Aussie Ash

It thought the pic was the new lens adaptor but it is the 180-400mm with built in x1.4 Teleconverter
weighs only 3.5kgs  !!! will she take the strain   ????

I don't see the profesionnal photography market moving away significantly from Canon/Nikon and even less from DSLR to MILC just yet:

World Cup Moscow, June 2018.

Paris Fashion Week
 
Lens selection, OVF, weather sealing, battery life, off-sensor AF, grip, balance with big lens etc.. The DSLR still remains king.
It will take indeed at least another decade imo for MILCs to take over and I suspect it is still Canon/Nikon that will pave the way by adressing things like weather resistance, ergonomics etc.. giving pros a mirrorless DSLR experience.
Sony is more focused on enthusiasts & semi-pros by making the smallest, most compact advanced cameras which is what Japanese tech giant companies aspire to. 
But cramming the most features in the smallest body has it's limitations. Sony are well aware of all this and even somewhat admits to it:
Do you think we’ll see mostly mirrorless cameras at the 2020 Olympic Games in Tokyo?
Yes.
How many of those cameras do you want to be made by Sony?
Many! But the professional market is very conservative, so we’re taking it step by step. We saw some photographers using the Alpha 9 at this year’s winter Olympics but of course the majority was Canon and Nikon. But the number of Sony photographers is increasing.
There have been questions about the weather sealing of a7-series and a9 cameras. Is this something you want to address?
In really bad conditions, in really heavy rain, will photographers keep on taking pictures [for long periods of time?] I don’t think so. In those conditions, most photographers will use some kind of rain cover. But of course durability is very important. Photographers should be able to shoot [in poor weather]. We have an internal ‘weather test’ and for each kind of customer we will aim to produce products with adequate durability.
Is that something that your professional users are asking for?
Yes. But we need a balance between durability, and size and weight. For a professional camera, the requirement for durability is higher, but for hobbyist kinds of camera, the priority is smaller size and lower weight.
 

It is quite a good video. But it seems the first point is glossed over with a pretty glib 'DSLRs will gradually die' approach. I simply dont think you can compare 'milcs taking over from DSLRs with DSLRs taking over from film.'
Consider this. Take a D850 owner who likes its form factor and OVF, has US$15,000 of F mount lenses and doesnt shoot video (my guess, is that most of them dont). And let's heroically assume that Nikon comes out with a 45mp mirrorless that is as good as the A7riii in a 'more ergonomic' form factor. What possible reason would the D850 owner have to switch to Nikon mirrorless (or any other) when their existing lenses wont work nearly as well on the new camera or they have to sell their lenses and buy anew? I dont really see what mirrorless brings to a 'core' D850 owner now or in the future (well apart from silent shooting with a VF). And so Nikon mirrorless and DSLRs are likely to have to live somewhat uncomfortably side by side for a long, long time.
That it is why I think Nikon's marketing of this product is going to be interesting - and perhaps rather different from what many people are expecting.

For the sake of comparisons, here's an article on what our own Andrew Reid had to say on the D850 vs everything:
https://www.eoshd.com/2017/10/nikon-d850-vs-everything/
he concluded with:
Nothing has yet beaten the Canon 1D C’s 4K on pure quality terms, although the GH5 has a better codec.
The Sony A7S II is the closest full frame camera to beat the 1D C’s incredibly cinematic image but it is 100Mbit/s 4:2:0 vs 500Mbit 4:2:2.
The Nikon D850 feels the most like the 1D C out of everything so far – similar LOG profile, the closest colour, full frame with no crop sensor (the 1D C is 1.3x crop, still nice).
The data rate of the codec is around the 150Mbit/s mark so higher than on the Sony cameras.
The detail level is similar to the Sony A99 II in full frame 4K mode with hardly any moire or aliasing. MUCH better than the A7R II full frame 4K.
I had no complaints over the full frame 4K from the A99 II. It’s early days with my D850 but I detect slightly less false colour than the A99 II, possibly even less noise and a more filmic rendering, indeed better colour at first impressions although EOSHD Pro Color 3.0 helps the A99 II A LOT. I’ll do a full comparison later.
Moire is practically a non-issue.
(...)
Now, add on a 4K video mode with image quality to edge out even the best Sony full frame cameras and you have a compelling hybrid.
It also helps that I can actually see my images, because the screen is way better than on all of my Sony cameras!
-----
Now this was written before the alpha iii series but a lot of it still holds true including the codec size & screen resolution.
Also most of the negatives Andrew lists there have to do with DSLR limitations (no EVF, no IBIS, etc) and lack of good video PDAF.
Video AF is to me the big question mark but i can't imagine Nikon not responding to dual pixel tech from their main competitor, Canon.
but in the end if you are a Sony shooter, i agree best is indeed to look past all this and hope towards the A7SIII..

