Django

Looks like the mirrorless FF war just got a new contestant..

– Announcement before Photokina
– This is a fixed lens Full Frame camera
– It uses Sony tech (probably RX1II based).
– Price around $3,000
– Probably has a prime lens (35mm f/2.0?)
– Slightly bigger lens construction than you get on the Sony RX1 series.
– lens is autofocus

https://www.sonyalpharumors.com/sr5-first-image-of-the-new-zeiss-full-frame-camera/

No AF mode switch is of bigger concern to me.. hopefully the front FN buttons can act as AF-S/AF-C toggles.

that LCD bezel...

Also if AF is important, I find the even basic implementation of Canon's Dual Pixel on the C100s more reliable than the video AF from any current competing camera brand..

@Simon Young I agree there are certain amount of little quirks Fuji need to address however i've never experienced "moiré in 4K"? in pixel binned 1080p & slo-mo however yes..

6 hours ago, MdB said:

Canon are perfectly happy for them to. Have you not paid any attention to the camera market over the last half decade or more? That's like on the eve of the 36MP D800 launch people standing around saying Canon won't let Nikon eat their lunch and will have a high MP camera immediately after... years later we were still waiting. Yes I think they'll eventually do something, but they also don't want to cut their own grass. 

I don't care about peaking or zebras as I get that in monitor. 120fps would be good for some things, but honestly hoping the LX100 II will have 120fps and that will do me fine. 

 

Pull the trigger today mate.. but don't come crying in a month or so.. 

I know a lot of recent D850 owners with buyers remorse right now  

Agreed with the above. With +4 hours of battery life, unlimited record time, dual SD slots, ND filters, internal stereo shotgun mic (and XLRs if needed), Dual Pixel AF, a 4K downscaled to 1080p sensor, uncompressed 4:2:2 recording via HDMI, top handle and pivotable side grip ergonomics allowing steady shots without IBIS, Super35 sensor from the C300, peaking/zebras/waveform assist.. and it's current price tag, the camera still easily surpasses most current cameras in quite few departments..

10 hours ago, Tone1k said:

Yep, not even the FS5 does 10bit 4K. 

If Fuji delivers, I'm not sure why people would be so dismissive of this camera. 10bit, great colours straight out of camera, 4k60p and the best lenses if you want to stay compact.

It's what everyone wanted a year ago and all you really need today for 99% of the time. 

Hey Fuji, now give us an FS7 or C300 style camera with XLR and TC inputs, high data rate recording (ProRes or Dnx?) and paired with your wonderful and affordable fujinon cine zooms, we'd have a great A and B Camera system. 

agreed and let's not forget internal DCI 4K/2K which neither FS5 or A7 series allow neither. 

now if Fuji manage to eliminate the 4k crop this could be a very serious alternative to Super35 cine cams imo. in any case a solid B cam indeed.

@Danko announcement is in 1 day 19 hours... but best believe this is only the start of their marketing campaign.. Notice the coming soon slot after "Photographers": https://www.nikonusa.com/en/nikon-products/mirrorless-is-coming.page

Btw, there is no official mention of anything specific on the stills side either (AF, megapixels, DR etc).. just generic stuff like "more pictures you take the greater it is" "shooting becomes addictive" "when you zoom in you're still super sharp" lol.. 

Well most current cine cams if you consider APS-C = Super35

My C100 mk1 (w/ Dual Pixel AF) is by far my best camera investment ever, and still goes strong in 2018 imo. so much so that i cancelled my C200 order at last minute. As much as I want the C200 i know it's going to sit on my shelf collect dust 95% time. I'll just rent one when need comes. C100 is already max size for most of my run & gun needs. Hell i hardly bring my DSLRs out aside for day long events. MILCs really got us spoiled!

Your money, your call pal.. but Canon aren't going to let Nikon steal all the thunder in the upcoming mirrorless wars presenting themselves in a month at Photokina and a mirrorless 5D4 could signify less 4K crop, less rolling shutter, 120Fps 1080p, zebras/peaking, IBIS etc in a lighter form factor which would be substantially more interesting for video. Of course mount, lens options is the biggest unknown at this point..

XT3 pricing may be the best part as it's rumoured to be under XT2 retail (at launch) due to manufacturing now shifted to China (meh). 

This would make it by far the cheapest 10-bit 4K60p APS-C camera system right?

Looks a lot less ridiculous than this imo..

