Aussie Ash

As clueless as companies may seem when users are feeling real pain like this, behind the scenes I suspect they know full well what is going on and how their users are being effected.  I suspect that they have been forced to take up these measures by the MPAA / RIAA / copyright holding thugs and aren't doing more to handle it better because they can't afford it and are likely fighting to keep the doors open.
The internet is the first time in human history that we've had to deal with a situation where someone gaining something didn't mean someone else losing something, and it just doesn't fit with any of our previous understanding of ownership.  "You wouldn't steal a car" simply isn't the same as copying something.  At the heart of this whole mess is the record labels who are basically a dying industry.  We still have content producers and content consumers and in the past you needed a middle-man to connect these two, and that was the entire system of record labels and record shops, and because they had a monopoly over the situation they basically took all the profit (artists in the top ten used to get less than $0.50 per album sale and that was considered a good deal, I have no idea what it is like now, and bands that weren't in the charts would have to gig to put food on the table) but now thanks to the internet and social media we simply don't need them anymore and they're fighting to stay alive and unfortunately they're fighting to keep the industry from changing instead of moving with the times and they're using their vast resources (that they basically stole from artists) to bully governments and people like Vimeo into complete submission.  They're even in danger of violating one of the basic tenets of civilised society by changing the law from innocent-until-proven-guilty into guilty-until-proven-innocent.  This is why companies like Vimeo are experiencing this kind of thing.
Had they focused on enforcement through supporting legitimate use then we would have some kind of system where you'd buy a license for a song, get a code, put it in your video upload, and everyone would know you were legit.  That kind of thing is dead-easy to implement.  Unfortunately, they think that everyone is their enemy and will basically fight until they're on top, even if that makes them emperor of the ashes.
It's a tough situation regardless of how you look at it.

I like a lot what I see here, but seems Sony has some metering issue (or profile?).. look at the clipped highlights in 8 bit part:
 
 

@wolf33d I'm not saying Sony protects their cine line. I'm just refuting that Sony has been "ahead of the competition past 5 years" in specs (I'm not talking about sales). While Sony clearly dominates with sensors, their processors always seem to be behind. Maybe it's intentional crippling, but I think it's more likely that they simply have not invested in that area as much.
In 2014, the NX1 did a 28MP readout in 30ms. The A7S II, a year later, took the same amount of time to read out 12MP. The a6300 had even worse rolling shutter in 2016 -- almost 40ms! I'm not saying the NX1 is "better," but it's an example of how Sony's processors lag behind their sensors. Perhaps their weak codecs, past overheating issues, and continued lack of 10 bit are all the result of poor processors as well? Sony leads in some areas, but not all.
Panasonic has been outputting 10 bit HDMI for 4 years now. Fuji, Nikon, and even Canon have beaten Sony to 10 bit HDMI, with Fuji getting bonus points for having it internally with a modern codec. I'd say that Panasonic has really been the one leading for specs, with Sony getting a pass because they were the ONLY FF mirrorless.
I also expect the new Sony APS-C to be close to the XT3. 4k60-- probably. 10 bit-- probably externally, but I think it will still be 8 bit internal. H.265 and 20ms rolling shutter-- I highly doubt these.
But we'll see! I certainly hope Sony knock it out of the park. I'd switch to Sony if they deliver.

As usual, It's all about money. Basically Vimeo has been fighting in court since 2009 over a stupid  "lipdubs" videos. The case has taken many twists and turns but it's still there.
It seems to be a good analysis:
"The case, which was first filed in 2009, initially focused on Vimeo's promotion of so-called "lipdubs." Vimeo is a much smaller competitor to YouTube for hosting videos, but in the 2007 to 2009 timeframe, got some attention for hosting these "lipdubs" of people singing along to famous songs. Perhaps the most famous was one done by the staff of Vimeo itself. And the case continues. As law professor Eric Goldman notes about this case, the fact that such a case is limping along in its 9th year, and still hasn't even reached the summary judgment stage, suggests some worrisome things for innovation in this market. Consider this: have you ever pondered why YouTube is the dominant video hosting platform? Here’s one hypothesis to explore. It took YouTube nearly a decade, and well over $100M, to eventually settle its DMCA lawsuit. YouTube’s competitor Veoh won its DMCA safe harbor defense in court but ran out of money and dropped out of the industry along the way. YouTube’s competitor Vimeo has been hemorrhaging cash fighting this litigation since 2009. And what potential video hosting investor wants to shovel the first $100M+ of raised capital into the inevitable DMCA lawfare with the copyright owners–before you even start building a viable or profitable business? I think we can connect the dots between the lack of competition in video hosting and the safe harbor’s (defective) design."

So it may explain why Vimeo is extra sensitive with the DMCA BS and why there isn't much competition in this field. They are hammered by labels in courts while Youtube dominates the market and managed to keep the DMCA under control because it has the resource to fight back.

Kai very positive review of the z7
 
 

Nikon Z7 just got a lot better

uh oh

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 :/

DPreview (Jordan Drake aside), Kai (without Lok), Tony & Chelsea, Fro etc.. are all general photography based channels. They don't really know/care about video stuff , beyond the basics.. 
The few video channels that exist are either biased to a system, or sponsored by camera stores / manufacturers (ie shills).
Not many independant, cross platform reviewers out there..aside from Andrew. 
I thought his review of EOS R was rather balanced, was expecting him to just rip it to shreds honestly. But he gave it some credit where it was due.
..and indeed pointed out it's giant flaws for video, rightfully so. i wanna hear the good & the bad in a review. not just one side & not just the obvious stuff.
RS is a serious issue. Bigger issue then the crop factor imo. I'm only using 4K on EOS R for locked tripod shots, but if it weren't the case.. it would be basically unusable.
Anyways let's all take a deep breath, we're all in here with a common passion & these gear wars are getting out of hand..

