eatstoomuchjam

Absolutely - it's a fantastic price for just the body and I'm envious that you found it! If it were me, I'd still at least make a request that they give a partial refund since the item wasn't as-described and then I'd just take whatever they suggest, whether it's $20 or whatever. It never hurts to have an extra $20.

Can you contact the seller and ask for a partial refund since it's missing the lens? Seems worth a shot, at least!

In the meantime, that video got changed to private. Must have accidentally jumped the gun on making it public. Dang, DJI have a lot of leakers on this one.

Oh yeah, most definitely true! When I used Parsec in the past, it was when I was playing around with game streaming and that's often more latency-sensitive than something like using my video editor, though I'll also need to see how it is for frame-perfect transitions/effects that I want to align to audio. But for me, the use case isn't to reuse underpowered machines to backhaul to another machine - my M2 Max is powerful enough for anything I want to do (though I'm likely to buy an M5 something after they're released since my warranty on the M2 will probably be up around then) and I can just pick it up and carry it with me. For me, it's more about putting the editor on something with fast access to the underlying storage. Even though wifi has come a long way, it still sucks, in my experience, for editing high-bitrate footage from a nas (proxies would help, I'm sure). I'd be likely to still do color (and maybe fine tune audio/video sync edits) with the laptop on a wired connection through the dock, but as a silly example, I did a 48 hour film project a few weeks ago and at some point, one of the people is hallucinating some burnt toast talking to him. We ripped a little mouth in the bread. For the 48, I just warped the image for the hallucination, but now that I'm working on the extended cut, I'm animating the little mouth to move with the words. I suck at vfx since I barely ever do them and don't like them much so it took me a bit over an hour to get the first 3-4 words done. The next clip has about 10-12 words. They should go a bit faster now that I figured out what I'm doing, but... still probably a couple more hours. I'd rather do that lounging on the couch while watching a movie at night vs hunched over my desk. Maybe Parsec is my shortcut for that. That and there's another part with a transition that I can't nail down to where I like it, would rather play with that while comfy on the couch too.

Looks like someone decided not to wait for the embargo to lift before posting his review:

You might be talking me into reinstalling Parsec and trying this out, but for different reasons. Usually I edit on my Macbook (The lower-end M2 Max) and it's totally fine, but when I'm at home, I prefer to edit off my basement NAS instead of from external drives and I use a postgres database on a server next to it. But if I don't plug into the network (which means sitting at my desk where the dock with 10ge is), editing video is not great (and editing photos in Lightroom ain't great either). But I have a windows gaming PC also set up near the desk which has a pretty decent setup with a nice GPU. I suppose I could just parsec to that while on the couch or in bed and do my editing, with the main catch being that I need to use Windows shortcut keys. That or I wait until there's a decent deal on an M4 Mini with 10ge (there have been some solid deals, but they're always for the base model with only 1ge)

I never tried editing with Parsec, but it's a good idea! How does it handle color management? Or is that done by Better Display?

I'd also say that lens sharpness is relevant only in some contexts. A 35mm f/2 lens on a high-end point and shoot really needs to be "sharp enough" - and has to find the balance between sharpness and being too clinical. Unless you're taking pictures of a brick wall 30 meters away, chances are that the 35 has all the detail you'll ever need. Keep in mind that the previous camera using that lens had 45 megapixels - jumping to 61 is not huge. If I were only interested in still photos, the RX1R II would almost hands down be the choice, especially if I found a good deal. Flippy screen and cute lil' pop-up EVF like the RX100 series? Sign me up. Some of the other ergonomics look better on the new camera and it can record in 4K, barely. Is that worth thousands of dollars more? Not for me. Could be be an interesting camera in 5 years when the used price (hopefully) drops it more than 60%? Yes, it could be. Would I take it over a GFX 100RF that costs less? Absolutely not. My most frequently-used lens on the GFX 100 is the 32-64 and that's also an f/4 lens. Very sharp too. You can really count the molecules in those bricks in the wall 30 meters away.

For me, Stalker is one of the most gorgeous films ever made. I feel inspired every time I watch it!

