Leaderboard

I think it is a heroic leap of logic to conflate 'Samsung may well be producing a FF BSI CMOS sensor' to the likelihood they well re-enter the digital ILC market. Producing high end CMOS sensor for dedicated ILC cameras makes a lot of sense, becoming a digital ILC camera manufacturer (again!) doesnt. According to Thom Hogan there are precisely three manufacturers of large CMOS image sensors for dedicated digital cameras - Sony, Canon and Tower Jazz. http://www.dslrbodies.com/newsviews/nikon-2017-news/july-2017-nikon-news/confirmation-bias-and-image.html Once you rule out Canon (in-house, pretty ancient tech) and (at the moment) Towerjazz (busy upgrading Panasonic plants) you are left with Sony. Forget Renasys (acquired by Sony) or Toshiba (acquired by Sony) or Aptina (acquired by ON Semi) or Panasonic (acquired by Tower Jazz). Making large CMOS image sensors isnt easy - from what I remember you get something like 20 FF sensors, 100 M43 sensors or 1000 smartphone sensors on a 300mm wafer - which makes yields tricky the larger you go. I very much doubt that any camera manufacturer is enamored about buying their sensors from 'Sony' who is pretty much the most aggressive competitor in 'their' space. (Nikon appears to be looking towards Towerjazz but that is a year or two away.) Panasonic/Olympus seems to be working on Sony crumbs (is it really their choice to not have ospdaf?). So for a major very high tech player like Samsung to come in and offer large sized CMOS image sensors makes a lot of sense for Samsung and would likely be welcomed with open arms by pretty much every dedicated camera manufacturer (apart from Sony).

I've found in France that if you buy a local sim like Orange then its ok but if you are roaming from another country they connect you to this special version of their network....

A lot of the change at least in the sports world will be related to controlling the image of the event as much as capturing the image of the event. Organisations like UEFA,FIFA,IOC and the Premier League etc don't want the risks associated with that number of uncontrolled lenses pointed at their events as its the unique pictures of the controversies that will make far more money for an individual photographer than the generic goal celebration ones. Of course, the controversies will be the cheating, diving, stamping, fighting, abuse of the officials, crowd disturbances etc that the organisers don't want damaging their brand. For that reason, I think exerting editorial control by selling the rights to one agency will be the next step and there are already some half way house situations happening where this is to all intents and purposes in place by managing the most favourable pitch positions and access to specific agencies. The connection that used to exist between the written press and photographic press working for the same publication has by and large fallen by the wayside as newspapers increasingly lay off their own photographic departments and use agencies so its not like the events need to fear a boycott if they only let in one agency's photographers. There is also the issue of money in terms of the photographic rights should be a saleable commodity for the organisers in the same way as the TV rights are and it does seem strange that in an era of tons of different rights packages for TV (live, delayed, internet,xyz territory) that they are paying big money for that whereas for a photographer it costs no more than their own time to go and cover the same event and distribute it worldwide. I don't think we are there yet in terms of stills extraction from live video for practical purposes (I've attempted this a few years ago shooting on the Tour de France with a RED Epic and it was abandoned after a few stages) but it will also be tricky from a rights issue. The broadcasters pay eye watering sums for the coverage so if a photographers dares take video then he will literally be escorted from the stadium and struck off the organisers accreditation system for all subsequent events. This means that it will have to be derived or sold on from the broadcaster to the agency and I'm not sure how much money would really be in it for everyone at that point. Creatively, all you would get is literally stills from the TV coverage (which in certain instances would be great because TV cameras get the best positions) but I would still maintain that the best sport photography images still stand apart as they're derived in a different way looking for individual isolated moments whereas TV images are having to convey a coherent continuous set of images. The broader point of it changing beyond the scrum situation (which, to be fair, is only really the case for trophy lifts and team shots) at some point is right though and it just remains to be seen when and how. I've already been advancing at least part of the demise of the old guard by winding down the number of shifts I've taken over the past few months and I suspect I'll be all but out completely by the end of next year.

it's literally a list of affiliate links, dude pumps out garbage clickbait notice how he only lists lenses that are available on B&H and amazon where is this supposed good info?

