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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

Game on. Wasn't expecting Crane to have such a big booth. Must be some new gimbals.

10% off FilmConvert ?

Hot Dog update.... Four Euros. Big queue. Swerved.

The Fuji is an excellent choice for hybrid shooters. It handles well for the size. The build is excellent. Then manual controls lets you feel like your are "really" taking old-school photos. The images do not disappoint. The video performance is as good as cameras costing much more. Built in microphones are stereo and sound pretty good for what they are. The preamps are usable. And the colors are lovely. It's a win... regardless of what may be coming down the pike. This camera can work for today and for a few years to come. It is my new goto travel camera. Nice work Fujifilm... Consider yourself officially on the radar.

I have also arrived and will be available for ongoing hot dog updates as long as I get on the right train to the show. Otherwise you can expect updates about Cologne cathedral. And hot dogs within it's immediate vicinity.

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

Rolling shutter tests here: 4k 24p: https://vimeo.com/292103456/f01f36ff9b 4k 60p: https://vimeo.com/292103784/bae8f67cef 1080p24: https://vimeo.com/292104075/3cca0aa757 1080p60: https://vimeo.com/292104319/73eacbf42b 1080p120 (24fps playback): https://vimeo.com/292104581/7488279a51

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

I do find it amusing as well that after weeks of debate about how many card slots a camera should have, they've gone "Tell you what, how about none."

The Lightroom aspect is intriguing because it's obviously a massive hint that its Android and that might mean some interesting 3rd party apps. Very interested in following how this develops.

Dual Pixel AF still wrecks all the competition. Now with eye-tracking & -6EV AF.. it keeps getting better. But the whole race to specs battle is a little disconcerting. A camera doesn't become obsolete because so & so new feature isn't present, or it hasn't got the latest greatest sensor. All the cameras out today are capable of amazing results in the right hands. I still shoot on occasion with a 2005 5D Mark 1 & regularly with the 2012 C100 mark 1. I don't care if the specs are "dated" I love their output. My friends/clients do to. Color science, ergonomics, lenses.. those are the type of things that seduce me primarily. And Canon kills it in those areas. Pretty sure a 2yo 5D4 30MP sensor will do more than ok. 4K crop? yeah that's a bummer. fortunately i still mostly shoot/deliver in 1080p. Everybodies needs/priorities is different. I understand the EOS R limitations are total deal breakers to others. I'd love it myself if the camera had IBIS, FF 4K & HFR. But you can't have it all & the body/glass combo sounds very attractive to me, and I'm already invested in pricey L lenses so it's kind of a no brainer.

It’s a dream of a camera, I just got mine. The lack of ibis is not bothering me at all, because the rolling shutter is so well controlled. If you can’t get a good image out of this camera then your really fucked.

I didn't catch what the camera was he was demoing footage of but it was very nice wide open aperture shots of cats. He should patent that style as Shallow Depth Of Feline.

In non hot dog related Photokina news.... I had a look at the Laowa cine lens and it looks quite promising. You'd have to waterboard them to get the price out of them though so it may prove to be more expensive than people might imagine. Erm.... Yeah, I should probably work on my show report game a bit more as I can't remember anything else that really caught my eye.

Just got an "Exciting News About The Pocket 4K.......But Not For You" email off CVP.

It's not dead if you're shooting for yourself. I'd say that you'd be pleased to know that my videos have no gimbal movement, no flashy transitions, and don't look anywhere as nice as the professional ones (which I'm working on) but it won't matter at all because they're not publicly available, like much of the work that I think people buy fancy cameras for I suspect that there's a huge market segment out there just shooting for themselves and we have no idea what they're doing or what they're making it with. When I work in a new office for my day job it only takes a few weeks for me to meet someone who has a 5D just to take pictures of their kids at the zoo.

Isnt travel video dead? I know I am no longer interested in seeying or making any travel video's anymore (unless its a job). Travel photography I can still enjoy, but I have not seen any good travel film in a long time, or at least the magic has been lost for me. Its all gymbal movement here, flashy transition there, every video looks exactly the same and every location has been shot 1000 times.

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.

