Simon Young

My thoughts on the Fuji X-H2S
https://www.eoshd.com/news/thoughts-on-the-impressive-fuji-x-h2s/
Did anyone spot a 4:3 anamorphic mode or is it just 3:2 open gate?

...also GH6 images are now available in the 'Video Stills Comparison' tool - this is OM-1 UHD 10-bit versus GH6 UHD and OM-1 UHD 8-bit versus GH6 UHD (it doesn't say if the GH6 images are 8 or 10-bit video)

43rumors run any old bullshit.
Turns out battery is entirely different!


I am sure the stacked sensor is Sony manufactured and the EVF probably a Sony panel.
But beyond that seems OM Digital has custom LSI & firmware, plus many of their own parts.
Camera is assembled in Vietnam.

After a little more testing it is apparent that the phase-detect AF is flat out amazing for video on the OM-1. Really nothing like the GH6.
Really natural movement to handheld shots with the IBIS as well. Especially as you can tune it. High setting for a locked down shot and -1 when you want more fluid movement.
Just trying to figure out of the battery is identical to the one in my Sony A7 IV. Feels like there is a LOT of Sony about the OM-1. Feels like a buy-out by proxy!

I did indeed manage to pick one up from Camarthan Cameras in Wales! Only retailer in entire UK to have a couple of units. Glad I did though as the camera is a miracle in itself. Punches well above expectations.
I am only scratching the surface compared to you Simon, but will get to know it better in coming days. Brought it to Berlin with me. Not even shot any C4K with it yet but in UHD I did play with it a bit and love that you can punch in 1.4x in the middle of a shot with little to no loss in detail. No need to stop recording, you can just punch in and out on the fly.
The IBIS was out of this world brilliant. 1 second handheld photo PIN SHARP
The menus and ergonomics are in top 1% of all cameras. Love the way it feels to use and that they didn't go crazy abandoning the small size advantage with fans and stuff.
I have GH6 with me as well so will be interesting to compare the two. They are very different. GH6 has the edge for high frame rates and overall video specs. OM-1 has a significant advantage in terms of size, weight, ergonomics, stills features and a few unique abilities in video mode as well. The EVF on the OM-1 is superior to the GH6. Out of this world big and immersive, especially impressive for such a small body.
Can confirm the lovely Olympus colours are still present and correct!

It's a real shame they didn't test the DCI 4K option. In both the EM1iii and the EM1ii this is clearly the best option, with significantly more detail than the UHD readout.

Too
Too bad they seem to have fucked it all up once again 🤭
 

what if they'd shot it at like f/5.6 though, imagine how much better it would've looked. maybe they might have even missed focus less?
 
full frame video and its consequences have been a disaster for the human race

I haven't been active on the forum very much recently, but I've still been reading and following discussions with interest. The main reason I haven't been around much is because I've been busy trying to emulate the colours of 35mm film for digital. I've focused on contemporary photo films (as opposed to motion picture film), trying to get as close to filmic colour as possible in Lightroom/Camera RAW. I've got quite good at it now: I can get a pretty accurate match. And I can use the same method to create LUTs for video that are also pretty accurate. However, post processing photos is a bit different to colour correcting video and I'd like to ask the forum's help in trying to figure out a few things in the LUT design.
(To date, I've only tested my technique on GH5 VLog, as that's what I shoot. But the LUT should work on VLog from any Panasonic, although colours will be slightly different as each model has a slightly different colour response.)
There are a few different components to my method:
1.  Match overall contrast
2. Match hue and saturation of colours
3. Match colour shifts in the shadows and highlights
Here is an indicator of its accuracy. On the top is VLog with my LUT and the bottom is the film scan (Portra 400 exposed at +1 stop)


