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I knew this would eventually come up. Perspective distortion is only due to distance between camera and subject. Focal length has nothing to do with it.

Q: "What is the medium format look?" A: an empty wallet...

Static shots, yes. But still have to get the camera into tight spots in the studio around drummers and whatnot. A monitor needs cabling & power. That's extra work. Dealt with a Sony A7s for three years and various "solutions." ..all of which required extra work. Got a GH5 last year & wondered how the hell I managed without it. Mainly because of the flip out screen! Never switching back to a non-flipping screen, I don't care what the specs say. Practicality trumps specs.

Main/Soft are low contrast color bases resembling film; it may indeed work well for a retro film aesthetic (as in 'Tilian - Cocky'). For non-standard use, people often use it in unexpected ways that will move away from true Alexa color. There's been a variety; grading before the conversion, using the conversion at a percent strength, using non-full spectrum NDs, using the Lumetri luma curve, shooting HLG/Cine-D over VLog (this is about to improve), grading LogC directly without a display Lut, placing black level very high (above 5 IRE), placing luma brightly (faces above 45 IRE anchor), ETTR into the rolloff, combining the LogC variation with Main/Soft For Alexa luts, do you mean the Arri display luts for Rec709 etc? I'm going to do SBS comparisons with a variety of Lut options soon. Wild Ranger uses LogC film conversions with GHa occasionally, such as in Basta above

Got to try something fun on my F3 today, but only in passing. Hopefully I can give it a proper workout some other time. And yes: it was heavier than the camera body.

All of the following photos were shot with my Canon FD 85mm F1.2 from 1976 on the Fujifilm GFX 50S. Medium format at F1.2?! Yes, it works and no vignetting! I am really interested in what Fuji is doing at the moment, but with the most interesting cameras at the show just a development announcement and dummy body-design, we'll have to wait a bit longer for them to truly reveal their cards. Read the full article

What topics shall I broach with the manufacturers? Throw any ideas my way and I'll do my best to find answers!

When the GH4 launched in 2014, Panasonic "obviously" had faith in their autofocus system. Yet when it came to video, the CDAF looked pretty bad compared to the PDAF on the 70D, NX1, and a6000. The GH4 was a fantastic camera, but it was clear back then that Panasonic needed to include PDAF if they wanted to achieve good video autofocus. So in 2017 when the GH5 was realeased, a lot of people were disappointed that PDAF was again missing from the specs. Panasonic "obviously" had faith in their autofocus system, but real world usage found the GH5's "Advanced CDAF" was still not as good as the PDAF in some 3 year old cameras, much less some of the latest models from other manufacturers. Now in 2018 with Canon, Nikon, Sony and Fuji all producing cams with really good video autofocus using PDAF, I think it's easy to see why critics are disappointed that PDAF will again be missing from Panasonic's next generation of cameras come 2019.

Then why would a company that prides itself on the video side utilize a focusing system that sucks in video then? It is pretty obvious that Panasonic is pretty terrible at making a camera that can AF worth a crap in video mode. Their stuff is becoming too expensive for the average person to buy, and that is a total change from what they used to be. I think it is going to end up badly for them down the road.

Why is no one making a 35mm f2 or f1.8 for Sony E?

You might be right about CDAF being best for fine-tuning the focus, but PDAF not only knows something is out of focus but which way the focus is to be found. After watching dozens or hundreds of beautiful moments pass while the focus mechanism has charged off in the wrong direction and the moment concludes and the shot is lost while the camera is still wondering why the entire frame is a complete blur, I will always be deeply deeply skeptical of CDAF-only cameras.

WOW ... no PDAF, yet again! CDAF is barely adequate on a m4/3 size sensor that is aided by a deep depth of field. On a full frame sensor, with a narrow depth of field, CDAF will be a disaster.

