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This just keeps looking better and better. Of all the cameras released this year this is definitely the one Im most curious about. I didn't care much about the hype of the others, they all seem like great cameras but expected, just upgrades of already available stuff. This feels like something new. Im getting a bit of the same feeling like when the BMCC was announced. It feels fresh.

???

It’s here...

Shot some clips with the X-T3 today using Eterna and a couple of stabilized zooms from Fuji. Not as much fun as shooting with Rokinon 1.4 lenses or FDs--and if you shoot internal 10 bit 265 you better bring a LOT of batteries.

GoPro's have around 11 stop dynamic range in Protune Native Flat mode. Actually the dynamic range is very good for the sensor size

When Canon gives you 1080P EIS that looks as awful as it gets, GoPro gives you H.265 4K60P with a level of electronic stab never seen before. In fact I would prefer to have this stab in my FF versus Sony/Nikon IBIS, let alone Canon IS. BTW I have the Hero 6, and the stab was very very good but this one is again another league. Well done.

I agree. The problem with a lot of these cameras is people want Log and flat profile but really don't have a clue on how to treat these files.

So I plan to do a shootout comparison between the GH5S and the Fujifilm X-T3 this weekend. I can tell you the Fufi is s perfect travel size. Love the retro looks. if there is anything specific you really want to see post it here and I will do my best to address it.

exactly and this lens is just 120% pure joy in use! Interestingly, I found out that a two pass encoding from FCPX to compressor yields better quality than rendering ProRes directly from FCPX. So in the end, the result is better than expected, yet shows that the A7ii is quite limited:

I agree, the G9 is a few tweaks from the perfect hybrid. I don't care about much of the stuff people ask for. A little extra bitrate or a new log profile isn't as important to me as things like Canons way seamless stills to video switch, Panasonics ability to take stills with the mechanical shutter during recording or Fujis "dual menus" for video and stills. These are the type of things I really want. Marketing specs is just icing on the cake. Panasonic usually delivers both. Thats why a FF from them gets me very, very excited. Yup, I just tried to give the fast version

Exactly. I'm on the same boat, and let's not forget Panasonic in general always had a tradition for innovation and very few weaknesses with their cameras. E.g. apart from the sensor limitations (where applicable) and video AF (for the most part, although improved), the GH5/G9 are almost perfect hybrid cameras IMHO. It can do much more: as Hasselblad does, it can also get true color information for each pixel (three different positions) and still produce a "base" resolution image with much improved (accurate) color.

$30,000 for square-front LOMOs? I bought my square front 35mm T2.5 for 1000 euros. Ah, those were the days.

Pixel shift would be amazing! I occasionally need 5000x5000 square photos, which I use to make seamlessly tiling 4k textures. If the lower resolution model can get that 5000 line height via pixel shift, it would be the only system so far that would solve my occasional need for high resolution stills, while providing good video.

If this system turns out well, I am going to skip the Nikon Z7/Z6.

Takes a series of images and moves the sensor using the ibis in-between. Then the camera stitches them together. Available on many cameras from various brands. The subject needs to be still like architecture or a landscape. Great for product photography.

Me too. The original C100 just has a magical color science (excuse the oxymoron) As soon as I can find one for $1000 or less in good condition, I think I’ll buy one. I feel the same way about the 1DC... even if it is a 10 year old camera by the time it hits that price point.

I think it should give you more room in grading though to decide where those stops are going.

Yeah Super 35 has taken off from the 90s... the 1890s. Honestly, I kinda find all of this irrelevant anyway. The only difference it makes for me is FOV for my lenses. But since I prefer 2:35 or 2:39, I end up cropping even more out of the frame. Anything between FF and M4/3 is pretty much acceptable. And if I am looking for a really different aesthetic, FF with no letterbox gives that vista vision look, or a one inch sensor will give that S16 look. None of it is exact and most people who watch movies would even notice the difference or even care. But there really is something cool about FF... I just wouldn’t make a purchase decision on that alone.

Ok, must be rare or only in certain situations then. Because I've shot every which ways, many times in iso1600-6400 and it hasn't happen. Will run some tests with weird exposures to see if I can provoke it. Only way to deal with things like that imo is to understand and avoid it, otherwise we couldn't buy any cameras at all

Erm...yeah...well that was all a bit uncomfortable and somewhat dubious.

That's completely true. Ah, forgot about this little fella. My bad.

BS clickbait. Of course there is no quality improvement on a basic image between normal and log. The point of log is not better quality, the point is being able to grade the way you want and not fall appart thanks to 10 bit. Ask the guy to take a difficult scene with sun, and do a heavy grade in both and we will see.... If you do not need to grade the footage there is no point in shooting log indeed.

I think the Sony systems have definitely benefited from Sigma's involvement (as they do from also having smart adapters for EF lenses), particularly for the APS-C cameras, to give more choice but they've definitely upped their own game too though. My own personal frame of reference for 'extortionately expensive' lenses has had some serious readjustment after glugging like a drunken sailor on the Leica Koolaid so those Sony lenses now look like a an absolute bargain

78 in 4k for a fast-paced action? Holy crap that's why it's so blocky and compressed.