Here's a link to a folder with the LUT. It's for Panasonic V-Log and emulates the contrast and colour of Portra 400 overexposed by one stop and scanned on a Noritsu minilab scanner with slightly reduced contrast. However, I've removed the colour cast in the shadows and highlights for the sake of keeping the discussion simple, for now.
https://drive.google.com/drive/folders/18RiY7dZ6AO87yMKArUvRDNKfouUVCu8H?usp=sharing
My first question for you guys is what do you think about the level of contrast? I've actually reduced it a little bit relative the scanner's default contrast level. But is this the right level of contrast for you?
Even though I've lowered the contrast level a little bit, it might still seem quite contrasty. That's because it's not designed as a "wide dynamic range" LUT that preserves much of the log signal, that you would then do further work upon. It's designed to give a "Rec709" level of contrast, so about 7.5 stops (which has traditionally been accepted as the average dynamic range of a scene). That means if you have a high contrast scene you might need to lower the contrast of the log signal before the LUT. Furthermore, it's designed so that middle grey as shot equals 126 RGB in Rec709 (almost 50 IRE) when the LUT is applied, which is what it should be. So any under or overexposure in the log footage will be quite apparent and require an adjustment before the lut. Basically, exposure and contrast and WB corrections should take place before, not after the lut. And, of course, it should be applied in a Rec709 colour space. If you can find a reliable way of making those adjustments directly on the log footage (you can in Resolve and After Effects, you can't in Premiere) then grading becomes very quick and easy.
Here are a few VLog stills with the LUT applied to show how it handles skintones, saturation and contrast.

I'm currently testing the new OM System OM-1 and all I can say right now is to expect some pretty great video features, some of which exceed the GH5 (no idea yet about the upcoming GH6).
Olympus IBIS has always been the best in the industry. Still is. OM System has done a great job with this camera. I am thoroughly impressed (but I hate the name "OM System").

@kye You’re the guy who wrote that the “new” canons have “clay like skin”? That statement alone kind of disqualifies you from any serious color science debate, no matter how many lengthy posts you write with images from high end productions shot on high res (lol) pro cinema cameras.

Well ARRI already have the 4.5K LF & the 6K Alexa65. So to me that statement was already made a while ago.
Well technically they all needed to be above 4K as their Netflix original content minimum requirements.
This is why so many Netflix DPs dropped the Alexa for RED/Venice. Changed the whole game.
There are real benefits to higher resolution too.
Now wether or not this matters to you the end user watching a show on your 7" iPad is a different story.
 
You're always trying to pigeonhole people in two categories it seems. Very black & white logic. 
Higher resolution is simply an inevitable reality. Tech moves forward. So do requirements. 
That doesn't mean you are directly concerned or that non +4K footage has become obsolete.
Cinema is still 2K, terrestrial FHD and everything goes on the internet..

Do you even read the articles that you link to?
Messerschmidt: We shot 6K 2:1 with a 5K center extraction. This method gave us tremendous freedom in post for stabilization and re-framing when necessary. The editors work with a lot of split screens, so having the extra room to reframe and adjust in the cut is very helpful in that process.
also:
In addition to giving Fincher another crack at getting the exact composition he wants, it allows for the elimination of imperfections in the operating of the camera.
“If you are shooting an actor sitting up from a chair and the operator tilts up with him, you might do 10 takes of that and the operator might keep the headroom perfect for six of them, but if they chose for editorial a take where the operator clips the headroom it can be fixed in post,” said Messerschmidt. “Same thing for stabilization – rolling on a slightly bumpy floor or doing a crane move where the crane has a little wiggle in it or whatever, being able to take that out in post very much informs David’s aesthetic. It lets the show maintain that very ethereal, almost robotic look, letting the camera be anonymous in the storytelling process.”
I was speaking of your average Joe, not necessarily you.
Here you go again pitting one against the other. In your b&w mind one is either pro something or against the other. You cannot seem to fathom a person can value multiple aspects of IQ. Filmmaking is more complex than just resolution & color science you know. It’s not just one or the other. I shoot all types of resolutions, it depends on the project and the budget. I shoot all kinds of brands/codecs/sensor sizes etc. Whatever I feel fits the project. That how pros think and work. Enthusiasts come up with these dead-end theories and tend to clinch to one side.
You seem quite obessesed with color science, especially from ARRI. You keep claiming nothing has improved in that department in over a decade “none” “zero”. Sorry but that’s just plain incorrect, you musn’t have been following much. Canon/Sony/BM keep updating their CS. Canon offers you classic eos cinema color matrix or neutral which is ARRI inspired. Sony has had Venice’s S-Cinetone trickle down to FX/Alpha range. BM are on Gen5 of their CS.
Furthermore, the biggest improvement relative to CS in recent mirrorless tech is 10-bit Log & RAW. These types of codecs finally allow footage shot on hybrids to get proper color grading treatments, and potentially compete/match with big boy ARRI/RED footage.
If your complaining about CS in 2022 on a latest gen Canon/Sony/Nikon/Panny/BMD you perhaps should start taking a look at your grading skills.

