Andrew Reid

I am sure he is a Russian bot of some kind, out to divide us

I can see in-camera gimbals making a revolution at some point. Sod camcorders

Camcorders a bit off topic so let's stick to the OSMO RAW.
If there was a way to read the SSD directly and bypass the slow Cinelight app, I'd buy one. But I cannot wait hours and hours to transcode 512GB footage, before being able to pick it up and shoot again. It'd kill the practicality of it. You could be setting up and balancing a Ronin S in 10 minutes.
The size and weight still attract me to the OSMO though.
Yes the X5S is the one with the 20MP GH5 sensor in it, 5.2K RAW. DJI promised a ProRes RAW codec for that but haven't delivered the firmware update yet. Seems to be delayed. The OSMO handle with X5S and ProRes would be a clear step up but the older X5R is so cheap now!! This was nearly £4k when it came out and now it is £1200, although it's not clear if that includes the £600+ 512GB propriety SSD. I need to ask the seller.
PS - X5R has 25ms rolling shutter, which isn't ideal. X5S is more like 14ms, like GH5.

Fro Knows Cocktails.

Why the fuck are you still shooting 1080p in 2018 when you can edit 4K and export to 1080p?

@Andrew Reid I wish you could convince the guys at Magic Lantern to do something for the Panasonic Cameras too. Maybe any super compressed RAW like BRAW, or some 10-bit codec on cameras apart from the GH line but with more dynamic range than the VLog (which isn't really pushing it enough).
I wonder if Cineform can be installed on Panasonic Cameras since it claims to be Open Source now. Also the compression ratio is huge, going all the way till10:1 and possibly Beyond ("10:1 and 4:1 are typical, greater ranges are possible"). Also the range of codecs that can be encoded in the 10-bit wrapper is amazing (including a 16-bit 4-2-2 one).
Maybe that will help push up the curiosity for Panasonic Cameras like the GH2 hack did, at its peak. 
 
PS: A certain middle eastern connoisseur and master of technology (and of financial sleight of hand of the most ingenious type) seems to be looking forward the Canon R ML Hack ???

X-T1 (2014)

X-T3 (2018)

Roll on 2022

Fro Knows Cocktails.

fun in the sun

Your Pocket 4K advertising is getting more subliminal. Well done.

Unless a YouTuber or any kind of reviewer is an absolute expert at grading they shouldn't bother.
Otherwise we get to review their grading and not the performance of the camera.
99% of the videos out there so far on the Pocket 4K have taught me absolutely nothing about how good the image is vs the LOG shooting cameras like the GH5. What I want to see is the absolute data in the files, how much you can pull it around, the noise, the dynamic range and then with an expert grade on both to bring them as close together as possible, what inherent advantages in colour science do we see from the Blackmagic codec vs the others.
Of course if Blackmagic had been paying attention to EOSHD for the past 4 years, they'd have realised that I would have done all that out of my own enthusiasm and free time for this camera, and their customers would probably be very happy to see how it does performance wise, but instead we have a load of hacks and PR stunts with the camera. It's sad to see.
My friendly advice to Blackmagic, with beer in hand, healthy respect and no personal grudge is simply this...
- Quit the long lead-time situation from NAB to shipping. It's infuriating to be teased. Do the marketing from the moment you have the camera finished and manufactured in large quantities and not a moment earlier.
- Quit sending 10's to 100's of demo units out as seeds on social media. Let your early adopting customers be the first to put the tests up. We can trust these. We don't trust the shills. If you need great looking films and material to show off the camera, you can do a lot better than looking at YouTube and Instagram subscriber numbers. There are actual top-flight Hollywood cinematographers who are interested in small cameras and a host of big names who take a natural curiosity in new gear, without being marketing shills and without the need to be paid-up or foisted a camera upon. Let their natural enthusiasm get the better of them and at least one of them will shoot.
- Put an articulated screen and an EVF on the next model. There are $400 cameras with these.
- Keep up the good work on Resolve and the codec side - it is superb.

