Anaconda_

I often use Splashtop Remote Desktop when editing remote and its always been very reliable. My main use-case is making an edit on a windows machine hooked up to a bunch of media servers in one city and I'm in another city on a MacBook. It handles the keyboard mapping and display scaling extremely well. It also has support for multiple monitors, so I can plug the MacBook into 2 external displays and have all 3 screens mirror the 3 Windows screens. Or assign them to spaces if I'm using the MacBook without the externals. Another advantage, in my case, is it has the option to blank the screens on the remote computer, and runs through a secure network, so feels very safe if you need that. I'm curious about Parsec, but it seems to be a similar price for similar feature set. Since Splashtop is doing the job just fine, I'm debating if its worth the time to research and switch over. For colour depth, both say they're 4:4:4 so I don't think that's much of an issue.

Try this instagram page. I hope the makers and their tools make a full movie in this style. https://www.instagram.com/reel/DMNxgCdIWxR/?utm_source=ig_web_copy_link

When I had the camera, I basically just left it on A. Even when shooting on a Mediterranean island in the height of summer. I find that when documenting real life stuff, the 180 shutter rule is a bit more maliable than when shooting for narrative or performance. In fact, I would go so far as to say for a protest, having a very fast shutter speed can even be advantageous as things move so quickly. You can pull crisp stills from your footage and any noticeable choppyness in the shots will emphasis the electric feeling of actually being there. With A you can just focus on framing and let the camera do the exposing. It will play with ISO and shutter speed, but keep you aperture locked to whatever you set it.

Sweet, I hope they also do EF to L!

m.2 slot under the screen by the looks of things.

Well, they've definetely got a new camera coming. The 'Ursa Cine'. I'd imagine they will also announce other new hardware, the next Resolve, and software for the pocket cameras. Ursa Cine seems to have PL mount and some kind of wireless features judging from the antenna. I wouldn't be surprised if it was built with camera to cloud and all that stuff in mind. Also USB-C on the front? I doubt that's for an SSD, so maybe powered focus motor or something? .

Looks great! Is this with no crop in post? I'd love to see some moving images with a setup like this!

I think it's more about licensing ProRes. If the camera uses Braw, it doesn't cost them anything. And I'm pretty sure h264/5 are free to use. As Braw is pretty close to ProRes file sizes, I think I'd actually prefer to have Braw and h265 over ProRes. I often shoot in remote locations, and need to send files back to the big city. The small filesizes of h265 would be really great to have in camera. So I'm quite excited about Braw and a proxy simultaneously... However, Blackmagic seem to enjoy the Goldilocks effect, so I'll wait for the one that's juuuuust right in about 2 years time.

Shame it uses LPE6 batteries though.

Why do you say that? Apparently it's SMPTE standard.

Skip to 7:30 - you can essentially jam a device like Tentaclesync or Deity TC1 with the Rode's timecode, and since they're also super accurate (one frame drift in 48 hours), you can keep those devices plugged into as many other cameras as you like. This is the same as pretty much any other timecode system out there.

They already do.

Interesting take, but I don't necessarily agree with what he's saying. He's right, in saying that this system doesn't work with multiple cameras. However, TC can still be valuable for a single camera shoot, especially when recording 2 audio sources externally. In my opinion, this is the same as complaining that the one tripod you bought doesn't hold all three of your cameras. Rode have noted that they system can sync other 3rd party TC generators and get them in sync, so you can have multiple cameras running the same TC, with some extra hardware. Which is the same as any other TC system. He also mentions that the transmitters have to be connected to the reciever for TC to work, and you lose the function if the reciever shutsdown or loses connection. But Rode have said they'll stay running accurately for quite a while, and when they reconnect to the reciever, they automatically double check that everyone is running on the same TC. Skip to 7:30

Looks pretty amazing. Where could they go from here? Hopefully they also make some TC receivers that add onto the system to sync multiple cameras.