Andrew - EOSHD

I'll have to have words with the FedEx driver. Clearly he is going over some serious speed bumps on the way, resulting in the plastic lens cap slamming into the metal lens mount, causing the metal to crumble and the plastic to remain pristine. In fact the lens cap was the only pristine part of my camera. Blackmagic are very good at lens caps. Maybe some of them were battered by the think PVC plastic of the box interior... You know how that stuff can cut diamonds. Happens all the time. Remember the Pocket 6K is only a polycarbonate/carbon fibre composite, I'm surprised the cardboard did not cut in half. I also noticed some sawdust type stuff in the lens mount which would explain the scuff on the sensor... There was clearly a mouse in there, deposited by the crazy FedEx guy.

No need to buy a faulty Blackmagic Pocket any more. And this pocket cinema camera actually ships on time. Cinema DNG is real raw, the results are incredible. Full frame... can't do without it. Very adaptable lens mount, more so than EF on Pocket 6K. Screen is visible in daylight...always a bonus Autofocus can sort you out a quick shot in RAW but is not bullet proof... I am looking forward to putting manual focus Leica M lenses on my Fp, personally... More cinematic than autofocus material will ever be. It has a very good E-stabilisation mode. Locks down an image. Crops-in quite a lot, but makes nice alternative to a Super 35mm mode Colour profiles are cinematic as hell. Orange & Teal is not "overdone", it's very sexy indeed. Ergonomics are almost Leica-like in simplicity and responsiveness. Very good menus. Very snappy and responsive to use. It is the size of a Sony RX1 And about as heavy... weighs nothing!! The build quality however leaves absolutely nought to be desired, it is as solid as a rock and feels expensive. All the controls have a camera-feel to them, unlike the RX1 Is a bit smaller than a Leica Q but feels even better made. Mounting holes on side of the body are nice pro touch. And there is no consumer junk in the menus, and no mode dial. Does not feel like a toy, feels made for artists. No mechanical shutter, so it's completely silent. Uses same battery as our favourite GH2!! Keeps the size down. Amazingly, it shoots 4K RAW on the GH2's little battery... Think about that The 40mm F2.8 has the rendering of something faster, looks more like an F2... Very well made, lovely metal casing and manual aperture ring, yet keeps the size down to RX1 / Leica Q proportions when attached. Not tried my EF lenses on the MC adapter yet. Will be interesting to see how the IS handles. Oh, and it has a Sensor Temperature readout in the Info menus... Mine's at 31 degrees Celsius ?

Yes I am. Ordered from WEX yesterday, it's in stock. Cost £2399 with the 40mm. I am looking forward to proceeding in Resolve with my Sigma Fp footage as I've been doing for years with Cinema DNG from the 5D Mark III with ML. Was always very happy with the results. If what you say has a big impact on colour and white balance, hopefully Resolve can have support for Cinema DNG beyond just Blackmagic's own cameras... Don't make us go back to Premiere Good to know thanks.

I ended up returning my P6K to the dealer. It didn't help that it arrived with a scuff on the sensor and deep scratch in the lens mount, which their head of tech-support tried to pass off as 'rough handing by the courier'. Yes, a courier can scratch your brand-new camera mount through the lens cap and a closed box, of course he can. He can even put a smudge on your sensor if you're not careful, through several layers of packaging... Damn FedEx. So after the Blackmagic head of technical support bullshitted me in an email, and after a bad tempered encounter at IBC, I have chosen to become an ex-Blackmagic supporter.

Hate to spoil the $6000 Canon fanclub party, but I took delivery of the Sigma Fp today and glad to say the full frame 4K CDNG is incredible. Looks nothing like 8bit RAW... More like having 14bit Magic Lantern with huge dynamic range. Whatever they have done with colour science on this camera it is very clever. Remains to be calculated how large the file sizes are in 4K 8bit RAW mode internally. Massive I expect! Going to try the 12bit next via USB C to my Samsung T5. But the internal MOV ALL-I 4K is also very nice. Bitrate is a very high 400Mbit in this mode. It's a beast.

