cheap/amateurish and make me think about upgrading
• It doesn't fight with me in the colour grade
• Resolve and the Film Look Creator are able to easily give me the flexibility in post to match images and correct any weaknesses from shooting (e.g. if there's a bit of movement when shooting hand-held at 140mm)
• Resolve and the Film Look Creator are able to remove the 'digital/video' look and instead give me a range of options that don't look artificial and most importantly, contribute a feeling to the footage without distracting from the content of the images (this is, after all, the entire purpose of what we're doing here.....)

For the first time it feels like I'm getting the results I want because of the equipment I have, rather than in spite of it.

The Problem I Was Trying to Solve

I got tired of using complex node structures just to do basic exposure, contrast, and saturation adjustments that would look natural. Coming from a photography background using Capture One and Lightroom, I missed having simple sliders in one place that just worked without having to think about CSTs, colour spaces, and multiple different nodes. 

What Lumap Does

Instead of wrestling with lift/gamma/gain wheels, Lumap gives you: 

Photometric exposure - Linear stops like changing exposure in-camera

Temperature and Tint - For white balance

Intelligent contrast - References your source’s format's middle grey without overcooking the toe/shoulder

Brightness - Targets midtones while preserving highlights and shadows

Organic highlight/shadow recovery - create organic, film-like roll-offs that seamlessly blend into your midtones

Smart saturation - Preserves luminance and prevents skin tone oversaturation

Film-style density - Control the intensity and depth of colours you get from subtractive saturation techniques 

Why Sliders Instead of Wheels?

Most of us aren't using professional grading panels - we're using mice and trackpads. Sliders are just faster and more responsive for cursor input. Plus, if you're coming from photo editing, this interface will feel immediately familiar.

There's a free demo version so you can test if it fits your workflow. 

https://www.dhyanverco.com/lumap

Would love to hear your thoughts if you give it a try! And happy to answer any questions.

I've watched a few YT showcases and for me, the best features are:

• It gives you 32-bit without having to have the external mic preamp box (and then adding microphones to that, making it larger again)
• It's small, much smaller than an on-camera shotgun mic
• You can quickly swap between modes
• (I assume?) it's powered by the camera
• It unlocks the ability to record >2 channels of audio into the files (one person said you can record left/right/mono/mono-20dB as a combo, and left/right/left-20dB/right-20dB as a different combo)

It's definitely not magic and the laws of physics still apply.

There don't seem to be any really good on-location stress tests posted yet, but there's a few examples.

Media Division did an in-kitchen test to compare it to in-camera mics and lav and a DJI clip-on, and also applied a bit of AI voice isolation too to see how far you can push it:

Dustin did some good tests including walking a 360 around the camera in each mode, which showed how directional it is, which seems pretty impressive.  He also compared it to the Sennheiser MKE440.

This shows the different modes out in nature:

This is probably a complete revolution for a number of niche uses.  Content creators would be one, where they're recording in noisy environments but still staying relatively close to the camera where physics will be helping them.  Another is where the flexibility really helps, like shooting events where getting pristine audio isn't an absolute must but working super-quickly is more important and perhaps the 32-bit would really come into its own.

This reminds me of how people used to talk about Panasonic when the GH4 and GH5 were around and people were saying that Panasonic just listened to people and then implemented the features that people would use rather than trying to be flashy and grab headlines.  This will be an invisible workhorse for lots and lots of people.

It's like the Canon EF days all over again!

And in most places Sony is selling the same amount of mirrorless kit (if not even more) than Canon so they don't need to do a bait and switch with their pricing any more.

Full article on the blog...

https://www.eoshd.com/news/sony-a7v-negative-online-discourse-why-sony-are-the-new-canon/

You know me. I’ve been agonizing over my next camera the entire year of 2025. Countless threads, rental tests, ecosystem debates… I've got a shortlist but I’m still somewhat undecided in February 2026.

Now a proper ongoing gig has landed: high-end lifestyle / product / mini-doc content for a well-known outlet. All solo run&gun: fast stories, Reels, interviews, close-up product detail, lifestyle vignettes, multi-platform deliverables (horizontal main cuts + vertical social + still assets). No crew, just me moving fast in boutiques, ateliers and interiors.

