Marcio Kabke Pinheiro

What I got in this thread is that most of the EOSHD user with a degree in journalism are working in marketing - which show the decline of journalism around the world...

(I'm not a journalist, but most of my friends are, and I'm married to one that - you guessed it - is transitioning to marketing  )

What I got in this thread is that most of the EOSHD user with a degree in journalism are working in marketing - which show the decline of journalism around the world...

(I'm not a journalist, but most of my friends are, and I'm married to one that - you guessed it - is transitioning to marketing  )

Jesus Christ, you people are such nerds. There are so many cameras available on the market, just pick your poison and CREATE SOMETHING! This endless droning about this company or camera being better than that company or camera is pointless.
You don’t like the 4K crop in the EOS-R, then shoot 1080p or buy a Z6 or an a7iii... it’s quite simple.
I’m not thrilled with the crop but the camera has a lot of other perks that make it a contender for me as a hybrid. I look at any 4K video option, cropped or not, as icing on the cake. I’ll rarely shoot 4K and when I do, I’ll have more compact lens options with a thick codec. I’ll have the definitive best AF in the industry. And I’ll have great focus aids for my manual lenses. Any and all lenses I have that are native EF, or adapted to EF, will have a built in ND in the adapter. I’ll have internal Canon Log for 1080p and 4K and 10bit for external 4K. I’ll have an articulating screen and what seems to be excellent ergonomics.
For me, this camera can be very useful. But so could the Z6. Or a GH5. Or an X-T3. So instead of spending your days bashing other brands to justify your purchases, why not go out into the world with your camera of choice and shoot something. I swear you’ll forget all about your problems with the EOS-R.

What I got in this thread is that most of the EOSHD user with a degree in journalism are working in marketing - which show the decline of journalism around the world...

(I'm not a journalist, but most of my friends are, and I'm married to one that - you guessed it - is transitioning to marketing  )

What I got in this thread is that most of the EOSHD user with a degree in journalism are working in marketing - which show the decline of journalism around the world...

(I'm not a journalist, but most of my friends are, and I'm married to one that - you guessed it - is transitioning to marketing  )

I'll start believing these are impartial events when they start holding them in Hull instead of Hawaii.
 

This is an instance when everybody wants LOT LESS "depth of field"

This is an instance when everybody wants LOT LESS "depth of field"

43rumors guy guess (only guessing, no info) that it could use the Leica SL mount. Kind of logic, since Panasonic and Leica have a lot of cooperation, but since SL mount diameter with 48,8mm of diameter is barely larger than Sony E (46,1 mm) and less than Canon EF (54mm), maybe it is not a good idea...

Yeah, but with the low light sensibility of the last batch of FF cameras, it is somewhat less relevant than before, no? 

Of course that is better to use the lowest ISO possible, but we have more clean ISO range now than before.

I don't know about dying to but it was nearly a case of dying from so the first image from my limited wandering about yesterday with these cameras was this....

For anyone wondering if the Sigma SD Quattro has an overheating warning icon in the viewfinder then I can confirm it does
It didn't stop it from working but it was getting uncomfortably warm to the touch (as was I) so strike one to the Fuji X-T20 there.
Anyway, due to not being totally willing to suffer from my Sigma ART, it was a much abridged wandering about a couple of streets so apologies for the less than inspiring content. I was mainly looking for things with strong colour and/or some degree of highlight and shadow content.
As discussed, the two cameras were the Fuji X-T20 with the Fuji 35mm f1.4 and the Sigma SD Quattro with the Sigma 30mm f1.4 ART and both shooting RAW. Most shots are in the f2.8 to f5.6 range to compensate for the massive amount of light to the absolutely no ND filters in my pocket ratio.
Some post cropping to compensate for the different fields of view as that 5mm makes a big difference on APS-C and also some tweaks in the name of harmonisation in the overall look as the Fuji tells a few fibs regarding exposure and Lightroom tends to be a bit aggressive with the contrast with the Sigma's DNG files. 
The shots on the left are from the X-T20 and the ones on the right from the SD Quattro

As I say, I was going for some harmonisation so they are pretty close but I would say that the SD Quattro just has that little bit more bite but there's not a massive amount in it.
One of the benefits of the SD Quattro resolution is being able to play a bit fast and loose with composition as you can take more liberties with cropping. This is particularly useful if you are doing street stuff as you can deliberately shoot wide enough to appear to be taking a shot of something else without alerting your real subject.
In this voyeurism by resolution example (which is an intentionally extreme one), the original wide shot is at the top followed by the shot that I was actually going for on first the X-T20 and then the SD Quattro.

