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Required reading! https://www.nytimes.com/2018/08/16/business/elon-musk-interview-tesla.html?hp&action=click&pgtype=Homepage&clickSource=story-heading&module=first-column-region&region=top-news&WT.nav=top-news https://www.thecut.com/2018/08/azealia-bankss-feud-elon-musk-grimes-explained.html So Tesla has some unnecessary side-battles to fight now, which I am sure the oil and established auto industry will use against their biggest rival. It's important for the whole damn planet that Elon Musk achieves his goals at Tesla and at SpaceX. Vital for humanity. People simply cannot get their heads around this. They are constantly gossiping and looking for ways to bring him down. Sure he's overworked. Yes, on sleeping pills. Maybe he even has a girlfriend (musician Grimes) who may not be the most stable presence (personally, I like her!). Yes, he may well have been on acid when he made the tweet about securing funding to take the company private at $420 a share. Who cares. People need to look past all this gossip, even the possible breach of the law, and give the guy a break. Imagine our city streets with no pollution and breathable air. Imagine a home on another planet, ready to continue humanity after we fuck up this one. Every investor in Tesla should let Musk concentrate on his health away from the extra pressure of lawsuits.

Yeah @BTM_Pix listen to Kye and don’t eff this up.

Eon Musk is without a doubt an exceptional person and he doesn't deserve all this drama. That being said, in the larger scheme of things we shouldn't overestimate his reach. While Tesla is an amazing accomplishment this is not going to save the planet. Even if a large chunk of the population move to electric cars, the power has to come from somewhere which is mainly coal powerplant in the world (see Germany when they close many nuclear plants to please the green party, they moved to coal and imports). The recharge time is also an issue, but hey, Rome wasn't build in a day and it's already an amazing achievement that goes in the right direction. He did better by himself that all the regular car manufacturers. As for SpaceX, I'm more reserved. First, this has been heavily founded by governmental money. It's not like he did it all on private fund. Something to remember for all the "100% private economy" people. But again, not a big issue and already an impressive achievement. The point of "colonizing" Mars is complicated though. First, why don't we work on keeping earth afloat and not fuck this planet beyond repair? The Mars colonization idea gived the false impression that earth is disposable which is ok because we'll move to Mars afterward... But even if SpaceX improves the launcher technology, this is still a very inefficient endeavor and Mars is not habitable. Long story short, terraforming Mars would require thousand of rockets at a cost probably greater than the actual US GDP. Even if we succeed at creating an atmosphere on Mars, there is no magnetosphere there because this planet is geologically dead inside. So without magnetosphere like on Earth the atmosphere will be washed out by solar winds and I'm not talking about radiations and UV. In any case, I really wish him luck and success. The $420 tweet was fun

@BTM_Pix just give him a kidney ???

Life is like a Zoom F4...

Hey I am not a big fan of them either. But this is 2018. Everyone is trying to make a buck on the old Inner Web. Unless a person is willing to do all that research and type all that shit out you are going to have Links like it or not, or not have shit for information. Even people on here have links to their channels or websites. You want to ban that also? Shit where do you stop? Info is info and somehow you are going to pay for it. Either you, or me, or someone else is going to have to work their ass off to find and present it. I am lazy, so I will have to look at links, Oh by the way I Don't have to click on them, or sit here with my thumb up my ass waiting for incredible info to be typed on all that is new.

Wow that is a game changer for sure. @IronFilm In his film acting days.

I lost my mind years ago getting into video. It's a completely insane profession. I can't quite remember why I'm doing it. I might just get all of them, maybe RED Monstro and a Venice too. ? Or maybe I'll stick with an iPhone and Osmo Mobile 2. Ultimately, it's down to image quality.

Anybody tried the slr magic anamorphot with leica M or M type lenses? my thinking is that most of those lenses are very small and have iris ring in front of the focus ring. so the iris would be closer to the anamorphots rear element. this would be for an a7s fullframe.

From my own analysis, image resolution for photo and video should never be compared. Yours eyes can analyse a photo for hours if you want, while video is just superposition that moves perpetually. That's why true 2k looks so good in cinema image that are much bigger than any photograph, the first thing as it is moving so fast you cannot scan it (eyes brain) and secondly it is like those smartphone that stack image just move half or quarter pixel and a 12 mp image becomes a 36 etc. Another test is when you look a a freeze frame of a video it looks so much less detailed that when it moves. Latest image (mock up) from a true sample NR cannot show. The 16.9 screen bodes well for Nikon emphasis on video in this new Camera.

