sanveer

Since one of the stated reasons for documenting the journey was accountability, how did your first night of shooting go?

Reasonably well thanks - will write it up soon!

Magic Lantern, how about 12-bit RAW on the Panasonic Cameras 😉
 

Script and partial shortlist written. Ready for action tomorrow night when wife is out, so hopefully no interruptions!

Half of the shots in this video I shot are in 8-bit rec709 but graded in post.  Learn your gear and 8 bit is just fine.
 

All good points, but perhaps most significantly, it has a cooling fan.....  in something approaching the size of an action camera.

Sony, etc, have no excuses.

Ha!  You have a point, but that was when 4K was cutting edge.  Do any current Sony bodies without IBIS overheat in 4K mode?  
 
At least in the case of the R5, the heat management is a little bit improved, but also Canon just stopped doing stupid things like having a hard-coded cooldown timer instead of basing it on actual temperatures.  That should probably set some sort of record for dumbest decision made in the development made in a modern camera.

Sonys were overheating well before IBIS became a thing 🤣🤣🤣
Also the kind of Card used, sensor and body size, heatsinks used, processors used, body type etc should decide how much a camera overheats. Some Canons have improved heat management after firmware updates. 

Actually, I take back my comments that overheating testing is incomprehensible, because I found this.... (linked to timestamp)
...and in case you don't want to hit play, the BM Micro Studio Camera was used to film inside the race car of a 24 hour race in Daytona, and:
it was being powered from the car it was recording 4K to a 4TB SSD in BRAW 8:1 it recorded for 24 hours straight with no overheating and no dropped frames the average temp in the car was 120F / 48C the suspension in a race car is stiff and shaking the camera too Just goes to show - all these huge cameras that overheat in air-conditioning are just flat-out design failures.

I legitimately think that the consumers will eventually abandon any manufacturer that tries this. And, if they all try it together, I see a mass revolt against new models and perhaps even a movement to “older” cameras. 

No thank you.
I have very few subs to anything and even for my Adobe suite, massive annual discount because of someone I know, (sorry, cannot pass you their details!) and if I did not have that discount, would be using something else.
I recently cancelled my annual Musicbed sub and switched to Audio as it’s about 10x cheaper and for the types of tracks I use, a no-brainer.
Otherwise Netflix and AppleTV but that’s it for monthly or annual subs.
Re. some stuff, if I am not buying it outright, I expect to pay a sub such as Netflix, but having to pay for firmware often with stated or unstated bug fixes? More than a bit unethical and grasping IMO.

Indeed.
It's a pity that reality doesn't fit in a sound-byte.

There’s talk in the camera industry of introducing a subscription model for firmware updates, with Sony being one of the companies believed to be considering this as an option for larger updates in the future. Currently, Sony is planning an A7S III update in the coming weeks with DCI 4K and content authenticity ID, but major updates have been few and far between for a camera released nearly 4 years ago.
https://www.eoshd.com/news/firmware-updates-could-become-subscription-model-under-new-plans/

I have known for ages literally everyone is running around completely blind on this planet.
Deaf as well, by the way.

Looks like the reviewer has an extra finger on his right hand.
Elon is suing open AI for changing their mission from non-profit / open source to for-profit / closed source and to stop Microsoft from licensing AGI from OpenAI...
 

I also read that Sony was fabbing their new sensors at TSMC, so its most likely a matter of patents, and not so much anything else.
These kind of monopolies, in general are bad. I suspect that they are among the reasons for the downfall of many companies that rely on such sensor makers, who restrict patent use (remember the debate, for the longest, that suspected that Panasonic was restricted in its access to PDAF, since it made video powehouses, and that's why we had the terrible Depth-from-Defocus (DFD), for the longest).
 

A few years ago, Nikon was talking about a 1inch sensor they developed which was absolutely class leading. Wat above and beyond anything else in the 1inch sensor space, and better than many FullFrame sensors. And then, like the mythical Organic Sensor of Panasonic, it vanished into thin air.
Sony seems to be the RED of the Image Sensor world. I am guessing they have way too many patents regarding sensors, and they and a few others prevent anyone else from creating something absolutely crazy.
I mentioned this, because its curious how such promising sensors, that should be in modern cinema cameras, never really come to fruition. RED has been bullying the industry on RAW video, and a few others on sensor and hardware development? 
 
https://nikonrumors.com/2021/02/17/nikon-announced-the-development-of-a-new-1-inch-17-84mp-stacked-cmos-4k-1000-fps-sensor.aspx/
 

At least all the armchair camera engineers go quiet for a while

Patents expire after 20 years.
The basic "internal compressed RAW" patent expires in april 2028. Or the end of the same year, I'm not sure.
In any case "the patent" only has four years to go.
https://www.timeanddate.com/countdown/to?msg=RED.com RAW patents expire&p0=840&ud=2&year=2028&month=4&day=11&hour=0&min=0&sec=0&fromtheme=party

Redcode RAW was initially implemented in the early 2010s, but the filing was December 28th 2007. I imagine the patent will only last a few more years. This must have also played a role in the acquisition. Nikon will have a very short window to leverage it.

I also read that Sony was fabbing their new sensors at TSMC, so its most likely a matter of patents, and not so much anything else.
These kind of monopolies, in general are bad. I suspect that they are among the reasons for the downfall of many companies that rely on such sensor makers, who restrict patent use (remember the debate, for the longest, that suspected that Panasonic was restricted in its access to PDAF, since it made video powehouses, and that's why we had the terrible Depth-from-Defocus (DFD), for the longest).
 

This is actually a great point. Maybe Nikon hopes to have more leverage in sensor negotiations with Sony or anyone else.

I think I know the reason, why Nikon bought Red. I'm very sure they did it just to piss this guy off. He sounds like someone just cut his mullet off. 😊 I like Mike. But seeing and especially hearing him was hillarious. "I am pissed."😂 He just bought an Epic btw.
 

I believe the issue with RED was that many of their high end cameras weren't as reliable as their Sony and Arri counterparts. That's probably one reason for them not absolutely dominating the market despite their early entry. That along with exaggerated figures on dynamic range, shady proprietary hardware including storage which wasn't proprietary, and some other rubbish which made them almost seem shady to many.
Nikon started early with video on a DSLR, and also 4K, but they didn't really pursue the cinema dream. Most of their video efforts seemed half hearted, and they didn't seem interested in creating some seriously competitive cinema cameras, unlike Canon which has explored it in many different ways. Also, Sony has been slowpy eating into almost everyone else markets, from consumer, to prosumer and then the high end cinema market. Nikon has probably wanting to be part of the cinema market (hybrids as well as true cinema cameras), and that's why they got Pico RAW video, among some other cinema features. Though they never really created anything that sedmed like a cinema camera.
RED has provided it ammunition to harass all competition, based on RED's shady patent, and they can go on a kicking rampage while the patent lasts. By which time, hopefully Nikon does make a few worthy Hybrids, and some real cinema cameras.
RED will have better supply chair, much better reliability, faster abd better customer care, superb autofocus, and improved hardware too. Plus they could get great mainstream sensors at much lesser.
The only thing worth buying in RED is its Illegal right to prevent the  competition from having compressed RAW. I wonder if that's enough for Nikon to buy it, unless it was sold at a throwaway price. 

Unless it had the original Cinema DNG ratios that Blackmagic Cameras had (3:1 5:1 8:1 12:1). Despite the huge compressions, those should still be superior to H.264 and H.265 based codecs.