Again, there is not a lot in it (which surprised me a little I have to say) and if anything the X-T20 edges it, particularly as the unwitting subject has a more interesting pose.
At this point, when you factor in the size, weight, cost (especially lenses), battery life and convenience, I can't see the SD Quattro being a better option for you in the context that you wanted it for, particularly if you have any ambitions of using it at above 400 ISO.
And of course the X-T20 absolutely smokes it when it comes to video !
Just for a bit more interest though in terms of the general everyday use that you were talking about and to throw a smaller sensor into the mix, I did take along another camera to offer some context. And yet another one which is there for a bit of sport  
In these comps, in quadrant 1 is the X-T20, quadrant 2 is the SD Quattro, quadrant 3 is the Panasonic LX100 (shooting RAW as well) and quadrant 4 is none of the above.

Whilst the LX100 isn't out performing the other cameras, it isn't being disgraced either and when you throw in the convenience factor with its in built zoom lens and a passable 4K video option if you need it and at a much reduced cost to the others, maybe it is the real winner here as the all round camera for the use you were describing as you can certainly get a tune out of it if you shoot RAW. In point of fact, whilst the mark ii has been a let down for most on here because of the video aspect not moving on, the additional photo performance it offers might make it a contender as they will be popping up used around the time you are looking to buy.
 

Nikon as well as Sony sell their newly released cameras at a loss. They then try to make up for it by selling lenses. It would be suicide to let third party in from the beginning.
Switching mounts is a huge deal if suceccfull. All those Nikon shooters sitting on backwards compatible lenses are no longer customers. They no longer bring profit.
A camera house is like a printer. Ink is the real business.
Same thing in camera stores.They hardly make anything on cameras. Their business is bags, insurance, payment plans, memory cards, etc.
Also, wasn't the A7 also released with just a few very expensive primes.. seems people forgotten that.

Because the Z6 and Z7 have PDAF on sensor, D850 uses CDAF with video - with the crappy results that we all know.
And imagine that for the APS-C ones Nikon releases a second version of the F mount adapter with a speedbooster integrated on it. Would be awesome and probably a major selling point.

Never will happen, though.

A7S is niche camera.. you will be surprised to learn how low is the number of production. Nikon better spend its limited R&D money on lenses.  

I'm just going to chime in from the perspective of someone who uses Nikon pro bodies for work and would be looking to swap out his D810 against the Z7 versus perhaps going for a D850.
Its not going to be some moan about wanting to hammer nails in with it or tow it in the water behind a speedboat or some such but it is about the ergonomic differences between the pro bodies and those that use the PASM locking dial.
This will also hold true for anyone who uses a D850 in anger and was looking to swap over.
I'm not sure why they've gone to a locking PASM dial when the mode selection keys at the top of the dial of the other cameras (like the D850 for example) offers fast access to WB and Meter Modes as well as the PASM selection. Not to mention being able to switch Quality modes without having to go into a menu.

And it looks confirmed as per the post the other day that they've removed the dedicated lock file button which is absolutely nuts considering how vital it is.
Strange choices to be honest.
Quite surprising as well when you'd have thought that they would want to tap into their existing user base and offer them a seamless transition in to this brave new world of mirrorless.
This is not me just being an old fart and complaining about not wanting anything to be changed by the way but their existing ergonomics weren't broken so I don't get why they've tried to 'fix' them in this way.
The beauty of that top dial in their existing cameras is that you can change everything about the mode, the metering and the white balance with one finger of your left hand and scrolling with your right thumb without ever having to take your eye from the viewfinder.
I've no idea why the fps mode suddenly becomes important enough to have its own dedicated button either.
There are also a few other omissions (such as the multi pin front remote connector) that are surprising but the AF/MF switch seemingly disappearing is quite baffling, even for users of Nikon's lower range DSLRs.
For the benefit of people who don't use Nikon bodies at the moment, the AF/MF switch also has a centre button which enables you to switch between AF modes really quickly using the thumbwheel when you hold it down and, again, all without taking your eye off the viewfinder.

Its really puzzling what's happened here and as exciting as the new aspects of it may be, I'm not convinced they've done what everyone has expected them to do which is to make a mirrorless D850, irrespective of how close the specs are because it isn't comparable in one of the most important aspects of all.
If this thing is significantly cheaper than the D850 then those compromises might be acceptable but if its anything like the same price - and I've not seen anything to suggest otherwise - then I, for one long time Nikon user, won't be jumping on the merry go round this time round.
I'd completely accepted that a D5 style version will be somewhere further down the line but I'd definitely thought that this would be closer to a like for like D850 which suggests that there is likely a Z8 to come which will be even more expensive.
For someone coming late to the party - and having seen the lens lineup from Sony improve dramatically in the interim - I don't think they've gone big enough at all here with the Z7 especially when they are trying to push a new mount as well.
None of those choices have been governed by the body size either.
Puzzling and a little bit troubling to me but probably less so to the intended market.

No and yes, I guess. By the specs and pics, it really looks like an GX9 inside in a LX100 body with no modifications.

