Andrew - EOSHD

Rolling shutter was pretty good on the X-T2 compared to just about everything else in the same class. Certainly much better than the Sony A6500 and Samsung NX1. If they have no crop for 4K that is pretty interesting in itself, as on one hand I prefer no crop, but on the other-hand more lines to read = slower sensor readout, more rolling shutter. Personally Fuji should just give us a choice in the menus. Crop for reduce RS mode and no crop for normal shooting. Hate having my hands tied!

Some are more impartial than others, put it that way. When you have personal relations with a nice man or nice woman from a marketing company or a camera company, you're not going to risk burning that bridge for the sake of a fully honest review which focuses on a number of negatives. You're just not. Yes I myself have felt the pressure as well. I resisted and continue to do so. If I cared about my relationship with people in the camera sales industry above the one I have with my own readers and followers, do you think I'd be blasting CInema5D on Twitter? I certainly wouldn't. For me though the blog is more important and shouldn't be 'sold' to the PR world. It has indeed. Well the latter part is fine by me. We can have different opinions based on experience and figure out which opinion suits our own experiences and how we intend to use the cameras we buy. It doesn't. Regardless, whether you call somebody out or not is a personal freedom. Especially when it comes to your own blog and some flawed test that claims the rather wonderful GH5 is unusable. The hype machine is very persuasive... These types of articles get the most attention. The truth is there is no silver bullet, you cannot buy your way to filmmaking greatness with camera purchases. But it helps to put your $1000, $2000 or $3000 on the right horse!!

Yes pity he can't time travel a month into the future to answer flawed test outcomes, which blame 10bit for compression artefacts. Must work harder Panasonic And give us 960fps 8K in a firmware update whilst you're at it. By the way my GH5 is pre-ordered and should arrive on the 20th March in the UK. So expect some decent coverage finally

This is my whole point about the Cinema5D post They are complaining it's a bit-depth issue with 10bit when it's actually an encoder issue / compression related. And 10bit looks pretty damned good in the standard colour modes to my eye, yet they claim overall it gives zero benefit. Go figure.

Maybe the sensor production issues were a problem, or they can't get enough sensors to do a big run of thousands of low priced cameras. I have a feeling though that there just wasn't enough margin and profit in the Pocket and BMCC, and the market was too fiercely competitive (vs GH5, Sony, etc.) so they are focussing all their efforts on the $6000 beast instead.

Well you can shoot a feature with a GH4 as well! However, put BMPCC in the headline and it gets more clicks. NoFilmSchool are known for this... Their main innovation is putting "Kubrick" in a headline for clicks and ad revenue. The BMPCC was a perfect building block for the later evolutions that never came... All they needed to do was keep the product concept and pricing, upgrade the sensor to Super 35mm and sort out the terrible battery.

Of course the Pocket and Cinema 2K cameras were heavily flawed in a number of ways but the product philosophy, pricing and positioning on the market was incredible. For the first time we could have an alternative to DSLRs Back then mirrorless cameras were not so much a big force for video aside from the GH2. No Sony A7, no 4K. Blackmagic came in and wowed everyone at that first NAB. They had huge publicity, huge coverage... I cannot see Engadget or The Verge covering the URSA Mini Pro with quite the same passion they hyped the consumer-priced cameras The Pocket was always in regular stock in indie photographic stores in Berlin, London and Manchester (and elsewhere of course) and I assume it sold very well because of the unique appeal and pricing. A lot of people complained about the flaws, the Blackmagic forum was in danger at one point of being flamed to death. Maybe they got scared and decided it would hurt the brand Or maybe they just see heaps more profit in the high end and would prefer to stay a professional company... Or maybe they were a professional company all along and the Pocket was really for video pros... just as accessible and as cheap as possible to get as much publicity and as much support as possible so that when the 'real' pro cameras came out later, Blackmagic had some momentum to build on. Looks like we were gamed... A bit like Canon with the 5D II / Cinema EOS

They don't need to.

Maybe they will have it in stock by NAB, in a crazy plot-line reversal of recent years.

