BTM_Pix

If you don't mind a bit of DIY, you can knock together an effective remote yourself for £20. Its four channels so you could control Aperture/ISO/WB/Focus with it for example.

If we equate the R5 to the Dead Parrot sketch from Monty Python, then we're roughly at the " it's pining for the fjords" stage at this point.

I think the love that dare not speak its name regarding a genuine hybrid is that we won't get there until we have cameras with internal variable NDs. The fact that in the vast majority of lighting situations you need an amount of ND to make the video exposure and none to do the still exposure in the same light is something that needs to be addressed before we can say we've achieved it. Obviously, I'm aware that some people will leave a level of ND on that would give them a compromise shutter speed of say 1/100th or 1/250th for both so that they could have a bearable speed for stills and a bearable degree of crossing of the 180 degree rule for video but it will only ever be a compromise. From my point of view, particularly with variable NDs, if it doesn't genuinely need to be on for the correct stills exposure then I wouldn't really want the side effects of colour casts if I could help it. Because of this I'd say the only "real" hybrid I've got in my camera collection is the lowly Panasonic FZ2000 because it has an internal 2-6 stop ND filter (as well as "clear") which is operated by a physical selector switch, meaning that even in bright sunlight it can be switched from a "real" stills camera to a "real" video camera instantly. Everything else I've got is a stills camera that can shoot video or a video camera that can shoot stills but not without what I would technically refer to as "some dicking about". Canon kind of maybe sort of offer this with the R cameras with that ND adapter but it does limit you to using EF lenses and does mean that if you wanted no ND you'd have to pop the clear filter in. Sony are the ones who could do it of course but while they are stuck in that A7 form factor they've got no space or inclination to do it.

There are numerous non-suspicious reasons for a company to alter its composition or even where it is domiciled so I don't think in and of itself its definitive. For example RED Europe is a UK company but I'm guessing that they, like myself and many others, will be creating a new corporation in one of the EU27 countries in preparation for doing business in Europe post Brexit. The significance in this case, if indeed there is any, may lie with a lawsuit against the "old" company involving named parties who were on the list of officers of that company but are not on the list of officers of the "new" company. Like I say, there may be numerous perfectly straightforward reasons for that which are completely unrelated to any legal action. Or, there may not. And I'll guess we'll see in December if a specific allegation is made and proven about why that is. Personally speaking, I found the patent stuff to be potentially more curious.

Well it doesn't fully meet the needs or wants of the eleven of us either 😉 For me personally, if I can then add those missing things then I'm OK with that because the moral of the tale of the last however many years with hybrids is that the only perfect camera is actually two cameras. I can add the missing pieces of stabilisation and screen myself so I'm more inclined to look at what I couldn't add myself which in this case is a full frame sensor, smallest possible size, heat management, the shallowest possible mount and 12bit uncompressed RAW. Its that baseline of the fP that is the most important to me.

RED's license agreement for the camera makes you agree that all of its software is used at your own risk and that they do not guarantee it does anything at all in terms of functionality. If you then try to go after them for any consequential damages for the impact of it not having not done something (i.e. anything from not working or corrupting data on its media) then you will have agreed by accepting the license that the maximum amount of compensation will be $50. The claim is that this puts it in violation of the USA's Universal Commercial Code as this makes the contract "Unconscionable" as it represents "Unequal Bargaining Power" and "Limiting Warranty". The opening of the floodgates for claims against RED for damages over losses sustained by malfunctioning cameras by those contracts being declared null and void would be the implication but that remains to be seen. Similarly there is a clause on the sensor upgrade programme where if RED (and RED alone) determined your camera was not in good condition they could charge you the whole value of the new camera for the upgrade and only give you $1 compensation for your camera. I'm guessing there are a lot more cases involving the $50 one than the $1 one but you never know. The meat of the rest of it was about potential chicanery over morphing corporate structures that might be taken to imply that RED is in preparation for shielding the "new" company from lawsuits that may occur from the previous revelations about the "old" company. Oops, I wish I'd read it before typing mine as it would have saved me some time !