Screengrab from today’s shoot at Trek with the X-T3. 35mm F2, Acros. If I can share actual video legally, I will. Cyclocross footage competition is simply the best I’ve seen since the first time I shot with the C100 5 or 6 years ago. Auto focus worked really well, not perfect, not canon PDAF, but really really good.

Blackmagic not at the show unfortunately. Got invited to see them in London, just debating whether to go and get roped into the PR side or not

This is a very curious beast. 37MP sensor with 4K output? Must be a new one, never seen it in anything else before. You'd think Zeiss would use a Sony 42MP or something existing. Wonder who did the firmware? Bluetooth L.E. is in there! I think it will live and die by the touch screen user interface, implementation of Lightroom and the price. The 4K could be interesting if it's not a big crop. RX1R II doesn't have 4K. Neither does Leica Q!

Everyone is justified in their own needs. Personally I need proper video specs. Canon keep fluffing it. The 1D C was amazing. Such unfulfilled potential. On the stills side, I still use my 1D C and 1D X Mark II. I enjoy Magic Lantern as well. On the reliability and pro side, yes Canon are leading the field. Colours are fantastic. All this is why I am passionate about Canon, passionate enough to rip into them on the blog when they treat video users with such disregard. It's almost like it's personal! Do they hate us?! I know so many people who have switched to Sony, so it only hurts Canon's bottom-line at the end of the day. I am not interested in their bottom line as a customer or their business strategy. If they want to be clever about protecting Cinema EOS from stills camera side of the business then that is up to them. I, as a customer, am only interested in the cameras and not their executive bonuses or share price. Through old sensor tech and 1.8x crop, they lost a sale with the EOS R from me. Also, having now had my hand on the body, I am not very impressed with the in-hand feel at all. Feels CHEAP. Sure and AF is vital. Miss an important shot on a pro shoot, you're fucked. Why risk it. Select solid, reliable Canon. But art is about more than just shot getting, for me. I have that luxury, to piss around a bit more and experiment more. Not everyone does that on every paid gig, and I totally understand that!! So for them, rock solid reliable AF is vital, and there, Panasonic is the one fluffing it. True, but that doesn't disqualify people from being excited about new releases and innovation, does it? New technology is a passion in itself. Canon is boring in that regard. Absolutely true. I am using a 1976 Canon FD lens on a Fujifilm medium format camera. The look is amazing. Canon don't have the body, Fujifilm do. But their lenses are fantastic and have been for 50+ years. The FD series set the benchmark and cut out the template for the modern EF range. 24 f1.4, 50 1.2, 85 1.2 - all total classics. If I wrote EOSHD from the perspective of someone who only shoots 1080p, it would be of zero use to anyone. But I can perfectly understand why some paid work is still shot in such an old video standard.

And everybody acts like Canon isn’t progressing their AF? Just because Sony and whoever is getting better, well so are Canon. When they introduce QPAF, they’ll be 2-3 generations ahead of the competition. Also 5 years ago, Canon was the only manufacturer that had a 4K camera. It was 3 years ago that Sony had FF 4K and they had overheating issues. Even today Fuji crops their S35 cameras and have time limits. Canon doesn’t have time limits, their cameras don’t overheat. They’d rather have a crop than a 10 minute time limit. They’d rather have a crop than have an overheating warning pop up. Canon cameras work and that’s why they are workhorses.

Exactly my feelings since X-H1 4K transferred then to the other old models through firmware update. With Fuji you simply can't go wrong unless you have no clue what you're doing at all : -)

Just received word from Hot Rod Cameras that only 50 cameras have been shipped to the US. ( I assume these cameras were all demos for the stores ) as Hot Rod Received one. They did tell me that they have been promised that some of their ordered cameras will arrive next week some time.