I think it is a heroic leap of logic to conflate 'Samsung may well be producing a FF BSI CMOS sensor' to the likelihood they well re-enter the digital ILC market. Producing high end CMOS sensor for dedicated ILC cameras makes a lot of sense, becoming a digital ILC camera manufacturer (again!)  doesnt.
According to Thom Hogan there are precisely three manufacturers of large CMOS image sensors for dedicated digital cameras - Sony, Canon and Tower Jazz.
http://www.dslrbodies.com/newsviews/nikon-2017-news/july-2017-nikon-news/confirmation-bias-and-image.html
Once you rule out Canon (in-house, pretty ancient tech) and (at the moment) Towerjazz (busy upgrading Panasonic plants) you are left with Sony. Forget Renasys (acquired by Sony) or Toshiba (acquired by Sony) or Aptina (acquired by ON Semi) or Panasonic (acquired by Tower Jazz). Making large CMOS image sensors isnt easy - from what I remember you get something like 20 FF sensors, 100 M43 sensors or 1000 smartphone sensors on a 300mm wafer - which makes yields tricky the larger you go.
I very much doubt that any camera manufacturer is enamored about buying their sensors from 'Sony' who is pretty much the most aggressive competitor in 'their' space. (Nikon appears to be looking towards Towerjazz but that is a year or two away.) Panasonic/Olympus seems to be working on Sony crumbs (is it really their choice to not have ospdaf?). So for a major very high tech player like Samsung to come in and offer large sized CMOS image sensors makes a lot of sense for Samsung and would likely be welcomed with open arms by pretty much every dedicated camera manufacturer (apart from Sony).

Since we are in prediction land, my two cents:

- The more expensive one will be exactly a D850 mirrorless, with on-sensor PDAF, IBIS and maybe some more video helps (zebras, peaking, etc), but same video quality / specs. Will not exactly canibalize the D850 because of a higher price tag, better performance with F-mount lens and photographers that prefer OFV's.
- The cheaper one will be a A7 III contender, specs by spec.

And probably this will be enough for a lot of people. Their first priority is keeping the current Nikon users on board, still photogs first. Stills photographers still buys much more units than the video crowd. Don't expect 10-bit or 60 fps 4k in this first iteration, maybe 10-bit in HDMI out. They will start with the land that they know.

At the same time, don't think that they will restrain themselves to not canibalize DSLR - jut will try to keep the prices reasonable at the start to get traction (A7 III put a lot of pressure in prices). For me the clearly see the Z mount as their future - that HUGE size, for me, is to have the possibility to go to medium format at the future with the same mount (and use FF lenses with crop), not to make a better IBIS.

You missed out 
C) The official announcement on DPReview becoming a shitshow

I've enhanced the image using the latest Hollywood VFX and I can conclude it's so large because it has to fit in all the video modes..
I can clearly make out 1080 RAW 12bit, 1080 RAW 14bit, 4K RAW 14bit, 4K RAW 16bit, 4K Prores 444 HQ, 5K RAW, 5K Prores 444 HQ, 6K Prores 444 HQ, 8K Prores 444 HQ, but the last two are too blurry - I'm assuming they're 10K to downsample for 8K.

The release button being on the left on Nikon cameras is to do with the traditional functions of the controls on the right on the film cameras, which were for self timer and depth of field preview.
The latter physically engages with the aperture control lever in the lens to stop the lens down to enable the preview so you can retain the viewfinder brightness of having the lens wide open when you are focusing and composing but still be able to check the depth of field before you press the shutter.
This functionality is carried on through all their DSLRs today (along with the additional programmable buttons) which means if you are an old git like me then the muscle memory you've built up from starting with an F2 back in the stone age is still valid on a D5 but crucially the lenses that you had attached to it will still work too.
It might seem archaic in the age of constant preview for mirrorless (and it is for electronically controlled Nikkors) but its still relevant for Nikon as they have that big back catalogue of lenses that don't have electronic control and have to be engaged physically.
I've no idea why they decided originally to put it on that side - though I personally think it makes more sense to keep the lens release away from your 'busy' hand - but once they'd done it they had and have to even now stick to it in order to support all their lenses.
The problem for me comes when I'm swapping between my Nikon/Canon/Panasonic cameras to my Sony/Fuji/Leica/Sigma ones and thinking "where the f*** is the lens release"  
And, like when you get in a different car and try and find the windscreen wipers and indictors, you can guarantee that its on the opposite side to the one you've most recently been using !
The biggest issue is if I use a Leica R lens on my A6500 with the TechArt adapter as I also have to have a Canon adapter in the middle of it and each step has a lens release on the different side so its like doing a Rubik's cube to deconstruct it.

To save everyone else the math, it takes light 8 seconds to travel 2.3 million kms.
I guess that's written the camera off for me - there's no way I can hand-hold something that size, even if it does have IBIS!

The audio could suck with testicle syncs, depending in what kind of film industry you work.

My eyes are watering just imagining what such a contraption would do.
Auto correct obviously decided you wanted to literally have a balls up situation instead of avoiding a balls up of the audio variety.

I have an SD Quattro and the snout is not only big enough to contain a variable ND but the chicken dinner as well.