ntblowz

What a bunch of nonsense. You think you know me but you don't know shit. I'm probably one of the most brand agnostic persons around here.
While I have my preferences when it comes to camera companies for various subjective reasons, I started photography on Nikon equipment and still shoot film with them. Did a lot of work on the D750. I was one of the first here to go all-in the Fuji hybrid revolution with XT2. My favorite camera is my Leica M9P. I've owned the A7S2 and I also currently own a Sony FS7, my professional workhorse. Finally I won't hesitate to rent a RED/ARRI or whatever if budget/crew allows it. Oh and I won't even go into lens manufacturers.
So you see trying to pigeonhole me as a Canon fanboy is pretty ridiculous. Its not cuz I enjoy a particular camera, that I hate others.
I stand by my word about EOS R. As flawed as it may seem, for my personal usage its a great hybrid. 
Laugh all you want.. IDGAF. I work within camera systems. The body is only one element..
That said, I never stated EOS R was perfect or better than any other camera. I only defended it against attacks of those that thought it was a useless POS. Most of whom never even picked one up.
And that's one thing I don't understand in these forums is people talking shit about gear they have never touched or have any intention of using. That to me is true fanboyism. 
Cuz see you're attacking me for a camera I appreciate. It's so stupid man. 
Doesn't make me a Fanboy. It does however make you look like a Hater.

E-mount is pretty shallow too and they still have physical ND on FS5/FS7

https://ymcinema.com/2020/04/27/kinefinity-mavo-edge-8k-cinema-camera-announced-large-format-and-prores-raw-inside-a-carbon-fiber-body/

Niiiiice, is this the first cinema camera outside Sony with an e-ND?

Did you forget the 1Dx mark 2 came before the GH5???
By a full year.

2012 Canon - "here, have this soft 1080p"
2013 Canon - "here, have even worse soft 1080p"
2014 Canon - "here, have some moire"
2015 Canon - "here, we've got some 1080p"
2016 Canon - "the 1080p is now more expensive"
2017 Canon - "4K has arrived. It is MJPEG with a huge crop"
2018 Canon - "the 4K still has a huge crop"
2019 Canon - "I don't think we will ever give you proper 4K"
2020 Canon - "Here, have this 8K full frame RAW and 4K 120fps 10bit H.265"

The ND adapter is a god send, and better quality than most screw on ND too in terms of reflection and loss of contrast when shooting backlight situation.

Here are the right GIFs

Maybe they never thought Canon would give them what they actually wanted and not what they settled for in the R?
It definitely upsets the current state of the camera industry. Sony is the only real competitor as far as AF performance goes so it seems like the industry is going to converge around these two brands with Fuji filling in the rest.
Not really sure what Panasonic is going to do as they no longer have the resolution and FPS advantage anymore that they’ve had with the GH5 and S1H with 4K60 in MFT and now FF. In addition, 8K is, at the moment, a hard wall. Going higher becomes exponentially more impractical.
Resolutions 8K and higher become increasingly more specialized (360, volumetric imaging, sports broadcasting) and make less and less sense for consumer consumption and capture.
Thats leaves Panasonic Lumix brand in a tough position. They need to deliver trustworthy AF as good as DPAF with the best Varicam color science and high dynamic range to survive in the coming market.

Consider when R came out most of the critique is on the lackluster video feature..
And now photographers are criticizing Canon for not releasing still spec.
Either way people just gonna critique no matter what.

It's even more than that - RED's patents cover any form of compressed RAW video, including externally recorded RAW. Atomos pays major $$ to RED for being able to put (compressed) ProRes RAW into its recorders:
https://www.atomos.com/press-releases/atomos-and-red-are-pleased-to-announce-a-royalty-based-licence-agreement

Terrible promos. Who asks for this?

Some C300 III  4k 120fps sections in here
 

The result from newshooter said otherwise, but they shoot in raw not compressed like C5D do.
C500 ii is very noisy in the shadow area vs c300 iii with DSG.
 

Which means only Canon camera can have internal compressed RAW, all other will have to go external to bypass RED patent.  Even Blackmagic have to remove cdng format due to this.
 
So yeah this is what a bogus patent do to the whole industry.

They did - patent exchange/cross-licensing. This is why the RED Komodo will have an RF mount and phase-detection autofocus.

