eatstoomuchjam

Do you mean their cinema camera that has swappable mounts including DL mount, L mount, and M mount all coming first-party from DJI themselves? And E mount coming third-party rebranded by DJI? And EF and PL mount from third parties? If you go on any Ronin 4D user group, you will quickly see that Sony E mount seems to be the most popular followed by L mount. I think you're just flat-out wrong on this, sorry. DJi have a total of 6 lenses for DL mount, IIRC. 16/2.8 (APS-C), 24/2.8, 35/2.8, 50/2.8, 75/1.8, and 17-28/4 PZ. These lenses are generally considered mediocre - I have had every one, sold the 16 (since cropping for it is pretty redundant with 24 on FF) and returned the 75 after verifying that it didn't fix the autofocus lag I was getting on a manual mount Leica lens. The whole point of those DJI lenses (except the zoom) is that they are very light weight and designed to be aerodynamic - I use them when mounting the R4D on a car. I like the 17-28, but it's really a focal length that basically screams "use me on a gimbal" and would have everybody instantly demanding a 24-70 ASAP. There two third parties who have made a small number of lenses for the mount, the most interesting being Viltrox who have a set of f/1.8 lenses. This would put them in the position of having to play huge catch-up on lenses since everybody else has a many years-long head start and it'll be a major uphill fight to get third parties like Sigma to make lenses for it, given the lack of market penetration. So it makes perfect sense that DJI would release a new camera using a mount that they already support and offer on their cinema camera. That or that their cinema camera would just support the mount system for the R4D and all of the mounts that go with it.

Part of me wants to knee-jerk against anything even remotely resembling a subscription, but this is also something I've wanted when using BM Cloud on things like a 48 hour film project to collaborate with others. If the studio rental is cheap, I might even do this sometime.

Oof. Good points. Very sorry for both of them.

That makes me sad for both of them and I won't joke about it. I don't see anything about it on their instagrams or youtube, though. What's the source?

Maybe you're on to something... after all, Nikon did buy all of Red's IP... Maybe it's time to finally release long-promised the Red Lithium and fulfill the promise of the Hydrogen One! Or maybe it's time for the Hydrogen Two! 😅 https://en.wikipedia.org/wiki/Red_Hydrogen_One

Casey Neistat and Candice? Matt Granger and his 200/2 Nikkor? DSLR video shooter and his entire camera studio attached to a rolling lightstand? Gerald Undone and his own ego (or Sony?)? Bloomie and his cats? The Camera Conspiracies guy and his most 3d popping lens? Snapchick and Raymond? Cam Mackey and yellow-toned footage of cars driving around in the sand? Pooter McCubbins and ugly poorly-made leather goods? Potato Jet and his FPV drone? Matti H and Pooter McCubbins' leftover views? Mathieu Stern and other peoples' lens adapter ideas? FroKnowsPhoto and his Canon rep?

Tony and Chelsea?

Clearly, it's the DJI camera that they've been on the cusp of releasing for about 3 years now.

If the rest of the specs in the rumor are true, the body has a fan. I think there's no way it's the camera in the photos. But if the one in the photos is a Nikon with Redcode, the take-away here really is that it's a great time to be a filmmaker if we can now get 6K DGO in one tiny body and Redcode in another.

So definitely not an FX30 killer at that price. But 6K FF DGO sensor? That might be in the category of "sell some my other stuff" followed by gif of Frye from Futurama waving around money, possibly with some delay before they hit the used market.

It there's a camera that small/thin and it captures Redcode, I might consider my second-ever Nikon camera... after a Nikon FG that I owned briefly in 2002 or so.