The thing is that is two separate things. A) Go on about specs- yep, but maybe that is because most of them are FORMER users of other systems (or still current multiple system users). B) Bash- no, don't think so. There are of course some in every room but I see far more people who use other brands and many who have never even tried Sony bashing Sony and often for other reasons (EG something completely unrelated to photography/videography). I also sometimes suspect it is a lot smaller group (for all brand trolls) and they just have many accounts (some on DPR have had literally hundreds) and that in some cases the worst offenders may actually be working/paid shills for their oppositions though that might be a bit too conspiracy theory.

White men are allowed to be eccentric

The ONLY modern camera that can use them in m4/3 is the Olympus EM1, EM1 mk II. And they work nearly as good as on the 4/3 cameras. They have both Contrast and Phase Detect sensors in them. The video specs are pretty limited, shooting only 30 fps at Full HD 1920 x 1080 resolution in the original one. EM1 mk II not so bad but might as well buy a GH5 for what they cost.

Nice. As far as the lens release, I find it annoying too at times. I always palm the camera with my left hand and hit the button with my middle finger while holding helens with my right hand. Then I flip the camera over so the sensor is facing the ground to try and avoid dust entering while swapping lenses. A few times I've unknowingly bumped the button while carrying the camera and when I went to shoot the lens rotated a bit, scaring the bejeezus out of me. Fortunately I never dropped a lens, but putting the lens release on the grip side with so little space is stupid. Vietnam is really dusty, Cambodia and Myanmar were even worse - my rocket blower got a lot of use there and in many other places. My Fuji lenses inhaled a lot of dust. The sensor gel stick came in handy a few times. Chris

Totally agree with @Anaconda_ - assuming you can get things in focus then go with the better codec. Of course, you should make sure that whatever camera you get fulfils all your needs in terms of lenses, battery life, IBIS, and everything else. Codec is great but there's more to a camera than just that. You should also be aware of how good the A7III images are - @jonpais has shared some lovely ones here.

Yeah but 51,200 ISO is like 12,800 on most cameras, and 12,800 is like 3200 ISO on most cameras. That is the reason you buy a Sony A7.. is to be able to shoot high and not have to use f0.95 to get it. I don't see that as a negative. I see it as a plus in this test! It shows what it can do when you need it to do it. I can't think of any other camera brand you could get that shot with handheld. The A7 mk III is a game changer for the money, actually for any money. Your welcome!

Seriously? I get that you're not American, but you don't appear to know what a redneck is. I can tell you its not a city kid that grew up in Alaska, has traveled the world and is halfway to a masters in strategic communications. Because that's me. Educate yourself before lobbing petty insults. This is the way you treat people that bought pro color? Cheers Chris

Any environmentalist worth his/her salt would immediately point out to his dislike of public transportation. His vision is the same car-centric gridlocked cities, but with electric vehicles. So, I wish him a lot of success, but the is not a true visionary, just a capitalist that is driving the current trends. He also has made some ridicules comments regarding media, which is worrisome. Tesla is a bit like Sony - very innovative, but once the established forces pick up on the tech, they will drown it out simply with their manufacturing might and retail presence.

My experience too. You get reasonable DR, reasonable latitude to push files and colors and you can shoot down to iso125 which makes switching between stills and video a breeze.

Well I guess that is another reason Smartphones are so damn popular. You have to admit, other than at night in dark areas, it is pretty damn hard to screw them up output wise, whether it is photos or videos. And even editing in iMovie is not super difficult. Now is it Filmic looking as hell, well probably not. But I don't think 4k and higher can even look filmic unless you are intentionally trying to make it look that way. Even Arri spent years to get 4K with the ALEXA SXT Plus to "look" like Film. And I think the original Arri Alexa Classic at "Only 2.8K" looked better, Creamier. The Alexa XT at 3.2K ehh was not so bad either LoL. So heck I don't know what the answer is to be honest. We on here, well a lot on here, are trying to be a one man band, or at least doing stuff on the side if you work for a business that is into video. And it is nearly impossible to be good, let alone great at all aspects of video. That is why there is 200 people or more that work on a big time movie. They are all pretty damn good at their One specialty. And even then it takes them weeks, months to do it. How are we as a single person going to whip out some masterpiece in a week that is a Classic? Ain't happening I guess LoL. I would argue that post production is Way more important on average than shooting the footage, other than Audio. And who is great at that other than you know who on here. ? And how many of us are great in post production? I bet it is a damn small number. Nearly an impossible task to be honest.?

