noplz

https://www.theonion.com/world-agrees-to-just-take-down-internet-for-a-while-unt-1819579575

If you've ever suffered 5 minutes of Youtube Kids, your "algorithm" statement is completely correct.  Watch Sonic the Hedgehog drive Lightning Mcqueen off a skyscraper 1500 feet onto a farting velociraptor with breasts and Don Johnson loafers...  while "Daddy Finger" repeats in the background. 
I kind of hate that social media has given literally everyone a voice when I see Logan Paul as an example.  -Since feeling special and accepted is an ingrained part of every human being's natural make-up, social media, Youtube, etc.. - keeps us buried in our phones, constantly seeking value in "likes" and whatever trivial bullshit virtual currency there is.  It's a breeding ground for ill-advised priorities and narcissism.   Even if it’s just subscribing, you’re piggy backing a sense of community for the almighty motive - attention.  Everything is literally based on attention.  It drives the motive of most media "outrage" these days with a voice that says "Judge this motherf---er.  It's trendy."   or some idiot's default response to go full LiveLeak on a dead body.  
F'king Nightcrawler.  He's done. 

Andrew, the problem with a much larger sensor than the tiny video chips of yore is that you have to use a significant zoom lens on the camera (or a long FL prime) to couple to the scope eyepiece/TC train. I've tried my GH4 w/ the compact Panny 14-140, but just too bulky, with a relatively small circular image shown, or no focus-able image all. My next iteration was the Sony HC1 FHD camcorder, but never found suitable astronomic "seeing" to warrant the time and effort of setup with the 9.25" f/10 scope.
What I have done with it is total solar eclipse recording of solar flares and detached prominences, but with a very compact and excellent 4" 1000mm f/10 reflex scope w/ tube length only 8" using an eyepiece coupled to the Sony lens, but no TC. First pic below with the VGA res. TRV-900 of the striking detached prominence - Africa '01; the second with the FHD Sony of the "hedgerow prominences" I've not seen imaged in this detail - Turkey '06. For the recent eclipse I viewed and imaged from Madras, Oregon, I used my GH5, Canon 100-400-II w/ 2X TC shooting 4K in ETC crop mode (2.7X crop factor), plus 2X dig zoom or this to 1080p res and 5.4X factor = 4320mm EFL. Tech. screwups on my part nixed any views of the pretty unimpressive flares at this mag.

Here's a sort of uber-imaging setup with a 9.25" aperture/2350mm f/10 Schmidt-Cassegraine compound scope with an afocal imaging setup about 15 years ago: Sony TRV-900 3-CCD VHF camcorder with full man. controls, SS down to 1/2 sec connected to a telescope eyepiece (this is the "afocal" setup) which is connected to a 3X TC (Barlow lens in astro lingo). The Jupiter images filled about 2/3 frame height with the Sony at about 10X zoom. This method makes finding the object pretty easy zoomed out, works well in spite of the huge # of optical elements involved, and zoomed-in gives enormous mag. - maybe ~ 20-25 meters EFL @ f/100?
The film clips were processed in Registax, which selected the sharpest (due to brief reductions in atmospheric turbulence), stacked 400-600, which accentuated common detail features, than a complex multistage "wavelet" sharpening routine. The first Jupiter image was from the steadiest "seeing" conditions I've ever had - in the Florida Panhandle. The Mars image at it's historic closest approach in 9/3/03, from southern Mexico.

Hello mate, with the evolution of 3d jetprint, I'm getting good value for money.
The biggest evolution of NX-L is the Plus version, this is the maximum for use as a videomaker, For color and quality I prefer NX1 + NX-L Plus to Blackmagic Ursa mini.
The AF adapter without speedbooster is frozen and I will not go any further until Samsung decides to go back to producing cameras.
I hope that in December I will be able to make a special offer to Eoshd friends.

They're raw stills graded with my photoshop presets... The video frames look just as good though... NX1 colour has always been a highlight.