The rumors about a 30ish megapixel sensor when combined with FX30 killer got me laughing out loud since Canon absolutely have a 30ish megapixel full frame sensor that they could put in a small cinema body and sell for a price slightly below the FX30... Putting all of that information together, we quickly arrive at the conclusion that Canon will be releasing a cinema version of the EOS R. Maybe they could even tweak their old stock sensors to be able to read out 4K from the whole sensor. 🤣

Yes, this is how HSS works. I'm not sure why you're describing it to me. I already acknowledged that some people are opposed to it. I also have some not-especially-expensive Godox/Flashpoint strobes that I've used to HSS in direct sunlight before with relatively wide apertures. They're about the size of an extended soda can. It seems like you read about 30% of what I write and and then respond to that instead of reading and understanding fully. I will repeat for you that the 100MP sensor that is used in this camera and the GFX is simply incapable of reading out 100 megapixels 24 times per second. It doesn't matter of Hasselblad want to try cooling it for that or not. It's just not an option. Otherwise, arguments against rolling shutter or alternative sensor readouts are silly. Many vendors do it and many people use their cameras successfully without complaint. And Hasselblad haven't had a reputation for the highest image quality in a long time. That crown went to companies like Phase One years ago. Once again, try reading every word that I say before responding. I am aware that Hasselblad have a small number of lenses that are price-competitive with the Fujinons. My statement was "Do prepare to break out the wallet, though, since many of the lenses cost 20-50% more than the equivalent Fujinon lens" - that's because if I go to B&H right now and search for Hasselblad lenses, I find that many of them are in the $4,000-5,000 range. The most expensive Fujinons are in the $3,000-3,500 range. You can also adapt a bunch of less expensive lenses to Fuji thanks to the focal plane shutter, where the Hasselblad will require the use of the slowest possible rolling shutter for any lens without a leaf shutter.` Are you talking about the fact that some lenses change focus slightly when stopping down the aperture? Because that's easily solved by just focusing at the aperture you plan to use (I also do this with some Canon camera/lens combos because the plane of sharpest focus seems to shift a little bit when stopping down). Otherwise, that sounds like absolute nonsense. I've done a number of timelapses with my GFX 100 and 100 II and the focus stays right where it should. And when using autofocus with GF lenses, when the autofocus hits right (less than people accustomed to Canon or Sony would expect), it's ridiculously razor sharp. This all really sounds like the usual toxic internet crap where somehow one of the best camera systems in existence is deemed "insufficient" by some troll whose only exposure to the camera comes from YouTube.

The GFX 100 series cameras support HSS with compatible flashes which, to some extent, reduces the usefulness of a leaf shutter for flash sync. Plus I doubt that there's anything technically that would make it impossible for Fuji to release a leaf shutter lens for GFX and just disable the focal plane shutter when it's attached. But sure, if right at this minute, you are religiously opposed to HSS flash and want to do high speed flash photography, the Hasselblad isn't the craziest choice. Do prepare to break out the wallet, though, since many of the lenses cost 20-50% more than the equivalent Fujinon lens. As far as video from the 100MP sensor being an exercise in frustration, Fuji have been able to do it since 2019 when the GFX 100 was released. Strong rolling shutter? Yes (though the GFX 100 II allows trading some quality in 4k mode for greatly reduced RS). Powerful processor to downsample 100MP? Nope, reading out 100MP from that sensor 24 times per second isn't a thing. Fuji do some sort of line skipping or binning to get there. The quality's still enough that in just a couple of months, they'll be releasing a cinema camera built around the same sensor. But with a different sensor, there's already a camera on the market that can do nearly 100MP at 80fps from a full frame sensor with really acceptable RS - the Ursa Cine 12K LF. And there's one that can do approximately 140MP at 60fps from a medium format sensor - the Ursa Cine 17K. So even those data rates aren't insurmountable (though those are big bodies with fans). Anyway, there's no reason that Hassy can't include video in the X2D series - they just choose not to.

Really? Tell me more. If you wanna mince words about "subscription" vs "upgrade," that's fine, but the one who is bullshit seems to be, in fact, you. As to the rest, if you want to make a statement that an article is full of easily-disproven facts, it is not even remotely unreasonable that somebody asks you to do just that. If they're so easy to disprove, it should hardly be a burden at all - barely an inconvenience! https://electrek.co/2024/07/12/tesla-starts-selling-30-50-miles-of-extra-range-if-you-have-a-recent-model-y-rwd/ Exactly this. And they have the power to crush any upstart competition like insects. And in cases where an upstart does give competition, it's only because they're burning VC money to sell at an unmaintainable discount until they've knocked off enough competition to enshittify and raise their prices (the Uber model).