To those awaiting your Pocket4K's.....stock up on LPE6 batteries! So far I've only used the camera with the battery that it's supplied with but the camera chews through it at an alarming rate. Also, the battery meter with the supplied battery is not very reliable at all. It jumps around from 1/2, back up to 3/4 then flashes red for less than a minute and dies. The first few times I used it, the camera died when the meter showed more than half remaining but with a few discharges and charges of the battery, I think it's getting better. I haven't done any real tests to test record time but I got less than an hour of powered up time before it died. I was shooting outside though, with the screen at 100% brightness (more on that below). The manual states that the battery meter can be set to show a remaining percentage with supported batteries but the BMD battery does not seem to be supported as I only have the option to show the battery graphical icon (unreliable) or voltage. I have four Wasabi 2600mah batteries arriving on Monday so will test with those. In direct sunlight, the screen is not really usable. At 100% and with a LUT on it makes it a little easier to see, but it's highly reflective and not quite bright enough especially showing a flat Film Log image. I'll need to make a shade for it, but then with it not being tiltable will mean that II'll have to hold it at eye level when shooting with is not comfortable and doesn't lend itself to steady shots. BTW, sorry, I wasn't able to do the sound tests yesterday. The inbuilt mics sound pretty good and you only really hear the fan if you are in a dead quiet room. I should be able to do it on Monday. So far, the battery and screen issues are disappointing BUT I am absolutely LOVING the images the camera is producing. The images are very detailed but not too sharp (a good thing!). I have shot with most DSLR's out there from Sony Aseries, Panasonic GH series, Fuji X-T2 and have never seen any Hybrid cameras produce the images the Pocket4K does.......and this is just shooting ProResLT to an SD card as thats all I had on me at the times.

This should pair nicely with the Philip Bloom woodgrain Pocket Dolly from a few years back. Really helps you get those organic tones as they say.

Well I've found myself in a place where I can see a lot of these films, and am hoping to see 'Girl' tomorrow morning. This afternoon I watched 'Beautiful Boy', and it was brilliant. Timothee Chalamet wasn't the most convincing, but he was far from wrong for the part. The camera and lighting was fantastic, and I like Steve Carell in these drama roles. I'll post back on 'Girl' when I can.

Hang on...I have remembered something that I saw that caught my eye. Phil Bloom has a very fetching wooden case for his Macbook. Here he is calmly dealing with some bark/sap related issue that caused the audio from it not to work in his very well attended live demo.

Much cheaper than anticipated. Thanks for this critical update!!!

Absolutely, my complaints about the XC10 are few and relatively trivial, and my situation is not the norm by any measure. If you're shooting with a bit of room then you can just get further from the background to get some defocusing and adjust lighting for more contrast. In a sense I am looking to create the polished and slightly dreamy impression that we have of memories. I make the footage a bit on the warm side, I use the nicest moments and angles I can, I add cheery music. It's just a slightly different aesthetic. There is lots of criticism of people wanting to buy more equipment or have more features, and sometimes that criticism is warranted, but when the desire for features comes from starting with the creative process and working backwards then it's mostly not warranted. I think it's like writing an essay in school, you can say anything you like as long as you can back it up. If you want new features and can back it up with real-life creative needs then go for it. No-one criticises Hollywood productions for shooting in 4k or RAW or on huge rigs, or people shooting hair commercials for wanting great slow motion because we understand that the equipment choices are relevant for the task at hand. That should be the only criteria.

@mercer yeah, the XC10 is a hard act to follow but when I watch the footage I just get disappointed with how flat it looks. It's totally possible to shoot a good film with a 1" sensor and get good 3D images if you control the locations and lighting, but that's just not how I shoot. I shot a few videos with the 700D and 18-35 1.8 and the separation was what I was wanting. The A7iii and 24-105mm F4 goes longer with APSC mode, and longer again with a bit of digital zoom. It's not the ideal form factor and I'd love a tiny cinema camera, but I'll see what there is once the dust has settled from the current frenzy of announcements. I'm in no rush, but a look with a bit more depth is calling.

It's far from ridiculous. Limitations can spark creativity, it's a well known concept. Look it up. In his follow-up video, he further explains how he will be losing 120p & a lighter crop on 1DX2 but also gaining a lot for video (EVF, Flip screen, C-Log, peaking, MF guide, 10-bit 422 out, lighter codec etc) with a much lighter body, ergonomics, superb new RF lenses with extra ring control & vari- ND filters for EF glass collection. People seem to only focus on the negatives, but omit the positives this camera system is bringing... to Canon shooters. I think you forget these hybrid cameras are first & foremost still photography cameras with video capabilities. 4K crop & HD 120p aren't necessarily deal breakers to many. I'll grant you Canon is behind & slow in some aspects (IBIS, sensor tech) but in other places such as Dual Pixel AF, lenses, ND adapter.. they are innovative & class leading. So it's not a question of defending, but weighing the pros & cons that fit your own needs. No camera is perfect. In the end you buy into a system, not just a body.