Well, thats set the frenzy off on that site good and proper hasn't it?

"So, as you can see, its probably a 67mm thread on that lens, which if we also reference it to the available data on average index finger length of South East Asian females in the 20-26 years of age group we should be able to extrapolate the exact dimensions of the camera and have a 3D printed model ready before bedtime"

Putting my Sonys on eBay as we speak

You may find this helpfull
 

For those of you forward thinking enough old lenses which are of good quality but lack IS, whether Nikon or canon, will me a lot more desirable if IBIS comes to their mirrorless options. For instance the ef 400 5.6 suddenly becomes a great modern lens and its price might rebound to reflect that.

Something I think is interesting that nobody seems to be talking about is the fact that 3rd party adapters will likely be available to adapt Canon DSLR lenses to Nikon are vice versa. I have no doubt CaNikon can pull off good adapters for their own systems - Nikon did it years ago with the 1 system and Canon has done it with the EOS-m - and I'm sure an adapter for a $3-4000 FF camera with as much riding on it as these releases have will be better. But it really opens up some interesting possibilities to mix in glass from the other side or tinker with a body that would be incompatible in DSLR-land.
Chris

Yeah, I know, couldn't stop staring at her Lav!!!

It might surprise you but I don't read every thread on EOSHD! 
So only just saw this and, whoa, that lav in the opening scene is massive compared to the top she is wearing! The lav is almost giving her more coverage than her clothes.

Now we all shoot at 800 asa. actually, I have heard some younger people get upset if they can't shoot at 1600 asa.  Pretty amazing to me.
Since most modern cameras can do this easily, and that gives you enough natural light in most locations, you just come in and shoot.  The style these days is use what already exists, and augment the lighting, and use grip to subtract light.
Subtracting light.  Before ASA 800, when many of us were shooting at around 200 ASA, you would add light.
Now we show up, use a window light - maybe put one light outside of it, and then 4-7 pieces of gripwear to cut it. 
Toppers, cutters, siders, eggcrates.   
But a recent job I did for a liquor commercial, we were shooting with the digital bolex as a b camera.  The bolex is a beautiful organic image, with a ccd sensor for beautiful motion and the ability to use 16mm glass, which is beautiful and lightweight.  We lit for this camera's low native iso, and the A camera, the alexa, we set at 200 ASA as well. 
At 200 ASA, I was back to where I started 10 years ago, and it was thrilling again.  
Light didn't spill all over the place - it faded into the darkness, had lots of falloff - and everything was deliberate. We Could liGHT up spaces deep in the bar with red color, and push light into areas we wanted, and hide the rest.  It was easier to do, since there were less stands to place on the ground and less rigging to do.
Grip takes up a lot of space and stands.   Lights -  not as much.
And we ended up making the bar more interesting than what it was - we transformed it. 
(I'll post videos and stills once the spots are released.
It was putting on a different brain from an earlier era - cause we had to move a different way. 
And we painted with 1k tungsten lights in a jem ball again and got that tungsten warmth again.  That color of a tungsten fresnel - it has a golden warmth to it.  Coming back to it, it reminded me of how unmatched by LEDs which have more green and yellow in them than that pure lovely orange glow are these chinese balls.
To rediscover those old tungsten fresnel units, that was also important to me.  These old lights you can now get as every grip house throws them out, as the world has moved onto led lighting like skypanels, these old lights are a thing of beauty.

