The Fuji GFX 100 along with the Panasonic S1H is the most advanced mirrorless camera for video on the market at the moment. There are reports today that Fujifilm are working on a big firmware update for the GFX 100, with ProRes RAW on the list of features.
This will be a short introduction before I get down to shooting with the beasts you see above.
On the left we have the Leica SL2, which features a 5K anamorphic mode (4:3 aspect ratio) that records in 10bit LOG format.
On the right we have the Fujifilm GFX 100 which is my first medium format camera that has been useful for cinema. However one ingredient has been missing with medium format and that is anamorphic!
FDTimes has published a really nice insight into the famous British cinema lens manufacturer Cooke.
“The business has changed ever since Jim Jannard announced the RED One camera in April 2006”
I was very excited for the Leica SL2 and bought mine in December 2019. I have been using it ever since and it is every bit as beautifully designed as the previous model, but this time with high-spec 4K video features, IBIS and an anamorphic 5.5K mode. As usual, I paid the full retail price out of my own pocket and didn’t take a camera on loan. This is something I am now regretting because the SL2 has a major show-stopping problem which effects ALL models out there and isn’t isolated to mine. By the time I was sure of the problem, the 14-day window to return my camera to the retailer had lapsed. I then reached out to Leica in Wetzlar to alert them via my contacts at Leitz Cine lenses. UPDATE: Leica has got back to me and the issues are being looked into – the battery grip is one possible solution and there will be an update on the blog this coming week.
Panasonic’s 8K camera was last seen sporting their Super 35mm organic sensor technology, which remains under development. It can be revealed Panasonic also has a similar camera design with a larger full frame sensor (of the common CMOS type) which leads me to speculate who developed this sensor and what else we may be seeing it in.
To really love a camera it must be a comfortable, fast sportscar, not a mundane commuting experience.
Here’s what I’ve grown to like the most, from the past year of camera releases which I’ve owned and shot with.
You can now make your own Digital Bolex – well not quite. The sensor is smaller than Super 16mm and there’s not yet a RAW output or processing capability, but the Raspberry Pi camera module marks an interesting step towards accessible camera development for enthusiasts and small companies to enter the cinema camera market, much in the same way Digital Bolex did with their successful crowd funding campaign in 2013.
While recently in Berlin, I bought a Canon Dream Lens 50mm F0.95 with early serial number from my favourite store in town, Fotomax. They also have a very good online shop for vintage lenses and cameras. Of course the classic cameras are all analogue… but I wonder if some of the most fondly remembered digital cameras will one day join them in being appreciated for the artist’s tools they are. One such artist’s tool is the Sigma Fp which when paired with the master painter rendering of the Canon Dream Lens converted to Leica M mount makes real life look better than even Picasso’s imagination.