Emanuel

That price difference is absolutely nuts.
The R5 II is objectively worse than a Z8... Not by a lot, but in terms of the overall technology under the hood, the fact it needs a fan, the lack of ProRes and the worse RAW codec, and also the worse lens mount which cannot accept adapters to Sony E-mount - and I am not sure there is a autofocusing Leica M adapter either? Or Super 16mm c-mount? So that for me, is what killed the EOS R3 vs Nikon Z9 and it is same with the new models.
Overheating times don't make for great reading either:
https://www.dpreview.com/reviews/canon-eos-r5-ii-initial-review/2
Seems like just the original R5 with a re-worked fan from the EOS R5C in terms of thermals of the processor and sensor.
And what's up with the R1 - for something that has cooked for 3 and a half years longer than a Sony a1, you'd think it would move the bar a lot higher - instead it is a reheated 1D X Mark III!
That for me is a bit of a shocker.
I was expecting something completely new and something which really put the relatively old-ish R3 and Z9 in the shade.
I guess Canon decided that sports photographers didn't want the extra file sizes of 50MP+, so they played it relatively conservatively?

I feel like there's a huge difference between fans that are part of the camera's body (where it gets hottest) and fans that are attached externally to a camera's body. I'm not saying that it won't help, just that it seems inefficient compared to putting active cooling right into the body itself. Certainly for the price I don't see why they couldn't, as I refuse to believe that the extra parts needed would significantly raise manufacturing costs. Panasonic did it for a camera that is half the cost, afterall.
 

I'll send them some angrily worded emails telling them off! 😉

I only want to know one thing: where did they hide the cripple hammer?

Over 30 Lighting Diffusions Tested

Hollywood Gaffer explains Lighting Filters and Diffusion || Julian White

Well, if so, no dreams would happen to be nor real... ; ) but loved the title for what it is not ;- )
- EAG

Yes, and they are much distinct pieces of glass despite their same focal length:
 

https://www.hollywoodreporter.com/movies/movie-reviews/the-zone-of-interest-review-jonathan-glazer-1235496467/
 
 

Slow weekend. Watched "Anatomy of a Fall" and "The Zone of Interest" on streaming back-to-back.
Both were nominated for a ton of different awards, including this year's Oscars. Now I understand why.
They are truly fantastic narratives produced in creative poles other than Hollywood.
And yet, I couldn't help but notice that BOTH films feature scenes full of mosquito-noise in the last third of the narrative. You cannot not see it.  High contrast scenes in both of them. From extreme shadows to extreme brightness in the same frame. A good amount of time of on-screen mosquito noise, not a second or two.
The director just said to the editor "fuck it, lift the shadows as much as you can and we'll show it that way, with all this digital noise. Who the hell cares".
Just saying guys. Maybe we're just too close to the trees.

This is what I like:
https://www.recordinglimits.com/sony-alpha-fx30/
: D

I'll be interested to see how the autofocusing works.
I think Panasonic's 1.8 primes are decently priced, as they are better built than their Canon and Sony counterparts, but I also don't think it'd be a bad idea to release more affordable compact primes that are more competitively priced. A third party manufacturer probably shouldn't be the ones releasing a nifty fifty in the sub $200 range when your competitors have ones.

Except for the price... ; )
AF @ 100/120fps and...
 
I don't agree at all when reviewer hints MFT is more flexible as far as glass options when you can put them directly to FX30 via MFT -> E-mount adapter but not the opposite.
How many cool manual lenses you can have at your disposal?
 
Unique control along with PZ lenses for tracking shots from several speeds, only to mention a single advantage.
Clear Image Zoom another one.
 
When people like this scriba here are used to buy the most spread lens mount option to fit the more number of different cameras as much as possible, this is also something to have in mind such as the Megadap ETZ21 adapter to couple E-mount lenses to diversify the setup towards those new Nikon camera releases without losing AF capability.
 