Unless a YouTuber or any kind of reviewer is an absolute expert at grading they shouldn't bother.
Otherwise we get to review their grading and not the performance of the camera.
99% of the videos out there so far on the Pocket 4K have taught me absolutely nothing about how good the image is vs the LOG shooting cameras like the GH5. What I want to see is the absolute data in the files, how much you can pull it around, the noise, the dynamic range and then with an expert grade on both to bring them as close together as possible, what inherent advantages in colour science do we see from the Blackmagic codec vs the others.
Of course if Blackmagic had been paying attention to EOSHD for the past 4 years, they'd have realised that I would have done all that out of my own enthusiasm and free time for this camera, and their customers would probably be very happy to see how it does performance wise, but instead we have a load of hacks and PR stunts with the camera. It's sad to see.
My friendly advice to Blackmagic, with beer in hand, healthy respect and no personal grudge is simply this...
- Quit the long lead-time situation from NAB to shipping. It's infuriating to be teased. Do the marketing from the moment you have the camera finished and manufactured in large quantities and not a moment earlier.
- Quit sending 10's to 100's of demo units out as seeds on social media. Let your early adopting customers be the first to put the tests up. We can trust these. We don't trust the shills. If you need great looking films and material to show off the camera, you can do a lot better than looking at YouTube and Instagram subscriber numbers. There are actual top-flight Hollywood cinematographers who are interested in small cameras and a host of big names who take a natural curiosity in new gear, without being marketing shills and without the need to be paid-up or foisted a camera upon. Let their natural enthusiasm get the better of them and at least one of them will shoot.
- Put an articulated screen and an EVF on the next model. There are $400 cameras with these.
- Keep up the good work on Resolve and the codec side - it is superb.

Unless a YouTuber or any kind of reviewer is an absolute expert at grading they shouldn't bother.
Otherwise we get to review their grading and not the performance of the camera.
99% of the videos out there so far on the Pocket 4K have taught me absolutely nothing about how good the image is vs the LOG shooting cameras like the GH5. What I want to see is the absolute data in the files, how much you can pull it around, the noise, the dynamic range and then with an expert grade on both to bring them as close together as possible, what inherent advantages in colour science do we see from the Blackmagic codec vs the others.
Of course if Blackmagic had been paying attention to EOSHD for the past 4 years, they'd have realised that I would have done all that out of my own enthusiasm and free time for this camera, and their customers would probably be very happy to see how it does performance wise, but instead we have a load of hacks and PR stunts with the camera. It's sad to see.
My friendly advice to Blackmagic, with beer in hand, healthy respect and no personal grudge is simply this...
- Quit the long lead-time situation from NAB to shipping. It's infuriating to be teased. Do the marketing from the moment you have the camera finished and manufactured in large quantities and not a moment earlier.
- Quit sending 10's to 100's of demo units out as seeds on social media. Let your early adopting customers be the first to put the tests up. We can trust these. We don't trust the shills. If you need great looking films and material to show off the camera, you can do a lot better than looking at YouTube and Instagram subscriber numbers. There are actual top-flight Hollywood cinematographers who are interested in small cameras and a host of big names who take a natural curiosity in new gear, without being marketing shills and without the need to be paid-up or foisted a camera upon. Let their natural enthusiasm get the better of them and at least one of them will shoot.
- Put an articulated screen and an EVF on the next model. There are $400 cameras with these.
- Keep up the good work on Resolve and the codec side - it is superb.

Unless a YouTuber or any kind of reviewer is an absolute expert at grading they shouldn't bother.
Otherwise we get to review their grading and not the performance of the camera.
99% of the videos out there so far on the Pocket 4K have taught me absolutely nothing about how good the image is vs the LOG shooting cameras like the GH5. What I want to see is the absolute data in the files, how much you can pull it around, the noise, the dynamic range and then with an expert grade on both to bring them as close together as possible, what inherent advantages in colour science do we see from the Blackmagic codec vs the others.
Of course if Blackmagic had been paying attention to EOSHD for the past 4 years, they'd have realised that I would have done all that out of my own enthusiasm and free time for this camera, and their customers would probably be very happy to see how it does performance wise, but instead we have a load of hacks and PR stunts with the camera. It's sad to see.
My friendly advice to Blackmagic, with beer in hand, healthy respect and no personal grudge is simply this...
- Quit the long lead-time situation from NAB to shipping. It's infuriating to be teased. Do the marketing from the moment you have the camera finished and manufactured in large quantities and not a moment earlier.
- Quit sending 10's to 100's of demo units out as seeds on social media. Let your early adopting customers be the first to put the tests up. We can trust these. We don't trust the shills. If you need great looking films and material to show off the camera, you can do a lot better than looking at YouTube and Instagram subscriber numbers. There are actual top-flight Hollywood cinematographers who are interested in small cameras and a host of big names who take a natural curiosity in new gear, without being marketing shills and without the need to be paid-up or foisted a camera upon. Let their natural enthusiasm get the better of them and at least one of them will shoot.
- Put an articulated screen and an EVF on the next model. There are $400 cameras with these.
- Keep up the good work on Resolve and the codec side - it is superb.

