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  1. Ok so I was a bit sleepy when I wrote that sentence. What I was tryin to say was if it has been confirmed anywhere at what in-body temperature that each camera is set to turn off? Because if there is a difference, like lets say the A7S turns off at 160°F and the R5 turns off at 150°F then there is some room for tweaking those numbers in a later firmware. Dan Watson is the only one I've seen that used a thermometer so far (for some reason he didn't include the actual reading when they turned off though which is a shame). I hope to see some more in-depth thermal tests (suggestion for all you awesome reviewers out there! ) when the final units starts shipping. So many great cameras out right now to choose from, unbelievable!
  2. That Dan Watson video made me wondering if A7S and R5 overheat/shut down at the same temperature software wise? Or if they have different cutoff points. Haven't seen any hard numbers on this. The R5 manual doesn't seem to mention any specific number?
  3. Interested to see how well it works, have they posted any samples? (I don't have facebook) Is it in testing phase or they ready to ship?
  4. Looks really good! You guys in US are quite lucky. I think we got F-ed in Sweden as the pre-order price equals close to $6000 Insane. Was hoping it would have been a bit lower than that. But overall it looks like a great camera for hybrid shooters.
  5. Solid updates! What I like with Panasonic is that they seem to keep updated on critique that is written on social media/forums. Quite big that they went a total u-turn on the HFR exposure limitation on the S1, as they not long ago defended it as a clear differentiation from the S1H. But I think this was the right move, it makes the S1 a bit more appealing again.
  6. Actually I take that back. Now that I look at the trees they look very weird too, I didn't notice that at first. Like they are ghosting/smearing or something - almost like when there's data loss in a codec, like a frame only partially transfers over to the next.
  7. It's there in both P1000119 and P1000120. It's less apparent in P1000119 because it's slighty out of focus but as soon as it locks (at 0:06 mark) it gets the same effect on the window frame. Maybe someone got a better explanation but I would still call that moire. It has a tendency to make things "dance" when they are in a sweet spot (because of the pixel shift that takes place). Sadly this is an artifact that comes with the S1 in the aps-c mode. In general thin lines and no anti-aliasing does make it difficult for the sensor to interpret as to which pixel to bind it to. But you're saying the new clips does not have this issue?
  8. Another good thorough review with extensive image quality tests. In Polish but has english subtitles.
  9. I wouldn't accuse Panasonic or Nikon for lying when they claim they use their own sensors in interviews, when they clearly do not. Or Samsung for using Sharp panels in their TVs even though they don't disclose it. It's just information that they have no interest in sharing with us, and rightfully so. If you see that as a problem you are rather questioning how the industry works in general than on RED itself. Then again the patent is something completely different and that's where the shady stuff seemingly (and maybe even illegal?) has taken place so I'm more curious to learn about that part.
  10. andjo

    Thanks guys

    Always positive vibes in your posts, love it! And I agree that this forum is a great resource ?
  11. You get to see a lot of interesting history behind sensor technology in this episode. I don't see any wrongdoings by RED in this particular case as I don't think that what sensor a camera is using is any sort of public domain, that's one of those things that should be a company secret otherwise you are just handing out the heart of your business to your competition for free. Of course personally I'm always intrigued to learn what sensor a specific camera is using but I don't see it as a right that the company needs to supply me with this data. So in that sense I think RED did everything right on how they obtained their sensor(s). However what they've done with the minimags and patents are morally deeply questionable. And the riddle in the end it's obvious that Jannard refer to 1080p as 1k and x4 of those will indeed generate a 4k image, I think Jinni there just taking words a little too literal. But maybe he wasn't serious and that the joke is on me instead ? He put down a lot of work into this video and you always learn something from them, great job Jinni!
  12. Flannel Ninja seems to be one of the first to get a pre-production unit of the F6 and I'm sure he will post a review soon as well: Here is his impression of the S6:
  13. I think they did everything right with this one, what a beast! So much good options right now for filmmakers and there is still even more to come (a7siii/z-cam) ? Exciting times!
  14. Can see how that is frustrating. I don't fully understand why panasonic made regional differences on how to obtain the DMW-SFU2 upgrade. Nordic customers just had to go to a specific campaign url and sign a form then 2-3 business days later we received the key by e-mail.
  15. It's way out of my league pricewise but I think anyone buying it will be pleased ? Slow motion shooting isn't limited to full auto now, right? Would also be interesting to see how the 4k60p has improved with the low pass filter over the S1?
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