I think Canon color science is lovely, right behind ARRI. However they've never really made serious cinema cameras. ARRI is certainly the best with RED, kinda. Most people doing high end work look down on RED. Honestly the Sony Venice seems to have a much better rapport than any RED camera with high end stuff. I've heard a ton of good things about the Venice while RED is constantly hated on.

 I was kind of warming up to the R5C. One big benefit of the camera is the fast readout for low rolling shutter effect in 4k. Dynamic range isn't as good as the C70 though and the micro HDMI makes it a no go for me. How can you sell a $4,500 camera with micro HDMI.

 I still have yet to see a camera that can really do anything against my Arri Alexa, besides resolution. I just don't give a damn about resolution. The Netflix 4k thing is pretty dumb IMO. Almost all big hollywood stuff is shot in 4k anyways and Netflix productions are big money. Renting an Alexa LF or other 4k cine camera is pennies and dimes compared to the cost of the entire production.

Lol... and what other hybrid camera's CS better competes with the $36K Alexa Mini or $150,000 Alexa 65?
You have to be somewhat realistic in your expectations.
I also feel your judgement is clouded by comparing Canon footage shot with a kit lens and a quick grade vs Hollywood movie shot on $30K cine primes and professionally graded by a pro colorist.
When you take the same lens and apply a simple primary grade the difference isn't as big as you may think.
 
This actually means a lot coming from an actual ARRI Alexa owner.
Sorry, but that's such a backwards way of looking at things.

LOL, I'm very familiar with 5D3 ML RAW. Shot with it for years. It had mojo sure! But so does the R series, and as a pro owner I think I'm qualified to "jump in" the discussion. I'm visibly not alone thinking R5/R5C has great CS/skintones. Actually the people claiming poor skin tones etc don't seem to be Canon shooters, including yourself. I'm just curious and challenging these comments. It's ok we don't have to agree, it's a subjective matter. But what are these views based upon? Random YT videos? Mushy old FHD 8-bit 5D3 compressed footage? I'm just trying to understand the point of reference.
Again the point seems moot because R5/R5C has RAW in many flavours if 10-bit 4:2:2 log isn't good enough for your taste.
Or is ARRI Alexa & 5D3 ML RAW the only worthy contenders of good skin tones in your playbook? 
If that's case you might be setting yourself up for eternal disappointment.
 

More biased hearsay. Netflix always pushes for highest resolution and hence most popular Netflix shows like Stranger Things or Zack Snyders Army of the Dead were shot on RED Monstro 8K:

The Cameras Behind Popular Netflix Originals: Films and Series
Of course ARRI get used but Varicam LT & Venice are probably even more popular due to form factor etc. 
In the end though,  it's easy to base your CS reference point from your favorite show/film but again the actual camera used is only part of the equation, most of the "magic" happens in post with the pro colorist grading the footage.
Here is an article about going FF on Ozark with the Venice, a very grade-heavy show. The DP  states:
"It’s been tough with the 4K camera equipment requirement, you’re basically looking at RED or Panasonic Varicam. The last few years have been amazing for cinematographers to have new choices.”
How the Sony VENICE Evolved the Look of ‘Ozark’
And that was already 2 years ago. Today Netflix are pushing +4K capture.
In short, ARRI isn't the only game in town..

People whining about some sort of clay like skin tones with the new Canon codecs/sensors have too much time on their hands, what are you even talking about?
I owned the R5 and it was impeccable as a stills camera, but it certainly had it short comings in the video department - but skin tones and colors are as per usual outstanding, even with the 10bit h265 codec. 
The whole Alexa worshipping is getting ridiculous and if you really want that but can’t afford it, buy the a7siii and Emotive colors -  only 1 percent would know the difference.