I had the NX1 and it looks great in daylight.  I struggled with NX1 in lowlight, so the speedbooster is a great way to help with the lowlight. This speed booster overcomes the odd choice of the NX1's flange distance as compared to other mirrorless cameras. If my NX1 and 50-150 was not stolen out of my car I would still be shooing it today because l love the way it handles ergonomically.  Regarding it's capabilities as a 4k camera, depending on what you are shooting the rolling shutter maybe a deal breaker, it made me move on to the GH5 rather than purchase another NX1, but I'm not a: "must have shallow depth of field person" so I am not the target audience for this NX1 speed booster anyway.

Here lays the misunderstanding.
"A little better", "top display looks pro", "a little faster", etc.
For a full time stills shooter these are huge features. Flat out deal breakers. 
Remember, your needs aren't rarely everyone else's.

Congratulations on the new new camera ... it was one of my favorite digital cameras ... bought mine when the were 37K ... actually traded out of some 8 bodies and 15 lenses for a H2D then moved to the H3D II 39. Love the files out of camera. 
Three suggestions ...
Phocus does a better job with color clarity highlight recovery than any other workflow. Output from it to LR to optimize your conversions.
There is a way to "refresh" the batteries ... they tend to hold less of a charge over time and you can reset them ... do a search for this.
In the menu you can change the time of shutter actuation from the mirror up ... lengthening it a bit may afford you with sharper images when handholding the camera.
Oh ... one more ... the back can be used on a tech camera if you power the back with the firewire cable from a battery and an external cheap FW800 hub. Used mine to great effect on an Alpa TC.
In time you may want to look at the HC 50 version II and the HC 100 ... both stellar lenses.
My first Hasselblad was in 1984 ... have had too many to number ... recently returned to the fold with the X1D 4116. Love the CCD but DR and higher ISO almost make up for using CMOS.
For those who are not familiar with the H3D ... one of the easiest cameras to clean the sensor as it is flush with the outside of the back. Couple of swabs and you are done ... no need to use a loop to see deep inside the camera and attempt to stay off the wall of the deep well.
Again ... no video but what wonderful files ... 
Bob

Its worth looking at London Camera Exchange for cheap used GH5s I got mine for 1299 like new

Yes, Andrew, it is impressive! I´ve been a fan of the potential of the Panny codec/color from G6 on. It´s been giving me exiting possiblities for color work.
This weeked I shot my short on a GH5. I completely trusted that pixel perfect HD and its least color mode: the glourious 8bit 420 REC709 Natural profile with contrast at 0.
This is a screenshot, quickly graded. Hope to get it through the edit and music and postprod quickly. If 8bit rec is already of such beauty, the other modes will be massive.
By the way, I shot it 8bit and rec, because of older hard- and software infrastructure available at the moment:) Nothing more uncomfortable than having footage laying around unedited
 
EDIT: We know about the advantages of contrast 0 in rec709 on the new Lumix cameras, sharpness and noise at -5 of course:)
 

I see Luca (NX1 speed booster designer!) has been playing with my footage
Nice grade, even from the Rec.709 standard profile you can see the dynamic range
For those who haven't downloaded the files yet, check it out especially the AF test shots.
Thanks for the edit and grade Luca

I am using Adobe Premiere but with reservations... If it doesn't stop crashing soon, I am going to have to use something else.

It seems they are now finally allowing the use of H265 for 4K video shooting: "A low-bit-rate recording mode 4K HEVC for HLG was added." The question is how "low".

Pentax even beat Panasonic to the punch on that count; they introduced it to their line about five years ago.
In any case, it looks like UK pricing for the D850 is virtually identical to that of the 5Div. You'd think Canon would have to cut its pricing to remain competitive, but somehow I doubt they will. Weirdly enough, it looks like the 5DS and 5DSr are now the sweet spot in Canon's full-frame line-up, as they offer higher resolution than the D850 for a lower price (albeit being worse in terms of dynamic range and base ISO) and have pretty respectable video quality if you can live with only 1080p.

