Andrew - EOSHD

The EF mount ZE 35mm F1.4 is also very nice, but much heavier than the 35mm F2 ZE / ZF. Of the Leica M mount Zeiss, I have the ZM F2.0 but not the faster one. The ZM F2 is superb but close focus limited. I should do a comparison between that and the ZE F2.0 one day.

5.5K RAW *** OMG **** B ROOOOOOLLLL *** CUM IN YOUR PANTS DROOOOOOOL ** CLICK HERE, Subscribe.

You saw a lot more than me! Superb shooting. Were the drone shots the Leica SL as well?

There's a lot of secrecy in Japanese culture but also no such thing as the perfect camera. I believe they play fair. They are multinationals and any wrongdoing would have been discovered by now like Woodford at Olympus and the overstated profits scandal. It's just a little frustrating we have all the features we want spread around different cameras and never in just the one. There's always a cripple hammer somewhere, or a "tech challenge", or a compromise, or just something missing or something taking a wrong path. Maybe patents are the issue, or certainly a big part of it. What is the perfect cam anyway? Well - here is the camera you get if you combine the existing "best" technology from everyone... And let's see who provides it... FF 5.5K RAW (Canon 1DXIII) or Netflix approved 10bit V-LOG (Panasonic S1H)... No crop! Dual Pixel AF (Canon 1DXIII) or Sony A9 standard 4D PDAF (equally good in my view) 5 axis IBIS (Panasonic S1H has the best performing) Cinematic colour science (Alexa... oh they are German, erm... Canon or Leica with Fuji a close second!) Huge 5.5m dot EVF (Panasonic S1H... Who wants an optical one?!) 4K/60p with no crop (Canon 1DXIII)...Second best is 8bit FF 4K60 on Panasonic and 10bit Super 35mm 4K60 on Fuji X-T3) Slow-mo to high quality (Sony, Fuji, Panasonic all good here at 120fps 1080p+ with crisp detail) ProRes RAW... Nikon had a go, but only externally Sexy ergonomics and good menus (Leica SL2) Anamorphic mode (Panasonic and Leica) Mirrorless mount (Sony E-mount is my pick for most adaptable with most lenses) Bonus point for medium format 4K (Fuji GFX 100) Bonus point for value for money (Fuji X-T3) Low light performance (Panasonic S1H) Contribution tally: Panasonic: 7x Fuji: 4x Canon: 3x Sony: 3x Leica: 3x Nikon: 1x Olympus, Pentax on zero, no stand out leading cinematic features. So we must conclude Panasonic gets closest to perfect camera all in one body with the S1H but it drops the ball for AF and not having an E-mount on it but it's a very even spread between top 5. You can argue Leica is only there thanks to SL2, which is damn near a perfect camera in 2020 just lacks Dual Pixel AF and perhaps some form of hinge on the damned screen. Nikon Z6 gets a lot of things right BTW but doesn't stand out on much apart from ProRes RAW with Atomos does it? Still, you can claim it does everything right... no crop, full frame 4K, IBIS, PDAF, good low light, value for money (a ridiculous bargain used), ProRes RAW external, good EVF, good colour science, nice Canon EF adapter from Fringer with great AF in video mode, very adaptable lens mount, even takes an E-mount adapter, good 120fps 1080p and good ergonomics... So it is not always about leading in one or two aspects... It's about not falling down in important ways. Then again, nobody told you lot as interest in Nikon Z6 is about as low as it gets First time I've seen this table. So that settles it then. It is only at 60P DPAF packs up and goes home. They should reword the sentence to :"Dual Pixel AF operates in all modes except for 4K 60/50p and RAW 60/50p" Otherwise you can take it to read it doesn't work in any non-crop 4K mode at all.

Bong, cripple hammer. Unless 3840 x 2160 counts as a "crop mode", we can kiss goodbye to DPAF!

"Except for none crop 4K" "Except for RAW at 60/50p" So it only works in Super 35mm crop mode ALL-I... There is no crop mode RAW. That's my reading of it.

I have a Panasonic S1H on loan at the moment along with the Panasonic S 50mm F1.4, so there will definitely be some comparisons and a full S1H review on the way soon. Just need something to shoot with it. A bit cold, wintery and dead where I am at the moment and not much going on creatively. Maybe a trip to Spain or Berlin will liven things up! Yeah, that is a screen grab from the full frame 4K 60p. Detail in that mode is nearly as good as it is in 10bit 4K 24p.