People whining about some sort of clay like skin tones with the new Canon codecs/sensors have too much time on their hands, what are you even talking about?
I owned the R5 and it was impeccable as a stills camera, but it certainly had it short comings in the video department - but skin tones and colors are as per usual outstanding, even with the 10bit h265 codec. 
The whole Alexa worshipping is getting ridiculous and if you really want that but can’t afford it, buy the a7siii and Emotive colors -  only 1 percent would know the difference.

Your assumption is faulty because you are basing yourself on 5D3, a 2013 camera that had very soft FHD as it used pixel binning (resolution was closer to 720p) and on top of that had 8-bit compressed files with no log option. The IQ jump from that to 14-bit ML RAW was colossal.
Now the R5/R5C is light-years away from that. The compressed files have super chunky bitrates, downsample from 8K and we have 10-bit 4:2:2 Clog3.
Pop those files in Resolve, and grade your heart away. The image holds. Beautiful skin tones can be achieved.
Use "neutral" instead of default "Eos cinema" in the Log color matrix options and you've got Canon's ARRI emulation. Pop an ARRI lut and with minor tweaks you are almost there. 
Now of course going RAW unlocks the full IQ potential. No doubt about that.
But again the 10-bit compressed files a more than usable and imo have more mojo than Sony as you can turn off NR unlike A7S3/FX3.
In any case you have every option in R5C, shoot RAW or compressed with many bitrate/codec/resolution options.
I agree with most of your points but the thing is, we're not all the same types of shooters. Which is why indeed there is no perfect camera... for everyone or every situation. Hence the lack of consensus on a forum like this.
Obviously some people can't live without IBIS. Others can't without a decent PDAF system. etc
We can also talk aesthetics all day but its such a subjective/endless topic. 
In the end this R5C is either for you or it isn't. Many other options out there.
Not many options when it comes to 8K RAW on a hybrid though. 
Either this or Z9. Problem with Z9 is Zero effort seems to be done on the video OS side.
The brilliant thing about R5C imo is that its two camera systems in one.
R line and C line fused (or rather split) together. That is something new and unique that sort of redefines hybrid shooting.
 
 

Dual ISO is confirmed in the menus and several people show it on Youtube.

I think Canon also removed the IBIS on the R5C. I would actually like that but for some it would definitely fall under the cripple hammer category.

First glimpse of Canon's true flagship mirrorless slated for 2022:
54MP 9000 X 6000 resolution with 4um pixel size
Quad Pixel AF
1/450s sensor readout (2.2ms rolling shutter)
Dual-15bit Sigma-Delta ADC
Fully electronic shutter with no mechnical component (same as Z9).

Some really beautiful footage here from the R3. Will be interesting to see how Nikon's own raw files will compare.
Thoughts on the camera by the guy who shot the video:

No, this camera will not replace any dedicated video camera. The lack of proper video assist tools like built in ND, no false colour, waveform etc means that you do need to carry extra accessories to make it work. I also found the IBIS on this camera to be disappointing. Even inputting the correct focal length in IBIS resulted in shaky footage. You also can't use zebras and focus peaking at the same time which resulted in me missing focus for the last shot :(. This is still a hybrid camera with stills in mind. Quick test in 1080 also show extremely soft images. I would not recommend shooting 1080 in this camera at all unless it's for simple jobs or for fun.

That being said, the 6k on this is... beautiful. My computer can't handle the 6k at all but the final file is gorgeous. I do find the shadows to be much noisier than my C70. Dynamic range is very pleasing and it's quite hard to completely blow out highlights unless you make a mistake or are in extreme situations (like the shot in the bus). The Canon FD primes worked wonders softening the digital edge on the sensor giving it a much more organic look. Files are detailed and rich. The raw is also very capable of making drastic white balance changes without destroying the image. Very happy with the results albeit was a pain for storage and editing.

