Emanuel

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.

Seems there's something new to arrive (from t)here:
NDA is leaked here (for more details there and over there). This November, they say. (Actually, not totally exempt from pure nonsense, oh boy!)
It would be nice @MILCs side too! ;- )

Unboxing here - I should say that it looks amazing.

 

https://www.aliexpress.us/item/3256809809423132.html
I think it's newer than the one I got and I guess it's closer to $30 than $20.  If you look around, you can also find some cases that work well with it.  It can also work with some cases, as mentioned in this video by DP Journey.  I got one of those cases too, but I'm not planning to switch to it until the Apple case that I got with my phone is falling apart (should just be another 3-6 months or so, based on the lifespan of my other cases and the amount of damage I've already done to it.
The main change I made from his setup is that I went with a magsafe CF Express adapter that I can put on the little folding tripod gizmo.  He also just made a video about an upgrade tripod gizmo which looks nice, but didn't seem to have anything compelling enough that I'd upgrade from the original.
 

Seems there's something new to arrive (from t)here:
NDA is leaked here (for more details there and over there). This November, they say. (Actually, not totally exempt from pure nonsense, oh boy!)
It would be nice @MILCs side too! ;- )

At least for the 16 Pro, there are Magsafe threaded filter adapters.  I have one that takes a 67mm filter (or is it 58?).  The only real bummer is that it can't go on with my phone in the standard Apple case so I have to pop the phone out to use it.  Mine cost $20 or so IIRC.  Maybe something like that exists for the 17 as well?

The DOF adapter still seems like a crazy / borderline broken vintage lens emulation, but if that's the look you're going for then it's a good option to have.
What seems much more useful though is using it as a B or C camera, fitted with an ND and shooting manually.

Is this something? ; )
To me, this outcome doesn’t seem negligible at all. Quite the contrary.
No one invented the wheel this time. But it seems that has now been perfected, evolving in a way even the most oblivious cannot miss.
To me, it would/will likely be the 1st round :- )

I like the colors and overall image of this camera, especially for the low price, but Nikon definitely sacrificed DR for a faster readout. This is from G. Undone's test:

10.9 usable stops in 6K R3D NE is not great for a modern cinema camera. NR will get you another stop, but it's not an ideal starting point. By comparison, the Komodo 6K scored 12.5 usable stops in 6K R3D and the Komodo-X was at 12.9 when tested by CineD.
CVP's latitude test was also fairly extensive as it tested both native ISOs:


The good news is that you don't lose much DR when switching into the higher base. The bad news is that, no matter which base you use, most of its competitors have an extra stop in the highlights:





As for under exposure, it is usable to under 3, but no more. It is RAW after all, so this poor result is understandable when compared with the Sony cameras.




 
 

Tianluokeng Tulou clusters, Fujian Province, China.
These buildings have a very thick outer wall of earth and a 3-5 storey inner wooden structure that houses dozens of families.  The structure is designed to be stable during earthquakes and secure against bandits.  The oldest if the ones we visited was built in 1796.
These are just with a quick grade, mostly Resolve Film Look Creator. The DR in the scene is extreme, and while all the required info is in the files, I'm going to have to go heavy on the power-windows when I grade these properly.
Grabs from GH7 + 14-140mm zoom.








Grabs from iPhone 17 Pro shooting Prores Log with default app.
The Prores HQ Apple Log files grade really nicely, have heaps of DR, and are great to work with. The DR isn't quite as much as the GH7, but it's more than enough for these scenes.  These were graded at a different time to the above GH7 shots so probably don't match.





All-in-all, the iPhone well and truly punches above its weight when you take into account it's pocketability, the size of the sensor, and the incredible range in focal lengths.  Imagine how much you'd have to pay to get a lens that can do 13-200mm FF equivalent FOV and has exposure levels between F1.78 and F2.8 across the whole range.

For sure.
The “18 stops” claim comes from the manufacturer (sensor-level, special HDR mode). It’s plausible as a sensor specification under controlled conditions/multi-exposure HDR — but practical DR measured in real cameras has been substantially lower due to optical and pipeline factors.
Although the sensor itself has a “theoretical” 18 stops, many other factors (noise, analog-to-digital conversion, image pipeline, compression, amplifier architecture, pixel readout, linearity, saturation capability) limit the actual practical performance.
 
Manufacturer's claim = sensor under optimized conditions (two/more readings, dual-gain, on-sensor HDR, internal measurements). This isn't necessarily the DR you'll get in a final phone/camera.
Actual limits: optics (flare/veiling glare), amplifiers, pipeline noise, compression, RAW/JPEG processing — all of which reduce useful DR.
 
https://www.imatest.com/docs/full.html
Imatest/DxOMark measure the system, not just the sensor die (photodiodes (light-capturing pixels), transistors, amplifiers, readout lines, A/D converters, etc.). 
Lab values applied to cameras tend to show much lower useful DR on sensors of this size — hence the large difference between manufacturer claims and practical DR.
 
However, if this OmniVision sensor actually comes to fruition with 18 practical stops, that will be revolutionary for such small sensors — it would be worth watching for announcements and technical tests.

The best camera is the one you hold ; )
...and that's the "toy" when in good hands! :- )
 

@kye, your framing, beyond that of a traveller, unveils the eye of an artist :- )

Here's some more grabs.







