Robert Collins

For lowlight, these results are pretty much as expected
The A7iii is full frame supersampled from 6k to 4k, the BMPCC is M43 (-2 stops), EOS-R FF sensor heavily cropped (-2 stops), XT-3 APSC (-1 stop) and the Z7 is high resolution sensor with pixel binning (a comparison with a Z6 would be fairer.)

Flickr may now turn into a viable alternative.
A couple of days ago the announced a revamp...
https://www.flickr.com/
...following on from the acquisition by Smugmug...
A 'pro' account is US$49 a year with unlimited uploads.
From 'early 2019' video playback will be increased from a maximum of 3 minutes to a maximum of 10 minutes....

For lowlight, these results are pretty much as expected
The A7iii is full frame supersampled from 6k to 4k, the BMPCC is M43 (-2 stops), EOS-R FF sensor heavily cropped (-2 stops), XT-3 APSC (-1 stop) and the Z7 is high resolution sensor with pixel binning (a comparison with a Z6 would be fairer.)

New test out! 
 

I think the consensus is at +1 for sharpening although some people recommend 0. I would have thought it is sensible to be fairly conservative with in camera sharpening as you can always add sharpening in post but it is more problematic to take away.

I think the consensus is at +1 for sharpening although some people recommend 0. I would have thought it is sensible to be fairly conservative with in camera sharpening as you can always add sharpening in post but it is more problematic to take away.

The only thing Apple seem keen on you using as an input source on the iPad is your credit card number for the app store so I doubt there will be anything new beyond the usual camera control apps over WIFI like Panasonic etc.
For the Pocket4K there is actually a workaround for them not having a similar app by using a Teradek Vidiu encoder or the cheap Chinese versions of it which convert HDMI from the camera into a live stream which you can then view on your iPad using VLC or a similar app. The beauty of doing it like that is that you can have more than one client connection so multiple people can monitor it if you need to distribute it around a set. 
The non-beauty aspect of it is that its not cheap if you use the Teradek one and somewhat clunky if you use the cheap Chinese ones.
Although, as it runs on Android tablets as well, you can probably get the Teradek and a tablet for roughly the same price as the iPad  
 
I think the trick is to use the camera as a very expensive SD card reader and connect via USB
 

Talk of CMYK ratios for skin tones are pretty common amongst photo retouchers. I wouldnt say that the ratios are typically as 'rigid' as the ones he gives.

I think a lot of this comes down to whether you see the glass half full or half empty on this issue. I am definitely towards the fan boy end.
On the 'price' I think it is pretty amazing that you can get something close to a flying RX100 for under US$2k 
Quality wise there is no doubt it is a huge upgrade on the original Mavic Pro. Admittedly the original Mavic had a terrible codec with either too much default sharpening or noise reduction. 10 bit DLog-m is great to process on the Mavic 2 Pro. Of course, the FOV 4k is a little soft although I think some of the comparisons reflect excessive sharpening (rather more than detail) on other drones.
Considering that DJI has a virtual monopoly of consumer drones, it doesnt seem to be holding much back (they could have brought out the Mavic 2 zoom first and the Mavic 2 Pro 6 months later) nor are they price gouging consumers.

The only unknown is the white balance on both cameras. Sean mentioned using a white card to properly set it, but this doesn't have to mean that it was set the same. 
 
Besides, have anyone heard about this C / M / Y correlation regarding skin tones? 

I will tell you quite frankly my humble two cents on it:
...the best device is the one you take with you as we both know ; )
Does that fulfills the cup?
Take a look on that 1st clip I've just introduced with my editing, as for instance.
So, fits my bed ; )) No extra size needed ; -)

This is the next video in my travel tutorial series. Hopefully I explained everything correctly? This YT thing is still pretty new to me... Thanks and let me know!
 
 

OK. Fair point about the price. I do agree that the Z7 was mispriced. Hard to see how they could justify pricing it above the D850 or A7riii. I still think it is a promising first effort though.
I do also think you are right about Canon. There is something about Canon's 'non-professional body' and 'fancy mirrorless lenses' that smells of trying to persuade you to avoid mirrorless altogether at the moment.....
...I mean who thought that producing the largest and heaviest 50m lens and 28-70 zoom was a good idea to match with the inherent advantages of a lighter and smaller mirrorless camera?

OK. Fair point about the price. I do agree that the Z7 was mispriced. Hard to see how they could justify pricing it above the D850 or A7riii. I still think it is a promising first effort though.
I do also think you are right about Canon. There is something about Canon's 'non-professional body' and 'fancy mirrorless lenses' that smells of trying to persuade you to avoid mirrorless altogether at the moment.....
...I mean who thought that producing the largest and heaviest 50m lens and 28-70 zoom was a good idea to match with the inherent advantages of a lighter and smaller mirrorless camera?

@Robert Collins even better:  it does object tracking in continuous, so you can select the eye (given you are close enough) and it'll track it. YMMV, but it's pretty dope feature.

The 168mp sensor is most likely a reference to its 'pixel shift' mode. The actual sensor is likely to be 42mp (168/4) - probably because they are working with a Sony sensor.