The earliest initial impression I had of the EOS R was the rolling shutter. The earliest impressions I had of the Z7 was that it was nicer than my Sony A7R III in the hand, and in terms of the image, and the rolling shutter didn't stand out as anything abnormal, unlike on the EOS R. It just wasn't an issue for me. Ditto on the D850. It wasn't immediately obvious from the get go, the minute I opened the box.
So we're 10 minutes into Kai's video, out of 13 minutes and yes it seems there's a 2 second mention. So I should probably give him the benefit of the doubt. But when I watched it the first time just after release as a subscriber to his channel, I am pretty sure it wasn't in. There are such a thing as ninja edits and re-uploads. But let's be clear, I've nothing personal with Kai, he could be a nice guy, but he doesn't help our cause as customers - he doesn't give the problem any gravitas. He's not even a proper reviewer. He's an entertainer. He turns it into a positive in those few seconds of a mention, which are just soft pawing out claims to the effect of the 1080p "has an advantage" because it has less rolling shutter than 4K, 'just like that wonderful best selling 5D IV you all bought'. That's how it comes across to me. It may technically be a 'mention of rolling shutter' but it's not a mention in the sense I meant it in my article - a mention of just how BAD the rolling shutter is on this camera. He just sweeps it under the rug in less than 5 seconds in a 13 minute video and doesn't really criticise it. That's the *whole point* I was making in the article - none of them mentioned the rolling shutter in terms of it being amongst the worst on the market in 2018 and immediately OBVIOUS straight out of the box in 4K.
So whilst @jonpais is calling EOSHD "fake news" and telling me how to run the site, perhaps he should realise one thing. I am a bit disappointed by his remarks. All the squabbling on the forums over the past few months from him and the Sony fanboyism in every subject, treating some threads like his own private inbox for chats and arguments, all leave a bitter taste for me because he's a long-time member. He seems to have gone from productive posting in the early days of the forum about Panasonic, up through being rewarded by being promoted to a mod, back down to being a non-mod due to bad behaviour, and now he's cruising for a bruising or even a ban. I just find that incredibly self destructive.

Yes Canon 50mm F0.95 has mojo but that's another fragile, rare old lens and $3k. Always wanted one. I will wait until a miracle happens and I find it for £10 in a bucket.
I also like the look of the EF 50mm F1.0 but again very expensive. That one is a heavy beast as well.
And all wasted in 1.8x crop on the EOS R

I wonder if anyone will be brave enough to make a Speed Booster specifically for that 1.8x crop 4K? @Brian Caldwell 
The usual 0.71x adapters will I am sure come onto the market first, but then in 4K that will still be a 1.3x crop and not full frame.
0.60x Speed Booster would do the trick.
Then finally we have full frame 4K H.264 from Canon with Canon LOG, after so long.
Also with the flange being 20mm, that is more than E-mount, so more space for the Speed Booster optics to extend back into the mount close to the sensor.

Plus with XQD we can have 4K RAW internal.
Magic Lantern would love it on a Canon

I was an XQD virgin until the Z7 came out and now I find it hard to go back to SD. They are just so slow, fragile and cheaply made by comparison. Roll on XQD. They won't even be very much more expensive in a year or two.

Rumours sites aren't an authority on technical matters, they just identify second hand info and label it. That chipmod source just tells us the manufacturing process is Sony. Doesn't say the design is.
And made by Sony does not mean it's off the shelf Sony.
Nikon designed the sensor in the Z7, Sony fabricated it for mass production.
The sensor has Nikon IP and circuit layout, Nikon specification, Nikon micro lenses and other patented Nikon design aspects.
It has a Sony BSI manufacturing technique, on Sony mass production wafer, Sony quality control and made in numbers determined by Sony's manufacturing capacity at their factory, which isn't as high as Nikon would like because they have so many other customers. Nikon should diversify their manufacturers, but making a sensor like this is hard. You won't see a BSI sensor from Canon. It doesn't exist.

Your Pocket 4K advertising is getting more subliminal. Well done.

I wonder if anyone will be brave enough to make a Speed Booster specifically for that 1.8x crop 4K? @Brian Caldwell 
The usual 0.71x adapters will I am sure come onto the market first, but then in 4K that will still be a 1.3x crop and not full frame.
0.60x Speed Booster would do the trick.
Then finally we have full frame 4K H.264 from Canon with Canon LOG, after so long.
Also with the flange being 20mm, that is more than E-mount, so more space for the Speed Booster optics to extend back into the mount close to the sensor.

Your Pocket 4K advertising is getting more subliminal. Well done.

Can you please try installing Magic Lantern on that plane?

Haha!!!!!!!!!!!!!!!!!!
And yet they ALL still have better hair than Fro!
Which one is @Jordan Drake?