I don't know what they will do with D5600 replacement but they won't release entry level DSLR anytime soon. The next big thing is mirrorless in first half of 2018.
By the way, it should be embarrassing for Canon that the first DSLR with focus peaking is from Nikon known for its irrelevancy in video market. 

Seems to be an awesome camera. Really pushing the envelope. But we will have to wait and see, since specs doesn't mean jack.
Native base of iso 64 is a big deal. As a film shooter I've always hated that most cameras bottoms out at 200 without using expanded. 

stills; electronic shutter 6fps full frame, 14 bit.  All sRAW are at 12bit.  No word whether then 30fps is sRAW or jpeg.  If its sRAW then the burst length is the next question.  If I can shoot for 10 seconds then I can get 4K 12-bit raw video at 30fps.  This would be interesting. 
Some bits of video in here. High iso looks OK (from what you can see from youtube). 
personally I am increasingly primarily a video shooter who also shoots stills, when I got the D800 it was the other way round. As Leeys said a good still camera, but thats not why we're 'ere, eh?
Good info here (see #8):http://www.imaging-resource.com/PRODS/nikon-d850/nikon-d850A.HTM
Looks like buffer allows 200 frames in sRAW, however this was not talking about the burst function. Could be less than that. So 5-8 seconds of raw vid a possibility.
Sensor designed by nikon. 
 

Maybe go to the Heineken museum. Though, in all honesty, if you get the chance, drink Hertog Jan, Grolsch, Amstel etc instead. xD
APS-C would allow easy adaptation of DX lenses as well and stuff like the Tokina 11-16mm and Sigma 18-35mm f/1.8 would be native to it as well. Like you said, a focal reducer in between and you're set to still get fullframe coverage out of your F-mount lenses. Like, I don't want to waste a fullframe sensor and only use a S35 crop out of it... in meanwhile paying the premium. I don't mind rigging up my camera with cage, rods, follow focus, etc and throw it on some sticks with one of the 'Bourne' lenses on there, I've got the Nikkor ED 17-35, 28-70 & 80-200mm f/2.8 D lenses, but they are big 'n bulky and I'm speedboosting those now anyways. Seriously needs the appropriate occassion to throw 'em on.
For me it's just about the up from 4/3" sensor performance to APS-C, which gets you quite a bit better dynamic range, lowlight high-ISO performance and richer colors. I notice the lack of performance from the somewhat tiny 4/3" sensor, but APS-C I'd be more than happy with. For me, no need for fullframe, but it's nice to have a option to use a focal reducer. And otherwise I just love compact mirrorless cameras with sensor stabilization that also have compact lenses. A 35mm f/1.8 DX lens goes a long way. If they bring a smart adapter, they can immediately benefit from a native line-up to the sensor size. Sony hasn't been developping any consumer level APS-C lenses for like 3 years now (they've only released a few big 'n expensive cine/ENG-style zooms), it's like the entry level to get into their fullframe system... but for the people without the fullframe money quite yet. They're seducted to buy the tiny A6x00 camera and throw on fullframe lenses they can later throw on their A7-line-up camera. For me it would be nice if Nikon would develop an even more compact (than DX) mirrorless APS-C line-up (after all flange distance is shorter)... like Canon is doing with EOS-M. Actually, they might just ask Samsung if they can copy their line-up. That 16-50mm f/2-2.8 S lens and those primes look like the exact sorta thing you want in your mirrorless APS-C line-up! Of course, they could pull a Sony and do just that. An APS-C camera for the fullframe wannabees and a fullframe one/fullframe ones that they'd really be pushing. Just... to me, it makes more sense to make a D5600 mirrorless than it is a D810. But maybe that's just me.