Current shortlist :

Canon EOS C50 (€3,500 ) Pros that keep winning me over after testing:

7K open-gate 3:2 + simultaneous 16:9 / 9:16 dual record to different cards = massive time-saver for vertical/horizontal from one take.

Dual zoom rockers (body + XLR handle) smooth variable-speed creeps and fast punch-ins on primes felt magical.

Built-in fan = no thermal anxiety on longer takes. Cine OS: frame guides for every ratio, false color/waveforms/zebras, shutter angle, base ISO switches.

Gyro data + Gyroflow covers stabilization so well that lack of IBIS isn’t a big issue. C-Log2 grading is easy and beautiful, plus Wide DR mode (I’ve missed that since my C100/C200 days).

Pro mini cine cam body look perception is important in my field; you can charge more with something that screams serious filmmaker.

Cons: Body+lens investment hurts minimum RF 24/1.8 Macro IS STM (~€500) + RF 45/1.2 STM (€500) = €4500 total. Closed RF glass. EIS only (electronic), so very dynamic handheld shots rely on technique or light post-stab.

Canon EOS R6 Mark III (€2,899) Pros: IBIS for aggressive handheld run-and-gun. Built-in EVF (huge for bright interiors/outdoors). Mechanical shutter + flash sync for occasional stills. 7K open-gate 3:2 for post-cropping multi-ratio. Same C-Log2 grading ease and fast hybrid menu/dial switching.

Cons: No simultaneous multi-format dual recording all multi-ratio work is post-crop only. No 7K downsampled digital zoom (FHD only). No built-in fan thermal limits in demanding long takes (30–60 min in 4K/7K high-bitrate). No XLR handle or mounting points out of box. Consumer-looking body doesn't have the pro mini cine cam vibe.

Sony FX3 (€3,500 ) I already have Zeiss Batis primes, so zero lens spend. IBIS, low-light is proven, and it’s the safe solo workhorse everyone knows.

But in 2026 it feels dated: Still capped at 4K internal (no 6K/7K future-proofing). No open-gate all multi-ratio work is post-crop from 4K (quality hit). No RAW for high-end stuff. No EVF. 12MP stills. Spending serious money on a 5-year-old body feels like questionable investment math, especially considering an FX3 mk2 will drop later this year.

Sony FX2 (€2,500) Despite its controversial usage of the old A7IV sensor, it's a real nice body thanks to its unique tilt EVF that I absolutely love. Also a proper hybrid. Its already gone down in price a little bit but like the above FX3 it feels silly investing in a cam with outdated tech and specs.

Nikon ZR €2,200. Cheapest option. I could adapt my Sony glass. Internal R3D RAW is appealing for high-end grading. Big, beautiful display is the main draw.

Main cons: R3D RAW means huge files. H.265 codec applies quite heavy noise reduction that turns into “mush”. No open-gate. Basic controls. No EVF, no mech shutter. Ecosystem still feels young for run-and-gun reliability on a high-profile gig

I’m leaning hard toward the C50 right now. The open-gate + simultaneous dual-ratio recording + rocker zoom control feel tailor made for the exact multi-platform content I’ll be shooting. C-Log2 grading is easy and beautiful, Wide DR mode brings back what I loved on my old C100/C200 days, and Gyroflow + EIS covers stabilization perfectly for my style. Cine menu and exposure tools also feel like a step up for product polish. RAW and anamorphic support for potential high-end stuff. The handling with the excellent top handle makes it feel like an evolved FX3.

It's a hefty investment although I should recoup fast once I start getting paid.

Yes I'm purposely omitting Lumix, a forum favourite I know but I just don't gel with either bodies or lens choice.

Appreciate any real-world takes from people who may have used above gear and/or deliver this kind of content. Thanks in advance.

It's a Cine-NIKKOR-C 13mm F1.9 Nipon Kogaku Japan D-Mount cine lens.  It's pictured above sitting on the hot-shoe of my GH5 for scale.

Ironically, with all the lenses I've bought thus far, it's the only Cine lens I own, and it's the only lens I own that I haven't ever used - I have no idea what its images look like.  I've hatched several plans to mount it and see what it's like but I've never actually carried any of them through.  

