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About ac6000cw

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  1. DPReview has published some R5 ii spec clarifications today (my bold):
  2. Yes, or ZV-E10 ii for the smaller size/lower weight and probably better on-board mic system.
  3. (multiple post deleted)
  4. Not in mine (the UK) e.g. https://www.mpb.com/en-uk/product/sony-alpha-a6700 (between £1400 and £1500 used, which is almost the same as the new price, versus £924 for the ZV-E10 ii). Used FX30 - https://www.mpb.com/en-uk/product/sony-fx30 (actually higher than the new price with the current cashback promotion of £1699). The high used prices will just be a reflection of their popularity at the moment.
  5. I think Fuji's camera division is one of the best managed of the major players.
  6. Only in a very niche segment with the GH7 (that other major companies aren't interested in). The S5 ii is aimed at the 'high perceived value' segment by majoring on firmware features while keeping the hardware costs lower by using an older/slower sensor and sharing a body across multiple cameras. It would be interesting to know how profitable (or not) the Panasonic camera division actually is.
  7. But the FX30 is almost twice the price, much heavier and larger - they're aimed at different users/market segments. A size comparison of the ZV-E10 ii, A6700 and FX30 which (AFAIK) all use the same APS-C sensor and battery - https://camerasize.com/compact/#927,910,895,ha,t I think as far as Sony is concerned, 'you pay your money and take your choice' (or consider the Fuji X-S20 instead).
  8. From the DPReview initial review (my bold):
  9. From DPReview: R1 - https://www.dpreview.com/news/5361436240/canon-announces-eos-r1-flagship-sports-photojournalism-camera R5 ii - https://www.dpreview.com/reviews/canon-eos-r5-ii-initial-review
  10. That's basically an amplified version of the sensor background noise (its 'noise floor') - it's not 'mosquito' noise. (And what's 'violent' about lifting the shadows in video? - 'dramatic' or 'drastic' might be a better term to use)
  11. The Sony ZV-E1 is smaller and slightly lighter, has the same full-frame, video-orientated, fast readout 12MP sensor as the A7S iii & FX3, I assume records gyro data for post-stabilisation and has a much wider range of lenses available. It's more expensive than the S9 at the moment, but E-mount versus L-mount lens costs might reduce that difference.
  12. Isn't the 'mosquito-noise' more likely to be the result of the high levels of compression used for the streaming? (Mosquito noise as defined here - https://en.wikipedia.org/wiki/Compression_artifact#Mosquito_noise )
  13. E-M1 iii hdmi RAW output uses a center crop - it's the inner rectangle in the graphic below (from the video at 4:39): AFAIK, Nikon also use sub-sampling for some frame sizes of N-raw video, and ProRes RAW, BRAW and N-raw use lossy compression - so you don't really get raw sensor data, it's always been processed. The main point of (pseudo) raw video is to give you files with higher bit depth and DR (than e.g. 10-bit log) plus probably metadata about the sensor characteristics to allow more latitude to adjust color balance, correction, exposure etc. in post. This is the same guy's general take on using OM-1 for video (which I'd mostly agree with): Not raw video, but this is DPReview's video test chart comparison of DCI 4K on the OM-1 (10-bit) and GH6 - they are very close in sharpness/resolution and having minimal aliasing/moire. That suggests to me that for internal UHD/C4K 10-bit video at 24/25/30p, the OM-1 is using over-sampling, not line-skipping.
  14. Yep - it's exactly what you'd expect a major consumer electronics company to do (and Sony has been a pre-eminent one of those for many decades), and is pretty much what they've done in the full-frame MILC area - pushing out five generations of A7 cameras in a decade, including standard, high res (R), compact body (C) and video orientated (S) versions.
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