ntblowz

I've been using the Meike nd adaptor for a little while now and it has been faultless, so much nicer than usual vari nd, no obvious colour change as you get to maximum nd and the 9 stops is enough here for me in the UK afternoon sun with f1.8 lenses at 800 iso. It may be a different story If you use faster lenses and live in brighter parts of the world of course...

@MrSMW BTW, in case you haven't seen a runway show's photographers pit, here is a pretty good picture of one. Words can't really describe it until you have experienced it. Every sq inch counts and I'm already on everyone's bad list when I show up with both a video camera, video tripod, and a photography camera with a Canon EF 70-200 on it.
So yes, for video, the tilt/flip screen is essential for me.
 

Disappointing and barely improved from previous models (or at all??)
Once again, people fail to understand what is actually going on here.  The problem with 360 cameras was always that by the time you crop to a FOV that doesn't look like you're on massive amounts of drugs, the image starts to fall apart with lack of resolution and compression (poor bitrate).
When you crop into the image, this 120Mbps 6144x3072@25/24fps in 360 degrees equates to:
15mm lens on FF (100.4 deg Horizontally) 1713x723 resolution (16:9) at 7.9Mbps
18mm lens on FF (90 deg Horizontally) 1536x648 resolution (16:9) at 6.3Mbps 
24mm lens on FF (73.7 deg Horizontally) 1258x530 resolution (16:9) at 4.24Mbps
Realistically, the 120Mbps is the limit, not the resolution.  A 1.2K image wouldn't be so bad in the context of a nicely graded edit if it was more than 4Mbps...  I'm waiting for a 400Mbps model - that would take that 24mm crop to something approaching 'real' camera territory (15Mbps or so).
The challenge is that these are often used in situations where things are moving a lot and really stressing the codec.

No such thing as a good luck..they just got it..next delivery unknown..this camera will be the hit of the summer!

I found a pre-ordered R7 that stayed 2 days in the shop and the owner seems reluctant to go get it (maybe he has Fuji glass!)..if that be the case for tomorrow, I may have it at the end of the week..
The adapter is included as a gift from Canon, ordered the 16mm as well and an extra battery..
The lenses are not an issue if someone has EF glass, and we all know what EF glass means for the industry, everyone has some, and I am certain there will be a lot of RF-S releases in the future and additional RF ones..
I will be starting slowly with the system and I will see where it gets me. The thing is, Canon is now relevant, which wasn't 3-4 years ago..well done Canon!

Your 18-135 have the better motor indeed with nano USM so paired with ND adapter will be very useful for video, I probably gonna use 18-35 1.8 for video work and the 18-150 for travel. I got m6 ii with 18-150 which i plan to sell once I got the r7 with 18-150. R5 with 24-240 is just a tad big/heavy for casual outting/trips for me.
R7 with IPB lite you can get away with v30 cards on 4k60p, just photos will be slower if shooting burst on uhs-1 cards. On normal IPB you do need v60 or more or camera will stop recording due to slow speed.
I have the breakthrough X4 VND drop in filter which is a lot better than Canon one with no blue colour shift between min to max ND level, that is really nice with 1.4 lens in bright daylight. ( I have to stop down with canon VND or unless you shoot day for night scene lol)
Both the 35mm and 85mm's focus speed is not as good as their EF counterpart due to their "macro" feature, but image quality is not bad. I used to have them but only have the RF 16 and 50mm left for much lighter setup. RF 16 will be nice on R7 as it becomes 25mm.  I m waiting for the RF 24mm 1.8 which is more useful for me focal length wise (becomes 38mm on R7), you can also go for the 24mm ef-s pancake for a more casual setup.

