Tiago Rosa-Rosso

It was put on YouTube so the message got out to a large audience, it's got to kickstart a debate. Michael Moore says it was originally going to go into cinemas but the coronavirus pandemic of course scuttled that plan.
What parts of the movie do you find to be 'downright lies'?
Let's see if you can be specific!
A lot of the YouTube 'critiques' are sponsored by hedge funds. Probably 80% of the material on the internet on the subject of green energy and biomass is shill content. You do realise that don't you?
The movie told you exactly who funds and sponsors Bill McKibben and 350.org so I suggest you pay attention next time you skim through it!!

I'm going to wager that the grown-up conversation going on on the other thread about the exciting new camera and it's capabilities is going to be a lot more interesting than this one.  Just a hunch. 

Main positives re S1H:
1. Near-bullet-proof AF (Canon and Sony's video AF are coalescing in being as good as each other, only in slightly different ways)
2. Internal Raw (S1H raw will be external to Atomos)
Negatives re S1H:
1. No IBIS [though Canon are said to be working on IBIS for an EOSR (X) version - who knows when this will come - in combination with lens OIS and 'digital' stabilisation].  1DXIII will have no IBIS; I only make this footnote in respect of the likely EOS R equivalent of this DSLR.
2. Canon's Cinema raw lite (as per C200) is not a NLE-friendly codec; the ProRes Raw that will come from an S1H feeding a Ninja V (post the planned S1H ProRes raw upgrade) is likely to be much more pleasant to work with.
A couple of posters have asked about the crop in 4k.  Given that the 4k crop of the 1DX Mk.II is 1.3, we can be certain that the 1DX Mk.IV will have a crop of 1.3 or less - it would be so wantonly alien to Canon's modus operandi to do something so disruptive on their 'most pro' body like causing pros to have to buy a whole new set of lenses by switching from 1.3x in an existing model to (say the crazy) 1.74x of the EOS R/5DIV in the next version of that same model.
For me, the fascinating comparison - in terms of positioning - is with Sony.  The Panasonic S1H is a video-centric beast of wonder - very much the one-off space alien at the current time (and plaudits to Panasonic for producing such a model).  But where is Sony, the disruptor-in-chief or yore?  In the last 6 months they have produced new versions of their A9 and A7RIV cameras, both of which could have featured 10 bit (at least to a Ninja V) and more in terms of upgrades to the video specs.  Even if the compact dimensions of the A7 bodies meant that heat dissipation precluded internal 10 bit 4:2:2 at a decent bitrate, they could have provided this externally.  At the same time, the previously PR-savvy Sony let rumors run wild about the new cameras, such that the (real) improvements in other areas were overshadowed by the failure to provide even half of the expected video bit-depth, sub-sampling and bitrate improvements.

Not sure, lets wait and see. But I am guessing IQ will be better for photo and video.  Also the native EF mount is pretty good for me as I have a shitload of EF glass and dont want to invest in a new mount (sony, panasonic, nikon..)

Hi Audio Guys,
This is a great sounding eq. It works like a graphic equalizer where you make a shape with the sliders, except you draw the shape with your mouse. I don't know how long it will be for free so get it while you can. It is regularly $89. Here's the link: https://harrisonconsoles.com/site/free-plugin.html
This one is kind of special because graphic eqs and mastering don't normally go together, so they have done some good coding to minimize phase issues and band interaction.  You may notice it does not sound tizzy or harsh and the bass is punchy even when cutting, so this may be your new favorite, eq especially for free.  Also, it has a useful display mode called lighting, which can visualize the frequency response in an easy to follow way. Enjoy!

No, that was Canon by accident and Panasonic on purpose.

By being the only one Ive watched.. thought that went without saying.
Great, then you should buy it.
The motion, the clarity, the colors and the tones/curves.
So does mine.
Looks video to me.
Exactly, very smartphoneish. Not a fan.
Please note:
I have NEVER said that the P6K shoots footage that looks videoish and can't produce cinematic footage. All Im saying is that after reading your post about "proof" that the P6K is "more cinematic than the P4K" I was very disappointed after pressing play on that video.
But like I said there are most likely much better examples of cinematic footage out there.

Now a days you buy resolve and you get a camera for free. Shame on adobe. 

