Andrew Reid

I never could understand how Panasonic made any money on the LX100 - packed in so much good stuff for so little money, in a genuinely high-end miniature body. I want to see a sequel!! Make it a bit more expensive if that means difference between it existing or not. Make it have the high-frame rates and low light of GH5... No crippling of the video side. RX100 V is tough competition.

Did anyone actually ready Terry Gou's comments word for word at Nikkei? You all keep second guessing him. Are you saying he's making shit up?!

Have you registered 12kcameras? Now's the time

I hope they are pricing whatever they do like the early Blackmagic cinema cameras, but with much better sensors and much smaller design concepts with low energy consumption. Mini Epic without a fan, with DSLR size battery. This could be the Blackmagic revolution all over again. Mega exciting!!

Is the GX8 dead then? https://www.panasonic.com/uk/consumer/cameras-camcorders/lumix-g-compact-system-cameras/dmc-gx8m.html The GX85 wasn't a replacement for the GX8 but a lower-end model. Now the GX9 seems to be a replacement for both! Unless they do a GX10?

The Hydrogen stuff is already done and in production. This is about a future tie-up they are in talks over at the moment - a completely new line of cinema cameras. Terry Gou says he wants to get into that digital cinema camera market according to the article.

That's where they are most useful of course. In the home, it's inevitable they are coming by 2020. As for 8K on the camera side it could be useful for making VR content. VR needs the resolution. I see an 8K camera as more than just the numbers though... 8K makes for superb 4K. Anything from RED / Foxconn aimed at affordable prosumer market is welcome with me!!

I hope they are Sharp.

According to a report on Sunday at Nikkei, iPhone manufacturer Foxconn Technology Group plans to team up with premium camera maker RED Digital Cinema and enter the digital cinema camera market. Read the full article

What is the point of the a9 as it stands... USB 2 as well... EH!? USB C 3.1 on the a7r iii. I don't understand Sony's strategy at all.

I used the wider colour gamut of S-Gamut 3 for EOSHD Pro Color to avoid exactly that - the clipping issue (especially bright blues) in the standard rec.709 colour profiles. Also the discolouration just before the clipping point is much worse in rec.709 than in S-Gamut or rec2020 with Hybrid Log Gamma. Too many backseat drivers who just look at the technical standards and don't shoot anything chiming in saying blah blah you can't do it. When you can.

Yeah it's annoying if you have S-LOG selected in video mode and you turn the dial back to stills mode and your JPEGs are now in S-LOG. Not sure users want to do that. Sony however, seem to think otherwise. Maybe their engineer is a big fan of shooting S-LOG stills?! That video reveals some interesting things - The colour is slightly better on the A9, with slightly higher luminance at same exposure. The rolling shutter for me is impressive, as the A9 is doing a 6K full pixel readout yet with less rolling shutter than the A7R III which is pixel binning. (Skipping rows or pixels = less data to readout from the sensor). Compare that performance to the other 6K readout cameras (A6500, NX1) and it's roughly twice as good. Finally the noise performance is outstanding on both, considering the megapixel count... way higher than 12MP on the A7S II... But it is particularly incredible on the A9, with clean 12,800 and hardly any noise even at 25,600 whereas that is really the limit for the A7R III - although no shame in that - that camera is a miracle in low light considering 42MP. So yeah, the A9 is superior for video and unnecessarily crippled by lacking PPs. Maybe they want us to spend $1000 less on an A7S III instead?!

Shoot with it on the A7R III and then you will see.

Well Sony and Fuji's engineers clearly disagree. It works in 8bit. Clear advantage over Rec.709 colour profiles. I've used it and seen the difference for myself. It isn't a 10bit-only colour space. S-Gamut is also a wide colour space, and that can be compressed to 8bit as well.

Hmm rolling shutter is pretty good in video mode on the A9 though, isn't it? Not zero, but still very good. And I can't understand why they'd want us to buy an A7S III or A7R III instead for video, when these have more rolling shutter, and most importantly for Sony - when these are cheaper and actually the A9 has a bigger profit margin for Sony. There are people who actually want to buy one for video right now and who find lack of S-LOG a major roadblock to Sony earning a tasty $4.5k sale. Daft!

Maybe you just haven't used the A7R III. BT2020 is an option alongside Rec.709 in the Hybrid Log Gamma picture profile, 8bit.

