Alt Shoo

🙋🏾‍♂️

I’m a prospective StormTrooper buyer and to say  that this announcement doesn’t throw a kink or doesn’t spill over into RED’s Komodo market is probably a mistake. Yes I agree with the Komodo being a perfect B/C cam and a entryway into RED, but with  $2k more you have a future proof (5-6 years) of high quality A cam capability! I’m quite sure there are plenty Komodo line standers thinking about investing into this ecosystem. 

I have been fully in Panasonic's camp since my journey began. Never in my life have a seen a Mike Drop from a corporation  so damn brutal in all of my years.
But I have one more question. Where do they get these black people with all the gorgeous chocolaty skin from? My skin has never looked that damn good, and I've been black all of my life! LOL If this is BMD putting their best foot forward for inclusion, they certainly did it with class.

The announcement ones tend to, certainly.
The A7Siii one at the end of the month will likely spontaneously combust before the end of the first slide in the presentation.

Director:
Is the tree also 12K? Or 4K?
Client:
I want the fucking tree in 16K
Dp:
Heard of a zoom?

Apologies if the test footage was already posted:-
 

@Andrew Reid I read it. As a non native speaker and relative stranger to Toneh and Peter and other youtubers I didnt get it. I love your content much more than discussing the content of Toneh, Peter and the others too much. I appreciated your head articles about the heating issues and the PR stunts by youtubers. The Toneh one is too confusing and insider stuff for me. I didnt quiet get it. Like I said, I rather follow your editorials than these youtubers. Thanks for pointing out the issues and for showing the lack of logic of some of these sales persons! I would just not suggest to give them more attention than needed nor more forms of literal expressions. They don´t provide enough fodder for an entire beautiful series of biting and entertaining satire. Your head articles before this Toneh piece were already perfect to me.

The front page of EOSHD now has several of my shitposts on it
https://www.eoshd.com/opinion/sony-announces-new-rumour-camera-yours-for-just-4000/
I sincerely hope nobody reads them!
The EOS R5 may indeed be fake. Nobody has actually done a side by side comparison yet!
The A7S III does however exist as the infamous Sony Rumours Camera Model 3 4K 120 GRAIL. Even the lambasted Sony menus have all been overhauled to resemble 12 pages of DPReview interviews with powerful Sony executives.
The Creative Styles menu now has seven pages of arguments under it about Sony skin-tones and if you select the Sony Alpha Rumors mode the feed from the sensor speeds up and shoots a burst of 200 clickbait rumours onto CFExpress.
Instead of a user manual it ships with so many online shopping codes that buying the Sony Alpha Rumour Mark III Filmmaker's Kit will save you $50 on the cost of Sandisk CFExpress cards*
*You will need $5000 of them to store 12 rumours

They could have made the R6 the video flagship with internal 5.5K raw (Like the 1DX mkIII) and marketed the R5 primarily as a stills camera that happens to be capable of short clips at 8K raw—more for frame grabs than making movies. If that were 8K’s purpose then the heat would be a non-issue and they could still keep the 8K badge on the box. Filmmakers would flock to the R6 in droves, and I’m sure a few would also pick up the R5 for the better stills and occasional 8K beauty shot. The R6 would have been a major threat to threat to the S1H and whatever the A7SIII works out to be. But Canon doesn’t think in that big picture kind of way. They just want to set the entry point for raw video at >$4,000, whether or not it actually works. 

I think what you wrote is very well put. I think that its imperative that any and all issues with these new cameras be it Canon, Sony or pick your camera should be brought to the table and discussed and verified. Because of your posts, you've brought it to the attention of a lot of potential users and reviewers. When the production cameras hit the market, you can damn well bet they will be testing overheating issues.
People can piss and moan all they want that you are being unfair but you are not. I certainly would like to know before I plunk down a lot of money if the camera I am investing in is capable of working in all stated modes without compromise. If there are compromises, I can make an informed decision myself based on my personal needs. All I want is an unfettered review without bias.
Thanks for bringing this issue to the forefront.

Here are a couple of grabs from me in the house. The grab in the dark is from a scene out of the documentary Marcy Made, which is on Vimeo On Demand. I used a JVC GYLS300 and the Sirui 50mm. 

When can we expect a full frame or bigger Varicam?

Solution:
Abolish Facebook.