Yes I was very vocal in my criticism when the EOS R came out as well as when the overheating controversy with the R5 was just getting started...so vocal in fact that I was banned from the Canon Rumors site where apparently only blindly loyal fanboyism is allowed.
As far as the R7 goes, Gordon Lang did a great review of it in the video below. Based on the video I did pick out a few things that I really like and dislike:
Dislike - It still requires a USB-PD source to power it. This is important to me because my current V-Mount battery setup that I was able to power the C200, C70, and S5 with won't work for this camera. The R5 has the same problem. 
Likes
Batteries - It uses the same batteries as the R5 and 5DIV, so I would start off on day one with tons of useable batteries already.
Lens Compatibility - This camera could possibly be the most compatible camera Canon has ever created. It supports RF-S lenses, RF lenses, EF lenses, AND EF-S lenses, so owners will have a massive array of economical options to shoot with. Of course an adapter is needed for EF and EF-S but I don't think EF-S lenses can be used with the R5 even with the adapter but I could be wrong.
Another cool tidbit from the video is that RF-S lenses will be compatible with both crop sensor and FF RF mount cameras. 
Overheating - Gordon did not mention ambient room temps during his quick overheating test but it was still nice to see 2hrs and 20min recording at its highest 4K mode without overheating. It also has a nifty overheating tracking gauge which showed it wasn't even close. That would be nice to have in the R5.
In the video it looked like the 4K HQ mode is a massive improvement over the other modes, not sure if it was just a change in other settings in the camera that Gordon made, but to me its rare to see that big of an increase in quality when switching between different video modes in a camera body. I'm looking forward to seeing more video focused tests and especially low light tests. If this camera had dual native ISO it truly would have been great. Without it, I would be happy if it was useable up to 3200ISO.
The seamless integration between this camera and my other Canon cameras (batteries, lenses, adapters, etc.) makes this body very interesting to me.  I stick by my original statement that Canon might have accidentally created the hybrid camera we've been waiting for.
 
 

Good luck with that!  At this point I think half the people on these forums should list "Panasonic AF hater" on their CV under "Personal interests".
Besides, all it takes is a quick look around and see all the flat-earth, plandemic, moon-landing / holocaust deniers, and you realise that it's more of a miracle that anyone is remotely sensible about anything at all!

Well if the price of shit is going up that much then the stuff that comes out of Boris Johnson’s mouth might actually have some value for once.

But didn’t they said it is customised for a specific company not for consumer product? 
Plus the size of phantom 5 is too big to travel, mavic strike the perfect balance of travel and doesn’t look like toy compare to mavic air 

That's another one of those endless fake comparison videos clogging up YT. 

“Wow, these cameras are really great, with impeccable resolution, great settings. I didn't know most of them and your video updated me.”

“Great review, you have captured perfectly what was expressed, it is appreciated that you have shared it, I liked how you express yourself in your videos, congratulations..--”
 
“Thanks for the wonderful and we'll explained topic on inflammation, I have been watching your Videos and it's really excellent 👍👍👍”

Just a video I made on the two cameras. I kind of rushed this video out there. If I ever get a chance I want to do more in depth testing. It really is hard to find time to make this kind of thing.

I did really like the Komodo. I think the dynamic range difference is obvious and you are not going to make up for it by just exposing for the highlights as the komodo shadow retention is not unlimited. However I really do think RED has greatly improved their color science on the Komodo though it still doesn't match perfectly to an Alexa.

Also yes these are just straight out of camera no color transform. A lot of people aren't going to be coloring in resolve so I thought it was best to just show a comparison with the manufacturers 709 luts applied.

This is what I came up with in Resolve using the color space transform tool. ARRI on top.
 

Caveat emptor: from a dpreview poster who got to try the camera in-store...
"The thing legit locked up on me and required a battery pull five times inside of a half hour with it."
"The worse news, and why you don't see any of the reviews that lean positive about the AF actually show video results. It's as bad as ever. Pulsing and hyper actively finding faces in doorways just as bad as the XT4 did. It's like the box you see on the screen is doing something completely different than what's actually recording. At F5.6 like most the positive reviews use, it's pretty confident but holy smokes even at 2.8 with the brick this thing was all over the place."
 

More impressive than the camera (which looks great) is that XF18-120mm. Parfocal, minimal breathing, weather-sealed, and a power zoom built into the lens! Fantastic. Lenses make or break a system and Fuji just laid down the gauntlet to other manufacturers. Sony and Canon have some impressive cine options, but no lenses that are equally at home in photo and video mode. This XF18-120mm is a new breed. Panasonic have some incredible lenses in both m43 and L mount, but I sure do wish the Lumix division would work with their video division and turn some of their beautiful stills glass into cine versions. 