A bit of both. Moving towards more motion stuff like live broadcast of things around events like press conferences and build up around the stadiums pre match. Also some sports film shorts. A lot of time is going to be taken up with product development as well as soon as the Blackmagic camera is released and I've just finished a Leica version which will need some manufacturing setup etc Also some tedious corporate structure stuff as Brexit will make it too painful to be doing stuff from outside the EU. It's utterly weird that you mention Olive oil production as last night we were on a long car journey and were discussing how the hell the economics stack up regarding number of trees and stuff !!

@BTM_Pix my first 360°

Interesting! Completely different field? After almost 20 years of work, I am moving to other fields as well, producing high quality olive oil for starters; have some ideas about eco-tourism as well. In this very limited market having a "career" is wishful thinking, and the working conditions are getting worst every year. The last couple of years I am doing some photo jobs while I was 100% against for the bigger part of my career. NX1 being a complete hybrid was a decisive factor as well.

Or, we could dispense with the disco lights and just look at it's on board screen It will have a guaranteed minimum of two silly design flaws unfortunately. It's how I roll. No, I don't think you're either of those for wanting that capability. Just trying to consider a way to keep that option in the scope of something compact and cheap. I have a couple of ideas that could keep it sensible that I'll look at.

I don't have a DeckLink card for the Grading Monitor yet, but will certainly get one soon. Screenshot attached of 4k + 1080 monitors for User Interface. All UI screens should run off the one graphics card. For GPU I meant memory as big as possible on it, not the card. Although having said that the 1070Ti and 1080 seem to only be $80 difference here in NZ atm so 1080 I guess. Bound to be new cards just about to come out.

It's about the vertigo effect though. That's way more pronouned if you do it optically (changing the actual physical properties) rather than faking it.

Thank you for your kind consideration of us potentially being tracked. ?

Well yes and no. Assuming that the 'pro' is a 1 inch 20mp sensor that shoots 4k (8mp), it is quite possible that you can zoom 1.4x digitally without any loss is resolution. If you shoot in 4k and zoom in post you are reducing the resolution.

Duh?

Totally agree. The current (small) batteries give flexibility to those who want a smaller setup - carrying batteries in a pocket or bag is much nicer than the weight being on the camera if you're carrying the camera around. If you want the extra battery capacity and don't care about size then external power options are available. For all of the talk of it not being a 'pocket camera', which essentially comes down to how large your pockets are(!) no-one would argue that size differences don't matter, otherwise we'd all be making travel films with old-second-hand cinema cameras!! Yes. I looked for such a thing and found the WD ones that backup SD cards, as well as some with USB ports, but I could never get a straight answer if a CFast card reader would work so never bought one. Plus it annoyed me that I had to buy it integrated to a HDD - modular is better. Even if you have a laptop, if you're out in the dust then you'd probably leave the laptop in the hotel safe and take this kind of device out into the field for user throughout the day. I've looked for this in the context of my family and travel videos, but my dad (who used to be in IT and is now retired) also asked me about such a device for downloading the footage from the SD card in his dashcam for his 4WD trips, so I think there's a market both inside and out of the film industry. This sounds excellent - having something with flexible connections would be great. If you can make it so it connects almost any type of storage to any type of HDD and can be powered by anything (USB is my preference, but I would also imagine that Sony MPF(?) batteries or the DC power sockets from those huge external batteries might also be useful for some) then that would really hit the nail on the head. Make it work in rain, dust, the heat / cold, and other tough conditions, and have a screen/LEDs that are easily visible in bright light and you'd have a winner. "It's the device that copies your data from the cards you have to the storage you have with the power you have in the conditions you're in" would be all the sales pitch I'd need to buy one. Usually an option for verifying the data after the copy should suffice (from a technical standpoint at least). It would take more battery life for sure, but would be a level of protection good enough for most. I'm assuming that if you're making sure that you're detecting read errors, write errors, and verifying the data then it would be trustworthy. This would be a pretty good user experience for me: You connect it to power and the POWER led lights up You connect a card and the CARD light turns on green (or red if there's an error) You connect a drive and the DRIVE light turns on green (or red if there's an error) You press the copy button and the COPYING light turns on and starts blinking (Maybe the COPYING light turns a different colour if it detects an error?? eg, orange blinking) It finishes the copy and unmounts the drives and then the COPY COMPLETE light goes green for "no errors" or "copy verified ok", or amber for "errors detected but copy completed", or red for "copy failed" If it had this level of communication I'd be fine with it. You'd probably need to build in some kind of recovery mode if a copy is interrupted and you reset it and try again. This is absolutely a device I would buy if it does what you have described and doesn't have any silly design flaws.