Number of effective pixels: 45.71 million pixels
Image sensor: 35.9 x 23.9 mm size CMOS sensor, Nikon FX format
Total pixel count: 5.237 million pixels
Dust reduction functions: Image sensor cleaning, image dust-off data acquisition (NX-Studio required)
:
Number of recorded pixels
For FX (36 x 24): 8256 x 5504 pixels (size L: 45.4M), 6192 x 4128 pixels (size M: 25.6M), 4128 x 2752 pixels
pixel (size S: 11.4M)
DX (24x16): 5392x3592 pixels (size L: 19.4M), 4032x2688 pixels (size M: 10.8M), 2688x1792 pixels
pixel (size S: 4.8M)
At 1:1 (24x24): 5504x5504 pixels (size L: 30.3M), 4128x4128 pixels (size M: 17.0M), 2752x2752 pixels
pixels (size S: 7.6M)
For 16:9 (36x20): 8256x4640 pixels (size L: 38.3M), 6192x3480 pixels (size M: 21.5M), 4128x2320
pixels (size S: 9.6M)
File format (quality mode)
NEF(RAW): RAW 14 bit (lossless compression, high efficiency*, high efficiency), size L/M/S selectable (size M/S is 12 bit, fixed to lossless compression)
Fixed)
JPEG: JPEG-Baseline compliant, compression ratio (approx.): FINE (1/4), NORMAL (1/8), BASIC (1/16), size priority or image quality priority selectable
NEF(RAW)+JPEG: Simultaneous recording of RAW and JPEG
Picture Control System: Auto, Standard, Neutral, Vivid, Monochrome, Portrait, Landscape, Flat, Creative
Picture Control (Dream, Morning, Pop, Sunday, Somber, Drama, Silence, Bleach, Melancholic, Pure, Denim, Toy, Blue, Red)
Sepia, Blue, Red, Pink, Charcoal, Graphite, Binary, Carbon), all adjustable, custom picture control
Custom picture controls can be registered.
Storage media: CFexpress card (Type B), XQD card
Double-slot: Sequential memory card recording, backup recording, RAW+JPEG split recording, JPEG+JPEG split recording and card-to-card copying
Copying between cards possible
Supported standards: DCF 2.0, Exif 2.32
Viewfinder: Electronic Viewfinder, 1.27cm/0.5" Quad-VGA OLED, approx. 3.69 million dots, brightness adjustable (auto, manual 16 steps), colour customisable
brightness adjustable (auto, manual 16 steps), colour customisable
Field of view: approx. 100% up/down, left/right (vs. actual screen)
Magnification: approx. 0.8x (with 50mm lens, at ∞, -1.0m-1)
Eye point: 23mm from the rearmost point of the eyepiece (at -1.0m-1)
Diopter adjustment range: -4 to +3m-1
Eye sensor: Automatic switching between viewfinder display and image monitor display
Image monitor: Tiltable 8cm/3.2" TFT LCD monitor (touch panel), approx. 2.1 million dots, 170° viewing angle, approx. 100% field of view, brightness adjustable (11 manual settings)
Brightness adjustable (manual 11 steps), colour customisable, horizontal and vertical tilting
Shutter type: electronic shutter, with electronic shutter sound, sensor shield
Shutter speed: 1/32000 to 30 sec. (steps: 1/3, 1/2, 1, extendable to 900 sec. in shooting mode M), Bulb
Time
Flash sync shutter speed: 1/250 sec. or slower than 1/200 sec. (guide number decreases for 1/200 to 1/250 sec.).
Auto FP High Speed Sync at shutter speeds up to 1/8000 sec.
Release modes: single frame, low-speed continuous shooting, high-speed continuous shooting, high-speed continuous shooting, high-speed frame capture shooting, self-timer
Shooting
Continuous shooting speed: Low-speed continuous shooting: approx. 1~10 frames/sec, High-speed continuous shooting: approx. 10~20 frames/sec, High-speed frame capture (C30): approx. 30
High Speed Frame Capture (C120): approx. 120 frames/sec.
Self-timer: Activation time: 2, 5, 10, 20 seconds; Number of frames: 1 to 9; Continuous shooting interval: 0.5, 1, 2, 3 seconds
Metering system: TTL metering with image sensor
Metering Mode
Multi-pattern metering
