Marcio Kabke Pinheiro

Good to hear from you, Mattias, and knowing that you are well. You channel was one of my preferred ones, will miss it but your reasons and completely understandable. Be well. (and from this thread I was aware that Gunpowder has passed - I know how hard it is. He will always be remembered)

Kinda interested on this GoMFT - I still like to take stills and video in concerts, and security is an increasing pain in the ass each show. But for me an active mount would be much better - just to power the OIS in the lens that have it, and maybe just a CDAF autofocus. (other option are these new phones with external lens like the Vivo and Oppo ones)

"Max Yuryev left the chat room"

Talking about it, Andrew: is there a placa that your GH2 "Tokyo" movie is available in 1080p? Vimeo only has in 720p, last time I saw (and it was not even in your account, if I remember correctly).

I have to torn apart my Lumix FZ1000, which have dust in the sensor, and I guess some haze from a sea city (the haze is more pronounced in the EVF optics - probably this will stay, I think that the EVF could not be torn apart - but I guess some of it is on the sensor too). Bought it for 1/3 of the usual price, besides the dust (unseen in almost 95% of the pics) and maybe a bit of sensor haze, and a non functional HDMI port (that I dont use), is it perfect. iFixit have a very detailed guide, and I bought a digital gauge to take measurements of the sensor assembly height to try to keep the focal plane in check.

Yeah, they are the Alice people rebranded. A project that leaves their original customers behind and launches a "new" one. Lots of cases in Kickstarter, or in case of software it could be called "Luminar move"... Very different from, like, the Pixii project.

Nope - the dial works different on different cameras. In the X-M5 and X-T50, the FS positions only works with a chosen Film Simulation plus a general color setting for ALL the positions of the dial. You can´t create a custom setting for each FS position. In the X-E5 and X-T30 III you can store different color settings (Color Chrome Effect, tone curve, color, sharpness etc) for each of the FS positions - Fuji even created a "recipe" menus for each FS position. My X-S20 have a unlabeled dial, that comes as a Film Simulation by default, but don't have FS "positions". For all the cameras, is just a firmware update away. It involves a lot of steps (choosing the photo, opening the menu, and I don't know if in this menu now you can choose a recipe - at least in my X-S20, you can only choose the original Fuji Film Sims). People that use repcipes (like me) don't want anymore to waste time editing and converting photos (yes, I was a RAW only shooter not a long ago - I still save the RAWs too).

Yep, no IBIS. Saw some shots of the new kit lens with OIS + digital stab in camera, looked ike a bit better than past electronic stabilization from Fuji. Neat camera, good move from Fuji. But now the total mess that Fuji is in firmware camp - or you could call it Fuji cripple hammer. This new camera is just a X-M5 with en EVF inside the X-T30 body. But its Film Simulation dial accepts film recipes, as in the X-E5 - but the X-M5, with the same internals, don't. Nor the X-T50. With a simple firmware update, Fuji could bring recipes to the X-M5 and X-T50. And for the X-S20, in the free dial that comes with film simulations as standart (since is not a dedicated dial, is even easier). And with a bit of code (just creating 3 empty "slots" in the Film Simulation menu) thay could bring it to all the 5th generation cameras. But, even with Lumix trouncing then on this regard, and with all the other brands making even easier to make personal color profiles, I doubt it. And with the AF still worse than all others, it is more than clear that the firmware side of Fujifilm is a mess.

I wonder what wizardry DJI made with the DJI Pocket 3 - because using a phone with DJI Mimo App as an monitor using wifi have almost no lag. Is amazing.

Unboxing here - I should say that it looks amazing.

This is (for me) the biggest flaw of the camera. As I said, I saw this as a "creator camera" that could be used with caveats as a cinema camera. These people usually have fast turnarounds and having a h265 almost done take is a must - not even counting the massive file sizes of RedRAW. Lots of them never used any RAW video even having cameras that could do it. But probably the H265 encoding would overheat the camera pretty quickly.

People with some memory will find strange he using Fujifilm cameras for stills in the movie, when he always showed that Olympus / OM cameras is what he use when fishing...

Nikon cornered themselves with nomenclatures in this one. They wanted to make a first RED semibranded product to buzz the market. But at the same time, they want a piece of the VERY profitable "creator camera" market (the Sony ZV-E10s sells a boatload). And got the Zr stucked in the middle. This is not a "cinema camera". Is a ZV-E1 competitor / step up ZV-E10 camera, compared it (and Nikon is promoting it) to the FXs is a mistake. If you see it as a top "creator camera" or a B-cam / crahs cam for REDs, it makes more more sense. And is an amazing value - if fact, for amateurs like me, it is one of the most interesting cameras of the year. I hate cameras without EVFs, but with a 4 inch display, for the first time it could be acceptable. It have a af joystick. It have internal 32 bit audio without adapters - amazing for shotguns use. It will make a lot of people to wet their feet on REDCODE (even a lesser version of it). Is small and light, great for gimbal work if needed. Compared to a ZV-E1 for $100 more, it trounces it completely. And we have to see how is the overheating issues, but it could yes be used (albeit with compromises) in pro shooting. And if Nikon makes a hybrid camera with this form factor, they would get a new customer instantly.

Salford? I've stayed there when I went to see The Stone Roses on the Etihad Stadium. The apartment was kinda close of the famous (by The Smiths) Salford Lads Club. 🙂

A 2.36mp EVF and a fixed LCD in a $5100 camera. Oh boy.