Because you're moving into different areas, or because you're going into semi-retirement? Pros are targeted because: 1) test bed for high end features which later on trickle down to consumers 2) margins are higher on pro gear than on consumer gear 3)because they're trophies for brands, which is good marketing to consumers, "use the camera they use at the Olympics"

Looks good. Just sold my D750 last night ¯\_(ツ)_/¯

Trying to view all purchases through the lens of a business decision helps to keep mildly in check my wildly out of control G.A.S. Interesting, I'd never thought of this consequence of press photographers being laid off (replaced by agencies) until you brought it up.

That would make a damn nice kit. You see this @mercer

I haven't had the a7III for very long, but HLG seems to offer all the DR benefits of SLOG without the headaches. There's an amazing amount of latitude in HLG files, it responds well to pushing the colors around, and it seems to have more detail as well. Chris

Go to page 14. http://documents.blackmagicdesign.com/DaVinciResolve/20170818-d861a7/DaVinci_Resolve_14_Configuration_Guide.pdf

USB interface so can take a regular CF/SD/MicroSD reader as well. CFast and SSD is USB3 interface so it will be fast enough to dump the card before you fill the next one. Power will be USB so capacity is variable. I already have this done for SD backups but it will need porting to different hardware to support the extra grunt needed for fast transfer of CFast

Haha, don't be, every year is rock bottom and sky high - never in between. Although what i'm about to say might be completely contradictory..... I'm actually now seriously considering being extra more patient and going for the Kinefinity Mavo as A cam and the BMPCC 4k as B-cam (I have cheeky pre-orders down for both). My reason? I'm positioning my work more higher end than it is now, and emotively, I much much much prefer the images these cameras (will) produce. Also, now I'm having to re-purpose everything on social, I've found the true power of not making them look like shit online is down-converting from higher resolutions (as a lot of my work is shot higher than 50fps and slowed down). Also having to constantly insanely crop and zoom for picky clients. So I may just work more jobs, save some more cash, be patient and go for it.

I think it is a heroic leap of logic to conflate 'Samsung may well be producing a FF BSI CMOS sensor' to the likelihood they well re-enter the digital ILC market. Producing high end CMOS sensor for dedicated ILC cameras makes a lot of sense, becoming a digital ILC camera manufacturer (again!) doesnt. According to Thom Hogan there are precisely three manufacturers of large CMOS image sensors for dedicated digital cameras - Sony, Canon and Tower Jazz. http://www.dslrbodies.com/newsviews/nikon-2017-news/july-2017-nikon-news/confirmation-bias-and-image.html Once you rule out Canon (in-house, pretty ancient tech) and (at the moment) Towerjazz (busy upgrading Panasonic plants) you are left with Sony. Forget Renasys (acquired by Sony) or Toshiba (acquired by Sony) or Aptina (acquired by ON Semi) or Panasonic (acquired by Tower Jazz). Making large CMOS image sensors isnt easy - from what I remember you get something like 20 FF sensors, 100 M43 sensors or 1000 smartphone sensors on a 300mm wafer - which makes yields tricky the larger you go. I very much doubt that any camera manufacturer is enamored about buying their sensors from 'Sony' who is pretty much the most aggressive competitor in 'their' space. (Nikon appears to be looking towards Towerjazz but that is a year or two away.) Panasonic/Olympus seems to be working on Sony crumbs (is it really their choice to not have ospdaf?). So for a major very high tech player like Samsung to come in and offer large sized CMOS image sensors makes a lot of sense for Samsung and would likely be welcomed with open arms by pretty much every dedicated camera manufacturer (apart from Sony).

