Marcio Kabke Pinheiro

"Max Yuryev left the chat room"

"Max Yuryev left the chat room"

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"

Hello, I hope everyone is well!
Even though I’m not really active on camera forums anymore, I frequently read the EOSHD blog and every now and then the forum, so I saw the thread and thought I would respond.
Because it wasn’t ”poof gone”, it was announced on the channel over a year ago and mentioned in the last three videos.
Before going into why, super flattered that this thread exist. I mean that.
So here are some thoughts on the matter and why I took it down.
Hobby vs Work
YouTube was never my job, just a hobby. So was video making and photography, in the beginning.
When starting the channel I was working as a producer after a couple of years as a radio/TV reporter. So I started the channel to keep my practical skills fresh. And to keep up with the development, which was huge at the time. The DSLR revolution, Blackmagic, cheaper editors etc.
Fast forward a couple of years and I started making more videos at work again. At the same time I pretty much lost all interest in doing it as a hobby. And actually canceled the channel.
Winston Churchill was definitely right in saying that work and hobbies should not be too similar. 
But what I had discovered was a passion for still photography, which I had pretty much no experience with. So I started making videos again.
That’s why my videos became very repetitive and short. I didn’t care about that part, I just wanted to display my stills work and get feedback, talk to the community, experiment with cameras and develop.
After a few years I became a good enough photographer that my new employer noticed and just like that I was shooting stills professionally all the time. And I still do (I work in marketing and PR). It’s a huge bonus in my field and if you are good at it you will never be out of work.
So photography also became less and less of a hobby.
Instead I found other hobbies. They where things that for example got me out into nature, so photography tagged a long a while, as a secondary activity. But eventually it faded. It was also nice to do things and not share it with people. I know I probably could have a very successful channel by making videos about my current hobbies, and even make some money. But I never really wanted a channel for the sake of a channel. And always had a full time job.
The fact is that at no point would I had been able to live of my channel, not even at the peak. Even with sponsors it was never more that a regular salary (in my field and country). But as long as it was a hobby and I was glad to do it, it was a welcome addition to finance camera gear.
 
Time
At the same time as my channel started to feel less fun and other hobbies started taking my time, I started a family. So.. you get the idea: full time job + family + 2-3 hobbies = no YouTube.
Upkeep 
So why take it down, why not leave it for the community? I did..  at first.
Like some of you pointed out, the YouTube crowd in the photography/video space is generally nice and positive. That is my experience as well.
Early on I learned that a good way of keeping the trolls away was to be present. Respond and engage. Trolls are usually idiots or cowards, so they don’t like getting push back.
But once I stopped making videos, views and comments obviously went down. But the trolls started coming back. Not so much after me, and I don’t care about that. But agains the community. The people commenting started being nasty towards each other.
I felt a responsibility to moderate, which was annoying. That’s when the thought about simply removing it started to grow.
It wasn’t an impuls. It was an internal debate that went on for months. And the issue grew much much larger than a couple of trolls. 
I started thinking about five years ahead, 10 years, 30 years..
This post is already way too long so I won’t go into all of it. But I think you get the idea when I say:
Privacy or when the content no longer reflects the creator. Digital minimalism, control over one’s narrative, inactive or outdated content. Risk of misuse of content  due to me not checking the terms updates. Closure.
 
So there is a looong ramble :)
 
To keep in spirit of the forum I can charge my current gear for pro work :)
For the longest time I used the EOS-R for 75% of all my work and the R5 (rental)  for the rest. It wasn’t mine but my employer told me to buy whatever I wanted. Paired it with a 28, 35 and 70-200. 70/30 stills/video.
 
The R5 is peak camera imo.
 
Today is a little different. I started working for a new company about a year ago and again was told to buy what I needed. I would have bought the R5 without hesitation if it wasn’t for the Sigma 35-150/2-2.8.. I just had to have it. So I ordered the Nikon Z6iii. It’s not as good overall as the R5 for me and what I like in a tool camera. But it’s 90% there. And coupled with that lens it’s becomes on par.
 
//MB

"Max Yuryev left the chat room"

Hang on, if we have that coffee next week I’m not obliged to buy a camera off you am I?
You’re not turning Costa into some sort of camera Herbalife recruitment centre are you?

Scary image.

Nice.
With a bit of practice it's less scary than it sounds, and you just need the right tools and steady hand.
A JIS standard screwdriver is a must... they use weird Japanese screw-head geometry, which the normal Philips head screwdrivers have a habit of stripping.
The only things I don't go near are modern lenses... Hellish.
Especially the zooms if you go deeper than taking the rear mount off.

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.

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.

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.

It's true - that's a decent experience.  DJI Transmission to their high bright monitor also seems to be higher quality with similar/less lag than my Hollyland Pyros.  But I've had glitches/problems with all of them in the past, especially in the sort of areas where my phone shows like 40 wifi networks.
The biggest problem for me is that if wireless is the only option, when it's not working, you're just SOL.  It can work perfectly for weeks or months, but none of it matters if it breaks down on the day when you're shooting something that matters.

I guess that people must have been complaining to Panasonic that the S9 was too affordable and they really needed the same thing, but more expensive.  😉

Unboxing here - I should say that it looks amazing.

 

If you're upset about hybrid-styled cameras with somewhat awkward ergonomics being called "cinema camera," you must have been frustrated since 2018 or so. 
https://www.blackmagicdesign.com/products/blackmagicpocketcinemacamera
I'd be inclined to say that "cinema camera" is just about as meaningless as calling an image "cinematic."  It means plenty of different things to different people.  "How can you call it a cinema camera when it doesn't even have SDI output?"  "That ain't no cinema camera, it has no mounting points on top or the sides!"  "Cinema cameras don't have autofocus" "Cinema cameras need to be dedicated to ultimate image quality and it's not a true cinema camera without 16-bit raw."
The ZR is obviously not going to be the A camera on a lot of professional shoots.  It has no TC, no SDI, bad HDMI, and bad memory card location.  On the other hand, it might finally be fulfilling some of the promise of the Komodo - a small, light crash camera that you easily fit in small spaces - or that you can easily throw at an AC/second shooter to go get some b-roll or a second angle handheld or with a light tripod and have it be a good match SOOC for what you're shooting with your Komodo-X or V-Raptor.  Lack of a physical shutter lock is a bummer for some crash cam use cases.
Sorry it's not for you, regardless!  I'd be willing to bet that the next iterations of the Z6/8/9/etc start working in Redcode NE too.

My guess, they didn't want to kill their RED brand. It would also have cost minimum, 5000+ USD to 10 000 USD, and not many Nikon shooters could have afforded this. I would have liked a bit better spec even with a more costly body. But in the end, this will be found in a lot of Nikon shooter camera bag, as a secondary or third body for professional. And it would become their primary body for video. For photographers, 5000 USD is already flagship level camera bodies.
This is also the ultimate content creator camera, people might not care or even despise it, but it is a big market. Nikon has loss so much market share, and more importantly in the younger demographic, that it might revive a new generation of shooters for the company. It is a bit of a jack of all trade, from someone who would just pick the camera and either film himself or do some content filming some dancers or skaters. To someone rigging it and going to shoot a doc or a short film. 

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.

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.

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.

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

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

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

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

Liked the lens, probably will get that in the future.

Probably the casualties on my side will be the two Nocticrons, the 35mm and 50mm. Lovely and cute little lenses, but I almost do not use them - this year I probably only used the 18-50mm f/2.8 zoom and the Viltrox 75mm 1.2.