Would definitely be nice to have more assignable buttons. The 4-way d-pad and AEL button, perhaps also Tone and Colour are not programmable at the moment... Well, the AEL button is but only AE related stuff and focus magnification, that's it. I'd like also to be able to assign shutter button to take stills in Cine mode, and in stills mode assign video mode button to something else entirely. The SL2 also has a lack of func. buttons but gets around it with a very clever menu system and User profiles. I can flick through my user profiles for different video modes and LOG at a single touch of a button and wheel of a dial. ---- I am thinking of making a Review template on EOSHD so I can give an at-a-glance summary of a camera, and a review sections drop down box like DPReview reviews. Open to suggestions. The colour-coded summary table could cover as an example: Max resolution, max frame rate, sensor size (i.e. 4K/60p, FF) Max bitrate, codec options (ALL-I, Long GOP, 400Mbit) Max bit-depth (10bit) RAW video (Yes, external) Media type (SD) Low light cam? ISO 6400 maximum usable Rolling shutter: Lower than average, average, higher than average Autofocus: Phase-detect in video mode AF reliable?: Yes IBIS: Yes Menus: Bad / average / good Battery: Bad / average / good Build: Bad / average / good Character and "feel": Generic / OK / Special Colour science / skintones: Bad, modifiable to good / average / good / Alexa style good LOG: Yes/no View Assist: Yes/no LUT preview: Yes/no Rec. limit: 29 min EVF: Yes / no And so on... Would be good to have a database of cameras too, in future.

I've been playing around with it and can't fault it really. In fact for me, so far, it's been more reliable than Nikon's own FTZ adapter. All my EF lenses have worked on it even old weird shit like Tokina 28-70 F2.6 It works well in video mode and has so far been far more reliable and bullet proof than Techart E-mount adapter for Nikon Z. Going to continue to test but it looks like we did finally get that full frame 4K camera from Canikon.

Two of the most unique cameras on the market today are both L-mount with 10bit capabilities in 4K. The Sigma Fp of course shoots Cinema DNG 4K RAW at up to 12bit to SSD via USB C and 8bit RAW internally. The Leica SL2 shoots very high quality 10bit 4K LOG internally with more of a passing resemblance to Arri Alexa colour science and LOG profile. I thought I'd get to know the two, if that's the case! Read the full article

It does seem to be the Preview Exposure in M Mode where the bug is. On the card, and in playback mode, a still does match the video recording at same manual settings and ISO. The preview in M mode function is too bright in live-view, giving misleading exposure as you set your settings. I too tried the manual aperture and focal length input in the optics correction menu but no luck with a fix yet. I am positively certain this is not going to be a long term bug and in a couple of weeks will be 100% fixed. Very annoying in the here and now though. Might be related to another bug... With manual lens and mystery aperture, Exposure bracketing doesn't work. UPDATE: It does work, camera has to be in continuous shooting mode not single shot. Funnily enough the exposure in live-view now matches the +1 ev shot perfectly, so there's a work-around of sorts.

Just a dumb passive Novoflex adapter, no electronic contacts on it. I think when this camera comes to "guess" at the aperture it gets it wrong, as it obviously works fine when it knows the aperture (i.e. from L-mount lens with electronic contacts). Tried MC-21 just now with manual focus Voigtlander Ultron 40mm F2.0... This lens reports aperture electronically so it worked. MC-21 with any passive adapter like M42 ring or Nikon F to EOS ring, has the dreaded bug. Sigma advertised the Fp with a lot of manual stuff, PL lenses, all sorts, so it's a bit strange they didn't see such an obvious thing in testing!

Just gave that a go... In and out of P mode and then a power cycle, unfortunately it is still behaving like a drunk midget. Literally the only time I can get taken shot to match live-view is in Cine mode or in Stills mode with Auto ISO. I am using Nikon -> M mount -> L-mount adapter, lens is the old 55mm F1.2.

I diddled with those two settings to try and coax it into behaving, but no joy! I'd also like a feature in the next firmware to shoot a still while in Cine mode. But they better fix the bugs first :)

Indeed, but you don't need to do this trick for video as the exposure is consistent in Cine M mode. Only stills. Unless you are doing a timelapse in stills mode or something?