I'm guessing that Sigma will be able to put together a new version of their MC-11 adapter in short order to go from EF to SL. And hopefully it will be far cheaper than the Novoflex one. Be interesting to see if the relationship actually allows Sigma to begin selling their SL line-up ahead of the camera launch as they would have a very captive audience immediately with Leica owners. Including the hypothetical person who in a moment of madness bought a used SL last weekend. I, erm, sorry, he would be all over them.

Watching the Casey's video, the blocking and compression in forest scenes are horrendous! Nothing close to what was shown in the ad. Is that yet another episode of "no one can match their gopro videos to the sponsored ones" ?

Can they please release a 35mm f2. I mean... This is a basic lens. How do you skip past it for so many years?

I am looking forward to the DJI offering....

I have looked at the sample videos - and Casey's stuff. IN NO WAY DOES THIS COME CLOSE TO THE RESULTS FROM A GIMBAL!!! It is pretty impressive stabilisation for sure. But to say it replaces a gimbal is very misleading - the stability approaches perhaps 60% of what a gimbal gives you. (which is impressive - but they are over stating the results) Having said all of that- I am tempted to get one.

This is a reason for me to get the XT-3. I came across this video (one of many) on Fujifilm Global’s YouTube channel. Colors seem quite nice to me - https://www.youtube.com/watch?v=CNqmE_9x8GI

More DR in = more DR out. 15 stops capured shows more DR than 8 stops captured on a 5 stop screen.

Got in the F2 trinity yesterday, and decided to add a 16mm F1.4 as everyone seems to agree that it is the best lens in Fuji lineup. Tomorrow should be fun ?

I don't have a 35/1.4. I just posted that video as an example. From the tests I've seen the Viltrox is on par with the Fringer but for a lot less money. Im running some tests tonight to decide on keeping the XH1 or not. If I keep it I will order an EF-XF speedbooster as well.

Hmm, a rumored 3000 dollar body with a 5000 dollar minimum lens available for it. Yeah that ought to work out well!

It is pretty financially painless to switch and change between Canon and Nikon however, if you are buying and selling secondhand. Check out this autofocus performance with ADAPTED lenses (not native) in this first generation FX mirrorless camera from Nikon:

I have tried it a couple of times and it seemed reasonably accurate but not very fast.

Of course Blackmagic are profitable but at the same time, compared to what the rest of the industry are doing, they are 'pretty much' giving away their products. Pocket4k with Resolve = US$1299 Adobe Premiere/After Effects/Audition subscription for 2 years = USD$1248 So after 2 years....yes, BMD have given you a free camera. ?

Compared to the GH5 it’s maybe 5% to 10% better, really just a little smoother. Compared to the 85’s it’s about 25% better with vintage lenses from my limited testing. Way less jumpy and it looks more like you have a crappy gimbal vs having a non-fluid tripod head like on the GX85. I haven’t used the G85 very much, but it’s IBIS was similar (very good) to the GX85. The additional advantages like the EVF and Olympus colors make it an easy winner over the GX85s poor EVF and overall lackluster colors and charm. It’s a frustratingly nice camera. If Olympus could add some firmware updates, it could be a THE pocketable video camera to use with compact and vintage lenses.

Dual ISO without aliasing & without quality loss! https://www.magiclantern.fm/forum/index.php?topic=22818.msg206134#msg206134 https://www.youtube.com/watch?v=cP6DjS4QgcE

Oh yeah, the 1D C A camera that was officially part of Canon's Cinema EOS series, so kinda half debatebly almost if it really was part of the pure stills line up? And besides, at that point in time it was so very prohibitively expensive that it could just be ignore by most of us mere mortals.

Years ago, a friend of my brother borrowed a Hasselblad 500cm from his Uncle and decided he wanted to go and shoot a fire engine as it emerged on from the station on a call. He waited patiently at the end of the forecourt until there was a call and framed the engine as it was emerging with all lights blazing, fired a frame off and thought he could get another one off but thought better of it as the engine was bearing down on him so he quickly took evasive action and stepped to the side. Not being familiar with the 500cm he of course neglected to take into account the reversed image in the waist level finder and stepped the wrong way. He got away with a broken leg but was persona non grata at his Uncle's house for a long time as the camera had fared less well.

I can't remember as it's been a while, but I remember it worked okay for portraits, traveling, etc. GH5, 0.67XL Metabones Speedbooster, Sigma Art 18-35/1.8 I use this combo all the time for video, high school football half time shows.

This is difficult to answer without knowing about the application. What do you want to shoot? Sports have entirely different requirements to portraits or travel photography. I use the Viltrox+Sigma (EOS mount) setup. First time I tried it for stills, it reminded me of the time I was using the EM1mk1 with the Viltrox FT to m43 adapter and Olympus 14-54mm f2.8-3.5 mk2. Quite snappy but not spectacularly fast. I'd say at the same level as some older native m43 lenses. If I use the setup for stills it will be for static subjects, so, again, depends on your application.

That's a fair point haha.

H.265 is hardware accelerated now unlike in the NX1 days. Resolve / FCPX will handle it WAY better than Adobe does with their dated software architecture. What GPU do you have? Either way, transcoding to ProRes is also hardware accelerated if you have EditReady to hand.

When my company needs video for webb, TV or huge stadiums we are still more than happy with the C100. And the prices on it now... Im constantly fighting the urge.