This thread is to kind-of publicly shame myself into actually doing something about this, but I thought it might be of interest to others as well, as I kind of see D-mount lenses as maybe being the most under-utilised vintage lens mount system, especially considering they were all cine lenses.  Of course, I'm under no illusions that these will be the best lenses ever, but they must have been pretty good - even 8mm film was still film, after all.

Anyone else interested in D-Mount lenses?  anyone shoot with them?

Brick-shaped, video-oriented design, without pentaprism and EVF – a combination of the current RED models design, the Sony FX3, and the Nikon Z30

Many features and tech from RED will be incorporated inside (not a new RED camera with Z-mount – we already got that)

Z6 III sensor inside

Very large LCD screen

The official announcement is expected later this year, most likely in the third or fourth quarter of 2025

I don't know what Frankenstein of a brick body would be the combination of RED/FX3/Z30, but "very large" LCD gives hope its a bit different from whats already available in the market.

https://github.com/lafauxbolex

What do others think? If real this would be great! They're changing some things from the original: A M4/3 mount, a big monitor and compressed DNG files.

The package that I purchased has 30 voices available and all but about 4 voices are fairly naff. There is one female voice in particular that is actually quite decent, but it still has many limitations.

With progress in this technology I can see that narration for film, videos and books, will possibly negate the need for human presenters. There is already technologies where you can train software using your own, or some other voice. With some improvements in inflections I'm sure that the use of these artificial voices may become more widespread.

What do you think? Is this good or bad? Do you know of a service that currently has this nailed?

I produced a short video (a review of a polarising filter from Amazon Basics) to test the water, this uses a couple of the voices that I have available to me. The female voice is much nicer than the male voice, see what you think. I won't be using this in all of my videos but I think the female voice will feature occasionally.

https://youtu.be/q9NceQBXa1s

https://www.indiewire.com/news/obituary/robert-duvall-dead-1235141818/

The world will be much emptier without him. He was one of my favourites—and, for sure, one of many others here too. RIP, you’ll be truly missed, not just on screen.

I’ve spent the last few weeks building a data management tool because I found that most existing calculators were either outdated or didn't handle modern hybrid RAW workflows correctly. I’m sharing the BETA v0.3 of the Workflow Data Calculator with the community for free.

Why this is useful for EOSHD shooters:

• N-RAW & ProRes RAW: The engine handles the specific bitrates for the Nikon Z9/Z8 and external RAW recording with surgical precision.
• 10-bit & 12-bit accuracy: Unlike generic tools, it accounts for the real bit-depth and chroma subsampling of your specific codec.
• 32-bit Float Audio Support: It’s one of the few tools that calculates the real impact of high-end field recorders on your total storage.
• Instant Technical Reports: You can generate a PDF with a Dynamic QR Code. It’s great for planning how many SSDs or CFexpress cards you actually need for a shoot.
• Hardware Validation: It warns you if your current drive speed is a bottleneck for 8K or 4K high-frame-rate playback.

The tool is based on official manufacturer whitepapers and uses Base 1000 for units to match your actual disk capacity (no more 'where did my 200GB go?' surprises).

Try it here: https://workflowcalculator.jmochon.training/

I’d love to get your feedback, especially if you are shooting with the latest firmware updates on Nikon, Sony, or Panasonic. Let me know if you’d like to see any specific camera added to the database!

Going on character alone, what are your favorites? At one point or another, I've owned 10-20 different adapters, and I still have a modded Bell & Howell Single-Focus. But after an 11-year hiatus from anamorphic, I am looking for fresh perspectives.

And did I miss anything?

https://www.eoshd.com/news/the-2025-hybrid-mirrorless-camera-rankings/

The 2025 camera rankings for video quality and value for money are in!

Between rising living costs, inflation still lingering in daily budgets, and shoppers saying they plan to cut spending because things are less affordable, people in many income brackets are tightening their belts rather than splurging.

At the same time, camera gear prices keep going up, with manufacturers leaning heavily into higher end products and even having to increase prices due to tariffs and costs and used gear demand is surging, which suggests many photographers are turning away from new purchases and toward more affordable options.

Meanwhile the constant cycle of marketing, hype, and new products can get overwhelming. It starts to feel less like “new tech we need” and more like noise pushing us to buy things even if budgets are tight.