Seems to do quite a lot doesn't it ?
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  
 

Hello all. 
In the appraisal of small mirrorless cameras, here’s a music video I shot, DP’d, edited, graded for Dit h artist Charlotte Wessels, ex-singer of Delain. 
Shot in SLOG3 and a bit of 2. 
Lenses used were Tamron 17-28, Tamron 28-75, Sony 24-105mm, Lensbaby Sol45, 7artisans 35mm and ProMist 1/4. 
Most of the video was lit with an Aputure 600d through 8x8 white diffusion and bounce / reflectors. 
Fire scenes lit by fire light only and a 2x2 silver bounce. 
Stick around for the credits. 😊
 

Leaked photo of the 22mm f2 rf-s 
 

Markus Pix is a colorful figure and I posted one of his videos here before. Such a relaxing vibe despite the oversaturated colours in his videos. 🙂
So surfin utubs today brought me back to magic Markus.:)  I like his outgoing and the content which lies between the lines of his presentations. I might not get completely exited by his Hollywood movie "To the ends of time", but I enjoy the fact, that this multitalented vagabound has done a 35mm film, for which he storyboarded, built sets and miniatures after he fi did mattepaintings for Total Recall.
"Who am I" could also be a question to ourselves in order to realize we are much more artistic than being limited by the lack of our cameras regarding 12bit 8K 120p.
So even if Markus´ film is not the masterpiece he is a master of himself and his ambitions and visions.
By the way, Markus was outing himself as an 8bit lover in another of his vids, ranting against 10bit, log and what not. While I might not agree with him on these specifics, I do get his point which I can relate to. So that´s why the title of this thread contains the phrase "an 8bit lover tells his story".
How and who are you? 🙂
 
 
 

FULL specs, brochure images and 17 stops dynamic range sample shot
https://www.eoshd.com/news/arri-alexa-35-full-specs-brochure-images-and-17-stops-dynamic-range-sample-shot/

Somewhere, someone is asking the question, “this or the new Arri? I shoot kids sports games, cats and feature films”.

I don't know if you all have been following him on Twitter but...
ANDREW REID HAS GONE TO THE DARK SIDE AND GOTTEN A RED!
2022 just won't cease with the surprises!

I just did a musicvideo with the GH5 and S1. Guess what, GH5 was ACam.
That´s because I could rent it in a package with four batteries, Speedbooster XL, perfect cage, with rods, handle, lenssupport, the perfect mini cinema cam. Love this package. I don´t need a shoulderrig and my handheld camerawork is still fine and fitting, as I treat the camera a serious tool and I respect it. My S1 was BCam with only one battery but the spiffy FD to L-mount adapter from cieco7. I am just too stingy to invest in other extra stuff for this camera, because I am still not fond of the tilt screen mechanism, though screen and its ruggyness is fantastic.
In this video it´s both cameras together. And guess what, I love them both and would love to buy a GH6. With Prores and its creamier cinematic image, sensor readout, TC, GH- line ergos and menues it would be a no brainer for me. Putting down cameras is very different from objecting to them. But sometimes we get lost and negative about the certain lacks about in some cameras rather than concentrating on their strengths.
One general thing I would appreciate, if people become more appreciative about the mft system again! It´s a fantastic system!
I mean, a Lumix G9 or GH5, two six year old cameras, can still put out a highend image. VLog L and VLog in lit situations with that slim 150mbit 10bit codec and at blue/Golden Hour, beautiful.
And, like our friend @newfoundmass, I am a great fan of MFT and happy that our friend @webrunner5 is back, as well that I would also love our other kids to join in more again. This forum used to be about what people do with affordable gear. So if GH6 is too expensive, there is still a sub 900 dollar production work powerhouse, the GH5. @kye has been a great fan of the perfect All Intra HD. It made me happy to read about his opinion about it when he started his deep observations of the camera. 
So here is the video. Both cameras were fantastic! GH5 and VLog, both in their economic but strong 10bit 4K codecs. The performed perfectly as A and BCam, like I said GH5 was A was various reasons. Image to me is flawless with VLog L and Vlog performing beautifully in lit situation and Golden Hour, which I shot this video at. I did the directing, dp-ing, lights, editing and super quick grade. Was the typical onemanband thing. But even with a budget for a crew I might have chosen these cameras. If you are interested I could do a breakdown on lensing and cam choice in a different thread. Some dolly work included as well.
cheers
 
 
 
 
 

43rumors run any old bullshit.
Turns out battery is entirely different!


I am sure the stacked sensor is Sony manufactured and the EVF probably a Sony panel.
But beyond that seems OM Digital has custom LSI & firmware, plus many of their own parts.
Camera is assembled in Vietnam.

My friend's new GH6 just arrived!