@tdonovic  Sorry, I have to disagree with your "image quality doesn't matter" line.  
I have an NX and, from time to time, think maybe I should upgrade or get rid of it.  Everytime I have taken shots with a recent Nikon camera I walk away disappointed (and still the owner of an NX1).  
Nikon has a reputation for great cameras, whereas, Samsung has a reputation for phones that blow up and overpriced washers and dryers.  Is it too much to ask that the one with the "great camera" reputation actually produce cameras that are great? 
Lastly...Samsung in their mind, still own 26% of the camera market...since most people just take shots with their smartphones.

Think about it, Samsung has built 200 million phones and tablets. I kinda doubt Canon will ever catch up to Samsung's semiconductor manufacturing prowess. Canon used to be the 2nd largest company in terms of creating new US patents each year. Guess who they lost that spot to - Samsung.
Canon, Nikon, Sony and Apple  combined don't have the experience or expertise to accomplish what Samsung is doing in fabrication. In order for any of those companies to compete technologically they have to outsource their manufacturing. That means higher costs. That's why a $1500 Samsung camera very significantly outperforms a Canon $6000 camera.
As I recall the NX1 used a 32nm copper circuit fabrication tech at the same time Canon's cameras were using 512nm aluminum circuits. People complained about the h265 codec because their state of the art Mac Pro towers couldn't read / display /or write h265 4k in real time while the humble Samsung NX500 could do it for $700.

Canon DO make their own sensors.
They have also bought in Sony chips occasionally like the 20MP 1" CMOS.
Canon's sensors put out a raw image on every single one of their cameras and the 80D is no different, they have always led the way with 14bit colour, very good sensor output, the problem comes to when this is hacked down to the stock H.264 video mode and the lack of willingness to employ a pixel binning method on the sensor that makes a bit of effort to reduce moire & aliasing. They have only done it twice - with the 5D Mark III and 1D X / 1D C 1080p.
The 80D doesn't just look soft compared to Magic Lantern raw. It lacks the dynamic range, the colour depth, the colour sampling and the uncompressed look.
So in danger of going over the same ground we've been going over since 2010 with Canon, perhaps for sake of expediency we should stop trying to defend them and disagreeing with me when I call them out, and get fully behind the campaign to have them give us better value for our money.
I have to correct you here.
A 20MP or 24MP crop sensor is the same amount of pixels as a 20MP or 24MP full frame sensor!
Trust me it's not a good business strategy to leave 4K and good video features out of the 6D Mark II.
It wouldn't even have hurt the profit margin of the camera as the technology already exists and is cheap to implement.
They've lost tens of thousands of sales.
They do. Why else do they listen?
Why bother?! Because those are your direct competitors in photography and video!
Speculation.

I know a lot of friends who bought a DSLR because it had video, Nikon lost lots of customers this way at the end of last decade. Now these people have a mirrorless or simply bought a better mobile phone because of 4k or just because they don't want to carry more than one piece of gear. That's on the amateur team. On the pro side, people keep using old DSLRs for photography or moved to Sony, Pana or Fuji for the convergence. I've been a jumper. I left Nikon for Canon and toyed with my good old Gh2(v). The GH4 was great but it's the GH5 that's making me leave Canon.
I was going to comment this on Redshark's article that looked promoted by Canon saying that 4k on a photo camera is ridiculous but I'm sure it's better here. In Slovakia there's a strange wedding tradition that nobody knows how the hell started. After the ceremony everybody, and I mean everybody congratulates the couple in a big queue. For a photographer is a nightmare. I was getting between 400 to 600 pictures just from that (people shaking hands or hugging and kissing, not a creative subject) and as you can imagine there are misses, which I wasn't sure if they were important or not. Now I just make a goddam 4k video and extract the best JPEG from there (EDIT: with my RX10II, that's why I'm waiting for the GH5). No more choosing between six photos with no good expression. Now I'm getting 24 and one is always good. It's a blessing. With 8k, or 4k 10bit and a good EVF for proper exposure I'm half certain photos won't be necessary outside of the fancy portrait with flash sessions. There, my 2 cents; I feel much better after saying that.