Center-weighted metering: Standard (equivalent to ø12mm), Small (equivalent to ø8mm), Changeable to average over the entire image, approx. 75% center-weighted
Spot metering: Measures approx. 4mm diameter, and the metering position moves in conjunction with the focus point.
Highlight-weighted metering
Metering range: -3 to 17EV *ISO100, f/2.0 lens, room temperature 20°C
Shooting mode: P: Program auto (program shift possible), S: Shutter priority auto, A: Aperture priority auto, M: Manual
Exposure compensation: Range: ±5 stops, Compensation step: 1/3, 1/2 step changeable
AE lock: Brightness value lock system
ISO sensitivity: ISO64~25600 (step range: 1/3, 1/2 step), approx. 0.3, 0.7, 1 step (equivalent to ISO32) desensitization for ISO64, approx. 0.3, 0.7, 1 step (equivalent to ISO32) desensitization for ISO25600
Auto sensitivity control is available for ISO25600 with approx. 0.3, 0.7, 1 or 2 steps (equivalent to ISO102400).
Active D-Lighting: Auto, More 2, More 1, More, Standard, Less, None
Multiple exposures: additive, additive average, comparative light composite, comparative dark composite
Other functions: HDR composite, still image flicker reduction
Autofocus system: Hybrid AF (phase detection AF/contrast AF), with AF auxiliary light
Detection range: -6.5 to 19EV (-8.5 to 19EV when Starlight View is enabled) *Still image mode, single AF Servo (AF-S), ISO100, f/1.2 lens
When using a lens, room temperature 20°C
Lens servo: - Autofocus: Single AF Servo (AF-S) or Continuous AF Servo (AF-C), Full-time AF (AF-F) (motion mode only), Predictive Focus
AF-F) (motion mode only), with predictive focus drive
Manual focus (M): focus aid available
Manual focus (M): Focus aid available ・Focus point: 493 points *Still image mode, image range FX, single point AF
AF area mode: Pinpoint AF (still image mode only), Single Point AF, Dynamic AF (S, M, L, still image mode only), Wide Area AF (S, L)
Area AF (S, L), Auto Area AF, 3D-Tracking (still image mode only), Target Tracking (movie mode only)
Focus lock: Press the centre of the sub selector or press the shutter button halfway when single AF servo (AF-S) is selected.
In-body image stabilisation: 5-axis image sensor shift compensation
In-lens image stabilisation: Lens shift method (when VR lens is used)
Flash
TTL flash control: i-TTL-BL (Multi-pattern, Center-weighted or Highlight-weighted), Standard i-TTL (Spot)
Standard i-TTL (spot metering) available
Flash modes: First Curtain Synchro, Slow Synchro, Second Curtain Synchro, Red-eye Reduction, Red-eye Reduction Slow Synchro, Flash Off
Exposure compensation: -3 to +1 stops, 1/3 and 1/2 steps available
Ready light: Lights up when the battery is fully charged when using a speedlight (sold separately), blinks when warning of underexposure due to full flash
Accessory shoe: Hot shoe (ISO 518) with synchro contacts, communication contacts and safety lock mechanism (lock hole)
Nikon Creative Lighting System: i-TTL, radio-controlled Advanced Wireless Lighting, light-controlled Advanced Wireless Lighting
Lighting, Modeling Flash, FV Lock, Flash Color Temperature Information Transmission, Auto FP High Speed Synchro, Unified Flash Control
White Balance: Auto (3 types), Natural Light Auto, Sunny, Cloudy, Sunny Shade, Bulb, Fluorescent (3 types), Flash, Color Temperature Setting (2500K~10000K), Preset Manual
(2500K~10000K), Preset manual (6 settings can be registered), All settings can be fine-tuned.
Bracketing: AE and Flash Bracketing, AE Bracketing, Flash Bracketing, White Balance Bracketing, Active D-Lighting Bracketing
Active D-Lighting bracketing
