Andrew - EOSHD

https://www.eoshd.com/news/fujifilm-hint-at-44x33-large-format-gfx-h100-filmmakers-camera-open-gate-4k3k/ What 100MP quad bayer capable sensor were Fuji referring to in this document (if not the GFX 100)? It doesn't look like the GFX 100 actually employs this readout method. So is this something they are saving for a future camera?

The big mystery of the day. Is @androidlad actually Graeme Nattress? 😃

Looks like the power issue is being worked on https://www.eoshd.com/news/sigma-addresses-leica-sl2-battery-power-error-with-mc-21-adapter-firmware-update/ I'll give it another test

Hello I reached into the darkest corner of the EOSHD server and fixed the links They are working on this page now: https://www.eoshd.com/gh2-patch-vault/ Enjoy!

Probably had to run everything by legal first.

Is that mountain bike an E-bike? If it's 10bit footage the luma range should not be 0-255. I would check to see if it is a problem with the actual recording & Ninja V, or if it is a problem with FCPX. Try downloading the free version of Resolve and see if that fixes the footage. If it's still bust, it means the issue is on the camera side not the NLE side.

Wonder if Long GOP codec is improved? Or is ALL-I still the way to go. I'll do some shooting tomorrow.

Makes me wonder if this is LOG without the branding

Good news. This is something I asked about in my upcoming Fuji interview. Looks like I can delete the question now

ProRes 422 LT is quite light in terms of file sizes. Not bad quality either.

Which implies BMD Film LUTs may work in post for the Flat profile? Interesting.

I can understand why RED does want to be a bit selective and doesn't want REDCODE on an ARRI or Sony F65 for example But the mirrorless cameras are no competition and actually compliment the larger A-cams on most shoots. So to be able to use one or two of them with the same codec as the Komodo or latest RED A-cam would be ideal. I have an interview coming with Jarred Land of RED but he is taking his sweet time to reply Very busy. I'll keep trying to encourage him that this is a good idea, whenever I get the chance. It really would be wonderful to shoot REDCODE on both a Komodo and something like an EOS R5.

Thank you for the suggestions so far. I have sent a link to Mr Kazuto Yamaki-san and the Sigma Fp / Cine product manager Mr Wakamatsu-san.

I am about to start a big comparison between the Blackmagic Pocket 4K ProRes and H.265 on the Fuji cameras. Let's see who comes out on top. If it is the Fuji then maybe we can stop caring so much about our 7 year wait for ProRes on Japanese cameras. I have wished for so long that they'd do some form of Apple ProRes internally... surely a nice company like Apple would license if asked. Blackmagic Pocket Cinema Camera (original) cost what, $1k? So it can't be that expensive to license ProRes! And RAW is great but not practical for most.

It seems a bit of a mystery as to why Atomos can't update their firmware at the same time as the camera manufacturer does There doesn't seem to be a firm date given for it yet. There is no 1080p RAW because the image in 1080p is so dodgy on the GFX 100 You have to go from 100MP to 2MP so the amount of binning is off the charts. I am also not sure who buys a $10k 4K medium format camera to shoot 1080p in 2020 so maybe that is another reason why they didn't bother with it. Personally I would sooner shoot with a more practical 2.8K internal RAW codec but there is no denying the appeal of the image out of the Ninja V. More thoughts on the blog: https://www.eoshd.com/raw-video/fuji-gfx-100-is-first-medium-format-camera-to-shoot-12bit-prores-raw-with-atomos-ninja-v/ @BTM_Pix Downloading the firmware now. I have a feeling the grain simulation is JPEG only but I'll give it a try!

Nice shots, especially in terms of the tonality and colour. Would love to see more. It's true there is hardly anything to worry about in those frames - no aliasing, they look close to 6K RAW stills

Yeah. Not a bad idea actually!

You just have to appreciate how patents and technology transfers work Sony could be supplying for example the RED Komodo sensor. I am not saying they are, but if they are then RED obviously can pay for it in hard cash or they can offer to license the internal compressed RAW patent to Sony for certain products. If Sony were not asleep during RED's conception they may have patented internal compressed wavelet RAW themselves and perhaps be a lot richer. Innovation always pays!

Let's take it just as a stills camera... A GM6 if you like. Still a failure. What does it do as a stills camera that is particularly unique on the market? Aside from the fact it's $750? For that priced use you can get a Fuji X-H1!!!!!!!

Canon have compressed RAW codec, internal. RED have RF mount. Go figure!

I expect the A7S III to handily outperform the EOS R5 and EOS R6 for video. 10K Quad Bayer sensor (60 megapixel, 8K RAW, 4K Quad Bayer readout, no crop, good rolling shutter due to fast sensor architecture and multiple readout channels, a typical Sony strength) Whereas EOS R5 is traditional bayer, lower megapixel count and likely high rolling shutter. Also I can see on the codec side the Sony maybe doing something interesting with H.265 compressed RAW. I think right now if I were to only choose one flagship it would be the Sony. Doesn't mean I am going to bite the specs hype bullet though. EOSHD during both these launches will be an ANTI-hype machine Unless it is warranted and they put out a genuine marvel which is both practical to use not just with some dazzling high numbers on the box. I can see the A7S III, A7SH or A7H or whatever they will call it being the new flagship for stills above the A7R IV as well. There was a reason the A7R III and IV were just incremental evolutions.

Viewing distance acts as an anti-aliasing filter You should try some 1080/100fps clips on a cinema projector and sit back It actually doesn't look too bad. The pixel binning sensor readout always improved on the big screen compared to a computer screen.

Fuji have licensed PDAF on Sony sensor so I am sure others are allowed to as well. I think with Panasonic it's more that they have invested long term in a different technology and don't want to waste that. DFD with AI may get better in the future and rival PDAF. But they need to hurry up because the current state of affairs is just not good enough! Thanks for the suggestions so far. Great stuff.

Don't think he said redesign did he?... More like 'Everything is new compared to the 5 year old camera'. So obviously a new sensor, LSI, EVF and so on. I'll be very pleasantly surprised if they do a design adventure. Change the concept around. Internal ND. Small XC10 style camera. Brand new menus. But to be honest, despite the lack of adventures and bravery in new design concepts, I am quite happy with mirrorless form factor as it is. Hybrid stills / video is my thing. PS I cannot promise to review the A7S III or even EOS R5, because I will have to buy them and I think rather than putting $4k into another corporation's bank account we should reward innovation at better prices, from Fuji, Sigma, Panasonic and others. Canon and Sony have practically ignored us for 5 years and now suddenly they want our money again. Bear this in mind when you see all the stage-managed YouTube hype next month about 8K and RAW.

£3000 used to be Sony's standard price! And the want to go UP!