Andrew Reid

That's covered in the guide, you see the answer in there Yes it's centred and the framing is 100% accurate in live-view for 3.5K. Nope. The grey scale is a bit lower res than the colour live-view. Test it. It's damn fun.

VENICE is a really good name for a camera. I hope they work through the rest of Italy and call the A7S III "Florence".

Your mug shot racked up so much screen time I thought you were going to try and beat Philip Bloom's record!! Throw a GH2 in there next time, I am sure it will beat the F65 on the shirt test given the right light

I agree the 18-55 is a fantastic lens. Not just a good kit lens. One of the best lenses end of story for it's class (APS-C zoom). It's cinematic. It has very low distortion for it's class. It's got a faster aperture than you'd expect for the size and price and better build quality as well. Only the Samsung 16-50mm F2.0-2.8 is a better APS-C zoom along with the Sigma 18-35mm F1.8 but they are both triple or even quadruple the price of the Fuji and MUCH bigger / heavier! I saw on your channel just now that you had the Leica Q for a few weeks. Bro!! we must have been separated at birth or something because I just decided to pick one up as well, used, when I was in the UK last month. I had it before for 1 week and decided to send it back as at the time I was in love with the Sony RX1R II. But then I found myself seriously missing it. I've never known such a 3D pop through the EVF. A joy to use! It is clearly a Panasonic, but man... if they make a full frame interchangeable lens version of that for Panasonic prices... I'll dump my Sony mirrorless stuff faster than a very punctual Japanese bullet train.

I will be uploading some of the original ProRes clips and Cinema DNGs. They amount you can push them in post without them falling apart is incredible.

I usually prefer a d-pad for the menus to a joystick. Don't know if this is just from habit or whether a d-pad really is better for menus, because I sometimes forget the 5D Mark III lacks a d-pad altogether and it's all joystick and scroll wheel action in the menus. If I were Fuji I'd try and put more clear water between their models... X-T20, X-T2 and now this, all quite similar in features, form factor and specs. The X-E3 just has the EVF at the side instead of the middle, and that's the only real substantial difference?!

I'll provide some proper downloadable footage soon.

Available now! The new EOSHD 5D Mark III 3.5K RAW Shooter's Guide With the new Magic Lantern experimental build for the 5D Mark III, we have an amazing 3.5K 10bit lossless raw mode with Super 35mm continuous recording. Read the full article

That poor lens. Was it in good condition?

So tomorrow is "Fujikina" aka party time and 4K firmware update for the Fuji X Pro 2!! If it doesn't happen, we are going to have to hang the DJ (FujiRumors) from a VERY high post. I have my hopes up like anything!! I see they are reporting in-body 5 axis stabilisation for the X-T2S as well... That would be a very nice move by Fuji.

You get to choose... You can encode it to 10Mbit H.264 for YouTube if you want, it's up to you. With ProRes you get to choose between the different bitrate flavours, like LT, Proxy, etc...

This is a very good suggestion. LUT folder on the memory card. Menu on the camera to select them. Job done. Once converted to 5K ProRes they're smooth as butter.

Yes, going to be good for warp stabiliser. With Dual IS, 5 axis IBIS and Warp, maybe we won't need that £1000 tripod Flowtech 75 after all

With the new firmware 2.0 update, the Panasonic GH5 becomes the first 5K 10bit H.265 mirrorless camera, and you don't even need an anamorphic lens to join the party. Read the full article

Yes, as the sensor is better. A lot of junk noise, banding, in the Blackmagic files.

Finally, they did it. What took so long?!

Thanks for the good explanations!

Thanks for clearing that up Brian I was secretly holding out some hope for an anamorphic Speed Booster but if it's not possible, some new anamorphic lenses are always welcome. A few years ago I thought there were some soviet zooms on eBay with the anamorphic elements at the rear of the lens, like the Foton 37mm-140mm Anamorphic F3.5 but it turns out not to be the case (blame bad eBay descriptions)! The anamorphic went on the front and was enormous. I wish someone would do a modern version of the Iscorama... Small, focussing adapter, fits on almost any prime.