I have Intel i7-8700K (6/12 core), 32GB, 64bit Win 10 Pro, 6GB 780GTX and it is fantastic. So fast it is ridiculous. Acceleration is in the paid version. Currently I run a 4k 27" as main monitor off that video card and I have a 1080 screen running off the onboard video. Spyder5 colour dongle thing. I have the waveforms up on the 1080 screen. It does not span screens like Premiere, there is a little extra video card one can get from BlackMagic to enable an extra monitor screen for monitoring the programme full screen. Resolve is super stable, unlike Premiere. It includes default functions that seem identical to expensive plugins: Neat Video noise reduction, Mercalli stabilisation, Flicker Free. My recent try at running Premiere on brand new machines resulted in them crashing every 5 minutes or less. It is horrible. edit: go single gpu and as high memory as you can go on it. 8 or 11 seems the thing now. There is a small gain if doing 8k footage on dual GPU otherwise it actually slows things down just a little from single.

Note 9 looked better than whatever Canon shit he was using to film the intro. Is it just me or has he gone back to Canon from the Panasonic GH5 and Sony stuff? I've noticed a huge drop in VLOG image quality since the 6D Mk II came out and he reviewed it.

Please explain/articulate what you mean by more! The believe that 8bit is better, is confirmation bias tricking your mind. The various color profiles (ignoring v-logl for a moment) by nature don't change the amount of color that ends up in the footage, they change how the the color captured by the sensor is transformed. A given color is made brighter or darker, shifted towards red or green etc. Your eyes can't even discern the difference between two similar shades of 8 bit color, let alone 10 bit. You can verify this your self, by going into any 8 bit editor, like paint, or photoshop, etc. Draw a big box on the screen, and fillet it with one color say pure red (255,0,0). Mask of half the box so it stays pure red, and then make the other un-masked side (254,0,0). You will not be able to tell the difference between the 2 shades. keep dropping down from 254, to 253, 252 etc until you are sure you can see the line where the color changes. If you can tell the difference between 245 and 255 then you need a 10 shade spread to see a color difference. Now you need to realize that in 10 bit that becomes a 40 shade spread. Your ability to discern the difference gets worse with age, and it can also be skewed for a given color if you have any kind of color blindness. Dynamic range is a similar affair, the gh5 sensor is capable of a little over 12 stops at base iso. Your eyes are only capable of 10 stops, and again it can get worse with age and various medical conditions. Your getting beat up because you analysis reads as someone who has a serious lack of understanding about bit depth, chroma sub sampling, and their benefits or lack of, when it comes to video production. it a similar thing when it comes to codecs. Right out of any camera 10 bit isn't inherently better than 8 bit, 4:2:2 isn't better than 4:2:0 either. Higher bit depths and higher chroma sub-sampling are only really beneficial if you are going to push the footage around in post. higher bit depth and chroma sub-sampling can be pushed farther before the footage falls apart. This is important when it comes to major motion pictures and the like, because what comes out of the camera is usually drastically different to what ends up on the screen. Codecs are the same, Noe one codec is inherently better than another by default. Prores or dnxhr isn't better than h.264. or h.265, or any of the other million codecs out there. They each have their pros and cons, and what is best is very situation specific. It sounds like you are confusing dynamic range with bit depth.

Totally disagree. The GH5 is possibly the best value proposition video camera out there. Its overpriced and oversized for an m43 photography camera but that's why they have the GX and other lines.

The big advantage of a high resolution sensor is that it gives you a lot of flexibility to crop. Essentially with an A7riii you have 42mp FF, 18mp APS-C and 11mp M43 all wrapped up in one. Makes your lenses very versatile.

I think Panasonic and Olympus both shot themselves in the foot with the pricing of the GH5, GH5s , and Oly with the EM1 mk II. That is crazy money for a m4/3 camera. Especially with the Sony A7 mk III now and the BM PK4 coming out. They have done screwed up as they say. The Genie is out of the bottle and no way to put it back in. And now Canon and Nikon both are going to have to have a FF mirrorless in the 2000 dollar range, and not some piece of crap one either. There really isn't a whole lot the A7 mk III can't do that even Nikon or Canon will have on their top end ones. What the hell is left out that the average person needs other than high MP for photos. And that is really over rated in this day and age anyways. Nobody prints anymore anyways. From Imaging - Resource "Sony A7 III Print Quality Excellent, high-quality prints up to at least 30 x 40 inches up to ISO 800; Very good prints up to 13 x 19 inches at ISO 6400; Usable 5 x 7 inch print at ISO 51,200." Hell that is a print as big as most peoples LCD TV!