There's a popular adage in Brazil which ironically says some people love to have fun with someone else's dick. These announcements for six months later in time remind me that Brazilian saying. Go to shoot with your GH5/GH5S, a7III, X-T3 today or the upcoming (for very soon I hope) P4K and... that's it : ) Discuss the potentiality of your tool today. We never know how short life is. Let's stop with all that usual mantra or yet more nonsense. Digital tech already arrived to the world of pictures, mature in 2018, no excuses anymore : P c'mon why bother with other girls? Other than 4K 120fps or better AF for those who love Panny perhaps, your gal complies your standard (Trust me & mark my words, E : -)

Maybe, maybe not. The Panasonic cameras are really just announcements of things to come next year. Sony may still surprise with an A7siii that slips in BEFORE the Panasonic cameras are actually released (if the Sony is coming at all that is)! The issue for me with the Panasonic cameras is that unless you are a shareholder in Panasonic, these new cameras will be as alien to M43 users as Canon, Sony or Nikon (actually for Canon even more so since Canon EF lenses can be adapted with near native AF at least for AFS). Think about it, a set of M43 lenses will not work on these new cameras and I doubt the Leica L mount lenses will work anytime soon on a GH5 or other M43 camera so you would need two sets of lenses if going with Pana FF and M43 but with Canon EF lenses you can go FF AND M43 (and Sony E can too and more). These Pana/Leica/Sigma cameras will want to be light years better than anything else to be successful since for all but a very small number of people it means an entirely new and expensive system aimed at pros and high end users and a VERY expensive switch. IF Sony puts out a A7siii, it will be usable along with all the other Sony stuff right form release so unless they stuff it up big time, I would think it is going to be good (again, assuming it does actually arrive). Choice is good and getting better but it is coming to the point there will be too MUCH choice for them all to survive.

This will be a short part 1, as I am about to get on my way from Berlin to Cologne to see all the new stuff at Photokina for myself! It's been a mammoth few weeks for camera announcements and these two top them all. First from Panasonic we have the first ever full frame cameras to shoot 4K/60p, beating Sony to the punch. Their A7S III is STILL not yet announced. The Panasonic S1 and S1R are probably why! For video they beat every full frame camera past, present and future! Second we have the Fujifilm GFX 100MP development announcement, which will be a 2019 $10,000 medium format mirrorless camera. They also have a cheaper 50R "rangefinder" style GFX body at the show ($4500) but that is 1080p only like the GFX 50S it's based on. It is the 100 megapixel one I am really interested in. Read the full article

Our first look video is live... new info to me... bigger battery than GH5

Shot extensively with the 18-55, 16-55, 50-140, 10-24, 23/1.4, 56/1.2 and 55-200 -- all on the XT2. I've also spent time in camera shops demo-ing just about every other X-mount lens available. The absolute worst AF of all my lenses was the 56, followed closely by the 23/1.4. In good light they're fine - slower and noisy compared to the LM lenses like the 16-55 and 50-140. But in dim light they hunt a lot and are really slow to lock. The 56 was useless at night, I just couldn't get it to lock onto anything. I bought it to use as a low light portrait lens and stopped carrying it because it was just so frustrating in use. Bokeh was gorgeous wide open, it has great rendering, but AF is a chore. My Sony 85/1.8 on the a7r2 and now the a73 is a pretty dramatic difference, much faster and very useable in low light conditions. The 23 wasn't as bad as the 56, its moving a lot less glass so that helps. They're both pretty bad for shooting video because of the noise and the hunting. I find the 10-24 to be better in low light, so I typically carry that instead of the 23. The 90 with the LM motors is significantly faster than my 23/56 combo, so are the f/2 primes. I really wish Fuji would update the older primes with newer focusing motors. Chris

More BMPCC4K footage is starting to appear...

This thread has it all - not released yet; but "beat every full frame camera ever, past present and future" (despite all the lack of info we have right now) to "camera sucks". Only on EOSHD can you get such a wide range of speculation! The crop monkey is not pleased.

Both Panasonic's are already available for preorder.. but its a bit hasty for me The GRiii was different, its just an upgrade of a camera I already love, a no brainer. The Panys are a bit to mysterious as of now.

I'd like to know if Panasonic would consider raw / braw in the near future?

My camera arrived today. Just had a brief play around now after work and I love the ergonomics and all around feel of the camera in my hand! The 18-55 is just as lovely. Pretty dark now in the evening, but AF was accurate at f4 and 6400 ISO and having LINEAR manual focus in the settings is a godsend! Will test a lot more this weekend when I have some time off, but so far I'm a happy camper PS: These colours.... *heart melting*

How much are the hot dogs?

from the Kodak booth is Ektachrome in 35mm finally officially on-sale.