I’m curious, do you think camera companies are aware of this, or does it not matter to them because their target audience is high end buyers? And has the constant churn of new gear given you a kind of “second hand fatigue” not necessarily because you want nothing new, but because it feels relentless and disconnected from what most people can realistically afford?

It turns out I am a bit wrong.

... That Micro Four Thirds was dead. Well near me, the G9 II came down to a much more sensible 1299 so I thought I'd give it a try.

This thing... oh my gawd.

Feel like putting the rest of my gear in the bin!

This little box of joy is pure art in the handheld 4K/120p mode (and also in 5K open gate). The colour science, slow mo and IBIS are so, so good. The new GH7 sensor is quite something. Beautiful filmic quality to it.

And I thought IBIS was good on the full frame Panasonic cameras or Olympus OM-1 but this is taking the biscuit now.

You can just stand there and get a completely static frame especially in 120fps. I keep putting shutter at 1 second for long expose stills, pin sharp...The first camera that can really lay claim to being a tripod killer, in my view.

Then there's the image processing... It totally defies the price. The new sensor just looks so clean in low light and dynamic range is fantastic. The real-time LUTs look stunning here. No other Micro Four Thirds camera has nearly as good colour processing (except the more expensive GH7), so in this sense I prefer it even to the Olympus OM-1 with the lovely Olympus skin tones.

In some ways it is better than a flagship $4k full frame cam... I am not joking.

Not missing a full frame sensor that much to be honest. It has the dynamic range, the low light, the resolution, and with a fast enough lens... the full frame look as well. The Metabones Speed Booster 0.64x fits without scraping the sensor-box.

Also, the EVF is enormous and totally defies the price.

Criticisms? Autofocus is very lens dependant - it's still a bit rubbish with the older stuff and adapters. Also no ProRes LT like the X-H2... With two SD card slots, it limits you only to 1080p in ProRes mode which is a bit silly... but the high-res stuff is available if you plug in an SSD via USB. GH7 has an advantage there for sure.

But in plain old 10bit H.265 the image is superb.

I think this body design suits the smaller lenses too... You know I'm not the greatest fan of the S5 II body design, well it is growing on me here... Micro Four Thirds and small stuff seems to go well with the G9 II / S5 II body design. It starts to make more sense. The sharp angles cut in less, camera as a whole is lighter, the grip is sufficient for everything and it's got that "GH2 feel" when you put the tiny 20mm F1.7 pancake on there whereas the S5 II with the larger lenses doesn't have that same charm to it.

I am inclined to say Micro Four Thirds LOOK is back too... It's an antidote to predominance of a super shallow depth of field in commercial work and Netflix.

It really makes me want to fully commit again to the system as it just does SO MUCH, far more than any full frame camera remotely affordable.

It does more than a Sony a1 II FFS!

Those who have been following my other thread will know I've mostly got my travel / walk-around AF setup nailed.  
(GH7 and GX85 bodies combined with the 14-140mm zoom, 12-35mm F2.8 zoom, 9mm F1.7, and 14mm F2.5 pancake lens)
This setup will give a relatively clean starting point which can be graded to create a pretty wide range of looks.  

However, not everything can be achieved in post.

I have also collected a bunch of modern MF lenses and vintage lenses over the years and these might be useful in creating other looks that I can't do in post with the above kit.  So I'm trying to work out if I should just archive them or if they're still good for anything I want to do, and if so, what might that be?

I've looked through my continually growing collection of lens comparisons, but found nothing conclusive.  Thus begins a moderately sized lens / camera test...

The setups included in the test are below.  The details in brackets are the FF equivalents.  

• OG BMPCC + 12-35mm F2.8 (35-100mm F8.0)
  This setup is included as I think it will be a reference for the rest of the setups (at worst) and might end up becoming part of my standard kit (at best).
   
• GF3 + 15mm F8 (30mm F16)
  This setup is included as it's essentially a modern Super-8mm camera, and considering it is absolutely tiny and takes the same batteries as the GX85 it's almost inconsequential to bring on a trip.
   