Forever I have been patiently waiting for Blackmagic to give us a sequel to the great story of 2013, where a man called Grant pioneered affordable RAW video for enthusiasts, DSLR shooters and consumers. A huge market. Since the BMCC and Pocket Cinema Camera however they have only focussed on pros. A big pity. Read the full post

Cinema5D have put the Panasonic GH5 on test, with a few charts and have some harsh words for the new 10bit mirrorless camera. I don't agree with much of their criticism. Here's an alternative opinion. Read the full blog post

Would be great to see a new Pocket Cinema Camera as the Micro was in no way a replacement for me. Not sure about 4K, as Blackmagic have a poor track record with their 4K sensor performance... their 4.6K sensor good, but not the 4K sensors they have used so far. I'd rather see a more modest 2.8K raw shooting camera and nice raw compression options.

Just look how close we are to continuous 5K RAW on this $2000 camera... Read the full post here

Haha I wish. No, like always I bought it at retail... In this case online.

You can now follow my friend's band (and long-time EOSHD collaborator, Herdwhite) on Patreon! Click here to follow the progress of the Berlin based group and pledge as little as $1 per month The ideal run & gun solution for music videos? Read the full post here

Depends on the card. It's solid state memory and all cards get warm just like RAM sticks in a PC or an SSD drive in your laptop... They are not moot at all. You're completely failing to grasp the basics of camera electronics. There are several different heat sources within the body: 1. Sensor 2. LSI 3. Battery 4. Memory 5. LCD Each contributes to the overall temperature of the body. By far the biggest heat sources are the sensor and LSI. ProRes is more demanding on the LSI - it takes computational effort to convert the RAW sensor data to compressed YUV video. RAW is only more demanding on memory throughput - both buffer DRAM and solid-state memory (SD or CF card). ProRes LT on a Blackmagic camera is certainly not the same data rate to the card as uncompressed RAW or 2:1 Cinema DNG. That is because of the card, not because of the processing or sensor working harder. Because 'plain' X-AVC is actually very complex and much more intensive on the LSI / CPU than RAW would be. The sensor is also doing a 6K full pixel readout in a very small body with no substantial cooling in the form of a large heat sink or fan. Go figure!

There are Hackintosh systems working with AMD processors... They run a customised Kernel. And a few updated KEXTs Harder to get working than an Intel rig, but still 100% possible for the hardcore enthusiasts to consider doing it

This is all bollocks I'm afraid The data transfer is only harder for the card, which gets warmer, leading to the upswing in temperature you perceive to be a camera and processor issue, when it is actually purely a card issue. Check out CFast 2.0 cards, they get very hot as well whether recording H.264 4K on the XC10 or RAW on a Blackmagic URSA Mini. The Blackmagic cameras record ProRes and RAW. In both modes they have the same giant heatsink and fans and same amount of heat. That's because compared to something like a GH5 they are using less efficient semiconductors for image processing and they have hot running sensors which require much more cooling than a normal Sony CMOS. I have never once had an overheating warning from my 5D Mark III or 5D Mark II when shooting continuous 14bit RAW at 1080p. By the way, even the 50D from 2008 shoots 14bit RAW at close to 1080p resolution, a camera which did not even shoot video on release and is mega old... That gives you an idea of how LITTLE processing power (and therefore heat) is required for uncompressed RAW video. Only with very advanced compression such as on the RED cameras do you need a hefty, hot running LSI. As for the sensor - you are not working that harder, as by nature the sensor is always outputting RAW data, whether in live-view mode for stills, or video mode (completely separate to whatever codec you're using).

Really? I thought they were both the same x86 and x64 architecture. As far as I know a Hackintosh can use an AMD CPU.

RAWis correct.

If you are reading this PR people... IMAGINE THE MARGINS!!! GOLLDDDD

It's definitely possible, so where is it? Read the full post here

Not with the latest firmware.

Nice rendering and it has the gentle focus roll off to the background that is very medium format-like, whereas at a fast aperture on full frame that background would be completely creamed out with no detail.

I am mega looking forward to how this turns out. Also there are some fast optics for medium format at F2, bucking the usual trend for F2.8 and F4, which should look amazing on full frame. But it isn't all about shallow DOF - lots of other benefits with the way the focus rolls off and how much depth you get to play with in your composition, the three dimensionality of it. The image circle you get from this adapter is enormous... larger than the Sony 50MP sensor in the Fuji GFX, Hasselblad X1D and Pentax 645Z. My take - http://www.eoshd.com/2017/02/sony-a7r-ii-a7s-ii-go-medium-format/