gt3rs

I'm still puzzled that they did not offer the possibility to start and stop on the transmitter so you could even use the transmitter as standalone recorder. Also they should give the possibility to remove this stupid 15 min timeout. Regarding bugs welcome to the new world of end user beta testing.....

Seems cool but with the mass and speed seems also very dangerous compared to some tiny lightweights cinewhoops

No 32bit float although it maybe implemented in the future or maybe not. https://www.rode.com/blog/all/Wireless-GO-II-On-Board-Recording-and-Audio-Export-Modes-Explained 32 bit float export is useless at the moment imo is there just to confuse or marketing

In general I prefer the EF lens as the vND adapter is just too good to pass, plus you can buy some good ones "cheap" on the used market. I have the RF 35 1.8 (mostly for is compactness so I can keep it the jacket pocket) and the RF 70-200 2.8 (my EF 70-200 had an accident 😞 and the weight/size of the new one was too hard to pass), If the RF 70-200 F4 would have had a tripod collar would have been maybe even a better choice. I don't do stuff on sound sensitive places yet the RF 35 1.8 I find it a bit disturbing. I have these EFs and to me they seems all quite quiet in term of AF all USM: 16-35 2.8 II 24 1.4 II 50 1.2 24-70 2.8 II 200-400 4

The 70-200 2.8 RF is very smooth, silent and fast compared to the RF 35 1.8 so not sure you can generalize.

From the spec it seems to record 24bit uncompressed and you can export 32 bit float but not sure what is the advantage compared to 24bit ....

I find quite noisy to be honest the RF 35 AF motor... also AF is not the fastest in town..... image quality is good and size and price great. I hope that they will cone out with a 24mm version. As a compact travel 24mm plus 50mm 1.8 would be great. RF 35 1.8 screen grabs from 8k RAW:

I think will upgrade from go to go ii as the two transmitters plus better range and internal recording are very useful to me but: - If I understand well is not recording 32bit float, just exporting in 32bit.... - internal recording starts as soon as you connect to the receiver this is great but if it loses the connection for more than 15min it will stop and turn off, rarely but sometime is an issue for me as I put the go on an athlete that is doing warmup somewhere else.... wish it has a start and stop indipendently from the receiver connectivity. The 15min shutdown is also on the previous go. It should be a setting. Previous go was very reliable but range was not great. The new one should be better and with the bk recording on transmitter is more worry free. Also the windshield lock in the old one was a joke the new one seems better

On Ronin S is a separate setting. I can still do the double trigger to get gimbal center again.

On Ronin S you can disable selfie mode etc... I did it to avoid these mistakes not sure if it can be done on weebill s...

I use only with the screen flipped out, it is the whole point of have having a screen that flips out that helps on gimbal tremendously. Before I was using an external monitor as anything not eye level would be a pain. You should balance the camera with already the screen flipped out. I never hit the screen to the gimbal so far, but a bit of risk is there but only in extreme conditions....

This is exactly how I mount for most of my remote camera work. Add a safety lanyard to the camera strap holder, super clamp etc just in case that super clamp get loose for whatever reason. The critical part is when mounting and dismounting as if something fall it can injure. Normally I prepare all in the ground, fix the lanyard first and then mount so that nothing can accidentally fall. You should also check the insurance, here in stadium if you don't have a professional insurance you cannot mount anything anywhere (rightly so). Again in all top league hockey in the world we mount the camera in the goal with a single super clamp, it never happen to me that it did come completely loose.... and yes goaltender hits it, puck hits it, the whole goal is moved out some time..

This is really impressive

Not sure what kind of revelation is this. Also not sure why the A1 bring something new here, actually on some canon body you get RAW so you have almost zero quality loss in taking still from video, I only wish there would be an open gate mode. The only thing that really change is the shutter speed but there sometime you get cool panned shoot if you are 1/50 vice versa for other scenes you could optimize more for the photo. New gen care less about the shutter speed as with games and gopro/phone video is all very high shutter speed stuff. Advantage of taking still from video is that you have more choice, sometime you capture moments that you would not have anticipated and pressed the shutter button and of course you have the whole video. Disadvantage is the workflow and shutter speed. I use a lot of remote camera, I trigger them with pocketwizard with an additional button mounted on the lens barrel so for hockey net remotes is great you don't want to record 60 min and scroll through to find the righ moment. But for sport that are more predictable like horse showjumping now I start the record maybe 20 sec before it reaches the obstacle and stop 20 sec after so I don't need to worry. In some key phases I have just turn on recoding before it starts. Sill from video at higher shutter speed: Mini 2 Canon R5 Insta360 1 inch Insta360 dual lens At 1/50

New intel chips should have quick sync HW h265 10bit 4:2:2 but is such a mess to find the right spec....

