Andrew Reid

The Sony F55, F5 and FS700 now have a fierce competitor for less money, and it's not a Canon, nor is it a Red or a Panasonic. It's one of their own, the Sony FS7. Yet this cannibalisation may be worth it because the potential market for the FS7 is enormous. It's the fiercest arrow yet fired at Canon's most popular interchangeable lens video camera for pros, the Cinema EOS C300. With a design clearly C300 inspired and the new mount facilitating the use of Canon lenses, is the Sony FS7 going to cause a mass migration of pro video birds south to Sony dealers? Read the full article here

The AJA CION is an upcoming digital filmmaking camera priced at $9k, based around the same sensor as the Blackmagic Production Camera. What this sample video demonstrates is that AJA seem to have applied some magic colour science to their implementation of the sensor. If you thought the 10bit 4K ProRes of the Blackmagic Production Camera and URSA looked good wait till you see this. Read the full article here

  It's pretty obvious Blackmagic users need 512GB SSDs because of the raw video file sizes.   On a DSLR with compressed video and raw stills, why you'd need a 512GB SD is beyond me.   Think of the amount of raw stills or H.264 clips you could store on that and the amount of effort & work down the drain if the card gets corrupted or lost.   With a Blackmagic and 512GB SSD you'd lose about 2 hours of raw video, max.

  Anyone who spends their hard-earned based on a rumour is truly a twit.

  Indeed.   And Mr Troll above says he is doing me a favour to visit the site. I should be so grateful to him! ;)

It looks to be an absolutely fantastic camera.   I wonder with the growing popularity of slow-mo work in all areas of production catered for currently very well by the C300, that the FS7's more advanced technology might be enough to force the C300 into the background.   Depends on those ergonomics I think...   But clearly they learn from the C300. Looks like a camera you can use without a rig.

  I wonder if users of my own forum will learn from basic human ethics, that in criticising the owner of a free resource whilst simultaneously being a signed up member taking advantages of the online services like latest news and a forum is unfair.   Besides only an idiot would read a rumours article 'as factual'.

  You have to be put this in perspective dude.   The 5D Mark III cured moire and aliasing like the D810 but nearly 3 years ago. The A7S also is very clean. You can now buy an A7S with a Nikon lens adapter and shoot with all the advantages that has, including S-LOG2, a 4K HDMI output and the best low light performance on the market, past ISO 3200 the A7S is far cleaner than a Red Epic, $30,000 Sony cinema camera or even an Arri Alexa.   So Nikon finally catching up on one tiny aspect of the image does not make the camera special or worth having over competing models, in my view.

The headline features of this camera are a hinge behind the screen and WiFi. It is really sad not to see something more exciting from Canon and Nikon to avert a dramatic year-on-year decline in DSLR sales. Read the full article here

The headline features of this camera are a hinge behind the screen and WiFi. It is really sad not to see something more exciting from Canon and Nikon to avert a dramatic year-on-year decline in DSLR sales. Read the full article here

  Good to hear, thanks.   The way it is has worked very well so far, so a change is unlikely. Just interested in the feedback, which as ever is proving very valuable. Thanks all!

  Yep there's still a chance this is the strategy, but it doesn't discount the fact that the firmware might already exist for the E-M1. They are probably testing the codec this way. They might have no intention in releasing it for the E-M1, that's my worry. Could purely be a beta test and nothing more to come of it. I hope they do. It would be great and really help E-M1 sales.

But it's only 117px tall!   Do you have a screen grab of how the forum looks on your 1080p display? I could certainly use your web programming skills. Been trying to get a plugin that displays forum posts under the article like comments but to no avail :)

Under $10k I believe.

Nice tip, thanks.   Here's another - I shoot video in stills mode so I have instant access to firing off a photo on the shutter button as well as a better quality focus assist   http://www.eoshd.com/2014/09/youre-better-shooting-video-stills-mode-sony-a7s/

I'm still on the fence about FZ1000... why not just put a 14-140mm on a GH4?   Ok it's cheaper and the lens on the FZ1000 does have a longer reach. Stablisation seemed pretty good when I was trying it out for the first time. So good and bad points to it really...

Who cares?

Sony's next E-mount Super 35mm camera shoots 4K XAVC and has a 180fps slow mo mode, with an ergonomic design much improved and closer to the Canon C300, with top handle, top mounted LCD and built in ND filter. It really looks like Sony are going after the C300 market with this and it's arguably going to be a much more capable tool. I'm impressed!! The camera will be announced today (Friday) at IBC in Amsterdam. Picture from Philip BloomRead the full article here

Dave Dugdale has published his Sony A7S review ahead of time. In it is an enlightening video review of the differences between the Sony A7S and Panasonic GH4. Read the full article here

Time to upgrade my friend ;)

  John Brawley uses the 12mm T1.6, he's quite a fan.   There is definitely the demand there but it will depend a lot on how it performs.

  Ok going slightly off topic but any interest in a FZ1000 review? I have it in Berlin. Tried it out and quite impressed but wondering whether to spend the time on it or not.

The E-M1 does a 2.2x crop anyway due to IBIS so a nice match to the 4K recording area on the E-M1/GH4 sensor.

  I popped in there once too, in Bollington? Nice guys and good shop - bought my Acratech levelling base from there.

Hong Kong, China (September 12, 2014). SLR Magic will present a new CINE lens to the public from the APO-HyperPrime lens family in the upcoming Photokina 2014 fair in Cologne at the SLR Magic booth (Hall 5.1, L-011). The SLR Magic APO-HyperPrime CINE 50mm T2.1 is the first lens of the family. It achieves outstanding images under challenging lighting conditions. When taking pictures with many image-dominant, open light sources, it is common for correction defects to show up. Because the SLR Magic APO-HyperPrime CINE 50mm T2.1 is an apochromatic (APO) lens, longitudinal chromatic aberrations are corrected by its unique optical design and special selection of optical elements. The color defects are therefore significantly lower than the defined limits. Bright/dark transitions in the image, and especially highlights, are rendered with no colorful artifacts. Read the full article here