I was going to say that's a crazy markup for about $0.10 in plastic, but then I saw that beautiful cloth bag that is included and it all made sense. 🤣

Yeah - I was talking as an alternative tiny camera for the people who might be a target market for the rx1r iii. 515g (a7cr body only) is closer to 498g (body+lens of rx1r iii) than 723g (a7r v). Though they're all big enough that they won't fit in a pocket, unless you're wearing some Matty G cargo pants. (Maybe someday, some vendor will make a decent quality digital Olympus XA-1 - come on, OM System! Get with it) The ergonomics on the V look a LOT better, as you said. But sorry if I was unclear that I meant the specs on the sensor look similar between the two cameras. I'm willing to bet that I wouldn't be able to tell the difference in still photos or 4K video taken on the A7CR and A7R5. 😃

I agree that I doubt they would intentionally deal in stolen goods. I just have heard that in my country, there isn't a very good centralized database for stolen cameras - so even for stores that want to do the right thing, it's really hard to know. Given the high percentage of my gear that was purchased used, I sort of assume that some of it was sold to the store by someone who didn't acquire it through honest means, regardless of intent.

If you want small and don't care about 8k video, you could also go with the A7CR which also has a 61mp sensor - maybe the same one? I don't follow Sony too closely, but the specs look awfully similar.

I don't know what kind of databases exist over there for serial numbers of stolen cameras, but if they're as poorly-implemented as they are here in the states, I also wouldn't rule that out. Might be less that someone ate the depreciation on their shiny new camera and could be more that someone left a bag with their shiny new camera unattended for 30 seconds on an Italian train. If so, hope they had insurance!

I'd say that if I had $5,100 burning a hole in my pocket for a compact camera (and I don't), I'd be a lot more likely to buy a GFX 100 RF for $300 less than that and then take myself and a friend to a nice restaurant and share a meal and some wine with the rest. (The 100RF really needs to start aging and showing up in big numbers on the used market already, would love to buy one at a big discount from one of the buttholes who bought one for retail and is now trying to sell for $7k)

I'm not misunderstanding what you say. You're saying it wrong and I am correcting you. Recording externally refers to using a separate unit such as a Ninja V, Video Assist, or XDCA-FS7. Those are systems that have their own processors to implement the codec. DJI implement all of the codecs within the camera. Their ProSSD adapter does not have ProRes RAW and ProRes 4444XQ built into it. It is just a device to convert CF Express to USB-C. As far as I now, it has no processor at all. To look at mine, you'd never know it wasn't part of the camera when I received it - it looks like an "external unit" than a USB-C SSD taped to the side of the camera would look. As to the rest, what I said was "You have to pay $1 for a license to turn it on and you need to record it to ProSSD." and you responded "besides those two big caveats." The way things work in English, if I make a statement that has two parts and then someone responds respond as you did, the default assumption is that the "two" refers to the two parts of my statement, not two parts of half of my statement that existed only in your brain. Other people can't read your mind. And no, you can't go into most local electronics stores and buy a ProSSD. You also can't go into local electronics stores and buy high-performance CF Express Type B cards (or in many cases, any CF Express B cards at all) - you'd likely have to go to a professional video store for either one - or just order from B&H, CVP, Amazon, or whatever online retailers deliver to your area. And yes, they are too expensive. I've said as much repeatedly (and with some foul language when I bought 3 of them - because as I've also said, the camera insists on using the HQ variants of things and burns through disk space almost as fast as it runs through batteries, and that's really fast). And as I also said before, many users probably just use normal ProRes and never miss having raw. While raw tends to be fairly common in the narrative space, it's almost nonexistent in much of the commercial and wedding industries, both of which, I'm told, have been pretty big adopters of the camera.

$1 for a license is a big caveat? It's still capable of it actually internally, just only to their special media. Why? Probably because they like money, but they'd probably say that CF express cards were overheating and dropping frames in their testing, just like why BMD made their own special media for the UC 12K.

