Andrew Reid

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?

If the chart is true (Androidlad is usually right) it is a very disappointing one especially when it comes to new A7S Maybe it will shoot ProRes & RAW internally and redeam itself?!

I bought a Pentax K5 for our EOSHD cheap camera challenge. But I am lazy so I did not get round to editing the footage. It's a charming little thing with 1080p MJPEG at reasonable bitrates and gorgeous colour Ergonomics are nice... Still totally not a hybrid camera, but the RAW 16MP S35 stills quality stands up today even if video doesn't! IBIS! Crazy AF in live-view that ZOOOOOOMS the screen while wirring loud screwdriver in lens mount, and making me laugh. Freakishly good build quality. Excellent top LCD. K5 users really got a lot for their money and I feel if it got any attention in GH1 days, it would have been a contender for image quality even in 1080p and surpassing it for stills by quite a bit. Also recently got a GR III This is a gem for stills, just wish the AF were faster. Much smaller than X100F and RX1 II And the lens is superb.

Have you checked out the ISO 6 mode yet? Would be good if they got that working in 4K... Goodbye NDs. I am working-around the M mode bug by using Auto ISO and Expo.comp, not ideal... They really need to fix that, it's fundemental stuff! Also could not get Exposure bracketing to work at all. I will just shoot stills 99% in A priority and lock exposure during a shot.

Now the good news... That Contax Zeiss 28-70mm F3.5 is a stunner, a real gem. So small and light. Almost as small as the Zeiss 55mm F1.8 FE It does not seem parfocal but it has character. Amazing macro mode too and the Zeiss look. I have quite enjoyed putting it on the Leica M AF adapter on my Sony a9 too... Autofocus it Even the Sigma 45mm F2.8 is a fatter lens.

Can confirm I have same issue! In stills mode at least, not in video or cine mode. It only happens with a passive manual lens adapter where the aperture can't be read by the camera (F--) Sigma or Pana L-mount lens it is fine I also get a jumpy flickering of brightness in live-view, like the camera is trying to work out the metering I think it's a LV metering bug. Picture comes out same exposure as LV in cine mode... But switch back to Stills LV and exposure is brighter. Very weird. Can confirm the slight shutter lag as well. It's a lot longer than average.

Yes and since it's a RAW, probably, it's not a good representation of in-camera skintones. I know the A9 can do it... Because I just fixed colour on mine. Pro Color V5 on the way in a few days

"No Pros...." It may be hyperbole or figure of speech, not meant literally, but the general thrust of his argument is fine by me, since the vast majority of top-end pros still use Canon and Nikon. Of course "pro" is a very broad church but top end don't use much Sony... How many do you see at the Olympics compared to Canikon? Sony are bigger with enthusiasts. The label "Pro" is overrated, some happen to be crap! Simply by being an artist I respect, regardless of how you make your living is worth more than any magazine cover, to me at least... And yes quite a few "pros" wouldn't know good colour if it leapt out of them in a dark forest. The sports shot above is a case in point. He's managed to do a burst shot and pick one. Well done.

Very true They have got a full frame mirrorless 24-70mm F2.8 out before any mirrorless version of the 18-35mm. I guess they have to prioritise and it may come eventually. I actually don't mind EF because I can put it on a Speed Booster and adapt it unlike mirrorless lenses

WHAT IS A THIS??

I just got a Mate 30 Pro. Very large sensor in the ultra wide camera, for a change. Quality is very good but colour can be hit or miss, prefer naturalness and consistency of the iPhone Remember it's not all about specs!