Other than that, better IBIS, higher resolution 5.7K @50fps and open gate recording are neat GH7 advantages.
 
That said, first contact with this guy. Loved the way he gradually answered my questions at same time I was following his clean input as every reviewer should try the best for. In my bookmarks from now on.
 
- EAG
 

I know, they are French, they do it deliberately, but not to put French subtitles on English language movies intended for English speaking audiences because it's highly distracting.
They don't put English subtitles on French language movies...
Now I don't mind subtitles on TV and watch a lot of foreign language stuff on Netflix such as stuff from Scandinavian countries, Poland, Germany and France because it's unwatchable otherwise, and dubbing, yeah, just no!

This is why log exists. We capture a dynamic range the screens can't display, then squeeze it into a rec 709 image that works for the screen and retains the detail we need for the shot
 

I feel like any of these discussions should include a link to Vincent Laforet's Reverie.  He shot that with the 5D II with the early firmware which had all sorts of limitations in video mode.  The 5D II's SOOC rec.709 had shit DR compared to a modern camera.  Reverie still looks good.  A lot of people will use a modern camera with greatly superior features and produce something that doesn't look even nearly as good.
But with that said, I suspect that if you offered Mr. Laforet a choice between most modern cameras and the 5D II, he wouldn't hesitate to take the newer camera.
 
Anyway, as far as whether DR matters, that depends entirely on the project and expectations.  Are crushed shadows and/or blown-out highlights acceptable?  For a lot of people, they are.  If so, there's no need to be concerned with it.  Will there be time to light the scene to keep things within a range that the camera can capture?  Is the footage being delivered as-is or is it being turned over to a colorist?
You can go shoot something that looks really nice with a T2i and its kit lens.  Will it match what you wanted?  Probably not.  Will it be what the director/client wanted?  Probably not.  Will it be enough to put on something like instagram?  Probably.  Are the "probably nots" made better by using an Alexa?  Only maybe.  😃

Which is similar in stills photography when folks ‘state’ that film is better than digital.
Hmmm, I come back from a typical wedding weekend with around 3500-5000 shots to cull and I am far from the spray & pray approach.
Let’s call it 3600 on the low end which is 100 rolls of film.
100 rolls is at least €25 each for purchase and processing, so €2.5k compared with €0 for digital.
Ah, but the tools are cheaper!
Ah, but you can charge more for film photography!
Grow up and enter the real world of business 🤪
So stills or video, I am someone who does not need the latest and greatest just because it is the latest and greatest and that is the purchase decision and I might choose a vintage lens for a certain aesthetic, but a simple reality is that the more modern the tool, the more likely it is to make our (business) lives easier.
Whether that be autofocus, stabilisation, DR, or even just things like start up speed.
Not every new tool is the best tool, but for business users especially, better tools do make for better work. All other factors being equal.
So yes, I’ll take 12 stops of DR over 10 which I’d have taken over 8, every day of the week thanks, just as I appreciate the latest firmware on the S5ii that finally allowed me to ditch the gimbal forever.
Some progress actually is good!

It is like in the photo world, people with high res cameras are doing printing, because only printing can show the visible difference of the latest high res cams and lenses. also some areas like bus stop standing ads, behind the table photo wall, etc. i think there are some niche areas that still need the latest high res video cams. for web based sharing, the needs are saturated. but the latest video cams, especially the hybrids, have ibis and af, very useful to everyone. in camera raw is also very useful, just for a small sub group of users. 

All these things comes back to the same thing…which is a different thing for each individual.
I’m not necessarily looking for ‘the best’ but rather what works best for me within certain parameters, the principle one being cost. 
Not just cost vs return, but actual cost.
If the financial side was not part of the equation, like most, not only would I be using different stuff, I’d probably have a different career! 
It all comes down to need vs compromises we’re willing to make in the end with the wrapper being money.

