Andrew Reid

I am considering going back to an OG S1H, just think the new cameras have lost that true flagship feeling, and the price isn't low enough to justify the trade-offs. Still no S1H Mark II but other than it being faster, and probably worse in low light with a more oversharpened image, I can't see what it will bring to the table and will probably be four or five and a half grand! The S1R Mark II / S1 Mark II, whilst better than an S5 or S9, are not a good alternative to a Sony a1 or Nikon Z8. And Fuji GFX 100 still has the best look of everything. It makes full frame look like a toy!

X-T50 is the new X-T30 whereas this is a side-step. I reckon the X-T50 is worth the extra to be honest. Or get the original X-T30 which used is around 600 euro.

The GFX 100 RF has a great sensor but it's a bit pointless to have a sensor size advantage only to shoot at F4 max. The sensor size advantage = better low light, a more shallow depth of field, more character from the lens - all of that F4 works against. And the sensor size of the 100 RF comes with a big premium. So you're paying quite a lot extra for no advantage. Much better to have a full frame + F2 combo unless you really need 100 megapixel - but then who wants such a large sensor only to crop down to Micro Four Thirds framing? My beloved GFX 100 is at its best when you can ignore all the slow Fuji lenses and put a Minolta MD 50mm F1.4 on there.

It's time https://www.eoshd.com/news/why-its-time-for-fujifilm-to-go-full-frame/ And a full frame X100 without the RX1 III or Leica Q price tags would be fabulous thank you.

Actually... The boom in raw codecs is being driven by clients That's my hunch. They want the best possible quality master files to do whatever they do with them. And lack the understanding that H.265 is more than fine, or that LOG should *shock horror* be graded!

I prefer H.265 as well, over the pseudo raw formats. Cinema DNG is still the best quality RAW in terms of the film look and unprocessed sensor readout.

So is NRAW really REDCODE or is REDCODE really NRAW, I am confused now.

Less adapters as well and no Sigma (full frame).

Well, Nikon have come a long way in 10 years since the D750 at least. R3D, a proper screen, 32bit float, IBIS all very welcome as you say. But Nikon should have made a much bigger splash with the first Cinema Z camera. It should have been a cutting edge flagship at a really aggressive price. Instead they have gone with what is practically a point & shoot camera. It fits the philosophy of the "DSLR video revolution" though doesn't it? Cheap (by today's norm), small, light, cinematic image quality, great codec and hybrid photo/video features. Micro SD and HDMI is idiotic though.

Btw I think it's a strange first Nikon RED launch product. They don't seem to understand marketing. The first camera with RED tech should be higher-end than this, a statement. Instead they've gone and done a YouTube camera. It'll be interesting to see whether the volume of sales to content cretins makes up for the devaluation of RED's brand. It's not really a cinema camera... maybe it's 2025's answer to the Blackmagic Pocket OG?

WOW they finally did it... A world beyond the 3.5" LCD exists!!! If it is cheap and does REDCODE 6K to CFexpress then it's game on.

Cripple hammer may have to retire.

Doesn't seem right to me. 650g with internal ND mechanics and IBIS, with a full frame sensor? I don't think that's realistic.

A clearer shot.

I am running Linux on a gaming machine... Bazzite on a Legion Go. Windows 11 on that was a catastrophe and it was a massive relief to wipe the slate clean of Microsoft's spyware.

Still no video mode on the X2D II. The DPReview preview doesn't even mention it. https://www.dpreview.com/reviews/hasselblad-x2d-ii-100c-initial-review?utm_source=self-desktop&utm_medium=marquee&utm_campaign=traffic_source Yet they added IBIS and an articulated screen, like the GFX 100 II... it has the same sensor as the Fuji... yet doesn't even do 1080p, let alone 8K! This is odd behaviour from DJI! Also still no curtain shutter, so no adaptable lenses (electronic shutter speed is too slow). DJI are not handling the Hasselblad brand very well in my view. And X2D II sounds more like a star wars robot than a camera. X Two D... Two... Why the two twos? Why isn't it called the X1D Mark 3?

As with the fair use copyright strikes there needs to be a layer of legal protection for the smaller guy who doesn't have access to lawyers. Before the lawyers get involved, a judge should be able to quickly throw out spurious BS cases.

