Andrew Reid

Camcorders a bit off topic so let's stick to the OSMO RAW. If there was a way to read the SSD directly and bypass the slow Cinelight app, I'd buy one. But I cannot wait hours and hours to transcode 512GB footage, before being able to pick it up and shoot again. It'd kill the practicality of it. You could be setting up and balancing a Ronin S in 10 minutes. The size and weight still attract me to the OSMO though. Yes the X5S is the one with the 20MP GH5 sensor in it, 5.2K RAW. DJI promised a ProRes RAW codec for that but haven't delivered the firmware update yet. Seems to be delayed. The OSMO handle with X5S and ProRes would be a clear step up but the older X5R is so cheap now!! This was nearly £4k when it came out and now it is £1200, although it's not clear if that includes the £600+ 512GB propriety SSD. I need to ask the seller. PS - X5R has 25ms rolling shutter, which isn't ideal. X5S is more like 14ms, like GH5.

I am sure he is a Russian bot of some kind, out to divide us

I can see in-camera gimbals making a revolution at some point. Sod camcorders

Yes I saw that. Some pauses-for-thought in there. I am wondering if firmware updates have improved matters since. The article doesn't mention it but there is a wired HDMI link to Android phones which prevents drop-outs and fuzzy video feed. The file conversion app is the main problem. 12 hours to convert 12 minutes of footage, is a joke. What other codecs does the OSMO RAW now support in-camera? Can it be used like the OSMO 4K Pro for the times you don't need raw? Or does it only record low-res proxies? Does the 512GB SSD come with it as standard? These have come down to £600 used but it's still far too much because really, you need 5 of them If they fix the raw codec (I don't know why it doesn't just do straight to Cinema DNG 3:1), this thing is one firmware update away from being a valid Pocket 4K alternative with built-in gimbal. Battery life is very short but the batteries are £20 and easy to change. There is nothing else as "pick up and go" this small and light with no balancing required that shoots 4K RAW with interchangeable lens mount. You can throw it in a backpack. The Pocket 4K on a Ronin S is also about 3x the weight. We're talking nearly 3kg inc. lens. That's a lot to hold by one arm on a long shoot.

How'd it go? The OSMO RAW is now close to just £1k used. Not sure if that is with the 512GB SSD though. I thought those were included in the box, but some sellers seem to like to split it off!

Fro Knows Cocktails.

Thanks! Looking good! Which lens?

Good info

That lens is absolutely nuts. I got mine a few months ago (16-55mm F2.8) and initially used it on the X-H1. It has sharpness like a Cooke S4i. Yet it's a zoom, for a consumer camera. I don't know what Fuji did here but that's some seriously impressive optics. Sharper than the Sigma 18-35mm and smaller, lighter. The AF is practically instantaneous not to mention silent, it's been flawless on the X-T3 so far. Review is half way done for the X-T3 but having an EOS R and Z7 to compare it to has slowed things down. Still, should have it done by early next week.

Why the fuck are you still shooting 1080p in 2018 when you can edit 4K and export to 1080p?

This new French camera has a few very noteworthy ideas behind it. First of all, it does away with a mechanical shutter to bring the cost down and instead has a global shutter CMOS sensor. Global shutter of course avoids the kind of distortion and banding you get from a rolling shutter. It has the advantage of being completely silent compared to an electronic shutter. Read the full article

Unless a YouTuber or any kind of reviewer is an absolute expert at grading they shouldn't bother. Otherwise we get to review their grading and not the performance of the camera. 99% of the videos out there so far on the Pocket 4K have taught me absolutely nothing about how good the image is vs the LOG shooting cameras like the GH5. What I want to see is the absolute data in the files, how much you can pull it around, the noise, the dynamic range and then with an expert grade on both to bring them as close together as possible, what inherent advantages in colour science do we see from the Blackmagic codec vs the others. Of course if Blackmagic had been paying attention to EOSHD for the past 4 years, they'd have realised that I would have done all that out of my own enthusiasm and free time for this camera, and their customers would probably be very happy to see how it does performance wise, but instead we have a load of hacks and PR stunts with the camera. It's sad to see. My friendly advice to Blackmagic, with beer in hand, healthy respect and no personal grudge is simply this... - Quit the long lead-time situation from NAB to shipping. It's infuriating to be teased. Do the marketing from the moment you have the camera finished and manufactured in large quantities and not a moment earlier. - Quit sending 10's to 100's of demo units out as seeds on social media. Let your early adopting customers be the first to put the tests up. We can trust these. We don't trust the shills. If you need great looking films and material to show off the camera, you can do a lot better than looking at YouTube and Instagram subscriber numbers. There are actual top-flight Hollywood cinematographers who are interested in small cameras and a host of big names who take a natural curiosity in new gear, without being marketing shills and without the need to be paid-up or foisted a camera upon. Let their natural enthusiasm get the better of them and at least one of them will shoot. - Put an articulated screen and an EVF on the next model. There are $400 cameras with these. - Keep up the good work on Resolve and the codec side - it is superb.