While in Berlin earlier this month, I bought a Hydrogen, to see what it's like. Graeme Nattress and his engineering team at RED are good guys, what they achieved is and always will remain special. The Hydrogen has nice colour science by Nattress in 4K video and stills mode. It's got an interesting design, stands out around normal smartphones. I'll keep hold of it and maybe cover it on the blog some day. The 3D effect was not for me. Interesting technology, but some years off having the impact I expected from it.

No unconscious bias. Objective facts, yes. If Panasonic had released a $6K version of the S1H with no EVF, no articulated screen, no anamorphic mode, with a flippy mirror in the way, we'd all be going "eh" Not saying the 1D X III does not have benefits and is not a big improvement from the previous one.... But it's still limited by being a DSLR, huge file sizes in RAW, very high price, and fact there are much better options around for 10bit if you're ok with manual focus (as filmmaker you should be!) Foveon version of the Fp I very much doubt will shoot decent video due to how much extra data there is on the Foveon chip.

No the RAW sensor data can come off the CMOS chip in a number of ways... It can be pixel binned, full width. It can be the full pixel readout 24MP / 6K+ Then downsampled on the processor (still remains RAW data) Only reason you'd go for a 1:1 centre crop is if the sensor is too slow to readout more data, or doesn't have pixel binning implemented.

Anyone who even thinks about using BMPCC6K for Netflix production is braver than I am. Good fucking luck

S1H is a much better featured cinema tool than 1DX III, that's just the truth. Way more going on with it. Much better ergonomics. You cannot even look through the viewfinder of the 1D X Mark III in video mode. Let's get real for a moment. Ok it has Dual Pixel AF. It has internal raw. It has 10bit. Nice colour. LOG. I commend Canon for those. I love the pro stills side of it as well, and the build quality, and the ergonomics for photography too. The lens situation I agree with... Things are stacked on Canon's side there. No contest. Panasonic's pricing is on the high side. Leica's is astronomical. Just to get a 50mm F1.4 is a big effort. This needs changing fast. Sigma L-mount glass is on the chunky side. It's DSLR glass, not a ground-up re-design taking advantage of mirrorless. That needs to change too. But there are some nice options out there for cheaper...Sigma 40mm F2.8 L-Mount, just an extra $400 with the Sigma Fp. There is the 1.5x crop APS-C Leica 23mm F2, turns your S1H in Super 35mm mode into a very capable run & gun tool, minimal size and weight, 4K/60p. On the Fp, that lens makes a nice replacement for an X100F or similar, for street photos, AF is ok. Price can be around $600 used if you search around for a while. Panasonic 24-105mm is a match for the Sony E-mount rival and about the same price. So it's not all bad. Well done you passed the math class. You can't just assume every new Canon camera takes a 1:1 crop of the sensor. Who knows what the 1D X Mark III will do. Pixel binning, 1:1, oversampling, it could be anything. Could even be 5K readout from 6K sensor and a smaller than 1.3x crop, like the old X-T2. You just don't know.

I think it will use the XF codec for 10bit because MJPEG doesn't support higher than 8bit?... They have had to go to HEIC for 10bit stills and dump JPEG for that, and same with video, they will have to dump MJPEG and go H.264 based or H.265. I like the idea of a raw shooting "1D C" but still more interested in Sigma Fp and Pana S1H. I don't need AF that badly, and when I do, got my Sonys and Fujis. Hopefully Canon internally have had a good talk to themselves and decided "enough with the video crippling, let's get real" and this is turning point...

This is my take on it. A lot of hype out there. I doubt that Canon have done a u-turn on their policy to cripple video on EOS cameras... and I don't see RAW coming to a future EOS R. But who knows... time will tell!! https://www.eoshd.com/2019/10/canon-join-full-frame-4k-raw-party-with-1d-x-mark-iii-joins-panasonic-s1h-sigma-fp-and-nikon-z6/

What makes it better than the S1H? The Canon badge? Or is it the $6000 price?

