Andrew Reid

If this system turns out well, I am going to skip the Nikon Z7/Z6.

You can get a spare camera LCD panel for about 30 quid (I bought a Sony A7S one on eBay once). It's about the same size and weight of that mirror Now... imagine we take the LCD out of the camera and extend the wire. Put it on the end of that rod. There you have it, the perfect REAL articulated screen!!

Cheers. What is Aperture Shatter?

The 120p looks better than Canon's 24p!

Nice. Did you also try it in video mode?

I think we can safely put aside concerns about AF with a huge range of existing Nikon glass. That makes it a whole notch more exciting. Sticks like glue. Dual Pixel AF finally gets knocked off top spot? Frustrating thing is nobody seems to have a Z6! If that has the same AF engine in video mode then it will make sense to wait.

Being too close to the colour standards on a chart is what got Sony into colour problems in the first place. It was a 100% science based approach when actually colour is also an art.

Haha. I agree with Simon. Some people act like a know-it-all but he hasn't even read the Fuji website

Nobody has their pre-order yet. It'll be December for most of you.

That's interesting. Back when I first heard of the rumours Samsung were exiting the market, I wrote one of the first articles about it, and shortly afterwards I got an email completely out of the blue from Samsung's marketing person (quite high up in Germany and Europe), saying it "didn't reflect Samsung's position" and they wanted to rebut the article. Come a few days later, he just dropped off the radar and I never heard from him again. I think Samsung's marketing and PR agencies were amongst the last to know. I'd be fascinated to know if Samsung canned a full frame NX2. Stranger things have happened. I bet they regret it now, having had the chance to be first to the full frame mirrorless market after Sony and seeing the sales hike in the past 3 years. Smoothed out, 8bit look? Well I think 10bit at 400Mbit helps a lot for skin tones! If film grain can finally be enabled in video mode, that can help as well. We'll see some amazing results. 100% sure of it.

Well the best artists steal I suppose. And I totally see the logic giving a demo unit to someone with 55 subscribers.

Yes definitely 4K 25p isn't cropped. Only the 30p which is just slightly beyond the speed of the sensor for a full frame pixel readout. By the way @Charbax Really like your YouTube ARM devices channel, long time subscriber here Are you using the A7 III for the channel?

Low light performance and speed, and to segment it off further from a possible 30MP+ APS-C sensor they also probably have in the range. Yes that would be a good way to find out. Still hoping for a tear-down article somewhere though.

Hey Tom. Is there a way to assign 4K recording to the fn button? Or do you always have to move the drive mode lever to enter video mode?

I don't know what ARM processors Luke has researched. The mobile ones in smartphones maybe? There could be dedicated H.265 processors onboard, nobody knows for sure unless it's iFixIt.

How does the GH5 do 10bit 422 internal since 2 years ago then?

Only a temporary grade apparently. It's some good looking footage, which shows a very beefy codec in action. I just don't like purposefully 'dead' look to the skin tones, it looks like a zombie film.

Hmm the colour looks off, not the faault of grrade nooooooo

How did you find the Speedmaster? Looks like a great lens.

How is any of that the camera's fault? It doesn't grade itself.

Back in June I reported on the joint sensor development between Fuji and Samsung. You can read all about that ISO Cell project here. This was 100% not a rumour. Now you may look at the X-T3 and wonder where the new 26MP sensor comes from. Read the full article

I am looking forward to all the "Pocket" rigs again ?

He could be in trouble with YouTube's guidelines on sponsored content as they have to comply with the FTC. Don't know if you've noticed but YouTube is American ? If he doesn't care about the FTC, I think he should at least care about keeping to his "I only review cameras I buy myself with my own money" word... But anyway, I like his channel. I am just trying to point out a few ethical issues and give him a small tip. I'd like to meet Wolfcrow one day... Awesome cinematic knowledge.

I think there's more than enough room for a few new raw codecs on the market. RED raw did not kill any Apple codecs as far as I could tell!!

Yes the codec's great, but nobody seems to be considering the whole package here, because there's no IBIS, no EVF, autofocus performance is yet to be proven, the battery life is miserable and the files will be VERY large at their highest quality. You have to measure the EXACT difference in the final graded image between BRAW on this, and something like 10bit LOG on the X-T3. I think for all the codec niceness the difference will be smaller than people think. Now ask yourself if it is worth the hassle of the strange form factor, no articulated screen, need to rig it up with EVF, external bits and a stabiliser... It is also sensor-limited. We're not talking about a sensor as good as the X-T3 or A7 III. And the slow-mo is an even bigger crop. Sure, I liked what ProRes and RAW brought to the image with the last Pocket camera, certainly in the creamy shadows and in low light. But it was as good in 10bit ProRes as it was in Cinema DNG RAW. So 10bit H.265 at the same bitrate as ProRes with Fuji F-LOG from a larger BSI 6K sensor with full pixel readout (possibly Samsung) has the potential to be just as good if not better. Not to mention the fact it is much easier to go full frame on the S35 sensor with a Speed Booster than to turn the Pocket 4K sensor into no-crop.