They put pixel shift on the wrong camera. S1 is the one that would benefit the most. And I highly doubt it would eat any profit from the S1R ether, just more ppl going for S1 in the first place.

Exactly my thoughts. The size is because unlike the BMPCC4k, this doesn't HAVE fans for heat dissipation because it has go be weather sealed. It does this by having a Huge heat sink as well as way better processing. I also believe that Panasonic is keenly watching the A7Siii (as well as others before the specs are finalised) for what all specs to finalise. They may have the megapixel and video bit depth advantage over the Sony. Dynamic Range may be similar and the Sony may be better by 1-2 stops in low light video. If Panasonic can't bring autofocus to PDAF levels, that may be the biggest weakness on this. Also like on the Nikon Z Series (which I think I may agree with Tony Northup's about the Panasonic and Nikon sharing the same sensors), there will be 2 distinct models, one with a slightly greater emphasis on photo (S1R) and the other on video (S1). While Nikon has, like Canon handicapped the whole thing with emphasis on size and having a single SD Card (apart from smaller battery and no internal 4-2-2 codec), Panasonic is keeping the bulk for adding a lot of great features. There must be some politics of features in ILCs (like regarding the PDAF), wherein Panasonic is being barred from having PDAF on their cameras, and both Panasonic and Sony are mum about the real reasons for it.

Let's not forget that the sensor in the GFX50s/r made its debut in 2014 in Phase One and Hasselblad backs. Not to mention there's significantly more money and resources in the development of APS-C and Full Frame sensors, since they sell much much more of them. Formats larger than 35mm has always been a niche market. You buy medium format because you like the look and you're willing to give up a lot of practicality for it. Also, less DoF isn't the reason you have a more three dimensional image -- it's the transition between focus and out of focus. It's the way you can get separation between subject and background but not reduce the background to a big blurry smear.

Does it work accurately '99% of the time'? Smoothly between focus transitions? At low light included? What lenses are you using for? Only the 35mm f/2? Can you add some test samples? : -)

Andrew, is there any chance you could play with newly announced Viltrox lenses? 85/1.8 with STM AF for Sony E and Fuji X for 240$ 20/1.8 MF for Sony E for 280$ https://www.optyczne.pl/12917-news-Nowe_obiektywy_Viltrox_dla_Fujifilm_X_i_Sony_FE.html

Nice shot, this is one of those rare cameras with genuine mojo.

Give it a try. You have nothing to lose. I guess, most often, people are just waiting to be asked.

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

Could you ask Samyang about the new anamorphic lenses? When, Where, How much?? Thanks!

Lets hope they don't make an" Edward VII edition" the mind boggles

Insanity:

I usually get these messages in my spam email.

DFD. SMH. A 47mp 4k60p body with a AF system from 2005. Not sure what photographers they're focusing on, perhaps film shooters looking for their first digicam? As a video body it could be something, we'll have to wait until next year to see. But I'm sure we see another FF 4k60p body before this is actually released. I do like the big body with lots of controls and space between the grip and lens mount. Sony are you listening? The best thing about this L-mount alliance is that Sigma may finally start designing lenses for short registry mounts instead of just rehousing their gargantuan DSLR lenses. Chris

That made my hard drives cringe a little bit.

Hi @Sage I've had great success with using EC on V-Log footage but I wanted to try it with Cine-D following your recommended settings. I'm having some trouble with the reds, which seem to shift hard to magenta in Premiere. I shot in Cine-D, with Saturation all the way down, and applied your V2 Cine-D to V-log Pre conversion in the Basic correction Lumetri tab, then used the Soft Lut from your Verde release in the Creative Lumetri tab. I was using a Tiffen Vari ND but I don't think that accounts for the Red distortion. The footage is 8 bit 1080p. Check out the screen grabs below. First one is straight out of the camera. Second is with the Emotive Color conversion, and third is a quick grade adding contrast and saturation to the Cine-D with no LUT used. Any ideas what I'm doing wrong?

DPReview have added the X-T3 to there comparison thingy... Here is a link.