Andrew Reid

What prompted Canon to do a completely revelatory camera, in terms of the technology and completely u-turn on their previous strategy of holding back on DSLR video. Was it seeing so many sales go to Sony? Was it the need to ensure a new mirrorless lens mount succeeds on the market vs Nikon, Fuji, Panasonic & Sony? Were they waiting for new manufacturing capabilities to be ready, new factories, to be able to produce such fast sensors and processors? Did they realise cropped 4K on the EOS R was a bad business strategy? I'd love to be a fly on the wall at Canon.

Read the full article Above you can see an advert for RAW on the S1H shot in my home town of Manchester. Coincidentally these streets were where I shot with the Panasonic GH1 for the first time. I have fond memories of 10 years ago in the months leading up to EOSHD's first blog post, taking my GH1 out on the same streets as featured in the Atomos video. Always great to see how cinematic the city is. Now at the start of yet another decade, Panasonic is upping image quality again with HDMI RAW on the S1H. What makes this implementation of RAW unique is that it has an anamorphic RAW mode. The Canon EOS R5, 1D Mk III, Sigma Fp and Nikon Z6 aren't anamorphic enabled in RAW mode. The Panasonic RAW firmware update will be available here for the Panasonic S1H on 25th May 2020. The Atomos Ninja V is usually $649 but B&H currently has it on sale at $499 here.

I hope 8K RAW will have a burst mode for 4 seconds. Why? Stills. Will be great to select the best shot from 120 frames I can't see myself using it for video as much as 4K RAW on the EOS R6, or the sure to be lovely 10bit Canon LOG. Much more practical. By the way Panasonic has something coming which will impress a lot of you. Stay tuned for a few more days.

I won't be buying it. Of the two, the EOS R6 is more up my street. Much more practical. Who needs 8K anyway? Just give me an 1D X Mark III / 1D C in mirrorless form.

Impressive!!

@Ironfilm Chit chat... In every thread. Can you reduce it just a bit please? Thanks

None of you can appreciate this kind of dynamic range on a normal display. It is going to look horrible. HDR1000 minimum requirement. And I would not but much stock in Cinema5D's testing methodology for dynamic range. The whole dynamic range technique is total bullshit in the real world... underexposing by 5 stops rather than lighting properly or appreciating good natural light. Nobody actually shoots a film this way. You would have a completely unusably dark frame on the monitor. The Canon sensor isn't anything special. Really it isn't. The rolling shutter in 6K is about the same as an old GH4. The resolution is lower than 8K or what RED offers. The sensor size is smaller than the current state of the art larger format cameras like the 4K 10bit GFX 100. The dynamic range is no better than the sensor in a $2000 mirrorless camera. The S1H is $12,000 cheaper and good enough for a top-end Netflix show, in terms of the image. The Fuji GFX 100 has still a very powerful processor and 10bit codec in a much smaller body with great battery life. So forgive me if I don't jump up and down in excitement and rush out to spend $16k on the C500 II for creative reasons.

It's $16,000! S1H arguably has the same image for $4k.

I feel that people shooting very long events and interviews should just get a camcorder! Those doing cinematic stuff don't need to be rolling for 3 hours solid... Apart from for some types of documentary interviews.

I agree. Keep the X-H2 form factor. Just add the stuff obviously missing... ND for one. And anamorphic mode.

Weirdly the built in ND on the X100V cannot be enabled during video mode. 4K, but no ND. Getting the basic rights not a strength of the camera companies.

Meanwhile at the Pentax product meeting...

Everybody think Nikon started the DSLR video revolution with the D90 in 2009 but actually it started in 1988 for Nikon With a stills-video camera that you put floppy disks in the back of... https://www.digitalkameramuseum.de/en/esvc/item/nikon-qv-1000c-1988 They also had a very snazzy 10-40mm F1.4 zoom lens for it. $15k for the black and white (monochrome sensor) version. Before that there was the infamous Nikon Color Video Camera fuck-up. https://imaging.nikon.com/history/chronicle/cousins20-e/index.htm In the early 2000's they got to the twisty grip XC-10 point, ergonomically, long before Canon! No 10bit 4K though. If pro cine cameras are still going to be a no-go for Fuji, then they should at least do this with the X-H2... - Internal electronically variable ND like FS5 - Same small body design but larger and clearer display to focus off - Detachable EVF like GFX 100 - Wider than APS-C sensor (multi-aspect) - 4K 120fps Or failing that just the ND and larger screen with X-T3 sensor, thanks.

Key part from the DeepL translation: "The X series offers a range of cameras with different features to suit different shooting situations and styles, while maintaining the same image quality. That's why we want the X-H series to be a camera with a distinctly different concept than the X-T series. The camera is intended for users with different shooting purposes and scenes, including video functions. There is no point in having the two series coexist if they are simply different in design and operation. We are currently looking into this and other matters, so please give us a little more time." So it sounds like the models became too similar in features and functionality, and they need more time to differentiate the specs sheets. It is likely the X-H2 will be a power house, with RAW video, maybe even ProRes, I am sure they are studying each aspect and asking what pros want. The problem is the pricing... APS-C doesn't really allow much headroom beyond £1500.

Is it coronavirus?

The X-H1 seems to be £699 brand new at the moment and I don't see how Fuji make any money at that price. It's such a well built and high-spec camera. The shutter mechanism alone is one of the most advanced mechanical designs in any modern camera on the market. If I were them, I'd have released the X-H2 already and bumped the price back up, getting shot of the old one. I thought it might have been discontinued at one stage, but I think they are still making them and sales seem ok? I'd argue with Fuji that the difference in design and operability alone does allow it to coexist quite happily!

The X-H1 was nigh on perfect, Fuji should just put the X-T3 sensor & 10bit in it and get it out the door. I don't see the need for any complete re-imagining to be honest, although some sort of electronically variable ND glass over the sensor would be nice.

Just an experiment really. I had a visible light cut filter for my lens and wanted to shoot the piece only in infrared wavelength Also had memories of taking out the AA filter from the 5D3 back in the day which let some more IR into the image, when mixed with normal light it gives you a nice warmth to certain colours and brings up the shadows.

Back in the 1960's most people consumed films at home on really awful pokey black & white TVs but Kubrick did not decide to downgrade his camera as a result

Has anybody tried taking the IR cut filter out of their GX85 yet I did for the EOSHD low budget camera challenge I broke mine but second attempt went well on a body I found for under £200. Should really share that footage some day

Hello Fred yes I am back in England, back arguing with the forum members Thanks for asking. I made it back on a rescue flight, after nearly 2 weeks stuck. Not a bad place to be in quarantine though. Barcelona was handling things very well.

I'd like to hear more about Fast Cinema DNG and the Rec 2020 results in ProRes. I find grading LOG a lot easier than DNG. Smaller file sizes, faster editing, more fluid playback, less demanding on the system, yet pretty much identical image quality. RAW is a great recording format because nothing is sacrificed. Then you can throw the most powerful image processor you've got behind it - your PC - and come up with creamy 10bit ProRes 4444. Back when I had a Blackmagic camera, I used to shoot ProRes 9 times out of 10 rather than RAW. RAW is a great way to get LOG out of the Sigma Fp whilst it lacks it in-camera too. But ProRes is what I want to edit and grade.

Well you know where to discuss it

Yes still different entities. But still no medium format Alpha to compete with the GFX 100! 😂

What were you going to shoot on?