I like the look of Classic Neg very much. Glad it is coming to the other flagship Fujis. X-Pro 3 looks like a good upgrade if you want that rangefinder form factor, and don't mind extra size (and cost) over very capable X-E3, but the big one I am waiting for next is the X-H2.

Full frame 4K raw for $1800 in small stills camera. Unique. What other cameras do that?! It's like an official Magic Lantern with bullet proof reliability. Very happy about the price, it's Sigma being typically competitive there.

We are turning into a "truth is what you can get away with" kind of society.

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Hold on, what new technology has Sony brought to the table in the last 5 releases.... Not a lot. The A7R IV is a hybrid cam if ever I saw one... Very much in both the stills and video camp, that one. The A9 II is clearly aimed at pros and sports, but again there is no reason why it shouldn't do better video. It doesn't even have S-LOG, like the first one. No new sensor. Barely any new features. May as well put a big sticker on it saying "don't buy me" The A7R IV and A9 II are headline releases, a great chance to show off their new sensor technology and next-gen video specs. From the A6400 onward, it's as if Sony pressed the pause button. A6400, A6100, A6600, A7R IV, A9 II all very boring and just 1 out of 5 with a new sensor is not a very good strike rate for Sony's most precious components. So either they are holding back to cement profit margins and protect the FX9, doing a Canon... Or they are holding back until the new advances are ready. I don't buy the latter, I think it's the former... otherwise we would have at least had X-T3 sensor in the A6600 and 10bit in the A7R II. It's 4000 euros! Sony staked their game mainly on specs... And now what reason do we all run out and pay $3000-$4000 for a new camera... The fact it has a different feel to the joystick?! You're the one pedalling conspiracies. Never do you seem to get round to supporting the daft theories with any proof, either. In one sentence you say 24p is left out due to a cheaper stripped down image processor... In the very next sentence you say you never claimed 24p was left out because of processing. A contradiction if ever I saw one. Back the drawing board for you!

Very interesting find. Some nice details about the sensor in there as well. They were considering 8K as far back as 2010.

MCU?

Have another bump from me

It's mainly for internal recording, not much quality gain going HDMI Try Nikon N-LOG first, and if that doesn't look right, try C-LOG.

1015 posts is very tolerant of me. But I can't take any more! Buh bye.

Here we go again I am very tolerant. How else would an idiot like you still be a member of the EOSHD Forum after several years? I very much feel a strong responsibility for the good contributors here and for my own sanity. Forum membership shouldn't be a given, or a race to the bottom. It is really a meritocracy - like whose edits get to remain on Wikipedia. A knowledge-base like this one will drown under the weight of so much backchat, rude manners and stupidity, that I don't agree it should just be completely unmoderated. It's not the same as a real life society, or a democracy. If you don't contribute to the forum, then you should go. It's that simple. When you run out of road or exhaust the patience of the other users, you should go. So @thephoenix and @DBounce I think you should consider voluntarily going somewhere else. Your days are numbered if you carry on here like you are doing.

Took my iPhone XS Max (obsolete already!) along to the Apple Store the other day and put the cameras side by side with 11 Pro, the XS Max had the more pleasing colour tone at least under the lights of the Apple store, whereas the 11 Pro was shifted more towards green. Other than that, the XS Max had a SLIGHT bit more noise, but the 11 Pro looked like it had more noise reduction, with a more plastic texture. So you get an ultra wide angle camera and an image which in some ways is worse. Call me a luddite but not sure I want to spend 1400 euros upgrading every 12 months for this kind of deal. Especially when there are 48MP quad-bayer smartphones sensors in $500 phones from other manufacturers. I remain an Apple user, but they really need to up their game. They have some of the best and most natural camera results around and very good CPU, very good computational photography engine and the best mobile OS... But damn, give me a better reason to upgrade...