I think more than ever there is a power struggle between the law and corporations, we'd do well to keep an eye on that - since most of the normal rules which keep companies in check like product and competition are becoming less of a factor. We have quite a few duopolies, even monopolies in many markets and in many countries. What the corporate bastards have also realised, is that since the pandemic they are able to act like a cartel with patterns of cartel-like behaviour like all of them raising prices in unison and creating exclusivity of market share for themselves, and also making the consumer increasingly dependant on tech as a service... Less of a product, more of an app or a cloud based service. The pandemic accelerated all of this. And that of course is where all the recent subscription bullshit comes in. But of the two quite different topics raised in this thread... I am way more worried about the abuse of the legal system to stifle journalism. The companies in question are Nvidia and Universal Records. I suggest to think twice before handing them your hard earned.

Absolute scumbag behaviour from these American corporate fascists. The law and YouTube needs to stand up and say... enough. You should not be able to abuse so many innocent people via the legal system. It's all fair use.

It reminds me of the early dot com bubble and all the junk websites and businesses. All the junk side of AI is going to get swept away later this year when the market crashes.

Turns out I had the Makinon in a cupboard all along and will also give it a go. Some of these old zooms have terrible 1.5m+ minimum focus distances or rely on an awkward to engage separate macro mode, but some have the macro mode on the main focus ring and some are even par-focal. The Exakta 28-70mm F4 MC Macro (made in Japan with 62mm filter thread, and mine is an M42 mount version) in particular stands out for me, nice vintage look, nice size and weight, ergonomic to use, decent optics and distortion, covers GFX 100 well, especially in square 1:1 aspect for stills or 16:9 for video, and focuses down to 1:3.2 macro with one turn of the main focus ring (no funny separate mechanism to contend with). The best for flare is the absolutely pre-historic Voigtlander Zoomar 36-82mm F2.8, think it was the first ever zoom lens for SLRs, the distortion is absolutely insane at 82mm but if you stay between 36-70mm it has a lot of cinematic goodness.

I have tried a number of cheap/crap 28-80ish lenses on the GFX 100 and they all have a knack for covering the sensor perfectly if you zoom in past 35mm So the Makinon I am interested to hunt down in Berlin and try... The Nikon in theory has the perfect focal length for the GFX 100, but I am not sure I share our YouTube friend's enthusiasm for the flare... The Makinon was much nicer to my eye

Have you compared it to the replacement 35-70mm? The latter lens is very handy on the GFX 100 and filmic looking.

Here at a camera store in Berlin we have the 3 musketeers. 2012 vintage RX1R OG, the one without the AA filter. It's very nice and I can't understand why it only goes for $900 used. Because it's got a much better lens than the Leica Q. No red dot though. RX1R II, the one with the tilt screen, phase-detect AF and pop-up EVF. It also shoots 120p, albeit no 4K. It also has a further innovation - the AA filter can be switched on and off. This was Sony when they felt they needed to catch up with Canon and Nikon by really pushing the boat out. 2014-2015 vintage Sony. The $2000 mint condition used RX1R II is reasonably rare but when you do find one, it's still cheaper than the Leica Q OG and closer to the Leica Q2 in terms of image quality. The pop-up EVF is mechanically a thing of beauty and offers a big field of view. Although without a rubberised eye cup, it isn't the most ergonomic or comfortable. So to the new one, the one with the 10 year gap. Sony have made sure to price it so that nobody buys one, which is good because they want you all to buy E mount lenses. Just to summarise the street prices: RX1R: $800-900 used RX1R II: $2k used RX1R III: $5100 / 4900 euro The lens is identical to the previous cameras. Which is fine to be honest, but I had more issues with the AF in macro mode on the RX1R III vs II. Weird. I also dislike the finish and build quality, doesn't feel as premium. It feels a bit like the A7CR. Not great and nowhere near a Leica and the RX1R II also feels more premium. I do prefer the buttons though on the new camera, they are raised for a more tactile feel. Gone is the pop-up EVF, in place of it a smaller standard one. The resolution of the live-view feed is better, but the overall optic is worse and more pokey. Gone is the articulated screen. Which is a really weird one. In comes a fatter battery - very welcome. 4K is there with no crop in 24p/25p... However, there's no IBIS or even OIS, which is a downer. The AEL button has changed to an AF-ON... Again a welcome change, because the first two models had no back-button AF at all. Well done Sony. So if you're looking for a full frame compact, the first two models are a steal. I got the RX1R II again. I regretted selling it the first time out!