ND64

Yes, but if people are stupid enough to donate their money to rich people then that's their problem - they're idiots, but its their money. What also annoys me is when a film crowd sources & instead of saying they'll get a return on their investment, they get offered free tickets to the premiere or a walk on part - that's worse.
However, the real thing that gets my goat is when you hear all these stars saying that there aren't enough female directors. Yes it is true for film & it is a problem, but the solution isn't to give money to movie stars who haven't spent years learning their craft (no, acting in a film is not the same thing) & the end result is an average film - just compare the films of Andrea Arnold, Lynne Ramsey or Kelly Reichardt to say Angelina Jolie or Elizabeth banks. I know which ones i'll be watching!
Now the flip side, is that there are a lot of female directors working in TV dramas (not shit ones, but really good shows), so why don't they get a chance at films? The most recent example is Reed Morano, who directed the first few episodes of The Handmaid's Tale & consequently set the visual & narrative tone for the whole series - it's well worth a watch.
But, you just got to suck it up & realise that this industry isn't about what's fair....it's about who you know & how much money can be made.
 

Worked for a german short film one day, directed by the then-unexperienced daughter of a famous TV producer. A friend of mine was the production designer/set dresser/prop maker (the first being her profession), and I helped her. Everbody got paid after profits, which means nobody. Regular medium sized crew, credits ran long, including a long list of sponsors (???). The regular TV cameraman had a RED, he also worked three 12-14 hour days without payment. Well-known TV and stage actors (in part "borrowed" from the father's TV shows). Everything looked promising, but at the premiere (free buffet with champagne for the crew) I found the result rather mediocre. Couldn't tell a moral from this.
My friend also worked for Cronenbergs A Dangerous Method, and out of curiosity I volunteered to help demount the studio sets. I liked this film very much, but the actual sets were really amazing, I expected the visuals to turn out much more spectacular than they eventually were. To be more precise, I expected a much higher production value. Again, I don't know what to think of that. Both experiences were inspiring.

Fincher doesn't come to set anymore. From what I heard, literally Spacey didn't want to direct, and she said "hey, I'll do it" *cough, two paychecks*. They said sure, because there are so many people it can't really go wrong.

Haha, I learned that the hard way

Some House of Cards crew, and star Robin Wright, made a six minute short film, set in one location, shot in two days. I guess the crew volunteered their time and resources. And they still ended up crowdfunding $50,000 to make it happen. So just a bunch of millionaires not willing to put a cent of their own into a film they call a "passion project". From the stills I've seen, I have no idea where $50,000 would have gone. And it sounded like they got accepted to CANNES before they were even finished. For Wright's directorial debut. Just because it looked pretty and had a big name. (My source was an interview on Colbert, if you want to look it up, sorry for not posting it here)
How is that okay? And how far back in time to you have to go to see Sundance and Cannes as the home of brilliant films that don't fit Hollywood's bill? (Sundance appeared to be a mess this year too. Apparently Nick Offerman and Kristen Stewart are the great talents of our generation)
Let me know if I'm just being a dick, but wow

Switching from Premiere CC/Resolve to FCPX is the best decision I ever made. Over the last year I must have saved at least six months in editing and render times
(Btw, today I downloaded a 30 day trial of Capture One Pro 10. Took me about 20 minutes to realize that it's time to dump Lightroom as well. So, "Buy buy Adobe. Loved you from CS5 to CC but you have lost the mojo.")
 

Thats the IBIS price you gonna pay. Without a fixed heatsink these sensors should overheat.  

A minor segway for people who wonder why the hell anyone would shoot on nikon still: I was editing stuff from my last shoot yesterday. Interior shot exposed for the exterior sky (so there was just a tiny bit of data in the blue channel).  Flat profile on nikon d5500, as flat as possible on the gx85.  Blue skies recoverable from both shots, interior on the gx85 absolutely unrecoverable, no problems on the d5500 (and if only they had a decent codec it could be pushed much further).  I dont know how the gh5 and log will compare, but the *usable* dynamic range on the nikons is still better than I've seen in this segment.  
I love my nikon gear, I also want them to be around in 10 years time :/

I will archive your face if you don't shut up

Interesting specs, but this is the camera for the rich at 5300 Euros. The A9 II will come out in just 9 months, tumbling the price of this one. I'll just stick with my GX80... good enough for stills and video and un-matched value! Period.

They could make this beast a perfect camera with internal 10bit recording! Why Sony? WHY? 