I’m actually thrilled to be a backer for this game changing lens! I’ll be using it with the GYLS300 and maybe try it on the E1. So far the best footage I’ve seen rendered with this lens comes from the users with GH5s and BMPCC4Ks. Like this one in particular:
 
 

Here are a couple of grabs from me in the house. The grab in the dark is from a scene out of the documentary Marcy Made, which is on Vimeo On Demand. I used a JVC GYLS300 and the Sirui 50mm. 

@IronFilm I definitely agree with you on a wait and see approach with the Komodo, but I believe global shutters are just going to get better with the proper development behind it. With companies like RED pushing this technology, it’ll certainly invite other big manufacturers to enter the foray. 

I watched the film on my 50inch plus tv and it looked beautiful! After a few minutes I totally forgot it was filmed with the fp. 

Another one they need to make really is an EVF with in built recorder, something which is much more viable now with the tiny SSDs.
Having it in an EVF format would add so much value to a lot of cameras, particularly fixed screen ones like the fp and Pocket4K/6K.
In an ideal world, RED would license R3D directly to camera manufacturers to stop the hoop jumping and I'd presumed their link up with Canon over the KOMODO was going to do just that with the R5 but as far as I understand that isn't the case.
 

I think your argument is based around the idea that lenses are an investment, but they're not, they're a consumable.
I understand why you might think that, because it's a myth that seems to be on endless repeat in photography circles.
To understand why I don't believe that lenses are an investment, have a look at the Camera-Wiki Lens Mounts page, or the Wikipedia Flange focal distance page, and see how many of the mounts are still in-use on a current model camera.  There are things like PL, and EF (although its days are numbered), but the vast vast majority of them are essentially dead.  Even if you take very good care of them (the best way by never using them!) they will still age and the rubber and lubricants will dry out, with plastics becoming brittle, and coatings changing over time (yellowing, for example).  A second hand market does exist for some of the exotic lenses of yester-year, but unless you're talking about the pinnacle of the range, then they're worth very little.
MFT is a dead mount in the same way that EF is a dead mount - it is supported by current flagship cameras with specs that remain desirable, but is likely to decline in the future.
I would hesitate to call PL mount a dead mount, but anything else probably has the writing on the wall, it's just a matter of time.
I invested in MFT glass considering it a purchase that I would use for a period of time, get value out of, and then at some point it would be worth nothing to me and likely to other people as well.  Just like the shiny new camera bodies that everyone loves to salivate over.  I have some of the most desirable MFT lenses around, but the total cost was still in the same league as buying a single camera body.
In terms of the GH5 having been left behind, do a count of how many current model cameras can match the 4K60, or the 400Mbps All-I 4K 10-bit internal, or the 5K 10-bit open gate h.265.  Odds are whatever it is you're using can't do that.  There are some cameras that can, but odds are that I can't get them into a museum or historical monument without security asking me if I'm a professional, which wouldn't matter because my arm would probably fall off having to carry it around all day.
All technology goes down in value over time.  Relying on the resale value of any piece of equipment to justify its ROI is a recipe for losing your money.
I don't understand why people think of equipment in terms of resale value - it's purpose is to be used, not traded.

I’m very grateful to be connected with JVC! They posted an interview they did with me on their IG profile talking about my film Marcy Made and how it was filmed with the JVC-GYLS300!
 

Yeah, its all about perception.
The HC500 is £3100 so the caddy at £354 is more than 10% of the cost of the whole camera for what appears to be an M.2 to USB-C interface in a plastic case!
But if they'd just made the camera £3400 and included the caddy then I don't think anyone would have batted an eyelid because its still great value for money.
Separating it out like that just makes it seem like a colossal rip off.

Thanks, and yes I love the files as well. 

The images out that camera looks incredible! I don’t know too much about this specific model, but after seeing those images I’m going to do some research. Truly wonderful images!

@BTM_Pix lol I thought the same thing too when I noticed the price of the caddy! My eyes literally bulged as i gasped. That caddy must hold the physical key to unlock pro Res lol. Certainly that’s an oversight JVC didn’t realize. Or did they?

The downer about the M.2 caddy is that for some inexplicable reason it is $400.
Comparative to the cost of the entire camera thats the sort of media housing price gouge that is worthy of a Jinnitech investigation !