The issue is logistics. 
The show I’m on now shoots in Atlanta but editorial is in LA.
Dailies needs to be available next morning synced and ready to edit.
We shoot three cameras on almost every scene.
We shoot about two hours per camera per day of footage.
Ar least once per episode we shoot 2 units so you can double that again. 
That’s a lot of footage that has to be graded, transcoded to DNX (Avid) and stored safely in three locations (archives).
Every day.  For weeks and weeks.
RAW data rates would swamp a production.  
The network I currently shoot for AIRS in 720 and masters at 1080.  They don’t need RAW.  There’s ZERO advantage, especially if you’re shooting a nice 12bit file like ProRes 444.
JB
 
 
 
 

I don't mind if the mount is MASSIVE! Always them to put a crop Medium Format sensor into the body in the future?
 
31 - 23 = 8 seconds
 
With some more maths about what we know of the speed of light.... we can calculate the body size of this new Nikon camera!
 
Bang on! NR said 23rd of July

NikonRumors is much better than many of the other rumor sites in my opinion, been a reader of them for many years. 

Pretty epic teaser! 
Looks like NR was accurate with the scheduled announcement info, big budget marketing campaign etc. Here is the recap:
 
We are one week away from the rumored new Nikon full-frame mirrorless camera announcement. I have received some new pricing information, this time from Europe (I assume the prices are for a lens kit):
Nikon 45MP full frame mirrorless camera: €4,000 (around $4,670, 20% VAT included in price)
Nikon 24MP full frame mirrorless camera: €2,500 (around $2,900)
One possible (rumored) scenario is that 45MP Nikon mirrorless full-frame camera will be announced first (at the end of July) while the second 24MP Nikon mirrorless full-frame camera could be announced at Photokina. The shipping of at least one of the new Nikon mirrorless full-frame cameras is rumored to start at the end of August or in early September.
The upcoming mirrorless full-frame camera is rumored to be the most expensive Nikon marketing campaign ever with bloggers meetups in exotic locations and maybe even some celebrities involvement.
Here is a recap of the already rumored Nikon mirrorless full-frame camera details:
Two Nikon full-frame mirrorless cameras expected: one with 24-25MP and one with 45MP (48MP is also a possibility) - I reported the two sensors configurations in October last year. BSI sensors (supposed to be a new tech with advanced AF).
Similar body size to the Sony a7 camera but with better ergonomics and a better grip. Nikon is putting a lot of emphasis and effort into the shooting experience of the new mirrorless camera. The camera was designed with ergonomics in mind.
5-axis in-body stabilization
9fps
New mirrorless mount. We already knew that,  but the number I was given this time is 55mm. The Z-mount dimensions I reported a few months ago were 49mm for the actual opening and 65.4mm for the entire mount diameter.
The new mirrorless mount will allow for f/0.95 lenses - remember the NOCT trademark and f/0.9 lens patents?
Memory cards: XQD and CF Express - now this is a surprise for me, but it is what I have heard (ProGrade is coming with a CF Express card).
EVF resolution: 3.6MP (update: I am not sure if this is MP or million dots, the translation could be wrong since the specs originally came from Asia)
Initially, three lenses will be announced: 24-70mm f/4, 35mm and 50mm (I think the 35 and 50mm will be f/1.4). There is also talk about a 24mm, but it may come later.
 
Read more: https://nikonrumors.com/2018/07/15/one-week-away-from-the-rumored-new-nikon-full-frame-mirrorless-camera-announcement.aspx/#ixzz5M4GIElBq

Andy Lee is supposed to be doing a short film using them,unfortunately he is not on these forums much these days.
The guy at "Ironglass" could probably put you in contact with him.