Wow sure that would be the cats ass!

Exactly. The clipping point for SLOG2 is 107% The clipping point for SLOG3 is 93% with consumer cameras They both represents exactly the same dynamic range. With professional cameras SLOG3 can go up to 109%. Technically the dynamic range for most of Sony's SLOG2/3 capable consumer cameras are little above 13EV The SLOG3 curve was created to handle around 16EV dynamic range if used for the whole range.

The Argos catalog that released the 'leaks' on the Mavic 2 (Pro and zoom) implies that the 'dolly zoom' is restricted to the 'zoom' version which is expected to be a 1/1.7" 12mp sensor with a 2x optical zoom. Seems a shame as the 'Pro' is expected to be a 1" 20mp sensor which has plenty of on sensor 'zoom' capability (at 1080) to also do a dolly zoom.

Direct from D750. Gotta love Nikon colors...and highlight rolloff...and motion. Wish the D850 was cheaper.

I have Intel i7-8700K (6/12 core), 32GB, 64bit Win 10 Pro, 6GB 780GTX and it is fantastic. So fast it is ridiculous. Acceleration is in the paid version. Currently I run a 4k 27" as main monitor off that video card and I have a 1080 screen running off the onboard video. Spyder5 colour dongle thing. I have the waveforms up on the 1080 screen. It does not span screens like Premiere, there is a little extra video card one can get from BlackMagic to enable an extra monitor screen for monitoring the programme full screen. Resolve is super stable, unlike Premiere. It includes default functions that seem identical to expensive plugins: Neat Video noise reduction, Mercalli stabilisation, Flicker Free. My recent try at running Premiere on brand new machines resulted in them crashing every 5 minutes or less. It is horrible. edit: go single gpu and as high memory as you can go on it. 8 or 11 seems the thing now. There is a small gain if doing 8k footage on dual GPU otherwise it actually slows things down just a little from single.

I don't see the profesionnal photography market moving away significantly from Canon/Nikon and even less from DSLR to MILC just yet: World Cup Moscow, June 2018. Paris Fashion Week Lens selection, OVF, weather sealing, battery life, off-sensor AF, grip, balance with big lens etc.. The DSLR still remains king. It will take indeed at least another decade imo for MILCs to take over and I suspect it is still Canon/Nikon that will pave the way by adressing things like weather resistance, ergonomics etc.. giving pros a mirrorless DSLR experience. Sony is more focused on enthusiasts & semi-pros by making the smallest, most compact advanced cameras which is what Japanese tech giant companies aspire to. But cramming the most features in the smallest body has it's limitations. Sony are well aware of all this and even somewhat admits to it: Do you think we’ll see mostly mirrorless cameras at the 2020 Olympic Games in Tokyo? Yes. How many of those cameras do you want to be made by Sony? Many! But the professional market is very conservative, so we’re taking it step by step. We saw some photographers using the Alpha 9 at this year’s winter Olympics but of course the majority was Canon and Nikon. But the number of Sony photographers is increasing. There have been questions about the weather sealing of a7-series and a9 cameras. Is this something you want to address? In really bad conditions, in really heavy rain, will photographers keep on taking pictures [for long periods of time?] I don’t think so. In those conditions, most photographers will use some kind of rain cover. But of course durability is very important. Photographers should be able to shoot [in poor weather]. We have an internal ‘weather test’ and for each kind of customer we will aim to produce products with adequate durability. Is that something that your professional users are asking for? Yes. But we need a balance between durability, and size and weight. For a professional camera, the requirement for durability is higher, but for hobbyist kinds of camera, the priority is smaller size and lower weight.

Yes, this again.

Some Nikon lenses require a focus motor in the camera body (as they don't have one built into the lens). I doubt the new mirrorless body will support these lenses (already ran into that with the D5300, that was a league below the 'pro' bodies). There's stubborn people who still like optical viewfinders and think that off-sensor AF is better (and love the mechanical slapping around of mirror and shutter when taking shots perhaps). Pentax has proven that a mirror and optical viewfinder not necessarily have to be in the way of implementing stuff like sensor stabilization. So... atleast in the early days, they could have a transitioning period where they bring out models in both areas. I mean, the E-mount has been around for a while now, but Sony's last traditional DSLR with A-mount was the A99II... and that one started shipping at the beginning of 2017. That's not very long ago. That you're proceeding with the one, doesn't necessarily mean you need to kill off the other just quite yet.