Exactly, they said "middle" codec between 8bit 4:2:0 low bitrate H.264 and 10bit RAW. Then they went back on it, but are still calling it a middle codec and an upgrade. It's deceitful practice.

No that A99 II measurement will be the full frame pixel binning mode, the Super 35mm mode has worse rolling shutter, more towards 30ms-ish as with the A7R II Super 35mm mode, as it's a 5K full pixel readout. Pixel binning is faster. The more pixels you need to read, the slower it can scan the sensor from top to bottom. Nice. How did Sam do the maths? I take it accounts for different panning speeds and different focal lengths between camera test footage?

Cheers ed. With the wider glass, they tend to vignette. Super 16 or 16 needs to be 25mm or longer to have a chance in covering the larger micro four thirds sensor, sometimes even those vignette and the zooms are out. So stick to around 25mm and get one really nice one, is what I've tended towards

Just the 4K cams BM MicroStudio 4K--- 9.9 ms (official) BM 4.6K (4K crop)-- 12.6 ms (official) 1DX II 4k 24&60 --- 14.7 ms (14.6-14.9-14.9-14.6) GH5 --------------- 15.0 ms (official, preproduction) BM 4.6K ----------- 15.2 ms (official) my measurement was 16.3 ms (16.3-15.9-16.8) RX100 V 4k -------- 17.5 ms (18.1-16.3-17.7---17.7-16.9-18.5) (first 3 with stabilization, last 3 without) a7R II 4K FF ------ 19.9 ms (19.3-19.6-19.4-21.2) GH4 4K/UHD -------- 22.0 ms (official) my measurement was 22.5 ms(23.2-22.3-22.7-22.7-22.4-21.8-22.4-22.8-22.6) a99 II 4k --------- 23.4 ms (23.3-23.5) G7 4k ------------- 28.1 ms (27.8-28.5) GX85 4k ----------- 28.9 ms (30.2-29.0-28.8-27.5) a7s II FF 4K ------ 30.4 ms (30.2-30.6) XT2 4k ------------ 30.7 ms (30.5-30.7-31.2-31.2-30.8-29.9) NX1 4K ------------ 30.9 ms (30.6-31.6-31.4-30.7-30.2) NX1 UHD ----------- 32.6 ms (32.9-32.0-32.9-32.5) a7R II 4K S35 ----- 33.3 ms (35.6-32.2-32.8-35.3-32.6-31.1) RX100 IV 4K ------- 36.6 ms (36.4-36.7) (without stabilization it's slightly faster: 35.7) a6300 4K 24fps ---- 39.0 ms (39.2-38.9) A few remarks Don't think the number for the X-T2 is quite right, I'd say in my real world tests it comes out quite a bit better than the NX1 4K 30ms is where it gets bothersome, under that is fine for most stuff. Interesting that the A99 II 4K came out slightly worse than A7R II - it must be doing a better image though, more pixels in the readout. Fastest stills camera sensors - GH5 and 1D X II... I think Canon could have given us better quality 120fps 1080p given how fast that chip is. Good to see BM at the top - power hungry though. Best value for money is GH5 and RX100 V.

Go and take your stupid posts to another forum, then.

8bit 4:2:0 on the C200 is a shame, but I understood why it had to be crippled to protect the C300 II. What I don't understand is why Canon feel they can fool people into believing their planned codec for 2018 is an 'upgrade' Surely C200 users know the difference between H.264 8bit 4:2:0 in a MP4 wrapper and an MXF wrapper, with meta data. I don't think you can really call that an upgraded coded. It is still H.264, 8bit, 4:2:0, isn't it! So Canon initially had a chart where the mysterious new codec would record to CFast 2.0 cards... Then that all changed and it is only going to record to SD cards now. I think Canon should come clean and tell C200 owners what the fuck just happened.

All you have shown is that the GH5 is unsuitable for EXTREME GREEN backgrounds and SHIT looking images. Anyone can break a file. I can break the Alexa's files!