If anyone is interested in the VFX of the movie, you can take a look at this BTS/Breakdown:
 

1. Thank you! I really appreciate this. We don't really think so mush about this, we just do films the way we like to watch films ourself. (and we don't watch a lot of Beck) 
2. It wasn't that hard. I attach some BTS stills of the camera
3. Of course! Easter eggs from most of my favorite films can be spotted in the movie. I'll send you a dammsugare if you can spot homages to The lord of the rings, Jurassic Park, Lost and Home Alone.
 
I think this is the numbers you are looking for:
120 shooting days
79 hours of raw material
420 vfx shots
19 crashed cars
Over 1000 extras
360 000 liter rain
3 broken bones
82 locations
3000 liter coffee
7 liter fake blood
 

(No spoilers ahead)
I went to see this as it premiered last Wednesday and was blown awat by what they're pulling off compared to typical Swedish feature film productions. I also went to an event the week before with FSF (SSC - Swedish Society of Cinematographers) and heard the DP Hannes <insert last name> talk about the movie together with the colorist Ola Bäccman about the process of making the film. An additional "WHAT?!" factor, on top of the lens choices, is that they shot the entire thing in FS7:s internal XAVC-I codec except for some green/blue screen work where they went with raw.
I've followed their work for years, and seeing their first feature on the big screen was truly a humbling and epic experience. Given the budget, time, experience and all that they managed to pull off an amazing film which easily lands in the top 3 Swedish films ever made in my book. My girlfriend, who didn't know about Crazy Pictures before going to the movies with me shares my enthusiasm. On top of her reaction, there was a woman in the seat next to me who was literally at the edge of her seat from 5 minutes into the movie until the very end.
TL;DR: Go see it!!!!!!

"Bra Fumbler"

"Bra Fumbler"

http://www.canonrumors.com/video-capabilities-will-be-at-the-heart-of-all-future-canon-prosumer-camera-bodies-cr2/

Soooo........ "perceived" feature set? Does that mean we'll finally get proper full HD out of a Canon stills camera? Only for them to then dress it up (or rather up scale it) and call it "4K"! ha ?

This is probably a bit low brow on populist for most of you  but anyway....
So I went to see Jurassic World in 4DX the other night.
Not a great film but definitely a great experience.
I don't really know what I was expecting, maybe just a bit of motion rumbling in the seat and a few gimmicks of the odd tiny blast of air and a bit of water but it was way beyond that.
Of course, its not going to work with every film type but with something like Jurassic World you've already left any pretence of high brow at the door anyway so if you're going to go for it then you might as well really go for it.
The range of movement in the chair was way beyond what I was expecting both in distance and velocity which made every crash or shock point really shake you but I was also surprised at the subtlety that really put you inside the aerial shots and also when the camera was tilting up to reveal something.
The air jets coming from the front were obviously good for weather stuff but the ones in the head rest were very effective for bullet fly bys but the big surprise where the ones behind your calfs which they used to simulate little creatures running around your ankles.
And honestly, the rain effects with the water spray were fantastic !
As an old cynic, I shouldn't really be getting excited by this stuff but I had an absolute whale of a time as did everyone else in there. Its a long time since I've left the cinema and people have seemed as euphoric as that. 
And that is with what is a decidedly iffy film as well.
Also, as I've said before on here, we really all did give up on 3D too soon.
I would love for Spielberg to do a version of Saving Private Ryan for 4DX as it would lend itself very well to the inclusive immersion aspects.
Flame away

Lomo Anamorphics on a Red Dragon  by Chris Leclerc

Looking back I owe everyone a big thank-you for using the forum and taking an interest in the blog, it is amazing what it has turned into with so little effort on my part  I think this place must be the only website on the entire internet without adverts. Long may it continue like that.
Got a GX9 arriving tomorrow... about time I did a review of something cheap with the big shift to high-end stuff. Let me know what you'd like to see in the review of it.