Not sure about the story of RAW Light: Canon C500 II 5.9K RAW data rate 2100 MBits Canon R5 8K RAW data rate 2600 Mbits So per pixel R5 is more light than RAW light on C500....

This I think is normal, if you put a 25p on 24p timeline Resolve needs to adapt to depending on your retiming settings in the project it will have some sort of issue (frame blend, frame skip, whatever) but it will playback at the original speed. If you change the attribute to 24p basically you are slowing down your video by 4%, for a drone shoot it may not be noticeable but for other things yes. Basically is playing it back at 24 instead of 25 so your clip is longer by 4% and slower by 4%.

I have the R5 and the 1Dx III but not the R6 but the 1Dx III being somewhat similar (probably the same) sensor I may help a bit. R5 FF 4k vs 1Dx III FF 4k is very similar as you say but the rolling shutter is a huge difference. R5 4k 120 is miles ahead of 1Dx III 1080 120….. not even fair. R5 4k LQ is miles ahead of 1Dx III 1080 On the processing of RAW vs. 10bit other than on an M1 or waiting on the new intel CPUs the RAW is way faster in Resolve PC. RAW is much faster. The problem for is mostly storage so it depends on your usage and archiving strategy. I would suggest downloading some files 10bit and RAW and compare on your machine. So far I never hit the recording limit of the R5 and I mostly shoot RAW or 4k 120. But here is cold and I do a lot of 1-2min max takes with breaks in between. Before I was turning the camera off between takes now I don’t bother anymore. But having say that not sure I would live with the R6 risk that I cannot shoot 4k…….. as I said 4k LQ is way better that full hd actually imo is a solid 4k…. R5 big plus: - Rolling shutter - RAW - very usable 120fps - Non overheating 4k modes FF and S35 R6 plus: - cheaper - 4k 60fps quality Are these worth 2k more? Only you can really answer this.

I'm curios to see why a a1 is better than an R5 for video. Both have limits in 8k, both can do 4k FF without overheating but not oversampled so where is the difference? Actually the R5 can do 8k RAW and also 4:2:2 and DCI and 4k FF oversampled although time limited, better lcd for gimbal work. I see nothing in a1 for video that is better other than oversampled S35. Maybe the a1 image quality is was better than the R5 but I doubt.

From the spec: [ii] “Hi+” continuous shooting mode. In focus modes other than AF-C, effective at 1/125 sec. or higher shutter speed. In AF-C mode, effective at 1/250 sec. or higher shutter speed, and the maximum continuous frame rate will depend on the shooting mode and lens used. 20 fps max. when shooting Uncompressed or Lossless compressed RAW.

It really seems that 4k FF is not oversampled only S35 is but the spec are so cryptic..... also no 8k DCI or 4k DCI. Nice thing is 1/400 flash sync with mechanical shutter, the EVF seems also great. I don't like that it has no articulating screen as is much better imo for gimbal like ronin S etc..

It seems a very solid and interesting release but as always devil is in the details: - 8k max 30min... 4:2:0 only, this we know - 4k FF is it oversampled or binned/line skipped? S35 they mention is oversampled from 5.8k but no mention for FF - 4k 120 FF is 10% crop - 30fps still shooting seems jpg only, still RAW is max 20fps - mechanical shutter max 10fps, for sport with LED not great

Why not use the Manfrotto 2909 Super Clamp with 2907 Reversible Short Stud 2909 (bhphotovideo.com) I use them everywhere from Basket, Hockey Nets, Stadium rails to Balcony. Long exposure mounted on a balcony rail: Long exposure mounted on a wood pier: Mounted on the hockey net

The Delkin 2 TB does not slow down the startup. Startup is basically immediate as with the SandDisk 512 GB. I only use CFExpress so I did not incur on the active slot issue... For the posted frame goal was both video and photo. With sports you can get away with higher shutter speed so you get both in one take. Advantage of using continuous light is that you can get the perfect frame either at 20fps or 30fps if doing video (so no need to do multiple try for the same trick that they hate), disadvantage is that they are way less powerful than strobes, only ok for late afternoon and no sun....

I did sell one of my 512 GB SanDisk and brought a Delkin 2 TB for 880 usd. So far so good, I used a few times for over 1 TB each of 8k RAW and 4k 120fps 10bit with no issue at all. 8k RAW screen grab, 24mm at 2.8, Godox VL-200