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Pretty nice, they need to bring it to the Pyxis 6K

Hi All, This week's brand new free-to-use-with-attribution music tracks are: On my Fantasy 13 page: "VILLAGE LIFE WAS HARD" – (Looping) You can listen to it here: https://soundimage.org/wp-content/uploads/2026/01/Village-Life-was-Hard.ogg And download it here: https://soundimage.org/fantasy-13/ We also have: On my Puzzle Music 8 page: "ISLAND PUZZLE MYSTERY" – (Looping) "BUILDING STRANGE THINGS" – (Looping) https://soundimage.org/puzzle-music-8/ And on my Drama 3 page: "END OF THE LINE " https://soundimage.org/drama-3/ A MUSIC PACK THAT GROWS WITH YOU Please be sure to check out my Ogg Game Music Mega Pack...over 1400 tracks and growing! Plus users receive updates as I add new tracks so the pack grows with you. https://soundimage.org/ogg-game-music-mega-pack/ Enjoy, stay safe and keep being creative. And please share my site. 🙂

I think you are right on the money, I only have one XH2s which I got mostly for a one client, The bulk of my video work is on the Lumix's. After the firmware crisis, I never fully trust the AF and have opted to always manually focus. I also agree with you, Fuji just abandoned the XH2s, they could have at least given us shutter angle, waveforms..... anything via firmware! I know they probably want all of us to run out and buy an Eterna but that's just not the right camera for what we do so no thank you.

«As a Fuji user, that smooth autofocus on the BM6k makes me cry.» «I sold my X-H2s and all the lenses a few months ago to get BMD Cinema 6K, and I never looked back since.» source «The most significant thing about all this, as you pointed out in the video, is that Blackmagic is essentially giving autofocus to all of us who already bought their camera, instead of releasing a Blackmagic 6K Full Frame Pro with autofocus just to make us open our wallets again. They may be losing money in the short term, but in my view they are gaining in the long term, because the trust the brand inspires is truly remarkable.» source Disclaimer: Happy camper as Blackmagic shooter over here! Looks like I am not alone... - EAG :- )

Went grave digging for the Fujifilm X-H2s thread. How is everyone doing with theirs and the current firmware level? I still feel like video autofocus is ass in continuous autofocus, either multi or wide/tracking. I have it randomly pulsing in an interview setting when the subject turns their head, camera maybe 1 meter away on a 16mm (AF-C, tracking with Left Eye AF on). Recently shot running content, camera on a tripod next to the street with a 56mm telephoto lens. Empty street, one runner coming into the frame, camera never detected him and never adjusted focus (tried multi and tracking, had face detect on, eye off). Personally I feel like this camera really damaged my brand perception of Fujifilm. They completely destroyed the autofocus function in firmware, then took a long time and multiple firmware updates to get it back to where it started, and ended up still worse than pretty much all competitors. This is a flagship model with price on par to many full frame cameras (it's currently 2899 USD) and they just completely gave up on the user base and moved on to releasing a whole bunch of other models with the 40mp sensor instead of working on fixing their existing models. They never gave it any real additions in firmware besides FLog2C; no anamorphic de-squeeze, no custom frame markers, no waveform, etc. This camera could have been absolutely amazing, it still has outstanding image quality and rolling shutter, but Fujifilm completely refocused towards vibes, FilmSim-dials and TikTok/Influencer attention. I have an X-M5 as an EDC camera and to be honest, expect for the IBIS, nothing about the X-H2s makes me feel like it performs noticeably better.

I don't quite understand what the problem is. Metadata giving instructions for interpreting the exposure (such as a "soft" ISO setting which does not actually affect the stored image data) can work for proprietary formats such as raw video but is there a similar option for non-raw video formats in any camera? If the video is to be used "as is", with minimal editing, all the major editing and playback software would need to know what to do with the data and the instructions that come in the metadata. If the file is meant to be always edited (as in log video) then it may make some sense to offer this as an option but the user always has the option of using just one of the base ISOs in the camera if they so wish, so I'm not sure what added value there is from having a separate brightness adjustment; just to see the image better? The problem is that by doing that you likely become disconnected from how much exposure latitude you have in either direction as the brightness of the image shown is just an adjusted brightness for viewing pleasure and does not reflect the actual exposure or values stored in the file. To compensate for this loss of visual connection between what is shown on the screen and the actual position of the values stored then would require additional exposure monitoring tools, such as colors indicating how many stops you are from saturation at each point of the image, and this then can lead to screen clutter in a small camera with a small screen. The Nikon ZR, as far as I've understood, does offer such an option by choosing R3D recording: the camera lets you choose one of two base ISOs and then adjust the brightness using the ISO sensitivity adjustment which does not affect the stored data. I already see people asking Nikon to add "traffic lights" for monitoring to help deal with the disconnect. Does the ZR waveform display reflect only the actual stored values or is the brightness adjustment or ISO sensitivity also affect the waveform?