The main thing that strikes me about Vimeo's policy - is that it amounts to financial suicide by Vimeo.
I see the need for copyright laws but they often seem absurd to me. For instance, I dont see why it is illegal to take a photo or video of the Eiffel Tower at night.
https://petapixel.com/2017/10/14/photos-eiffel-tower-night-illegal/

The main thing that strikes me about Vimeo's policy - is that it amounts to financial suicide by Vimeo.
I see the need for copyright laws but they often seem absurd to me. For instance, I dont see why it is illegal to take a photo or video of the Eiffel Tower at night.
https://petapixel.com/2017/10/14/photos-eiffel-tower-night-illegal/

Yeah, I would buy an X5S tomorrow if I could use it with some form of an Osmo handle. And I would probably get an Inspire drone by Christmas to fly it.
The X7 is gorgeous and I’d love to have the S35 look but until someone makes adapters for their new mount, I can’t see myself shelling out a grand for a prime lens I can only use with one system.

I agree about size and heat dissipation, but that contradicts the idea that all the cameras in a given lineup had the same body?
It's a strange situation to be in because if they push their video line-up and make a new body (that would obviously be larger due to cooling fans) for it, then it would make sense to use the opportunity for adding things like NDs and other things that take up space and they couldn't before.  If they did that and called it the A7SIII then it would confuse the A7 lineup completely but capture all the PR from the A7SII customers and reputation.  If they decide to slot it into their cinema lineup and call it something like the FS3, then most A7SII customers wouldn't understand it.
It's going to be a tough gig to make it better than the competition in performance, large enough to have cooling, and still fit the general form-factor of the A7Sii line and customers existing gimbals and other rigging that they'll want to keep using.

I actually think that Sony's goal of 'trying  to exceed customers' expectations is part of the problem, Yes, they have done that in the past but it is relatively easy to do if there is no competition in your space. Once competition arrives it is a different story. It is doubly difficult to achieve in 'video' because customers expectations are built around the 'best specs available' which tends to be a Panasonic GHx - that has the advantage of a smaller sensor.
I dont really see that Sony has falllen behind though (except fo a lack of external 10 bit.) The article says '...
Nikon have got to the point where the XQD card equipped Z7 surpasses Sony on a technical level using their own technology and manufacturing facilities. It supplants Sony’s best specced stills camera....
But I dont really see it...
1. The A7riii has a much better focus system for stills. https://***URL removed***/reviews/nikon-z7-first-impressions-review/5
2. The A7riii has more dynamic range than the Z7. http://www.photonstophotos.net/Charts/PDR.htm#Canon EOS R,Nikon Z 7,Sony ILCE-7RM3 
3. And even the single card XQD slot on the Z7  isnt much of an advantage as the camera write speed tops out at 245MB/s https://www.cameramemoryspeed.com/nikon-z7/fastest-xqd-card-speed-test/ and the Z7s buffer is smaller than the A7riii.

Actually, this morning I took the same Mavic 2 pro DLOG h.265 clip into both PP 2018 and then PP 2019 applied the same effects (lens correction, LUT and adjustments) and rendered them both out in h.264. Took exactly the same time give or take a second or two.
The new curves are very nice and intuitive in PP 2019 though.

I certainly get the argument that there isnt much inherently wrong with the EOS-R that you cant find a work around. I can also see the rationale - for those with a large collection of Canon lenses - to say that it is the best mirrorless option out there for them.
The problem as I see it, is that the 'shortfalls' in the EOS-R that we see seems to be indicative of a far greater 'structural' problem at Canon - I dont think they will magically disappear with the next mirrorless release. As I see it, cropped 4k, terrible rolling shutter and 120fps at 720p with no autofocus are mostly a function of the fact that both Canon's sensor tech and its processing tech is well behind the competition (and there are similar arguments for its stills.). (I dont really buy the 'avoid crippling' its Cinema argument.)
As such, it just seems an incredibly big 'ask' to try and persuade anyone who isnt incredibly entrenched in their ecosystem to invest in a brand new mount.

I certainly get the argument that there isnt much inherently wrong with the EOS-R that you cant find a work around. I can also see the rationale - for those with a large collection of Canon lenses - to say that it is the best mirrorless option out there for them.
The problem as I see it, is that the 'shortfalls' in the EOS-R that we see seems to be indicative of a far greater 'structural' problem at Canon - I dont think they will magically disappear with the next mirrorless release. As I see it, cropped 4k, terrible rolling shutter and 120fps at 720p with no autofocus are mostly a function of the fact that both Canon's sensor tech and its processing tech is well behind the competition (and there are similar arguments for its stills.). (I dont really buy the 'avoid crippling' its Cinema argument.)
As such, it just seems an incredibly big 'ask' to try and persuade anyone who isnt incredibly entrenched in their ecosystem to invest in a brand new mount.

I certainly get the argument that there isnt much inherently wrong with the EOS-R that you cant find a work around. I can also see the rationale - for those with a large collection of Canon lenses - to say that it is the best mirrorless option out there for them.
The problem as I see it, is that the 'shortfalls' in the EOS-R that we see seems to be indicative of a far greater 'structural' problem at Canon - I dont think they will magically disappear with the next mirrorless release. As I see it, cropped 4k, terrible rolling shutter and 120fps at 720p with no autofocus are mostly a function of the fact that both Canon's sensor tech and its processing tech is well behind the competition (and there are similar arguments for its stills.). (I dont really buy the 'avoid crippling' its Cinema argument.)
As such, it just seems an incredibly big 'ask' to try and persuade anyone who isnt incredibly entrenched in their ecosystem to invest in a brand new mount.