How does he do VLOG material on a 1D X II with that MJPEG 4K codec? It would create an impossible workflow for the fast turn around his stuff needs, and massive amounts of material for archival. Or has he dropped his channel back to 1080p? He either doesn't care about 4K, or thinks AF is king... Either way, should have given the A7 III an audition, surely? Meanwhile in smartphone land, check this out https://www.bbc.co.uk/news/technology-45208546 Motorola is now owned by Chinese company Lenovo, who are one of the least innovative fuckers on planet earth. If China doesn't start respecting the US copyright law, they are going to be in deep shit. And not just because of tub-thumping or bullying by small-hands Trump - but because losing access to Android and Qualcomm parts will be on the cards.

With the number of Galaxy handset shipments stalling since 2013, Samsung has been looking to raise prices on their high-end handsets to offset the plateau. The company has suffered dramatic losses of market share in China to cheaper rivals as a result. Now there are rumours Samsung is looking 'beyond the galaxy'... Read the full article

So looks like at least one DJI product (Maybe Mavic pro II or maybe another model) will have a Dolly Zoom function! I hope this automatic. The zoom changes in proportion to the movement of the drone. Check out the video teaser where they should this:

Man it used to be every 6 month for PC when there are many competitors on the filed (intel/cyrix/amd for cpu and matrox/3dfx/s3/ati/nvidia for gpu), and gradually evolve to yearly then to every few years once competitor dies off or become less competitive.

It's not going to be a Pocket camera once it's rigged up with a battery. I do wish Blackmagic could work on their power economy issues. However such great codecs and raw have a cost. I'd rather have 40 minutes of battery and some spares, rather than no option at all for ProRes and raw on a new, exciting camera to compete with the establishment.

I just made the jump to Sony after years of making excuses for Canon and all of the disabled features on their cameras. I was excited when the M50 came out but was soon dismayed to see how many features they intentionally left out. That camera could have been a bridge between M43 and FF for many and introduced a new generation of users to what Canon could offer. Imagine decent codecs, dpaf 4k, and inexpensive crop lenses! I could have kept waiting but forget it. They have nice entry level dslrs but seem to not understand or care how many people want better video features.

It depends on what you are exposing to. 70% is fine for skintones, just like wolfcrow said If you are shooting ETTR then yes 105+% is the best choice Andrew just changed the color response but not the gamma curve. (If he doesent changed the black gamma curve settings for slog2)

Yeah... that is just a nice frame. Color and composition... what more does one REALLY need?

Nikon 70-200 VR version 1. Creamy goodness! Going for low prices right now, I got a mint copy for $750.

Yeah, poor Fujifilm GFX 50S and Hasselblad X1D-50c. ?

Since this is a thread about Nikon FF, I will try not turning it into me bragging about my internet speed. But I live in a major Scandinavian city. It's 180USD a month for 1/1Gbps, so not exactly cheap, but not an issue if you're running a business in need of it. Of course the availability depends a lot on your local ISP.

It's difficult to follow @kye' s reasoning, especially when he sees it 100% from a "naive"-spec orientated - whatever his job is - approach. Real pro life is vastly different than looking specs on tables and press releases of, not yet proven companies. What I see in this forum is the vast difference in approach between professionals and semi-pros to amateurs. You can say whatever you want - and you can be right too, but when your family's life and yours is at stake everyday in the field, you have a more conservative approach and you need proven and working solutions. I have worked with most of the Sony cameras through 2 decades of professio al life, and I never owned one. One difference I could see happening is the direct uploading of photos, or something like this, and an editor manipulate/deliver instantly to the client/agency.