Also the price.

THIS + why DFD AF when they know it's not as good as DPAF in video? Please throw shit on Canon on my behalf.

Can you please ask if Fujifilm has any plans to make some cine lenses for the GFX 100 in the near future or down the line, since the company is clearly prepping for the day Medium Format becomes more common?

No, this can work for you, perhaps. But no every people enter in 'my dick is bigger than yours' argument or sorta alike : ) I am their client for three decades now. Without mention to have invested my OWN money and my partners' resources in their glass lineup. I am demanding more care on my own needs from them. As simple as that. Funny coincidence BTW: https://en.wikipedia.org/wiki/Panny https://www.urbandictionary.com/define.php?term=Panny : -)

Would love some more info on the Samyang Anamorphics! Pricing, focal lengths etc... Cheers Andrew

Sage, this is bloody amazing. I've read the whole thread now and watched just about every video posted. I didn't really consider the GH5 (small sensor etc.), but with these settings, it blows everything in its price range away. Sony colors look mighty wonky compared to this. If I get a GH5 this is an insta-buy.

It must be said that video amplifies the difference between formats far more than in stills. Once you add camera movement and focus pulling, the advantages of a larger sensor become crystal clear. Watch any film shot on Alexa 65. There's more gentle falloff, less distortion in wide shots, crisper more intimate close-ups, more apparent depth and more detail but without clinical sharpness.

What is more plausible? That the new Panasonic cameras will have world class AF, or that Panasonic will produce yet another series of cameras with the same poorly performing AF as all the other cameras they have made up to this point? My guess... if you want usable AF do not look to Panasonic. No doubt the video specs will be great. Colors the same as the GH series. It will shoot 4K @ 24 and 60 FPS. It will record 10 bit 422 internal. Maybe compressed raw? Rolling shutter will not be great. There will be a cropped mode. Where is the organic sensor they spoke of a few years ago? I would buy it for that one feature. A mixed bag in the making me thinks.

It’s shot with Eterna. As for race tracks... we’ll stop going once the boy stops breaking records. Until then...

Bitrate, FPS, inputs/outputs, codec etc. of the new Pannys would be really good to know. They barely mentioned anything about the video specs.

Yet in every example/comparison I have ever seen, PDAF has proven to be vastly superior to CDAF, particularly with respect to continuous AF video performance.

It isn't just shallower DoF, it's the way it transitions from focus to out of focus. The larger the format, the more three dimensional the transition -- if you've ever seen an 8x10 slide it feels like you can reach into the frame. I shoot 4x5 slide film and it feels different to look at compared to 35mm. But having worked with this current generation of APS-C, Full Frame, and both the Hasselblad and Phase One cameras, there's not always a lot in it. You can definitely tell the difference between APS-C to MF, but a D850 with a 50mp Phase XF? Not a lot in it for a lot of applications. But you can tell the difference with a higher megapixel sensor, so I'm very interested in the GXF100s. Larger individual pixel sites gather more light -- not the sensor size itself. Hence the GH5s has a 12mp chip vs the 20mp in the GH5.

Cool, thanks for reporting. Ordered mine via their $100 off when you trade in an old camera. I literally bough a $10 10 year old compact camera, sent it (prepaid label) to GoPro and I am getting it for $299. This rocks.