Read the full article
Above you can see an advert for RAW on the S1H shot in my home town of Manchester. Coincidentally these streets were where I shot with the Panasonic GH1 for the first time. I have fond memories of 10 years ago in the months leading up to EOSHD's first blog post, taking my GH1 out on the same streets as featured in the Atomos video. Always great to see how cinematic the city is.
Now at the start of yet another decade, Panasonic is upping image quality again with HDMI RAW on the S1H. What makes this implementation of RAW unique is that it has an anamorphic RAW mode. The Canon EOS R5, 1D Mk III, Sigma Fp and Nikon Z6 aren't anamorphic enabled in RAW mode.
The Panasonic RAW firmware update will be available here for the Panasonic S1H on 25th May 2020.
The Atomos Ninja V is usually $649 but B&H currently has it on sale at $499 here.

The place where I got my EOS R from already have pre-production R5!

When you posted this yesterday, I'd have mostly agreed with you!

"The FX9 will prove to be more popular than the C500mk2"

The C500mk2 is priced too high above the FX9, and the C500m2 won't be stealing many jobs away from the high end ARRI. 

This is the problem, you've got the likes of the FS7 which is "good enough" to get the typical run of the mill professional job done (corporate / reality tv / doco / etc) and you've got the premium high end. Anything in between is a tough spot to live. 

This is why the C500mk2 won't be a big smash hit, it is too much more expensive than the FX9. This factor might even prevent the FX9 from being a smash hit. Is better AF, FF, built in TC, etc in the FX9 enough to justify the higher cost of a FX9 over the cheapie FS7 which still "gets the job done"?

I'm skeptical. 

This isn't just a problem with cinema cameras, this problem of a weak middle ground inflicts a range of other products. For instance with audio wireless you have:
1) the entry level wireless which is "good enough" to just get the job done for videographers/cameramen/students, such as Sennheiser G4 / Sony UWP-D21 / Deity Connect
2) you have the high end premium gear used by audio professionals, Wisycom/Zaxcom/AudioLtd/Lectrosonics
What is there in between these two? The middle ground doesn't exist! If I want to buy good wireless that is cheaper than the latest cutting edge gear then basically my only option is to buy the cutting edge gear from the previous generation (a Lectro SMQV from ebay instead of a new Lectro SMDWB).



Of course, when discussing if FX9 will take the throne we need to also address the big elephant in the room which has arrived since yesterday:

Canon C300mk3. That's an even bigger threat to the FX9 taking the throne as the #1 cinema camera for low budget pro projects. 

FX9 vs C300mk3:
Identical price. (ok ok, FX9 is one dollar less!)
Identical power draw. (35.2W vs 31W. Low power draw matters, the 63W of the C500mk2 is not a good thing when you're a solo operator)
C300mk3 has better DR
Canon has internal raw, vs Sony's external raw (need's an expensive external extension too!)
EIS with the Canon is done internally for a smooth handover to post, vs done in post for the FX9. That's a point for Canon. 
I'll give the nod slightly to Sony for having the more versatile mount, but this is no longer the massive edge Sony used to have over Canon. Where with Canon in the past you were stuck with either EF or PL once you bought it (or sometimes, interchangeable but only by Canon themselves), but Canon now offers a user swappable mount between EF or PL (plus a bonus: or positive locking EF mount!! Giving you three options). 
NDs, Sony gets the nod again with the eNDs.
AF, the FX9 has greatly improved autofocus for a Sony, but probably Canon might get the nod here. 
Likewise FX9 has greatly improved color science, but perhaps Canon might have the edge for the win here too?

Is FF alone enough to make the FX9 win over the C300mk3? I don't think so, the C300mk2 is in with a serious shot to make a claim for the #1 spot for cinema camera on low budget productions. 

In a way, this coronavirus crisis is a blessing in disguise for Canon's C300mk3

A big factor in the failure for the C300mk2 to live up to the massive smash hit success of the C300mk1 was that the C300mk2 was released too late to the market. As by that point in time the Sony FS7 had already gained a grip on the market. (of course the C300mk2's high launch price and lack of 4K 60fps didn't help! But if the C300mk2 had came out a few months before the FS7 then the C300mk2 might have prevented the FS7 from becoming a runaway success)

Is the C300mk3 going to suffer the same fate again in being too late to the game? Perhaps not, FX9 has had a slow roll out due to needing a few firmware updates. 

But additionally almost nobody has been making big camera purchases in recent weeks, and likely most will be holding off on a new camera purchase over the next few months while the dust of this economic crisis settles. Sony won't be selling too many more bodies between now and July 2020 when the C300mk3 is meant to ship. 