Next teaser should logically be "Videographers"

Good to know, but at this point I'd probably wait for the Canon FF mirrorless announcement..

https://www.canonrumors.com/canon-full-frame-mirrorless-talk-cr1-2/

By "he" i assume you mean George Lucas. And by "The Star Wars movies" i assume you are referring to the Prequel Trilogy. FYI the original trilogy each had different directors and was obviously shot on film during the 70s/80s. Episode 1 from the prequel trilogy was shot on 35mm in 1999 with some digital scenes, and Episode II is pretty much the first hollywood film shot digitally. It's quite well known Lucas pioneered digital cinematography in the early 2000's with the HDW F900. Not sure what you'd have had him shoot on, not like there was a gazillion 24fps high-end digital cameras back then. Finally Episode 7,  was shot on 65mm film by JJ Abrams and Episode VIII by Rian Johnson on various formats as stated previously including 35mm/65mm. So you see it is hard to dump all Star Wars films together.. 

Sorry for the OT

@webrunner5 Not sure what you're arguing about, I'm just stating you facts. The last Jedi was primarily shot in 35/65mm on Kodak film & Arri Alexa/Alexa65.

edit: I see you modified your post with the correct info but still not sure what you are refering to with "from the Original Sony ENG cameras till now with Reds.." ?

@webrunner5 we must have different definitions of filmic/cinematic. and FYI Mission Impossible Fallout, Ready PLayer One (latest Spielberg) & Star Wars Last Jedi.. all 2018 blockbusters aimed at younger audiences and just to name a few were all shot on Real Film.

@jonpais highly doubt his camera is defective.

different opinion from a Red user..

Maybe the lock is on the top off/on lever  like the original 5D (off/on/lock) or maybe the mock-up missed it.. or maybe it’s just absent?

Hadn’t thought of that before but does any mirrorless camera even have a lock switch/mode?

By the way, the 16.9 lcd is an interesting remark and a positive one indeed for video specs!

33 minutes ago, kye said:

I definitely agree with you around the reluctance of the pro market to adopt new technology.

 

I don't think it's so much a reluctance to adopt new technology, rather than proven new technology. Up until today, we've only really had Sony for FF mirrorless and although they have really pushed the envelope tech wise and should be saluted for that, they have also been plagued with issues like overheating, battery life, weather sealing, ergonomic issues etc. causing concern/doubt in the pro world (where a missed photo could be a missed paycheck).

26 minutes ago, Robert Collins said:

I sort of feel that pro photography will dramatically change over the next 10 years rather more than the equipment.

Those rugby scrum photos look kind of 2000s to me. How many of those photogs will have a job in 10 years? I just dont really see the need to pay 300 people to take exactly the same photo at 10 frames a second in a modern world.

 Most likely people will be taking stills from video at sporting events like the Olympics and World Cup.

No. World Cup & Olympics aren't going anywhere and these are global events, which means global press which equates to hundreds photogs. As for stills from video taking over, not going to happen as well. You aren't going to have hundreds of video cameras pointed at all the field & off-field players from all angles at all times during multiple games overlapping each other.

Let's face it some things are here to stay. By following some of the logic i'm hearing, smartphones will have wiped out photo & video cameras by 2020.

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.

the same exact lens can be purchased now for.... $835 ?:

http://buyee.jp/item/yahoo/auction/o229975504

from the serial number difference it doesn't even seem that rare..

1 hour ago, webrunner5 said:

I have never owned a DPAF anything so have no clue how well it works. With as small of a box the early ones use I don't see how it can be much to write home to mother about other than on a Tripod locked down.

I would bet if you handed a Canon 1D mk IV and a Nikon 4s to a person that never shot anything they would have a lot more keepers on the Nikon than the Canon if they shot several different situations without going into the menu, and going eeny, meeny, miny, moe on the Canon. Before DPAF Canon AF Was stupid complicated. That was most of the reason the 1D mk III had so much problems with AF. They eliminated a lot of the "crap" in the mk IV,  but it still was more cluttered than it needed to be.

 

Ok now it makes sense, as you're comparing a 2010 camera (1D IV) to a 2014 one (D4S). That's a giant leap in high-end camera tech. Just take the 2011 Canon 1DX and the convoluted AF config of previous models got a complete simplified overhaul with 6 presets and track sensitivity bars among many other enhancements.

Gotta compare what's comparable just like the A7III's AF is light years ahead of that of the original A7.