I shot 6x7 for a while... I found the look similar to a wide open Otus on FF, I'd guess? Good micro contrast, a surprising lack of aberrations, low amounts of grain (for film), shallow depth of field. Look for Hasselblad 500 photos on Flickr for reference. Or the Revenant has that look, but highly processed. I really liked it. The lenses split the difference between super sharp and vintage, and have a lot of depth and micro-contrast to their rendering. A lack of aberrations and very sharp (overall, not per given mm) but also good contrast and unfussy bokeh due to simpler designs with fewer air to glass surfaces and less exotic glass. I found I needed much more light in order to get enough depth of field and to get the right shutter speed (on film I used the reciprocal rule, which doesn't quite hold up on digital, but which disadvantages longer focal lengths needed for the same FOV on MF). It's not great for photojournalism, better for studio work. Hasselblads were popular for fashion. Okay for landscape and architectural/real estate, but you really want a tech camera for that stuff to get lens movements and that gets $$$. There's no magic to MF, though, particularly on digital where the sensors are much much smaller than they are on film, and barely larger than full frame. MFDB are often 33mmX44mm; by contrast, Fuji Rangefinders were nearly 60mmX90mm of film. Just think one step beyond FF but without a lot of lenses available. If you shoot a lot of fashion or high end portraiture, I think you'l like the look a lot. Another big advantage is the leaf shutter, which syncs to higher shutter speeds (I think, forget the details) and is also much lighter. So despite the massive film plane, the shutter has very little mass, like a rangefinder.

LOL No creation stands, everything is copy paste nowadays, quotes included with or without misquotes, I'd say ; -)

I usually get these messages in my spam email.

No articulating screen? PASS! Specs are meaningless if the body isn't practical. I've had enough of dicking around with "solutions" that just add complexity. If I can't flip the screen around the camera is useless. I do over a million views a month on Youtube and need to get shit done. www.youtube.com/spectresoundstudios

You must bring it to photokina and show them at the "BTM's booth"!!

I take it no word on a M43 to L adapter?

its about time us locals got a bit of favoritism, everything else filters down to us last usually. you'd buy a truckload more loyalty ( brand pride perhaps ) from me, if if got it a bit earlier than the rest of the world ? oh i have rode mics as well ?

There is real risk that the other types of camera are actually becoming porn though. Or you could up the sensor size even further and go for this combo of LS300 and Angenieux 25-250 which will give you a 10x zoom camcorder/cinema camera hybrid (which we will brand as a Cinecorder )with an aesthetic that I think you can get behind for around £3K used all in. Add in the Ninja V and you've got 4K60p as well for another £600.

Here are a few thoughts on the Mavic 2 after a week or so of use. Mostly points that I have found that dont seem to get much mention in the youtube stuff. 1) There has been no firmware update so far for Crystalsky monitors, so you cant use the Crystalsky with the Mavic 2 yet. Pretty disappointing for an expensive accessory. 2) For some inexplicable reason DJI has removed quite a lot of the intelligent flight modes that were on the original Mavic Pro. The two that I used a lot - Course Lock (great for panning) and Waypoints are both gone. 3) Theoretically you can pan the camera from left to right (unlike the Mavic Pro) but in practice this has fairly limited practical use because the props get in your shot. 4) So you are likely to shoot quite a lot of video while flying left or right which is fine apart from the side obstacle sensors dont work (unless in intelligent flight mode or tripod mode.) 5) The DLog-M 10 bit h.265 profile is a huge step up from the Mavic Pro and is great in post. Unfortunately, the footage in DLog has horrendous lens distortion. Its easy to fix in post but rendering h.265 is pretty slow. (I am wondering whether it is best to transcode first for Premiere Pro.) 6) I like the 2.7k 60p footage. It is FOV and I assume pixel binned - so isnt the most detailed - however the 60p really helps smooth out the footage. 7) I never used 'autoexposure' with the Mavic Pro because of exposure flicker but I havent noticed any with the Mavic 2 when shooting shutter priority.

Nah its accurate. Believe me. Im a Sony fanboy and Fuji shooter. I review all of them. If I review a Sony all is well. If I review a Fuji I get attacked by Sony Fanboys. If I review a Pentax or Nikon I'm attacked by Sony and Fuji Fanboys. If I review a Canon... all hell breaks loose since even Sony Walkman fanboys attack. I base this on receiving and reading 26 090 comments over the last couple of years. Just visit any forum and see for yourself. For example checkout the thread about the EOS-R on EOSHD. After my 6Dmkii review I had to block some really vicious people that weren't attacking just me but also people commenting on the video. And not about specs. We are talking threats and in general things that would lead to a punch in the face irl. The weirdest thing was they weren't all anonymous. They actually used their business accounts...freelancers, production house employees using their official accounts...

The B&H mod in action. Hope you all had an anamorphic July 4th! (or July 1st, for my neighbors to the north)