Normally a company having most of a year as a head start over their competition gives them enough of a good solid lead that it is an uphill battle for anybody to overcome, but not this time. As much of that time has been lost in limbo while we're trapped by the impacts of the coronavirus. Canon C300mk3 has a real shot at this.
 
  

Sony knows in the current economic climate very few people are rushing out to pre order new cameras. They won't be losing many sales by delaying their news by a few days. 

And if Sony's announcement makes less of a splash than Canon's, perhaps it is only a "big" FX9 & VENICE firmware update they're announcing, at least that news won't be drowned out by Canon's announcement and Sony will get an entire news cycle devoted just to Sony.

https://www.newsshooter.com/2020/04/21/canon-c300-mark-iii-hands-on-footage/
 
with DGO it outperform the C500 II on DR

The recent rumor posted by CanonRumors states that it will be an RF mount XC10 style body.
https://www.canonrumors.com/rf-mount-cinema-camera-in-the-works-cr2/

I hope 8K RAW will have a burst mode for 4 seconds. Why? Stills. Will be great to select the best shot from 120 frames
I can't see myself using it for video as much as 4K RAW on the EOS R6, or the sure to be lovely 10bit Canon LOG. Much more practical.
By the way Panasonic has something coming which will impress a lot of you. Stay tuned for a few more days.

In a recent interview Canon said that the EOS R5 is the 5D series equivalent for mirrorless so "normally" it shouldn't be around $3,500. Perhaps a bit more at $4k.
“It’s aimed at that level of the market. This isn’t a replacement for the 5D Mark IV or anything like that. But this is a mirrorless 5-series, it’s aimed at that segment of the market,”
  
As for the heat:
“We’ve been doing this for a while now and we’ve learnt a lot of techniques to dissipate heat on other products that we have in our lineup. For example, being able to move components around, and being able to have them further away from each other,”
“And being able to dissipate heat using different materials has been something we’ve been pretty proud of on other products. This is something we’ve learnt using both our camera and our video Cinema EOS series with that technology as well,”
“So there’s a lot of technology that we know is now coming together and giving us the ability to really step up these specifications,”
We'll see, but I also have my doubt considering that much larger C cameras have a big fan. Perhaps there will be some sort of burst recording mode. 
 

Hiya!
Some time ago I decided to complete a rather simple, but most importantly, affordable lighting setup that would be easy to carry around and to set up.
LED panels ticked all these boxes, so I started to hunt for them on a sales and local Craigslist / eBay.
This is what I managed to acquire:

I decided to gather them all up and put together a short test comparing their light output, since it was the parameter that I cared about most.
 
PART 1 - HOW MUCH LIGHT DO THEY ACTUALLY GIVE?
I put all the lights on a lighting stand, my camera on a tripod and took photos of a cabinet that was exactly 3.5 meters  (~11.5 feet) away from them.
Just what you could call 'a flood mode'. No light modifiers in front, no objects in front.
I measured both the lowest and the highest brightness settings and also took notice of white balance.
No other lights were turned on, my room was pitch black.
 
The first light I turned on was Neewer Foldable 256 that consists of 256 LED beads. Dozens of positive reviews on amazon praising its mobility and high output.

I only got it yesterday, but truth be told, I'm not really convinced by it. Doesn't feel much sturdy and I'm quite confident that if you used it on a daily basis, it wouldn't last more than a year, especially the velcro stripes.
What's more, it can only be controlled by a remote included in the package - there are no dials / knobs on the light itself, which is a pity.
This one is powered via AC adapter and can't run on any batteries.
It's rated at 40 W, which in my case translated to an exposure of:
- at the lowest setting (10%) → f/1.4 , 1/80 s, ISO 800 which, according to a smart exposure calculators, equals EV100 = 4.3; white balance - 5550K,
- at the highest setting (100%) → f/1.4 , 1/100 s, ISO 160 → EV100 = 6.9; white balance - 5600K.
 
The second light - a cheap cabinet LED bar that I consider as a poor-man's Quasar / Astera Tube.

Bought it for 4$ and features 36 LED beads. I plan to combine 3 of them together in some nicer 3D printed housing and use it as a practical light / hair light that could be put anywhere in the frame.
Runs on a USB 5V - every power bank is capable of powering it. Doesn't feature any brightness control, it's either at 0 or 100%.
With it I managed to get a following exposure:
f/1.4 , 1/80 s, ISO 2500 → EV100 = 2.6; WB - 6000K and astonishing +60 tint (don't even ask about CRI).
 