Back in 1985, I saw a documentary about a guy who was able to travel back in time in a crappy steel sportscar with only 410 megawatts more than that. Maybe that guy could go back in time and stop AI before it even started!

I'm obviously not going to go and manually look up every single fact in that post and provide a citation for it. That's absurd. You said So now the burden is on you. Prove that bullshit wrong. It's apparently easy.

Someone loves Eeeeelllllooooonnnnnnn. If you stan him enough online, maybe he'll be your friend and give you a billion of his dollars. Keep it up!

Yes, this is also a symptom of late-stage unrestrained capitalism when there is no longer a lot of competition in the market, but instead there are a handful of well-established/entrenched players who can gamble with losing some sales in the short term. Don't buy a VW this time around because they added a stupid subscription? They'll be in the running next time after all the others add shitty subscriptions too. The same applies to stuff like car vendors trying to move away from supporting Carplay/Android Auto because they really want to sell you subscriptions to connected features in the car, despite that you already have all of those things paid for in your phone already.

Yes, but as long as some people still buy VW and some people buy the upgrade, other car manufacturers will be inspired to do the same. This is how the enshittification race to the bottom works. It used to be that if I bought a plane ticket on any airline, I got a checked bag for free. Not only that, but overhead space was plentiful and I could be a bit chill about boarding the plane. Then one airline started charging for checked bags. When people didn't stop flying with them, the other airlines followed suit. After all, people are apparently willing to accept a shittier flying experience. Now checked bags cost money and overhead space is crammed full which makes me one of the annoying boarding buzzards circling around the boarding stanchions so that I can be sure to get on in time to put my camera bag above me and not get into an argument with the boarding agent about whether I'm going to gate check it (and no, gate agent, I cannot relocate all of the lithium batteries into my other much smaller "personal item" that goes under the seat in front of me). Anyway, the shrugging and accepting it is basically what is at the core of enshittification.

The engineering DR range in the DR boost mode is well above 12 on the S1 II, nearly 16-bit, even. And when you say "Nikon didn't use," you mean on the Z6 III, right? And not on this upcoming camera that nobody has seen yet and which may use sensor modes that weren't used on the Z6 III? I'm not going to argue any more about a camera that nobody's seen, but outside of "has Redcode," or "uses a Red sensor," it's kind of hard to imagine what Nikon would claim makes the camera a hybrid with Red. Nikon's colors are already very nice so "has Red colors" would be basically garbage for advertising.

If it's the sensor that's used in S1 II, it has more than 12 stops of DR. The slope-based DR test on cined shows 15.1 stops visible and the OG Komodo shows 15.7. Also, did they say for sure it would use Expeed 7? And even if they do, is encoding Redcode really all that taxing? Red was shipping cameras that encoded 6K and 8K using it back in 2015 or so. I'd also keep in mind that whether or not Redcode has any advantage over nraw on this specific camera, there are marketing reasons to use it.

Volkswagen are now selling you the whole car, but requiring a subscription to get the full performance of it. 🤮 https://fortune.com/2025/08/19/volkswagen-horsepower-subscription-economy-cost-features/ (Relevant to enshittification, not to copyright strikes)

Almost certainly. My guess is a mirrorless camera with Redcode raw which could be fantastic for people in Nikon's ecosystem.

There's a lot of "well...." and "it depends" in there. - If you have a manual focus lens with FF gears on it, the R4D is infinitely better, in that it can do it at all (after you buy the focus gear for additional money and spend time calibrating the lens) - If the subject is within between 1.5m and 4m of the camera, the R4D might be better (it's really good here, but I haven't tested the S1R II which might also be very good there) - If there is haze in the air, the S1R II will probably be infinitely better. Haze reflects light which makes lidar throw up its hands and give up - If focusing closer than 1m or so, R4D can get weird because of parallax (the lidar unit sits above the lens - this becomes more relevant the closer you get) - If focusing more than 4-5m away with r4d, the lidar keeps doing alright until about 10m or so and then it just doesn't work at all and calls it infinity. This is fine with wider lenses, but awful with long lenses. That's probably also why the calibration doesn't understand that there are lenses longer than 100mm or so.