https://www.metabones.com/products/details/MB_SPEF-EFM-BT1
Metabones announced a new Speed Booster (EF to EF-M mount). Metabones EF-EOS M Speed Booster ULTRA 0.71x is available right now for $479.
Press release:
Metabones® Introduces EF to EOS M (EF-EFM Mount) Speed Booster® ULTRA 0.71x
Vancouver, Canada, May 2, 2019 – Metabones introduces the latest member of its award-winning Speed Booster family of DSLR (digital single-lens reflex) to mirrorless lens mount adapters, EF-EOS M Speed Booster ULTRA 0.71x. Full-frame Canon EF-mount lenses are now one stop faster, 0.71x wider and with increased MFT (note 1) on Canon EOS M cameras. The 4k/UHD video crop on EOS M50 can also be mitigated with third-party APS-C lenses using this Metabones Speed Booster. Some Canon EF-S lenses may be modified to fit on the Speed Booster but Metabones cannot be held liable for any issues arising from modifications. Using APS-C lenses with Speed Booster for still photography or full HD videography may result in vignetting.
Ever since the first Speed Booster was introduced, there have been DIY attempts to modify it to fit EOS M cameras. The turnkey solution Metabones now offers adds a number of refinements:
The optical housing is redesigned for a perfect fit on EOS M.
The EXIF metadata is changed to reflect the faster aperture (note 2) and shorter focal length.
 The autofocus speed of the lens is adjusted and optimized for the change in focal length and aperture to ensure the best performance. This is especially important for dual-pixel autofocus (DPAF) in video mode.
A ‘chip’ mode is added so that the user may store the metadata of a fully mechanical manual lens in the adapter.
A LED indicates the operational status of the Speed Booster.
Since both the lens and the camera speak the same protocol most features are supported with the exception of lens aberration correction, which is automatically turned off.
Speed Booster ULTRA
Speed Booster ULTRA uses an advanced 5-element/4-group optical design by Caldwell Photographic Inc., incorporating ultra-high index tantalum-based optical glass to achieve extraordinary optical performance with improved corner sharpness, distortion and reduced vignetting. Speed Booster ULTRA has a magnification of 0.71x, effectively reducing the crop factor of APS-C cameras from 1.5x to 1.07x. The Speed Booster ULTRA design makes very effective use of exotic materials at the furthest limit of glassmaking technology, and as a result, is well corrected for use with virtually all full-frame SLR lenses regardless of exit pupil distance. Thus, the Speed Booster ULTRA performs extremely well with professional-grade f/2.8 zoom lenses such as the 24-70mm f/2.8 and 70-200mm f/2.8 zooms by Canon to produce 17-50mm f/2.0 and 50-142mm f/2.0 high-speed zooms, respectively. Similarly, high-speed fixed focal length lenses such as a 50mm f/1.2 will be transformed into a 35.5mm f/0.9 lens with excellent contrast and resolution from the center all the way to the edges of the image.
Availability
Metabones EF-EOS M Speed Booster ULTRA 0.71x is available right now for USD 479.00 plus applicable taxes, duties, and shipping, from Metabones’ web store and its worldwide network of resellers.
Note 1: compared to the same lens on the same camera with an ordinary lens mount adapter without optics.
Note 2: to ensure compatibility with hardware and software, which do not always handle sub-1.0 apertures properly, f/1.2 lenses will display their pre-boost aperture. Please rest assured that the display has no impact on the actual maximum aperture and a maximum output of f/0.9 is supported.
Specifications
Product name (Model Code):
Canon EF Lens to EOS M (EF-EFM Mount) T Speed Booster ULTRA 0.71x (MB_SPEF-EFM-BT1)
Product page: http://www.metabones.com/products/details/MB_SPEF-EFM-BT1
Dimension: 27.1 x 72.3 x 76.0mm
Weight: 192g
Retail Price: USD 479.00
Color: Black Satin exterior; Black Matte interior

Awesome Page. There are some very interessting facts, which explain the Canon / Sony Color Discussion: 

A7III: 
Color reproduction by the Sony Alpha 7 Mark III is accurate, with only one color showing a strong deviation from the original. ∆E ranges from 8.9 at ISO100, to a small range between 9.7 and 10.0 at ISO400 to ISO 1600.

Photo: The automatic white balance implemented by the Alpha 7 Mark III is excellent, with values between 0.0 and 0.2 at all ISOs measured between ISO100 and ISO25600.  
Video: Automatic white balance is not excellent, with scores of 1.5 (low ISO) and 1.4 (high ISO).

Just for the record - DR:

Photo: The dynamic range exhibited by the Alpha 7 Mark III is very good: over 10.1 f-stops (up to 10.3) at all ISOs tested between ISO100 to ISO800. Dynamic range remains high as ISO increases (9.8 f-stops at ISO1600) up to ISO6400 (9.2 f-stops). However, once again, ISO12800 shows poorer results, with a drop of nearly a full f-stop to 8.3. The extended ISOs are even worse: for example, 6.9 f-stops at Hi1.

Video - Dynamic range is good: 9.0 f-stops at low ISO and 8.0 at high ISO. 

EOS R: 
Color reproduction is good, with only 6 colors deviating strongly, five of which are reds. ∆E is consistent and ranges from 10.3 to 10.6 at all ISOs tested.
Photo: Automatic white balance is very good, ranging between 0.3 and 0.6 at all ISO s tested from ISO 100 to ISO 12800.

Video: Automatic white balance is decent at high ISO  (0.7) but poor at low ISO (1.2). Color reproduction is nearly as good as in still images, with a ∆E of 11.7 at both high and low ISO .

Just for the record - DR:
Photo: Maximum dynamic range: 14.1 f-stops measured at ISO 800. Dynamic range is more than 10 f-stops at all ISO s from ISO 100 up through ISO 3200. At ISO 100, dynamic range is measured at 10.9 f-stops, at ISO 400 12.9, and at ISO 1600, 11.0. Dynamic range is poorer at the higher ISO s, with a minimum tested among the native ISO s, or 7.9 f-stops at ISO 25600.

Video: Dynamic range is good in video (9.7 and 9.0 f-stops for low and high ISO , respectively). Automatic white balance is decent at high ISO  (0.7) but poor at low ISO (1.2). Color reproduction is nearly as good as in still images, with a ∆E of 11.7 at both high and low ISO. 

Conclusion: 

Color Reproduction and Color "Beautyness" are two different shoes. And Auto White Balance makes a different, too. Imho, the 5 deviating reds and the better AWB is the key, why a lot of people might prefer canon colors over sony - in terms of video. 
 

Canon will respond to this with their new Canon MJPEG RAW!  

is 8k SHARP enough?

is 8k SHARP enough?

is 8k SHARP enough?

is 8k SHARP enough?

Canon will respond to this with their new Canon MJPEG RAW!  

is 8k SHARP enough?

is 8k SHARP enough?

is 8k SHARP enough?

Canon will respond to this with their new Canon MJPEG RAW!  

Canon will respond to this with their new Canon MJPEG RAW!  

Canon will respond to this with their new Canon MJPEG RAW!  

Canon will respond to this with their new Canon MJPEG RAW!  

Canon will respond to this with their new Canon MJPEG RAW!  

Just saw this short now.