Where do you live? Central Seoul?! I doubt more than 1% of the total population of humans fit this description.

and they need to publish them pretty darn quickly.. this was an interesting video, and I've linked to the time when they mention publishing in under 1 minute from the photo:

Haha! Where is the "haha" icon! I hated the down vote, but the "thanks" and laughing one had some use! Seriously thought, as someone that spend 5 wonderful years in UK studying and working, and still having plenty of friends there (Greeks, English and other nationalities), I hated the Brexit decision, I believe it weakens UK and Europe significantly, both in markets and geopolitical issues, but I am sure you will overcome it rather easily. Just it won't be the same again. Some of my friends have moved to Scotland, Netherlands, Germany and other countries already, while there is a Big Brother-ish record of all non "natives"(??!!), even though most of my friends working at, or for Universities, and have spend a dozen or more years in the country, they are treated as potential unwanted persons. For us with EU registered businesses, it is much easier and some times profitable to order from registered EU shops. Before Brexit I was buying 90-95% from UK stores, now the oppossite, and I have spend almost 20 good thousands of euros in equipment the last 2-3 years (imagine that I had finished "collecting" my extensive NX collection before that!), and I am a very small and insignificant customer, the loss must be already substantial.

Case in point from earlier mention:

I sort of feel that pro photography will dramatically change over the next 10 years rather more than the equipment. Those rugby scrum photos look kind of 2000s to me. How many of those photogs will have a job in 10 years? I just dont really see the need to pay 300 people to take exactly the same photo at 10 frames a second in a modern world. Most likely people will be taking stills from video at sporting events like the Olympics and World Cup.

What about trying this. Take the SD card out reset the camera and bring up the 4 presets on your card back into the camera and see what happens?? You Did save them to the card didn't you?? ?? https://***URL removed***/forums/thread/4112856

Can't you just reset the whole camera and sort of start over? I did that several times with Sony cameras. They Have too damn many things to fiddle with. You can Really get them F uped! This new BM PK4 will probably be a damn nice breath of fresh air for how simple it will be!

Speaking of lost content because of equipment.... theres an entirely lost scene from todays video due to sound issues:

Being a professional youtuber is about business, not IQ. Shooting in 4K costs more to backup, costs more time to edit, costs you out-of-focus shots (the cost in time to re-shoot, the creative cost of the frustration, and sometimes the cost of missing a shot you can't replicate), but most people don't have a 4K display device and those that do probably sit too far away from it to see it, so apart from getting the 'hype' bump of having a 4K logo it is all negatives. All those costs directly translate to entire videos you could have made instead - if 4K is a 10% cost then potentially you could have made 10% more videos, the percentage is probably more than that. For people like Casey / Peter / Matti that's quite a lot of views, as well as potentially viral videos. IQ is important to films where the aesthetic is important, the vlog type of YT videos are basically disposable and are only valuable for their time-sensitive content. As they say, being second is first-last place, so workflow speed is everything, especially in the tech space. I think it's both - he cares about content and storytelling. In terms of the A7III it would be a good technical choice, but I remember Casey saying that he's basically a luddite who only uses tech when he's forced to. Even his 'Tech Review Tuesday" videos are almost completely devoid of technical content - they're all about user experience. As above, learning something new has an opportunity cost of a number of videos.

Hey Phil, I think I kind of figured it out how to make the HDR profile footages look normal. (I am just an amateur, so I am not confident if this is the fix for the problem.) When you open your HDR footages you have to make a totally separate Library. And modify the setting of that Library to Wide Gamut HDR. Once done. Make a new project with "Wide Gamut HDR Rec 2020 HLG" as your color space. When you import your HDR footages, it will show as correct exposure. But regular footages look little under exposed... Below video helped, AND please let me know if there is a better solution or my work around is incorrect. Thank you.

I was really surprised that how everyone reacts for my listing. And just fot that high price.even i never asked anyone to buy.. Lol. For just information there is a country where people make their own gods with stones and then pray and they also pray cows and drink cow pee. And they have many weird comic type gods but noone cares. But here i see that too many ass burnings for just one post. You can criticize in other way. Not the way that i did some crime or i killed someone or i punished the cow pee drinkers and worshippers. Its just ebay. Where everyone seels their own way. Listing anything at any price is not a crime. Noone simply buy. That's it. And buyers who spend that much are too much smart they do lot of homework before buying anything. I dont think that this community belongs to all dum ass people. Its a professional community so be professional. Simply critize like a pro if you are, that i really don't think so. Here everyone is selling their gears. Whatever their list price is. Its upto them... Cheers.

the same exact lens can be purchased now for.... $835 ?: http://buyee.jp/item/yahoo/auction/o229975504 from the serial number difference it doesn't even seem that rare..