Source?

DJI should seriously think about getting their most advanced 5.2K RAW and ProRes image processor into a DJI mirrorless cinema camera to rival the Pocket 4K. The GH5 sensor in the X5S gimbal can come along for the ride as well.

Plus with XQD we can have 4K RAW internal. Magic Lantern would love it on a Canon

I was an XQD virgin until the Z7 came out and now I find it hard to go back to SD. They are just so slow, fragile and cheaply made by comparison. Roll on XQD. They won't even be very much more expensive in a year or two.

Z6 does and Panasonic S1 probably will. NX1 does if you use a Speed Booster Same with X-T3. Sony A9 has 6K readout as well, but unless you're a pro sports photographer, may as well get something else. I think it will be based on the X-T3, but in body of X-H1 and with IBIS of course. I think that's a safe bet. The AF will be at least as good as the X-T3 as well. It'll be a *superb* camera I know that much. X-H1 was already brilliant. Is it still their strongest advantage if they keep giving their best sensors to the competition?

In English again please Dan!?

I wonder if anyone will be brave enough to make a Speed Booster specifically for that 1.8x crop 4K? @Brian Caldwell The usual 0.71x adapters will I am sure come onto the market first, but then in 4K that will still be a 1.3x crop and not full frame. 0.60x Speed Booster would do the trick. Then finally we have full frame 4K H.264 from Canon with Canon LOG, after so long. Also with the flange being 20mm, that is more than E-mount, so more space for the Speed Booster optics to extend back into the mount close to the sensor.

I can tell you know there's not a donut in hell's chance of a new mount

I am slowly getting used to mine too. Got the Pro 2 and Zoom. It's incredible the possibilities.

Nice test by Slashcam. They put a lot of emphasis on the image quality difference between FX and DX but in the real world it's tiny.

I emailed Sony A7S II feedback 3 years ago Maybe it is just bad English but the Japanese manager says they haven't even begun yet. "We are thinking about making one" I don't feel the same excitement about their range of products as I used to. The RX100 VI with the slower lens, same old ergonomics as the past 5, where's the creativity? A7S II - past it. A7 III - pretty nice, I bought it, but it has a lack of personality, it's not as fun to shoot with as an X-H1, X-T3, Leica Sl, Z7 and quite a few others. A7R III - pointless to even own it now the A7 III exists Ergonomic side has improved very slightly, not enough. Menus still chaos. Sony have unsurpassed amazing tech. 24-240mm zoom lens on a 1" camera that does 240fps. Unique electronic ND filter on FS5. Great 4K on a full frame sensor with 6K full pixel readout. The delivery of all that is done in a charmless, unimaginative way. I'm sorry but it's true. You never feel really all that excited to pick up the cameras. They need to stop edging forward with incremental changes and completely revamp their bodies. I agree. Still the most fun camera in the APS-C line is the NEX 7. Since then, it's got more and more charmless. A6500 is a brick, with an awful control scheme. Zero innovation. At least the slim NEX 7 with twin dials was innovative at the time. What have they been doing since? Faffing around and tweaking stuff. The technology is racing ahead but the designs are standing still. To Sony's credit they do have affordable ones like the 28mm F2 FE and 50mm F1.8 The good stuff is always expensive and overpriced, whether you go Canon, Nikon or Sony. Panasonic and Fuji are a bit better but still pricey. It's how they make the BIG margins, on glass. Indeed. But you can at least buy the Sigma, as Sony let them have the e-mount specs.

I am going to have to be quite hard on Sony in this article, but it comes from a place of love. In an interview with DPReview, Kenji Tanaka, Vice President and Senior General Manager of Sony's Business Unit 1, Digital Imaging Group had a few things to say that interested me, but most of them not in a good way. Read the full article

Haha!!!!!!!!!!!!!!!!!! And yet they ALL still have better hair than Fro! Which one is @Jordan Drake?