They were so focused on the video that they forgot that there is audio and sound engineers 😄
 

Your experience is pretty dead-on for most of the features here in not-rural Minnesota in the US.  A bunch of theaters are closing around here because the experience became such shit.  A friend of mine owns two theaters and said that a lot of them have been jacking their prices sky-high because the landlords keep increasing the rent.  He's apparently been able to avoid the worst of it and keep prices (relatively) reasonable where 2 people could reasonably see a film with drinks/popcorn for about $40-50.  At a lot of other theaters in the area, that's a $70-80 night out.  Bonkers.  Minimum wage here is $15/hour so a night out at the films with a partner for someone earning that is nearly an entire shift's wages after taxes.
I spent months at a time abroad, mostly in areas speaking Spanish and Portuguese.  My Spanish is passable in conversation, but not nearly enough to watch a dubbed film where mouths aren't aligning with words.  My Portuguese is enough to read well, but to be completely lost in anything but the most basic conversation.  It's usually a big pain to find films that are subtitled - and in some Latin American countries, one can't even buy movie tickets online without a national ID so you just have to show up to the theater and hope to get decent seats.
Anyway.  Totally feel the pain of trying to go to the theater in another country.
Still feel some magic to seeing things projected big on a shiny screen.  😄

Digital projection isn't always a bad thing, especially not now.  I was so excited to see Hateful 8 on 65mm film projected on an IMAX screen, but I arrived after the film had been at the theater for more than a week and by then, the projectionists who were presumably completely unfamiliar with how to handle film had basically wrecked the print and the whole thing looked like garbage. 
Same theater, digital prints?  Looking great.  Same film, watched on my TV later?  Looked great.
I'm definitely not saying that digital projection looks better than a pristine print on film - but after a few weeks in the cruel hands of teenage theater employees, digital can look a lot better.
 
I'm still in the category of people who find magic in seeing a film reflecting off of an enormous screen in a darkened theater.  I just also make sure to only go when the place isn't packed so that the other people around me ruin the experience (also one of the reasons that I went to see Hateful 8 a while after it opened).

And they work brilliantly because this was my approach for the first half of this year, - adapted E Mount glass on Nikon bodies...except there is one potential flaw and that is the lack of in camera lens correction.
Sony bodies correct for it, Nikon bodies do not.
It has not been a major issue with stills though sometimes, even with lens profiles in Lightroom and some manual adjustment, it has been impossible to truly straighten certain things and a bit of hard cropping is the only option.
With video though, it would be a bigger concern.
AF and image quality though, superb and it's my opinion, Nikon image quality is nicer than Sony image quality with your typical hybrid camera.
And ultimately, it means that Nikon Z users have access to more glass than Sony E Mount users.
But I have switched to Sony for stills because ultimately, I did not want the niggles of lens distortion and the AF is as good as it gets and those 2 factors counted for me on the basis that the image quality difference is negligible.
Actually, regarding the latter, the image quality of the 61mp Sony files is better than that of the 24mp Zf files, but the Zf is better in low light. Without question. 

Every system needs a cheap nifty fifty! Either for the beginner starting out, or even just as a back up lens for someone more established. 
That was one of the issues with L Mount, their lenses are too high priced. But now one of those pieces of the jigsaw has been solved:
The Meike 50mm F1.8 Full Frame Auto Focus L-mount Lens (already available in Z Mount and E Mount)

https://meikeglobal.com/products/50mm-f1-8-auto-focus-lens-for-portrait-photography
 

Yes, good point, I'd forgotten about the F3 - https://zoomcorp.com/en/gb/handheld-video-recorders/field-recorders/f3/
Less than half the size of the H4e but about the same weight (but you get 4-channel recording capability with the H4e).
Now there are some decent mics around with built-in A-D converters and a USB-C connection (and all the recorders that can operate as a USB mic), I think it's time that video-orientated mirrorless cameras dropped the 3.5mm jack input and supported USB digital audio input devices instead...