While looking to see what was on the Deal Zone today, I noticed this banner on B&H. RX1R III announced. 61 megapixel sensor 35mm f/2 lens (probably the same excellent one that was in the previous RX1R series cameras) 10-bit 4kp30 video, or 8-bit 120fps in full hd ISO 100-32000 Support for user LUTs Multi-function shoe NP-FW50 battery (big improvement over older ones) Body design seems to be an evolution over the old one, looks nice Has an EVF, but the LCD is fixed USB-C charging, shitty micro HDMI port Price is a mere $5,100. Most people have about that much in spare change between the couch cushions these days so it should be a big seller. Will it overheat? Only time will tell. The video specs are ho-hum enough that it might not. https://www.bhphotovideo.com/explora/photography/news/sony-revives-its-pocket-powerhouse-with-rx1r-iii-digital-camera

Yup. Curren Sheldon bought one to pair with his R4D 8K for the documentary he's working on right now and (in general) he seems really happy with it. And even if your octopus has 7 of 8 limbs removed, it's better in a lot of ways than the other one. The S1R II does all sorts of things that the R4D doesn't - from open gate mode to recording raw to inexpensive (compared to ProSSD!) CF Express cards to much better control of codecs (R4D insists on ProRes RAW HQ (c'mon) and I think insists on ProRes 422 HQ if you choose ProRes. Oh, and to use lenses that weigh more than about 700g.

It has ProRes RAW internally. You have to pay $1 for a license to turn it on and you need to record it to ProSSD.

ProRes 422 is a nice codec. Many people probably buy and use this camera and never miss raw.

If you want to record in the high-quality modes (PRR or 4444XQ), you need to use their ProSSD which is $800 for 1TB. At such a price, you might think that it would be an incredibly high-performing SSD. You'd be wrong. It's a mediocre USB-C SSD with a magic chip that tells the camera to use it. At this point, you might think you'll find a way to buy one and then swap the 1TB disk inside it for a 2TB or 4TB one. It is, after all, an NVMe SSD inside (if I remember right). You'd be wrong again. Someone tried this and even though the camera recorded to it without complaint, the files all came out unusable. Without the ProSSD adapter, the camera natively takes CF Express Type B. I'm not sure, but I think it can record over USB-C to an SSD. Both of these options will be limited to H.264 or ProRes 422.

Only 7.1k? Better just stay home then. Everybody knows that it's a waste of time to shoot anything less than 7.2k. 😉

Just to understand, are the shadows maxed out SOOC because you're underexposing to get the highlights looking better on the screen? It sounds like it could be weird interaction between the Ninja and the Olympus. I never experienced anything like that with the Ninja on a Fuji or a Z Cam. And I'm pretty sure I used the PQ look most of the time when monitoring - but I've since sold my Ninjas and switched over to Video Assist.

I hadn't thought about that, but if that's an option, I guess I could have done it. Though at this point, I doubt I have an installer around for the old version. Yes, for someone who needs multiple or many Adobe products, the current pricing is somewhat advantageous vs the old pricing. A lot of people, me included, are not that person and use Lightroom almost exclusively. The only time I use Photoshop is when I need to run SRDx. The current cost for the entire suite is $70/month - over 3 years, that's $2,520. So... wow. That's an additional $20 in cost over $2,500. So it doesn't seem "much cheaper" to me. It seems to be "the same cost." This is the pitch that is made for subscription software. It's not applicable to most people. I use Lightroom often enough that it doesn't make sense to turn on and off my subscription all the time. There's no need to guess. They went with it because it radically increased their profits and gave them a steady predictable monthly revenue instead of an unpredictable spiky revenue that got reduced if people didn't like the new version. Now it doesn't matter if you don't like the new version. F U consumer, you are paying for it anyway. Here are some charts that show the true reason that Adobe went to a subscription model - prior to it, they had a pretty consistent/flat 4-5 billion dollars per year in revenue. This is plenty of money to develop their software. It has been on an upward ramp since then and now they are making 20 billion dollars per year. If it flattens again, expect them to increase subscription pricing to further enrich their shareholders. This is why subscription models exist - to enrich shareholders, not to make your life better. I used to work for a major e-commerce company - discussions of subscription billing, etc, were very rarely phrased in terms of the benefit to end users. https://www.macrotrends.net/stocks/charts/ADBE/adobe/revenue The free version is intended to stay. Petty said in their NAB livestream that he expects that, at some point, people will be asked to pay for upgrades to the Studio License to fund continuing development of Resolve. This is, for me, fully acceptable. My existing version of Resolve Studio will keep working as long as it needs to work and if I find the features in a new version to be compelling, I will pay them for it. This is a healthy business relationship.