You can't freeze time or be satisfied for very long, where's the fun in that... Always chasing knowledge, perfection, performance is what this forum is about. I find it fascinating that the image in ProRes RAW on the Z6 has the weird attributes it does compared to the internal H.264. I guess that makes me a camera nerd. So be it.

It's a blazing lens. Glorious. Still totally undervalued. I got my Canon EF version for £200. The AF even works well on the Fringer Nikon Z adapter (pictured below) for stills. Not so much video as the AF motors are clunky and old, very noisy... Optically though, it's glorious.

There's no noise reduction on/off switch in the menus so LCD is showing a JPEG or proxy still image with NR added. And it's a very clean sensor anyway, even at ISO 12,800 you have to zoom very very far into the image to see the slightest hint of noise. I have tried every combination of setting to try and get the exposure to match between stills M live-view and final image when taken, and it's no go... Very strange as it's fine in Cine mode or with a lens that communicates aperture to the body. So I assume it is a bug where the lens aperture is unknown, and that will need a firmware update. For now, I do advise Auto ISO and Exposure Comp in M mode, or use A mode, as a workaround. Update: Actually since Exposure Comp (effectively ISO) does not work in M mode on any of the dials and can't be assigned (have to dive into menus for it), here is a better workaround when using lens with manual aperture and you want full manual control with matching LV / stills. - Use S priority mode instead of M - Set ISO to Auto and control it with Expo Comp. - Set aperture manually on your adapted lens (aperture ring) - Set shutter speed manually That is pretty much it. Now the problem is gone.

390 employees and not one to attach a hinge to a screen, I know, it's tragic.

Hopefully Sigma will read all of this before putting a firmware update out. I'll send them an email with all the annoyances and bugs in it.

If versatility or image quality is any kind of priority @kye then I say go with LX100 or GX85, they are a total bargain at today's prices. I've even see GH4 as low as £300 in UK! If you fancy spending even less, get hacked GH2? Or G6? If you wanna spend more I think the G85 is a good option but not thaaaat different to GX85, just the form factor is really. Somebody should take apart a BM Pocket original and put the innards in a GX85 with IBIS and tilt screen. Hell... Put it in the LX100 with that lens! Imagine if LX100 shot ProRes and RAW to SD card

The problem is that the premium end of the filmmaking market is going full frame. Sony will want their XDCAM and CineAlta in pole position to capitalise on the trend. Let's put it another way... They did not cripple the recent releases (A7R IV, A6400) to protect the A7S line. They are doing a Canon... But the ironic thing is, Canon have changed strategy... FF 60p 5.5 RAW and DCI 4K 10bit on a DSLR. Oops. Is it too late to get the "other" A7S III out of the cooker or are testers already being served the lukewarm version?? It's a mistake to think Blackmagic is any different. The Pocket cameras are just loss-leaders for URSA and there to increase adoption of Resolve and brand awareness. Blackmagic would put more effort into the Pocket 4K and 6K if they were serious about enthusiasts... They'd be made a proper factory without sawdust on the sensor.

No it mentions FF 1.2x crop in new A7 column as well, exact same as last time. If it did the faster frame rate in 6K full pixel readout, it wouldn't need to mention a 1.2x crop at all. Who wants a 1.2x crop mode as a 'feature', creatively speaking?

If Fuji and Olympus full frame cameras were on the market and Samsung back in the game, imagine how much fun that would be. X-T4 is going to be great, I'm sure - like an X-H2 for video, but Fuji are missing a trick. What if they designed an X-mount Full frame cam keeping same mount (like E-mount & Sony), then we could use our APS-C Fuji lenses in crop mode and GFX lenses in full frame mode, along with adapters for everything else. Fuji could give us a few full frame X mount lenses to start with and grow it over time. Sony didn't really take off until A7 came out. I feel if Sony had focussed on APS-C and medium format, they'd be a big hole in their sales. At first GFX looked like a great niche, a really smart move to avoid the overcrowded full frame market everyone was jumping into at once. It remains a great niche. I just can't see it becoming mainstream. 35mm is where it's at. It's really interesting to try full frame lenses on a GFX 100, a lot do cover but the corners and vignetting are quite pushed to limits.

Maybe it will have a boutique carved ironwood grip?