It was a comment about the cooling system of the camera so I wasn't actually advocating it as an alternative for anyone let alone everyone as people's needs are different. If 4K60 is an absolute requirement for you then that is game over when it comes to the fP, although I wouldn't rule anything out with Sigma when it comes to firmware updates as it already does 12bit RAW at 100fps in HD mode in Full Frame so they would be able to do 4K60 in its APS-C mode which would then exceed the GH5's smaller sensor and of course would be 12bit RAW rather than 8 bit 4:2:0. With regard to the size of it, it can be built up to whatever size is needed so, for some people such as myself, that is an advantage as you can't make a bigger camera smaller. As for L mount, again, its not a particular disadvantage because there are electronic adapters for EF mount and as it is one of the shallowest mounts you can get then it can be adapted to take even more lenses than the MFT mount (such as Leica M lenses) and obviously consequentially more than EF mount cameras where the particular achilles heal is its inability to take most PL mount lenses. So, its not for everyone, but for anyone that does need a modular full frame camera that can mount any lens you care to mention on it, shoots 12bit RAW to sub £100 media, can shoot BRAW externally, is less than half the price of the two cameras du jour on here and doesn't overheat, I'd give it a cautious recommendation to be on their shortlist. The lack of a tilting screen or EVF is wank though.

Ah but all 10 of us are trotting around in the bright sunshine shooting internal RAW without oven mitts, ice cubes, fans, thermometers and stopwatches. So, swings and roundabouts 😉

Jerry, Jerry, Jerry... Why are you still not including a link to the software you have shilled in 100% of your posts on here? It so amateur. Or Spamateur in your case.

Considering pre-orders are supposed to open on September 1st, FAF would currently stand for Fucking August Already?!?

The two empty SDRAM slots that I've highlighted here on this teardown of the ATEM Mini Pro are likely to at least be part of the answer to what they've added to the Mini Pro ISO.

Can you point to where I said URSA Mini 4.6K in my list rather than the global shutter equipped URSA Mini 4K ? I mean, you even quoted BM Ursa Mini 4K from my list in your reply for fucks sake. You might has well have said there is no global shutter on a Sony RX100 if you're going to try and be a smart arse and quote cameras that I didn't mention. There has been absolutely no "GS sensor wars" in any years let alone recent ones and I've got no idea where you've got that idea from.

Like it ever leaves your head in the first place 😉

You mean aside from all the footage on YouTube from (off the top of my head) BM Production 4K Camera, BM Ursa Mini 4K, Digital Bolex, AJA Cion, Sony F35, Sony F55 and the countless numbers of video camera made that had a CCD sensor ?

Cine D? If sites are renaming themselves after picture profiles then maybe @Andrew Reid should consider SLOG as it must be just that trying to deal with the amount of trolls that show up here around camera launches.

So the heat is all generated in the card bay? I'd give it about an hour before Tilta have this ready for pre-order then.

I might be an old cynic but.... If I was worried about a web site harvesting your email address, then I'd be very dubious about going to a web site that offers to check that for you in return for you entering your email address. To be honest, I'd be pretty concerned that I'd just added my email address to a more valuable list of ones that hadn't already been harvested 🙂 I'm sure its legit though.

Well then, he's certainly not gone away has he ? There is some pretty interesting stuff in there.

Try this one https://www.aliexpress.com/item/4000991377805.html

Possibly? I'll have you know its almost certainly perhaps potentially conceivably in all likelihood going to happen. At some point.

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Edelkrone have always struck me as a company that charge a bit of a premium but that you'd get a better level of support so thats bad to hear.

According to the original report that Forbes used as the source for that article, if Canon don't pay the ransom then the hackers have created a data leak site where they will publish the data. https://www.bleepingcomputer.com/news/security/canon-hit-by-maze-ransomware-attack-10tb-data-allegedly-stolen/

His main issue, aside from the problem with the 1st one he received and the noise at higher speeds, was that the potential of what was shown with the combination with the gimbal didn't square with the reality due to the software not being able to control both simultaneously. That was then adressed with the linkage control feature so its a pity that he didn't do a follow up when that was enabled and it looked like Moza didn't do a great job in communicating how imminent that update was as reading their responses made it appear like it was some distant development.

This is a run through of it for macro filming (cued up at the point at which he starts talking about it) and he goes through the pros and cons. He references that he wishes it could connect with Moza's other products and this has been subsequently happened with the linkage control feature with the Aircross 2 showcased in this next video. I have to say I was sceptical about a real use for the Slypod when it was launched but when you now see what it can do in tandem with the Aircross 2 then as a package it offers a lot of motion control possibilities for a total price of less than £600.