The third competitor - Neewer CN 176.

Just like the name says - it has 176 LEDs, rated at 11W. Got it for 15$ and that included a NP-F550 battery.
It's quite nice and very handy. Can be powered with a battery or an AC plug.
Results:
- at the lowest setting (10%) → f/1.4 , 1/80 s, ISO 3200 → EV100 = 2.3; WB - 5800K,
- at the highest setting (100%) → f/1.4 , 1/80 s, ISO 250 → EV100 ~ 6.0; WB - 5700K.
 
The fourth light - Yongnuo YN-300 III 5500K

The first light I ever bought. Most feature-packed, since it can be controlled with my phone via some app. The original package included an orange card, a diffusion card, a remote and a bunch of adapters, etc. Can be powered with a battery or an AC plug.
300 daylight balanced LEDs, 18W
Results:
- at the lowest setting (10%) → f/1.4 , 1/80 s, ISO 1000 → EV100 ~ 4.0; WB - 5950K
- at the highest setting (100%) → f/1.4 , 1/125 s, ISO 160 → EV100 ~ 7.33; WB - 5650K.
Quite funny - it overpowered the foldable Neewer.
 
And the last, but definitely not least - Neewer 660 Bi-color

660 LEDs; 330 are supposed to be 5600K and 330 - 3200 K; rated at 40W
The most robust build - all metal. Feels very solid and looks expensive. Bought for 60$. Can be powered with a single battery (even though it features a dual NP-F slot) or an AC plug.
Results:
- at the lowest setting, daylight LEDs only → f/1.4 , 1/80 s, ISO 1600 → EV100 - 3.6; WB - 5900K
- at the highest setting, daylight LEDs only → f/1.4 , 1/120 s, ISO 160 → EV100 ~ 7.3; WB - 5900K - funny thing, the photo looks EXACTLY the same as the previous one, no WB shift, no color shift, at all.
- at the lowest setting, tungsten LEDs only → f/1.4 , 1/80 s, ISO 1250 → EV100 - 3.6; WB - 3600K
- at the highest setting, daylight LEDs only → f/1.4 , 1/105 s, ISO 160 → EV100 - 6.9; WB - 3600K - slight tint shift
- at the highest setting, both LED types → f/1.4 , 1/220 s, ISO 160 → EV100 ~ 8.15; WB - 4600K
 
To get you an idea, how does an exposure of f/1.4 , 1/220 s, ISO 160 looks like, here is a photo taken at 8:10AM (the sun rises at 5:50 AM) with those exact parameters:

A bigger picture of this scene, taken with my phone (HDR enabled):

 
To sum up:
Neewer 660 is the brightest of the bunch followed by Yongnuo YN-300, which almost matches its bigger competitor at daylight temperature (that's quite a surprise).
I'm a bit dissapointed with the foldable Neewer - it didn't really amaze me and I find it LESS practical than any other light.
Fortunately, I bought it on Amazon and I think I'll be returning it in the next few days.
Neewer CN 176 did quite good; might serve as a nice hair light / fill light.
The LED bar didn't win any awards, but it's a different kind of a beast - I promise you, I'll make it shine some day, lol.
 
Hopefully more parts of this comparison will come.
I'll put them against some diffusion and test their color renderition.
Ideally, I'd like to get a Godox SL-60 or a Weeylite Ninja 400 150W (what a whacky name) to have some more power at disposal.
Maybe in the future..
Hope you got something out of this post.

In my case GAS intensity is usually inversely proportional to the amount of shooting I do, so the more I actually use my gear the less I want to upgrade it.
Sounds counterintuitive, but that’s the way it is.
If I’m grounded and have nothing to do, then I fantasize what piece of equipment would be nice to own, what would come in handy.
But then I just go shooting and forget about the whole ‘you-need-this’ thing.
It’s definitely in our heads and I think that by clearing our shelves,  we clear our minds of unnecessary fuss, too.
So – congrats on the decision, it’s a wise one if you feel good with yourself.
I think I’ll be letting go of one or two lenses, too..

I find that to be (broadly/roughly) true as well!

But reason I believe is simple: when I'm busy shooting, I'm literally too busy! No time to think about upgrades. 

The troubles start when I'm locked in at home, with time on my hands, and an internet connection....