Maybe this would help??

Ok now it makes sense, as you're comparing a 2010 camera (1D IV) to a 2014 one (D4S). That's a giant leap in high-end camera tech. Just take the 2011 Canon 1DX and the convoluted AF config of previous models got a complete simplified overhaul with 6 presets and track sensitivity bars among many other enhancements. Gotta compare what's comparable just like the A7III's AF is light years ahead of that of the original A7.

yep, i use the same method as Kye. the occasional drawback is you can't generate a LUT from anything with an OpenFX plugin in it if you wanted to create a monitoring LUT for whatever reason. To get around that, you could generate a transformative LUT at to use in place of the DaVinci Color Space Transform plugin. https://cameramanben.github.io/LUTCalc/LUTCalc/index.html

Pretty sure Canon, Nikon, Ricoh and Leica all make an array of full frame cameras. Granted most of them not mirrorless. It speaks volumes about the popularity of mirrorless, people seem to be missing that about this press release. So when the K1 II launched Pentax were #1? That seems to be the logic here. You're making the assumption that everyone is on an equal footing and therefore the brand with the latest release gets boosted to the top spot (temporarily). That is definitely NOT the case. Most Canon fanboys will gleefully state (when someone pans the lacklustre 6D II for example) "oh but it outsells the whole A7 range 5:1..." which is absolute bunk and has been for years. You do realise how little sense that makes? Are you just repeating what every other numpty is saying? Can definitely agree on this. Honestly I cannot see the point of this Nikon branded Sony clone that has fanboys drooling (and suddenly retracting everything they ever said about mirrorless). I also don't think that Nikon is the dominant brand that people think it is. Just take a look at their last mirrorless effort... abandoned. Now take a look at their action cameras... abandoned. They couldn't get a foothold in either market. Now look at how weak the EOS M line was, abandoned in the US immediately after launch. BUT the Canon name has built it up as a power in asian markets. Canon can do that, Nikon couldn't. Nikon couldn't beat (or even compete) with Sony in the 1" market. Disagree. My latest is a 1DC, but have had pro bodies dating back to the Nikon D1. My 1DC feels nothing like you describe. Couldn't agree more. More RX1 and RX10 IMO. But it isn't about controls, or what people crassly call 'colour science'. I just almost never feel good about images when I capture them on a Sony. I know I can make them good in post, but they simply don't jump out. Ergonomics and menus and features and lenses and abilities are all top notch, better than most I would argue. Yep, including menus. But the results just don't feel good. Fuji's lack of grip pre-X-H1 is a real put off for me. Works ok on an extra wide X-Pro2 with small primes... For everything else they're kind of garbage. It's just a shame a lot of the actual controls went backward with the X-H1 over the X-T2. People do all the time. It is genuinely head and shoulders above basically everything in the hybrid market and people notice. They also say 'oh that crop' or 'oh that terrible codec' when talking about things like 5D IV, or 'oh that useless AF' or obviously the mount when talking about Nikon. Though I would take the 5D IV for much of the reasons you state. Almost too much to take in here. Clear to say though that photo isn't a high priority for you and that's fair (as well as being a really swell place to be in that you're spoilt for choice at absolutely minimal outlay - so yay!). Yep. I find it remarkable that the anti-Sony crowd (lets call them fanboys) have being saying for so long 'oh those mirrorless toys, nobody wants those' and claiming that Sony is full of it when it comes to these sales numbers because according to their own (completely nonsense) calculations that nobody ever buys these cameras ever and it's only because Nikon can't keep up with demand for the D850... blah, blah, blah... Let me ask them this: If that is true, that nobody wants these cameras - WHY IS YOUR FAVOURITE BRAND(S) COPYING THEM ALMOST TO THE LETTER? There is clearly no market for these things, yet they've just put ALL their eggs in to that basket? Unbelievable. Yes but the people making these claims have absolutely zero clue just how much Sony is in that market. Like how the people claim some kind of superiority that their brand is being used by the newspapers to capture still images for the World Cup or Olympics, while not reading those platforms and watching the game(s) delivered to them on Sony broadcast systems costing 100x what was spent on the photography. Mind boggling. Oh and then make little fanboy jokes about how there is Sony branding at the stadium. I actually don't think they were capable of it when that camera came out. Next round they have the tech, whether they implement it or treat us with disdain (again) remains to be seen. I don't think any brand can just sit idle at this time. The original had some really special mojo. I too would rate it as one of my favourite ever cameras (stills and video). It's a shame in many ways that they cow tailed and went with a more DSLR-mini design in latter models. The original body had a more modern and dare I say premium design to it that fit (I felt) better with the mirrorless ethos (plus the S was the last and most refined of the original design). They also designed much prettier lenses then too, plus they didn't make everything enormous. I may just have to own one for the third time. Indeed and well said. Though I would say filmmaking is art and science. And the perfect example of this is the Sony F35

