Andrew Reid

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!

Me in a camera shop.

Which frame rate and rec. mode are you in? Mine stays at 50 in 4K 25p

He doesn't need to prove himself! He has an opinion and that's that. It's not a photo competition. The skin tones are pretty dreadful in my opinion as well, but it's not ideal light.

If you are seeing this cat... Then it means the move to the new server has worked for you. Good news. No more cats. Bad news. No more cats? EOSHD now lives in the cloud. Faster speeds no matter where you are on Earth. Please let me know if you see any bugs. via GIPHY

Are people not entitled to their opinions any more, unless they are magazine published? That would be a bit harsh!

The problem I am having with the Sony AWB is under incandescent light and also when there is a mix of artificial light. I'll show you what I mean... Just digging out the file. Here is how AWB Priority = White is supposed to look And here is AWB Priority Ambient, doing it's job to keep the ambient shade of warm retro light bulbs... But AWB Priority = White is very useful, as it maintains a Leica-like neutral white, allowing you to tweak the temperature in post. It is as useful for S-LOG as it is for Creative Styles. S-LOG has some WB baked in too, so that neutral look is important. Here is AWB Priority = White gone wild... It has done a piss stain balance. It is not a nice ambient amber or white. It is neither. Here is how it should look: And it did get there. Just took a lot of coaxing. The reliability needs fixing.

Sony... For People Who Don't Care.

And you consider that a good skintones test?

I do but I have 30+ memory cards lying around and don't know which they're on! Will post them if I come across em tomorrow

Another thing I have noticed is multi-metering doesn't work during a recording if you shoot movies from a stills mode. So the metering mode changes from the default stills one, when you hit the record button, to something like center or full screen average - usually changing the exposure along with it. Bonkers.

https://ymcinema.com/2020/01/16/the-cameras-behind-oscar-2020-film-made-a-comeback-and-red-enters-the-list/?fbclid=IwAR2lAXUko0GOvqLPBPYrba9Or8PEoUEfFVA55xE68wUY5YUOFKREAVoxIRM Great article Arri still king of the ultra high end, so no surprises there - but the variations in Arri (and the lenses) are the interesting thing! And 50:50 split digital / film in 2020. Film making a bit of a come back.

100% get it I have a rare prototype of this lens, serial number 0000009 or something I seem to remember. Prototype or not, it is one of my best. Very cinematic lens.

If only there were a USB version which would override the camera's own system. A lot of chat at DPReview about AWB on Sonys https://***URL removed***/forums/thread/4246574 Their solution... Shoot raw ?

Seems to get good reviews https://www.amazon.co.uk/ExpoDisc-Neutral-Portrait-Balance-Filter/dp/B00GUQJZCW/ref=sr_1_3?keywords=expodisc&qid=1579208829&sr=8-3 "A must for colour blind photographers!" Or colour blind cameras for that matter!

Ah yes I do remember it Gotta be worth a try hasn't it?! Maybe I can bundle these with Pro Color ? When Sony bought Minolta the bought years of film colour science. After the A900 they trashed it all and still 10 years later, it's bollocks If any normal people put in a performance like this in our jobs - breaking something then not fixing it for a decade, would we still have a job to go to afterwards? Sony manager's must have a lot of faith in their colour science department.

The mirrorlesscomparison results don't seem to relate to my experience of the X-H1 in real world. I find the IBIS to be Olympus - level locked-down goodness.

Auto WB priority set to white should give white tones to white surfaces (like a white wall) under warm interior incandescent lighting. For me it usually gives yellowish-green. Does anyone have a work-around? I have resorted to using the custom presets (1-3) instead. These seem to capture true white, whereas the AWB system is all over the shop. Sometimes it will get it right, but you could be stuck with yellow or orange for 10 seconds before it changes. Maybe certain metering settings crap it up, I don't know. What I do know is that Sony has the worst automatic white balance system on the market.

Olympus Four Thirds 14-35mm F2.0 is a very good lens. They had the skills to make it a long time ago. Would like to see a 14-50mm F1.8 from Panasonic when GH6 comes out. Really push the boat out