• GX85 with:
  • Modern: Panasonic 12-35mm F2.8 (24-70mm F5.6)
  • Modern: Panasonic 14mm F2.5 (28mm F5)
  • Modern: Panasonic 14-42mm f3.5-5.6 (28-84mm F7.0-11.2)
  • Modern MF: TTartisans 17mm F1.4 (34mm F2.8)
  • Vintage: Cosmicar 12.5mm F1.9 SB (36mm F5.5)
  • Modern MF: Voigtlander 17.5mm F0.95 (35mm F1.9)
  • Vintage: SB + Yashica 28mm F2.8 (40mm F4.0)
  • Vintage: SB + Tokina 28-70mm F3.5-4.5 (40-100mm F5.0-6.4)
  • Vintage: SB + Takumar 35mm F3.5 (50mm F5)
  • Vintage: SB + Mir-1B 37mm F2.8 (53mm F4)
  • Vintage: SB + Takumar 55mm F1.8 (78mm F2.6)
  • Vintage: SB + Helios 44M 58mm F2.0 (82mm F2.8)
  • Modern MF: Voigtländer 42.5mm f0.95 (85mm F1.9)
  • Modern MF: TTartisans 50mm f1.2 (100mm F2.4)

I haven't included all my lenses, but the ones I have omitted have been included in other tests previously and are broadly similar to ones I have included, so if they become interesting as a result of this test I have some more reference materials. 

I watched a doco on Netflix the other day called Attack on London, and was really inspired by the look of the 'recreation' images they have obviously filmed for the doc, and seem to have used one of the filthiest anamorphic lenses around (and potentially added more dirt in post as well).  Here are some screenshots..  These might not have been streamed at the highest bitrate available, but I don't care - they look great and have so much texture and feel.

This isn't the exact aesthetic I'm going for, but it's one that I saw recently that has a lot of texture and FEEL.  My hope is to work out what the ingredients are to getting this kind of feel and then work out when I would want it and then work backwards to what equipment and processes I'd use to get it.

My initial impressions (guesses) are that the ingredients are:

• shallower DoF
• lower levels of sharpness
• decent amounts of grain
• film colours (especially having a tint and having subtractive sat)

The above images have more elements to them than this, but I don't care much for things like CA etc, so I don't think they're part of the minimum required elements.

I plan to shoot comparisons with the setups above in a range of different scenarios and then see what I can see, before moving onto the post workflows and what role those play.

Excited to learn more. 

https://www.fujirumors.com/fujifilm-gfx-eterna-filmmaking-camera-development-announcement-with-expected-2025-release/
 

https://www.dpreview.com/interviews/6336791578/john-abernathy-pierre-lavie-protest-photographers-ice-minneapolis-thrown-leica

Imagine for a moment if smartphones and this Leica didn't exist.

All we'd have to go on is the lies coming out of the federal government and they'd easily be able to smear the dead and do the big cover-up operation they're attempting to do now.

But the images all around social media tell a different narrative.

And I for one commend the bravery of the folk on the streets with their cameras.

The truth is constantly being debased and it really took the biscuit last week with Trump's denial of British and NATO troops service in the Gulf War, Iraq War and Afghanistan. They were on the front lines and gave their lives for it.

To anyone still thinking of voting Reform in the UK, or for those who voted for Trump at any point, surely your eyes are not still CLOSED after what you are seeing in recent weeks? If yours are, I'd be fascinated to know why.

In redesigning it, I would keep the same shape as it's good. I would have it record in square format in ProRes. Have the ability to add one's own film effects, such as to use OFX plugins like Dehancer and others (if this is possible in real-time) and put them on the dial. Remove the printer to make the whole thing smaller.

For me, it's part gimmick and part useful. I can see how in fifteen years, long after it's been discontinued, it being a thing for artists to make art with (much like the Fisher Price Pxlvision camera is now).

https://en.people.cn/n3/2026/0119/c90000-20415649.html
"The mechanism would allow immediate retaliation, including punitive tariffs, market bans, financial sanctions, and the suspension of U.S. patents and licences, without recourse to the United Nations or the World Trade Organization."

Android:

Google version, size 1M (running on System): https://play.google.com/store/apps/details?id=com.kinoseed.photomatch
Mozilla version, size 40+ M (with built-in GeckoView): https://play.google.com/store/apps/details?id=com.kinoseed.matchcolor

You can use the app via any modern browser or Android device.
Web: https://kinoseed.com/
 

If your try the google version, and the sliders don't move smoothly, it's a bug that google is still fixing, try the Mozilla version, as it works for all devices.