 

I started this thread by talking about the GH7, but I think the iPhone 17 Pro has also come of age (for me at least).
My goals for using this is to keep it in my pocket, be able to shoot super quickly using the default camera app, and focus on the compositions and capturing the events in front of the camera while it does all the auto-everything required for a good quality capture.
First impressions and thoughts from a few weeks of using it.
4K Prores HQ files in Apple Log 2 look great and are a joy to work with in Resolve (see examples below) All the lenses seem to work well and even up to the 8x 200mm are completely usable hand-held, and if leaning your hand against something the 8x is almost locked-off It records 6 channels of audio, and they appear to all be independent and available in the NLE (see image below) which might(?) be useful in difficult situations where there's wind noise in one or one channel clips etc? While recording Prores Log the default camera app shows you the log image and doesn't have an option to apply a LUT, so although it's a great way to be sure you're recording LOG, it's hardly ideal.  Hopefully they fix this in an update. Audio channels in Resolve:

Some frame grabs from out the hotel window in HK.  Bear in mind these were shot with the default camera app, through multiple layers of tinted glass, and have had a film emulation grade put on top of them.
1x 24mm camera:

8x 200mm camera:

with a bit of sharpening:

with too much sharpening (unless you're a "cinematic Youtuber"):

1x 24mm camera (ignore the reflections in the window):

8x camera:

8x camera with sharpening:

and in terms of DR / latitude, here's the 1x image brought up ~2.5 stops:

I haven't tested it in low-light yet, but to me, all this essentially means that the camera is sufficiently technically capable that I can shoot with it without feeling like the technical factors are overly restrictive.  This is incredibly impressive, given that even cameras like the GH5 needed you to pay attention to their limits in some situations.
For the first time I feel like if something happened to my 'real' camera and all I had to capture a trip is my phone I wouldn't feel like I'd stuffed up.  This is the first trip I haven't packed a backup camera body, which has given me the ability to pack a couple of extra lens options, thus 'upgrading' the GH7 rig as well.

Another frame grab showing a bit more DR.  Same Resolve + FLC workflow, but no grain added, so what you see below is the noise and compression artefacts from the Prores.
Default exposure:

-2 stops to see where the clipping point is:

+2 stops to look at the shadow detail:

Very serviceable, especially considering this was shot from the window of a moving train (the OTHER reason why rolling shutter matters).

Matching Iphone colour to Arri... quite close!
 
 

https://ymcinema.com/2025/04/15/omnivision-unleashes-a-game-changing-1‑inch-8k-18-stops-of-dr-sensor-for-smartphones/
https://ymcinema.com/2025/09/30/omnivision-ov50r-8k-sensor-action-cameras/
https://www.ovt.com/press-releases/omnivision-launches-ultra-high-dynamic-range-1-inch-image-sensor-for-movie-grade-video-capture-in-flagship-smartphones/
 
Breaking news: currently in mass production...
 
Imagine that reaching the mirroless/compact cameras segment, no less...
Why not? ; )
 
In a single line:
economies of scale.
 
The funny part of the equation is the smartphones market pushing the boundaries of this industry in every front, from iPhone sales to Android.
 
;- )

Same technology used in Xiaomi 17 Pro. It has more DR than G9m2, but the lens quality and the algorithm used to combine low gain and high gain are horrible and so the extra highlight stops are wasted. 

I still have problem with Gerald Undone, and this is exemplified with Canon C50 vs Nikon ZR review. I don't question his numbers, but how he interpreted them for his bias. Man pissed on the ZR t every corner, but excused the worst or the worst for Canon. The simple example is the ZR micro hdmi vs Canon C50 lack of IBIS. Yes it is an inconvenience the ZR doesn't have a full size hdmi, but it can be remedied with a 100 USD cage plus lock. But what about the lack of IBIS, you would need a full set of big supporting gear. Either a tripod, shoulder mount or gimbal. But hey, his excuse is that he talked with some first AC, and they told him that they prefer the sensor to be locked, as if the C50 principal use will be on movie sets!!!!!
He is revolting, how dare Nikon put cinema on the ZR, but does he think that the ZR/C50/Fx3 will be primarily use on cinema sets!!! Is he crazy, 99.9% of their use will be in events, corporate videos, weddings, reportage, social media content creation etc. At the top you will find them used on small to average advertising production, short films, small to no budget films. And in rare case as specialist camera like crash cam, in higher end production. But again in those 99.9% cases, stabilization is a big big plus for those production. But hey, Nikon dared to put Cinema on the ZR. I mean a camera that has better image than 90% of digital camera just 5 years ago. 

BTS on the go.
 

One of these days this community should just team up and send every new game-changer straight to @kye ; ) You’re priceless, mate :- )

Well, that was fun.  New phone has new colour space which requires updating Resolve which wouldn't install and required me to update MacOS.  Recording and then viewing the first clip took a lot longer than anticipated.
Here's some initial observations as I find my bearings.
Resolve 20.2 only has Apple Log 2 in the Colour Space, and only has Apple Log in the Gamma.


If we assume that BM and Apply both know what they're doing then that means that Apple Log 2 gets a new colour space but keeps the same gamma curve, and iPhone 15 and 16 users get an upgrade to Apple Log 2.
In the default camera app you only get Log and HDR (whatever that is) in Prores mode.  Not entirely sure what Prores flavour it is, but I'd guess HQ because the fine print in the settings to enable it says 1 minute of 4K 30p is 6GB which is 800Mbps (and would be 640Mbps for 24p) which is sightly lower than the 700 typically stated, but is definitely higher than the 471Mbps typically stated for 4K 24p Prores 422.

If you select Prores and Log, the image displayed is the log image..  no display conversion for you!
BM camera app gives tonnes more options.  I'll have to investigate that further, but last time I looked it seemed to only offer manual shooting, rather than the auto-everything that I need when shooting fast.

Lets acknowledge that ProResRAW is a shitty codec.