BTM_Pix

I always found it an interesting example of the reality gap between what everyone says they need, in this case global shutter, and how many people actually then buy it. You don't exactly see a lot of them about.

While you are down this rabbit hole, you might want to take a look at the RED Motion Mount that they did for the EPIC. http://docs.red.com/955-0013/REDMOTIONMOUNTOperationGuide/Content/1_MM_Intro/1_Intro.htm As well as doing vari ND, it had a few tricks including simulating soft shutter and square shutter. There are links within that page to other explanatory documents about the process. What may be of use to you are the videos of it in action such as this one as its a unique reference really to how the look of the same camera can be changed with these simulations.

What has that got to do with what I said ?

Yes, I know. The broader point was that wherever that heat was coming from, Sigma had a strategy front and centre in the design to deal with it. Their initial presentation of the fp made as much if not more of an issue about it as they did about any other individual feature of the camera. It doesn't make Sigma any more right or wrong than Canon, just that they placed much more emphasis on it as an integral aspect of the design. Which left them no time to do any AF 😉

Sigma designed a heatsink and attached a camera to it. Seems they had some sort of intuition that full frame cameras in small bodies might run a bit on the warm side. Considering the gulf in price between the R5 and the nearest camera with a comparable spec, I'm sure some enterprising company could make some money rehousing them into more cinema camera style bodies with a proper cooling system. If this thing was £2K dearer and didn't overheat then I'm sure no one who wanted 8K RAW would baulk at that price. People have been cinevising stills lenses for years so maybe its time to do the same with bodies.

If your camera has PDAF then there aren't any. If it doesn't, then it can be faster than what you do have. The real benefit is in when you camera has absolutely no AF of its own.... But its not all sweetness and light.

Yeah, maybe they should have approached Sigma and swapped some AF tech for some cooling tech ! I think there could have been an opportunity for them to do something creative with a battery grip style accessory that mounted underneath the camera. Something like a removable/sliding section on the camera bottom plate which the cooling elements and fan in the base unit could then utilise to get at the internals whilst still sealing them to the outside world. That would suit both sides of the argument by not having to have something elaborate internally which many people might not need but also offering a factory solution for those who do want to use the more flammable features of the camera.

I'll be sitting this one out as I've no intention of spending £4K on anything that doesn't have an engine or four wheels for a goodly long time. There have been a number of people in the past that have used removable heat sinks on the rear of their (usually Sony) camera for those with tiltable screens such as this Something like that may help, not least because you've also removed the contact of the screen to the main body and I suspect running it on external power instead of the internal battery won't do it any harm either. But all of these sorts of solutions remind me very much of the payoff line at the end of a famous UK public information film from when I was a kid on how to mobilise the family to deal with a burst water pipe.

Sounds like this camera would turn them into an omelette if they did.

If you have Handbrake you can just do a quick transcode into something you know your computer deals with OK. Bizzarely enough, as it Vimeo is usually terrible for me, it streams OK for me. This test by Ed David is going for a similar (minus film) comparison about motion cadence amongst other things so might be worth a look for you

Is this in Vimeo or did you download the file ?

This is what I've gleaned on the issue over the years... To test motion cadence effectively you need to mount the two cameras on a dual mount tripod bar and ensure you have ,if not the same lens, at least the same focal length one on each. For a test subject, you need something that can move of its own accord so you will see motion within a static framing but also that has enough movement to exit the frame so you can pan to track it and see the effects on a moving framing. The ideal subject for this when it comes to testing motion cadence is, by common consent, a unicorn. The ideal speed for the unicorn to be moving is from a slow walk up to a gentle trot. Most unicorns are lazy but skittish, so a few party poppers will enable you to encourage this range of movement. On the camera itself, make sure that the power draw isn't effecting motion cadence by using a fully charged battery and that you have mojo set to 10 or boost if your camera has it. Depending on the brand of camera that you are using, you should also ensure that you have fully topped up your Koolaid levels. 😉 On a more serious note, this is a decent thread with some informed discussion about it and also contains a link to a side by side video between real film, Alexa, Red and the Sony F65. https://cml.news/g/cml-raw-log-hdr/topic/16427778?p=Created,,,20,1,0,0::recentpostdate%2Fsticky,,,20,2,0,16427778

Have you tried your Hasselblad HC lenses on it or did you not get the adapter in the end ?

Did you offer them a fair price for those other lenses on that counter 😉

I think expansion of the L mount alliance is more a question for Leica as they are the gatekeepers as far as I understand.

Hopefully they've all had the cameras long enough to have done something a bit more in depth with them because with Canon seemingly going so far against type and piling the spec on, there may be a lot of devil in the detail with regards to potential caveats in the different modes. Big day for Canon fans though. And fans of shock faced based thumbnails.

I have noticed actually that after ages of Squarespace, WIX and Monday.com plaguing me with ads on YouTube that most of mine in the past month have been from Canon so maybe they are really embracing marketing through the "Yo guys, smash the like button" avenue. To paraphrase Travolta, tomorrow might be a case of this.

They are currently €1300 new from CVP, ProAV, WEX etc so it depends on how many accessories you've got with it but one thing in your favour is that no one seems to have any in stock. So if someone wants one then they will currently have to be looking at a used one so your €1100 is not unreasonable. Another thing in your favour if you are just looking to swap it out for an EOS-R price wise is that the price of those second hand will likely get a cheaper tomorrow as people chop them in for the new models. So even if you get less for the Pocket4K, you'll be paying less for the EOS-R.

Indeed.

You can actually use micro four thirds lenses on them too. Not necessarily that useful for native electronic lenses from Panasonic and Olympus but a lot of 3rd party mft mount lenses like Meike cover APS-C . Also useful for not having to buy two PL adapters in my case.

Whether it was down to Nikon themselves, Atomos, the patent lawyers or all three, the delay in getting the ProResRAW functionality from announcement to actually being deployed has really set them back with the Z series. Then having to return the camera for a £200 hardware modification was adding insult to injury really. If they could have released it at the time of the announcement, it would really have given the Z cameras a massive boost as there wouldn't have been anything out there at that time to compete with it but it just lost all momentum the longer it went on. And of course by the time they finally did get it out, the world had moved on a bit and its just gone stale and it might be a long way back. I obviously have a ton of Nikon gear stretching back over decades of using them so I should've been the person to buy a Z6 or a Z7 but I've never really been that close to getting the credit card out for one. They don't need a complete change of direction but they could shake things up by diverging and making a small full frame cinema camera, particularly as the Z mount is very adaptable physically and electronically. They won't do it of course.

1) Are they going to make a new DVX200 based on the GH5 internals ? 2) Are they going to make an L mount EVA1 ? 3) Have they had a refund from the market research company for that new vlogging camera ?

Don't worry, The Washington Post are on the case.

As I say, the shot in the lift is a very, very extreme example. The effects will vary greatly depending on the frequency of the light and the shutter speed so its not a constant. Looking at the exif of the lift shot, it is 1/1000th of a second, which will exacerbate it greatly and the type of light is an unknown variable. I'll do a couple with just a regular vanilla LED video light as well so you'll know not every day is a yellow and green band day with this camera! More tomorrow....

By which I mean at least 10 hours as something has just cropped up and I'll do it tomorrow.