Yup, that seems to be the case. This ridiculousness started when Matti and Peter McKinnon started telling people the 1DXmkII and 6DmkII should be your top pick. Casey and Jon Olsson for example then started using Canons again. It's like a pyramid scheme where Canon incentivizes people to recommend their shit or something. And it seems to be working, people are following blindly.

All aboard the hype train!! ?

It is quite a good video. But it seems the first point is glossed over with a pretty glib 'DSLRs will gradually die' approach. I simply dont think you can compare 'milcs taking over from DSLRs with DSLRs taking over from film.' Consider this. Take a D850 owner who likes its form factor and OVF, has US$15,000 of F mount lenses and doesnt shoot video (my guess, is that most of them dont). And let's heroically assume that Nikon comes out with a 45mp mirrorless that is as good as the A7riii in a 'more ergonomic' form factor. What possible reason would the D850 owner have to switch to Nikon mirrorless (or any other) when their existing lenses wont work nearly as well on the new camera or they have to sell their lenses and buy anew? I dont really see what mirrorless brings to a 'core' D850 owner now or in the future (well apart from silent shooting with a VF). And so Nikon mirrorless and DSLRs are likely to have to live somewhat uncomfortably side by side for a long, long time. That it is why I think Nikon's marketing of this product is going to be interesting - and perhaps rather different from what many people are expecting.

It was, it is, and it will always be a great time to be alive! Ask all the dead people through the ages.

They had better have the best product since sliced bread! If you are just starting out fresh I doubt Canon, and Nikon particularly are about the last camera kit you would buy if you are going big time into it. Especially into the video side of it. Panny, Sony and Fuji are on a roll. Olympus seems to have fallen by the wayside? I have no clue who is buying Nikon high end stuff the way it is other than the same old turds that are against Mirrorless bodies. Canon and Nikon had Better hit a home run, hell make it a Grand Slam HR to slow down the momentum the 3 company's above had made. I would say Fuji has bit into Nikon more than Canon. Just having a decent body in this day and age is hardly a reason to spend 5 to 7 thousand dollars on a new kit. As you stated Sony has proved that. Output and features sell high end stuff now. There will be 200 reviews on You Tube the first day ripping Nikon's ass if it is a dog. Speaking of Sony Bodies, I broke the SD card door on my A7s yesterday! 169 bucks to fix it out in California, plus shipping both ways. Damn it. They have to put a whole new back on it.

I know a guy in Egypt that would be interested in this lens...

The lens isn't worth $40,000 I can tell you that much.

My recent trip to Guilin China, shot on gh5s and color graded using the latest Verde version with overlay of ImpulZ film lut ? loving the colors.

And mic-in. And proper C-AF. They can steal so much of the crowd that now buys a Canon G7X series cam for vlogging/quick behind the scenes schtuff.

Here is mine, still working on how to get ND's filters. Not easy finding a cheaper mattbox that supports a 153mm rear opening. Any suggestions from any one who has rigged up a foton-A would be appreciated.