Let me know what you think.

For reasons officially unknown (I'll come back to this later) Vimeo stopped being, for us Europeans, a community of video storytellers. (As it still likes to call itself).

Basically, in certain regions of the world you can no longer use the video search function and at the same time you can no longer browse other users' videos. 
I can only see and search my own videos and eventually see a video of another user only if I have its link. Even if I know his name I cannot search for him. I can only see his profile if I know his exact url.
This post sums up what happened:

https://shortverse.beehiiv.com/p/vime-nooo

I am so angry. 

• I noticed it by accident and I also looked like an idiot because I as well as thousands of other users thought it was a bug. No communication at all. Out of the blue. The entire UE community lost.
• Membership fee is the same for everyone but I have most of the features disabled.
   

Those who read this thread and, for example, have an account in the U.S. or other countries not affected by this ban might think that this does not affect them.

But it absolutely does not!

I have several friends in the U.S. who use their Vimeo account for showreels, basically a videocentric Linked-in. In their profile they have written "available for hire." Here, you must know that their profile is no longer searchable from banned countries. And we don't even know which ones they are. I can only access a video of theirs via direct link but I can't go to their profile or search them by name via the search function.

This is my following people page:

I can see their names but I cannot click on their profile icons. Sounds like a joke. What is the point of these lists now?

Just imagine my frustration, I've been a member for 13 years and I've developed a whole network of relationships over all these years and now I can't even see the profiles of people I've collaborated with, anymore.

Think about it before you renew your subscription!

https://petapixel.com/2025/12/23/us-government-bans-new-dji-and-other-foreign-made-drones/

Sent some stuff to be traded-in in Berlin, and asked if it was ok to drop it off at the door since I live 20 minutes away from them.

First time they said yes, sure. So rather than trust the post, I dropped the box off myself. But at the warehouse, just a metal door and no staff, so you can't make a habit of it. Why they don't have a proper physical drop off point let alone a walk-in store for a shop of their size and trade volume is beyond me. As if they can't be bothered to get an extra 3 or 4 staff.

Then in predictably ironic fashion they lost a delivery via DHL, more on that in a minute.

The condition rating "Excellent" is one of the other problems... they seem to place a lot of quite heavily used and sometimes faulty stuff in that bracket. I know because I have received it!

Once I had a camera with a faulty HDMI port, no mention of it in the description. Another time, a Leica M Typ 240 which you'd think they'd spot the broken dial on. Apparently not.

This was in the UK, but be it Berlin or EU they're all the same company... although you wouldn't know it, because the Europe-wide MPB website staff refuse to talk to you if you ordered from the DE website, even though it's in the same building, same stock, same warehouse, with same people in it, in the same city.

So DHL lost the package they sent out with at least 900 euros worth of gear in it. So after a week of the tracking showing it hadn't moved in Berlin despite going from Berlin to Berlin, I got in touch. They were quite unsympathetic and told me to wait 14 days. So come nearly a month later without my stuff (part of it my OWN GEAR which was sent back as part of a trade-in I didn't use as they quoted far less than promised for it), on 17th Feb I asked them to investigate. This guy, I use the term lightly as he's more a fucking bellend from my perspective, then replies back immediately and says he's opened a Lost in Transit case with his security team, who will presumably now open a case with DHL. So I come back 10 days later for an update and find they never bothered even doing that, they simply forgot.

So it's now over a month without the gear, and I have about 2500 euros worth of open trade with them that they want to send in for a quote via, yes you guessed it, DHL... no drop off possible any more.

They really seemed to have gone downhill and I don't think their hiring philosophy or getting workshy depressed part-time photographers is doing anything much for their operations side... maybe get some staff who are able to communicate and carry out basic procedures on time, that would be a start.

«I sold my X-H2s and all the lenses a few months ago to get BMD Cinema 6K, and I never looked back since.»

source

«The most significant thing about all this, as you pointed out in the video, is that Blackmagic is essentially giving autofocus to all of us who already bought their camera, instead of releasing a Blackmagic 6K Full Frame Pro with autofocus just to make us open our wallets again. They may be losing money in the short term, but in my view they are gaining in the long term, because the trust the brand inspires is truly remarkable.»

source

Disclaimer:

Happy camper as Blackmagic shooter over here!