My favourite recent quote from him was when they were launching the EOS-R and he said "Every three years Canon releases a camera thats three years out of date".
Always worth tuning in to his channel immediately after one of the well known channels posts a "Its full frame so its twice as good" type of video as he goes off his head!

No-one does them as in depth as Maarten. 
Also, Adobe is now supporting the camera.
https://helpx.adobe.com/camera-raw/kb/camera-raw-plug-supported-cameras.html

If we assume the most probably outcome, it's that the Z7 4K looks like the D850 and the Z6 4K looks like the A7 III.
The Z7 4K in full frame mode is excellent, same as my D850. A tiny bit of aliasing on very high contrast diagonal edges, but that is to be expected going 46MP down to 4K. There are no real issues, honestly, same as D850 which I loved. It's detailed, it's cinematic, it's got a ton of dynamic range and a nice codec, with great colour science. Rolling shutter is well controlled. Switch to APS-C mode and it is supersampled from 5K, just like the D850 and the A7R III. In full frame it is slightly superior to the A7R III, slightly smoother looking and less aliasing.
Now the Z6 we are told by Nikon is full pixel readout in full frame (like A7 III) but the APS-C mode has to be upscaled from something like 3K, again same as A7 III. So the Z7 is going to have the better APS-C 4K, and the Z6 will have a MARGINALLY better full frame 4K image assuming it does indeed ape the A7 III's full pixel readout (6K to 4K).
Until the Z6 actually arrives, we won't know for sure, and there may be issues we're not yet aware of or Nikon might decide to take features out, or reduce their potency. On paper, the specs look fine, but the devil might be in the detail.
If it works out as expected, the Z6 is going to be a big fat bargain, and preferable to the A7 III taken as a body in isolation... Once you start talking lenses, adapters, etc. Then it gets more complicated.

Viltrox has an affordable EF adapter with AF and aperture. Think its $130 or something like that. I bought it on sale in a store so I'm not sure about ebay prices.
I have both the Viltrox and the Kipon EF speedbooster. Both lets you change aperture with the dial on the camera. AF is rather lens dependent. 
I have a quick demo of the Viltrox on my YouTube and will publish a review of the speedbooster hopefully this weekend.

Thinking about timecode was also very impressive. 

Although still waiting to see a bit more details, like how is it being jammed?
 
Sounds like I need to buy another Nikon
 

Some of the best "beard tracking" I've ever seen.

Some of the best "beard tracking" I've ever seen.

Z7 what's inside ?
https://kolarivision.com/nikon-z7-dissasembly-teardown/
quote:"Another unique aspect: the cover glass of the Z7’s sensor is about half a thick as the Sony’s, coming in at 1.1mm. This means the Nikon will have better performance with adapter lenses right out of the box. "
Sony users discovered adapted " rangefinder wide angle lenses" have "image" problems on A7 bodies
https://phillipreeve.net/blog/rangefinder-wide-angle-lenses-on-a7-cameras-problems-and-solutions/

I can maybe see myself buying a Z6 down the line but no way am I going to re-buy any of my collection of F mount lenses in the new mount.
I fell for that ruse with all my vinyl albums when CDs came out  

Nice example with VR (ibis) on, when he is not walking the duck step it looks good. I think with some more careful walk (gimbal style ninja one) it can be quite good.
 
 
Low light test (youtube), its not ideal but gives a little idea, I guess usable until 10 000 iso. The z6 could then go to 20 000 iso.

i want the most gradeable image with the truest, deepest color, the most lifelike image, everything else is icing on the cake.
but i want all that too. i love icing ?

Can't believe you didn't give a mention to my Improvised Lens Device as one of the show highlights
Incidentally, it did get pulled by airport security on the way out of Berlin yesterday !

On day 3 and 4 of Photokina, I collaborated with Dave Altizer of Kinotika to record the first episode of EOSHD TV and an EOSHD Podcast.
We discuss insider topics such as a rumoured on-chip ND filter by Panasonic, Fuji's "super full frame" medium format strategy and round up some of the highlights of Photokina (including the Panasonic S1R).
Read the full article

"GH5 V-Log and Hybid Log-Gamma are transformed to precisely match the color science of the Alexa, without compromise."
"The GH Alex conversion completely transforms the GH5 image, addressing every nuance of color reproduction (from shadows to highlights, low saturation to high saturation, for every possible hue). This includes an organic rolloff which fully eliminates channel clipping."
EmotiveColor.com
PDF

YouTube

I’ve said this before but I’ll say it again. I’ve worked on about a half dozen DIY feature films and I am finally working on mine now. I don’t think a lot of people realize how near impossible it is. Moving boulders would be easier. It’s as if the world is constantly fighting you. Sheer will and determination is the only thing that gets you to the end credits. So be proud of that. And go make another one. And another one. And if need be... another one until somebody notices it. You have all of the tools and the talent.
I’m reminded of a theory I read when I first started screenwriting. The theory goes, when you first start, there are a thousand other screenwriters aiming for the same sale as I am. After a couple of years, half of those other writers quit and move on. After 5 years, half of those quit. After 10 there are less than a couple of dozen of those original screenwriters still writing. In those 10 years, the odds are in your favor and your craft has grown exponentially. So keep plugging away and tell the stories that show the world who Jonesy Jones is.