It's true the video quality on this thing is laughable and yet they are marketing it towards the YouTube crowd. Reminds me of the episode of the IT crowd where Jen was tricked into showing the internet-in-a-box to shareholders... But because they were fucking clueless too, they lapped it up!

Canon tends to jump last. Now that Fuji, Panasonic, Sony and even to some extent Olympus have high-end 4K hybrid mirrorless cameras, I wonder if Canon will give us one as well. Or should I say... who cares?

Since we first had S-LOG and advanced Cine picture profiles from Sony there has been a restriction that they can't be enabled in Silent Mode, which uses an electronic shutter. This got me thinking - the A9 makes a big deal about it's electronic shutter - and low and behold has no picture profiles. Do you think Sony left them out as they conflict with the electronic shutter somehow - maybe they were afraid sports photographers would be confused about why their max FPS just dropped from 20fps to 5fps, because they had PP1 selected. I think that's it. Of course, this is a stupid decision by Sony. First basic solution I just plucked out of my ass...make the damn profiles work with an electronic shutter! How hard can it be! Second basic answer... make the picture profiles work only when video mode is selected on the mode dial. Avoids confusion. Third point is this - how can Sony have the BEST full frame 4K picture, even more detailed than the A6500 on their FLAGSHIP and MOST EXPENSIVE camera and NOT put S-LOG or Hybrid LOG Gamma on it?! The A7R III and D850 full frame 4K both fall short of the resolution and almost zero-moire achieved by the A9. So they have the most capable full frame mirrorless camera on the market for shooting 4K... with the least number of picture profile options. Well done Sony! Thing is getting down to £3k used now, so actually cheaper than the A7R III with all the same nice things, but better 4K, bigger buffer, extra dial, faster continuous shooting, better electronic shutter and yet... no S-LOG!

https://www.eoshd.com/2018/02/fuji-x-h1-cinema-4k-200mbit-hybrid-camera-ibis-rival-gh5/ A Fuji "A6500" basically, but in a bigger body. However it does have Fuji's colour science and ergonomics. And the A6500 was already pretty cool. Then there are the lenses - they're better as well. I think it's not to be sniffed at... But it falls short of the GH5 and GH5S in terms of overall feature-set and codec. Should have had 10bit.

It grows on you, that's for sure Just wish they would have kept SOME things familiar for existing FCP and Premiere users. It cost them a lot of customers!

So when saving a preset, "Maintain Timing" does the trick. A fast fade-in-out, at each end of a clip no matter the length of it. Preset is working well. Now, I would not have known how to do this if it wasn't for Ctrl-V on a clip. Why isn't there an option which is clearly visible? Along the same lines, can I open a larger view of the keyframe animation editor elsewhere in the workspace - or can it only be viewed on the timeline? When the timeline is zoomed out, it's too small to place keyframes accurately, timings wise. Another question for you! When the In and Out points are set to a particular section of the whole timeline, and I just want to render out that section as a H.264 or ProRes Master File and not the whole timeline, why does the export (Share) function still insist on exporting the whole timeline?

Look how many words we are writing about a simple fade in/out to black. Apple fucked up. Should be routine, simple, a matter of 2 seconds looking at the UI and 2 seconds applying one. ridiculous! Thanks Jim What I did was exactly that, then Save Effects Preset to create an effect called Fade-in-out Now I can drag that instantly to whatever clip on the timeline needs it, without having to do the cmd-shift-v to paste attributes. It scales the fade keyframes to the length of the clip... But not sure if this slows down the fade on a longer clip or not. Need to test.

So is doing opacity keyframes the only way to do a fade from black and fade out to black, without resorting to the crappy way they implemented cross fade? Or can I create the opacity keyframes once, save them as a preset and drag and drop my fade-in/fade-out to any clip in future? You know, that would be kinda a lot easier than having to do the keyframes every time. And I need the fade-in/out speed to be identical at both ends of the clip, with a black screen either side of 1-2 seconds. This is basic stuff and FCPX isn't making it easier! Some of my other concerns beginning to fade now though as I get used to the shortcut keys.

Doesn't having a magnetic timeline knock your audio out of sync constantly? Say you have a separate WAV file of a band in a recording studio and 4 different takes, spread across multiple clips. Just adding a fade in and fade to black (Fade to colour transition) wants to trim the size of a clip, which is nuts. So you add that fade and suddenly your clip is a different duration and out of sync, and the ripple effect moves all the other clips in front of it out of sync with the WAV and your carefully positioned edit.