Looks like I am not alone...

- EAG :- )

Good to see ProRes internal.

• Fuјіfіlm Х-Н2Ѕ Dіgіtаl Саmеrа Воdу Кеу Fеаturеѕ:
• А bасk-іllumіnаtеd 26.1МР Х-Тrаnѕ 5 ѕtасkеd іmаgіng ѕеnѕоr
• Nехt-lеvеl реrfоrmаnсе frоm Lіghtnіng-fаѕt Х-Рrосеѕѕоr 5
• Ехраndеd lоw lіght сараbіlіtіеѕ аnd uр tо 14-ѕtорѕ оf dуnаmіс rаngе
• 3.0-іnсh, 1.62 mіllіоn dоt vаrі-аnglе tоuсh Ѕсrееn LСD mоnіtоr 5.76 mіllіоn dоt rеѕоlutіоn еlесtrоnіс vіеwfіndеr
• Uр tо 40 frаmеѕ реr ѕесоnd uѕіng thе еlесtrоnіс ѕhuttеr
• Uр tо 15 frаmеѕ реr ѕесоnd uѕіng thе mесhаnісаl ѕhuttеr
• 4К/120Р, 6.2К/30Р аnd НD/240Р vіdео rесоrdіng fоrmаtѕ
• Rесоrdѕ Аррlе РrоRеѕНQ іntеrnаllу іn 10-bіt аt 4:2:2
• Nеwlу dеvеlореd Flоg2 еnсоdіng fоr grеаtеr dуnаmіс rаngе
• Uр tо 7 ѕtорѕ оf Іntеrnаl Воdу Іmаgе Ѕtаbіlіѕаtіоn (ІВІЅ)
• Оffеrѕ ехtеrnаl rесоrdіng оf РrоRеѕ Rаw аnd Вlасkmаgіс Rаw
• Ѕubјесt dеtесtіоn wіth dеер lеаrnіng АІ аdарtіvе аutоfосuѕ Іdеntіfіеѕ аnd trасkѕ саrѕ, рlаnеѕ, trаіnѕ, bіrdѕ, hоrѕеѕ аnd mоrе
• Соnѕіѕtеnt АF реrfоrmаnсе thаt wоrkѕ іn lіght lеvеlѕ аѕ lоw аѕ -7ЕV

The President says he died due to "Trump derangement syndrome" and the "anger he caused others".

Writing in a social media post:

"[Reiner] has passed away together with his wife, Michele, reportedly due to the anger he caused others through his massive, unyielding, and incurable affliction with a mind crippling disease known as Trump Derangement Syndrome".

"He was known to have driven people CRAZY by his raging obsession of President Donald J Trump"

Obviously, I find this troubling on so many levels. A real insight. That he can't even write RIP to one of Hollywood's greatest or send condolences to his family without making it all about himself and implying that Reiner had a mental illness.

I think it's time for anyone who voted for him to take a bit of a step back from politics (if capable of that) to think about what they have done and who he is. And if after that you still can't bring yourself to snap out of the cult, but you still happen to be a forum member here I would like to ask you to leave. Hopefully you have already.

In contrast here's how Ben Stiller remembers the Spinal Tap director, who like Rob had a comedian father...

https://x.com/BenStiller/status/2000441874662961291

"He came out form behind a huge comedic shadow of the great Carl Reiner and being a tv actor to being a a great director who made an incredible run of movies. Spinal Tap is one of the best comedies ever made - and the list goes on. He was a kind caring person who was really really funny."

Now there are reports coming from gossip outlets that Reiner and his wife were murdered by their son Nick who is now in police custody.

What a shocking Hollywood tragedy and just an awful way for such great souls to go out, who have given us so much.

Go and see Spinal Tap 2 everyone.

RIP Rob & Michele Reiner.

10-bit 1/1.3" 8K/4K 120fps on the smallest form factor nowadays... à la DJI Osmo Nano older brother:

https://leaptic.dreametech.com/

https://www.bee-link.com/

https://www.techradar.com/pro/this-ultra-powerful-mini-pc-with-an-external-gpu-docking-station-may-convince-creatives-to-move-away-from-big-boxes-beelink-gti-ultra-looks-very-promising-and-weve-asked-for-a-sample