Everyday is a new nightmare from the moron machine of modern life.

As Doctorow said, Europe could also finally remove anti-circumvention laws since one of the only reasons to implement them in the first place was to avoid tariffs from the US.

The verbal diarrhea won’t stop. https://news.sky.com/story/trumps-extraordinary-letter-to-norway-about-greenland-in-full-and-fact-checked-13496272

I just read a report that in retaliation to Greenland threats, European leaders are planning to introduce trade blocks with America, and part of that is a potential voiding of American patents. What could this mean for the camera industry? Suddenly everyone can put compressed raw into their cameras without having to argue with RED? https://en.people.cn/n3/2026/0119/c90000-20415649.html "The mechanism would allow immediate retaliation, including punitive tariffs, market bans, financial sanctions, and the suspension of U.S. patents and licences, without recourse to the United Nations or the World Trade Organization."

Here is one. Hope this helps as much as I am pulling the trigger there too... - E.

https://www.dpreview.com/articles/4979409121/sony-a7-v-video-studio-scene

From robot vacuum cleaners universe... go figure! 10-bit 1/1.3" 8K/4K 120fps on the smallest form factor nowadays... à la DJI Osmo Nano older brother: https://leaptic.dreametech.com/

Nice! The other thing to consider when testing ISO and noise in the final image is the delivery part of the pipeline. If I shot in two different modes and then processed them differently in my NLE, I might be able to tell the difference between them in my NLE. But no-one except you is watching your footage in your NLE, so you'll be exporting it, probably to h264 or h265, and you might not be able to tell the difference between them at this point. If you're going to be uploading them to a streaming service, then that service will decompress, process (NR, sharpening, who knows what else) and then brutally re-compress it. Lots of things are visible in the NLE and are completely gone or mangled beyond recognition in the final export or stream.

Yes, and then I made a Zoolander reference.

Looks like we'll also be seeing a bunch of BYD in Canada soon. This is why you generally don't want to piss off your closest trading partners... https://techcrunch.com/2026/01/16/chinese-evs-inch-closer-to-the-us-as-canada-slashes-tariffs/

You said mini laptop?

Definitely. I did a brief comparison of a VLOG frame and shooting the same in flat with ISO lowered, I used the same node tree I did with my Nikon z6 8 bit flat and was able to get color and highlight rolloff real close.

Just make sure you're testing the options in the full image pipeline, so comparing finished 709 grades. So many people only test one part of the pipeline and ignore the rest. I haven't really experimented much with the AF on the GH7 as I'm used to the AF on the GX85 etc, and I tend to use manual lenses in lower light. AF is very difficult to test as well, and @Davide DB has posted before about how lens-dependent it can be too. Maybe there are AF tests online? Playing peekaboo with your camera seems a popular camera reviewer pastime!

Curious how you find the gh7 autofocus fares at the higher IsoS

Certainly agree I took a bit of time to test some stuff out yesterday evening. I do switch my picture profile from VLOG to FLAT I can lower my ISO from 5,000 to 1,000. Gotta do further test though on my ultimate thoughts on the autofocus.

What is this? A LAPTOP FOR ANTS?

Here is one under €1000 mark.

I'm not sure how this would translate, but my GH7 does far better when I raise the ISO to get a proper exposure in-camera vs shooting under exposed and raising the exposure in post. For some reason the shadows are quite noisy, even at native ISOs. This is shooting in C4K Prores so it's not a codec issue.

Just a note to say that it would probably be worth doing some tests ahead of the event. Situations like this involve many variables and most often people don't consider all of them because they don't do any methodical tests. You are assuming that the AF will work differently between different picture profiles, but I would suggest the AF would be operating on the image before the picture profile is applied, so it shouldn't matter... but, once again, you should test this to confirm. Another thing to consider is if you can push the shutter angle to 270 degrees or even 360 degrees. If it's a worship setting then making the footage seem a bit more surreal might be appropriate, and you can get another half or full-stop of exposure this way. You should also test NR in post - it's not ideal but it might give a better result overall considering none of your scenarios are operating in the cameras ideal operating range. I've done a lot of shooting with cameras at/beyond their capabilities and when you're pushing things you're trading off the drawbacks of each strategy.