Bitrate is 144mb/s. 
D-light and stabilization is only available in HD. 
Limitations of electronic stabilization is understandable, but I don't know why they couldn't make D-light ready for 4k. Implemented correctly, it has potential to become a must have feature in video shooting. Maybe lifting shadows of every 4k frame is tough job for its still-optimized CPU. 

Bitrate is 144mb/s. 
D-light and stabilization is only available in HD. 
Limitations of electronic stabilization is understandable, but I don't know why they couldn't make D-light ready for 4k. Implemented correctly, it has potential to become a must have feature in video shooting. Maybe lifting shadows of every 4k frame is tough job for its still-optimized CPU. 

They gain Customers because the 5D has no 1080 60fps mode?

Idk, what I believe or don't believe is personal to me. But to come onto someone's post and tell them to ditch their beliefs, on their video is... kinda shitty. Just sayin'...

It was the most 10bit article of EOSHD to date, but some people still can't notice the difference.

I too am excited about getting my hands burned by a Sony camera that's melting from recording 5 minutes of RAW.

Ehh, what Sony forgets to mention in the headline grabbing campaign is that the card is still V30 meaning the minimum sequential write speed can easily drop to 30MB/s. Even the upcoming GH5 400Mbps firmware will need V60 at least and that's far from raw. At the moment only Delkin makes V90 cards, offering a 90MB/s minimum speed.

Your eye is not trained enough. To my ears, all fighter jet engines sound same, but there are people who can hear the difference. Does it matter? I don't know. 

Your eye is not trained enough. To my ears, all fighter jet engines sound same, but there are people who can hear the difference. Does it matter? I don't know. 

Your eye is not trained enough. To my ears, all fighter jet engines sound same, but there are people who can hear the difference. Does it matter? I don't know. 

Apparently customer support budget is mostly concentrated on few markets where they feel they have more chance to grab market share, like Europe.

I have owned a few Panasonic ILCs until now (the GH2, the GH3 and the GH4 briefly). I really enjoyed using all of them. I bought all of them from my local dealer in Bombay, India, and never once had an issues with any of them. Never.
I was supposed to head to Europe at the end of last year, but the plan was shelved, and, sometime mid last year, I was without a camera. My sister happened to be in Australia in August, and I asked her to pick up a Panasonic GX85 from Australia (from Diamonds Camera Adelaide). That was a HUGE mistake. While I have bought a plethora of stuff from B&H, I have never really bought anything from Australia before.
I got the camera to India, and there were strange vertical likes (purple and pink), across the screen and viewfinder. I took it to the local service centre at New Delhi, and they didn’t even know Panasonic has a GX85 model. When I told the service centre guys, that I suspected an issue with the sensor, he claimed it was not due to the CCD sensor, but due to some circuity issues with the LCD (completely ignoring my pointing out that viewfinder also had the same issue). I got the hint that he didn’t know anything about cameras when he felt a DSLR would have a CCD sensor. Plus they didn’t spare parts, and said the whole process would take months to fix.
I then, obviously had to send it back to Adelaide all the way from New Delhi, only because the Service Centre in India was ill-equipped to handle any issues with Panasonic ILCs here (most model aren’t introduced, and the ones which are … well, their owners pray to God that they never have an issues). I wanted Diamonds Camera to change the camera with a new one, but they got it serviced instead. I got it back to India, and now, while the curious sensor issue has gone (they apparently changed the sensor itself), the camera is unable to focus at anything beyond 2 metres. Basically its like a Dud Camera. And, the service centre most likely screwed up with the sensor installation. Or the focusing needs calibration.
I have owned many pieces of equipment before, but, this must be the very first time I owned a camera for 6 months, where for the majority of the period of those 6 months it didn’t work. And, to think of it, I was planning to pick up 2 Panasonic GH5s for my future work.

I don’t know how Panasonic can have such lousy Quality Control, and even worse after sales. Maybe that is why almost Nobody in India uses a Panasonic. Almost everyone uses a Canon, Nikon or more recently Sony. First, most of their models never get introduced here. And the ones that are, mysteriously, cannot be serviced.
In all fairness to Diamonds Cameras, they have asked me to send it back to Australia, for replacement with a new camera, and they have also been gracious enough to say that they will cover the to and fro expenses of the international courier. The only issue is now that I have had such a terrible experience with Panasonic, that I almost certain I won’t be touching another Panasonic Camera with a 10 foot barge pole. Also, that the International Courier will keep the camera in transit for atleast 4 weeks, if not longer.
 

Take us with you to new server
Take us with you to the stars
Take us with you to the heaven
 
 

As much as I want to believe, there is something wrong here. I am not sure if it sample variation or measurement error, but this is the first example that there is such a big difference between DXOMark and the tests by DPReview.