Canon can limit their DSLRs how they want and offer ridiculous mirrorless that no vlogger will use, they're just shooting themselves in the foot and losing credibility. I'm not recommending them anymore to my friends. They'll be soon the horse carriage in a combustion car world. 

I agree with many of your statements. One of the statements that you made that I don't agree with is not from this article. First, I am not talking in an adversarial way, so don't raise your shields You made a statement that Canon listens to their customers or photographers or something to that effect. I find from the D30/D60 on forward that isn't true at all. i chuckle when I read Denis Reggie or Jeff Ascough say to me that Canon is listening to them. In my opinion Canon listens to their internal minds, their own game plan, and in a very small very unique window of opportunity, I saw Canon very VERY eager to see what Nikon had up their sleeve at the announcement of the original Nikon D3 camera. At that time, the Canon people were scared sh#tless on what Nikon was launching - I saw it with my own eyes. Never saw that happen again. Leads me to the conclusion that we can add that Canon listens to ONE competitor's actions and products, and that is Nikon. Not Sony or Panasonic, and NOT their customers.
The pattern for Nikon these past few years has been that Nikon has become a sleeping cow. And Canon advancement has tracked Nikon's performance to a the letter. They have been sleepy and lazy because the competition they watch has slumbered off. It is history repeating itself. Pure video people are not going to understand this point of view (with exceptions). But i feel things are going to change. I think Nikon is going to spring out with DPF cameras in a sudden surprise move and start the Nikon Canon machine marching forward again. This isn't pie in the sky there is evidence. Canon will react to money (sales) and Nikon. That is it - end of story. Nikon is asleep - and therefore so is Canon.
Canon will advance with 4K in their cameras when it doesn't matter anymore. probably in about 3 year you will see 4K trickle down to the little cameras and the little people. The only thing to change this track would be Nikon jerking Canon's chain with a Dual Pixel Focus type camera somewhere in their product chain. My guess will be the D810 series with 4K and other goodies this year. Or another camera higher or similar in price next year. Then you will see Canon react. Canon doesn't give a crap about anything else, they have the sales and they have "their" competitor in a choke hold. Sony, Panasonic and Olympus are not competitors - to Canon. When I see comments like Sony is sweeping the market with their products, how many see Canon even blinking lol? Nikon, on the other hand is what moves Canon, can't say it any plainer than that. If Canon sales were going down the toilet, they would react to that too. Neither has budged, and Canon continues to report good sales to their board.
The only buy I can see for active use is the 1DX II. It too leaves a lot to be desired, but there is no other camera I see that can be a workhorse to deliver is a well rounded way. It lacks IS, movie controls, lightness and small size. But it delivers an amazing army of people behind it to keep you up and running (another thing movie people don't put enough sock in - try and get a Panasonic or Sony fixed, yes I know about the new NY and LA  centers lol. Chocolate bars for the kids basically. Go to a world event and Canon and Nikon have 18 wheelers full of bodies and lenses and techs to keep everyone up and running, this is more major than most people admit or recognize. Panasonic, Sony and company are "just" starting to make any noise in this area.
I read in this article something that caught my eye. Are you saying that the 1080 feed thru the HDMI is better than most would expect? i would like to know that, it is is true or not. Recording to a $400 Atomos to ProRes on an SSD at a great 1080 and getting pro level results would be a really appealing thing to read!
Also, got the new 2017 iMac i7 580 8GB GPU 40GB Ram yesterday. A 1 minute 5D4 MJPEG 4GB file transcoded to ProRes LT is 35 seconds. Straight from that file, color corrected and to H264 in 36 seconds (no pre-rendering). Color corrected and add a few plug-ins out in 55 seconds. MJPG jail has been cracked. Can work straight from the files, or transcode out to ProRes.
Please say more about the 1DX2 1080 HDMI output and quality.
Peter