Movie function
Metering: TTL metering with image sensor
Metering mode: Multi-pattern metering, Center-weighted metering, Highlight-weighted metering
Number of recorded pixels/frame rate: 7680 x 4320 (8K UHD): 30p/25p/24p, 3840 x 2160 (4K UHD): 120p/100p/60p/50p/30p/25p/24p
1920×1080:120p/100p/60p/50p/30p/25p/24p*120p:119.88fps, 100p:100fps, 60p:59.94fps, 50p:50fps, 30p:29.97fps
25p:25fps, 24p:23.976fps
File format: MOV, MP4
Video compression: Apple ProRes 422 HQ (10bit), H.265/HEVC (8bit/10bit), H.264/AVC (8bit)
Audio recording method: Linear PCM (when the video file format is MOV), AAC (when the video file format is MP4)
Recording device: Built-in stereo microphone, external microphone can be used, microphone sensitivity can be set, attenuator function
Exposure compensation: Range: ±3 stops, Compensation steps: 1/3 and 1/2 steps
ISO sensitivity (recommended exposure index)
M: ISO 64 to 25600 (step range: 1/3 or 1 step), with approx. 0.3, 0.7, 1 or 2 steps (equivalent to ISO 102400) increments to ISO 25600.
Automatic sensitivity control (ISO64 to Hi2.0), upper limit of sensitivity control can be set.
P, S, A: Automatic sensitivity control (ISO64 to Hi2.0), upper limit sensitivity can be set.
Other functions: Time-lapse movie, Electronic image stabilization, Timecode, Movie Log (N-Log), HDR (HLG) movie
Active D-Lighting: More, More, Standard, Less, None
Playback functions: Single frame playback, Thumbnails (approx. 4, 9, 72 segments), Enlarged playback, Trimming during enlarged playback, Movie playback, Histogram display, Highlight
Histogram display, highlight display, shooting information display, location information display, automatic rotation of shot image to vertical position, rating, voice memo input/playback, IPTC preset attachment/display
IPTC presets can be attached and displayed.
USB: Type-C terminal (SuperSpeed USB) (connection to a standard USB port is recommended)
HDMI output: HDMI terminal (Type A)
External microphone input: Stereo mini-jack (3.5 mm diameter), plug-in power microphone
Headphone output: Stereo mini-jack (3.5mm diameter)
10-pin terminal: Available (can be used with optional remote cord MC-30A/MC-36A)
Wired LAN: RJ-45 connector
IEEE802.3ab(1000BASE-T)/IEEE802.3u(100BASE-TX)/IEEE802.3(10BASE-T), Data transfer rate(standard value):
1000/100/10Mbps (auto-recognition), Port: 1000BASE-T/100BASE-TX/10BASE-T dual-use port (AUTO-MDIX)
Wi-Fi
Compliant standard: IEEE802.11b/g/n/a/ac
Frequency range (centre frequency): 2412~2472MHz(13ch), 5180~5700MHz
Output (EIRP): -2.4GHz: 8.4dBm, -5GHz: 9.0dBm
Authentication method: Open system, WPA2-PSK, WPA3-SAE
Bluetooth
Communication method: Bluetooth standard Ver.5.0
Frequency range (centre frequency): Bluetooth: 2402~2480MHz, Bluetooth Low Energy: 2402~2480MHz
Output (EIRP): Bluetooth: 2.9dBm, Bluetooth Low Energy: 1.4dBm
Communication distance (line-of-sight): Approx. 10m (when there is no radio interference). Communication distance may be affected by obstructions and radio wave conditions.
Supported satellites: GPS satellites (USA), GLONASS satellites (Russia), Quasi-Zenith Satellite MICHIBIKI (Japan)
Information: Latitude, Longitude, Altitude, UTC (Coordinated Universal Time)
Time adjustment: Date and time information acquired by the location information function can be used to adjust the camera's date and time.
Logging: NMEA format compliant
Logging interval: 15, 30 seconds, 1, 2, 5 minutes
Logging time: 6, 12, 24 hours
Log deletion: possible
Battery: Li-ion rechargeable battery EN-EL18d
Instead of EN-EL18d, EN-EL18c/EN-EL18b/EN-EL18a/EN-EL18 can be used. However, the number of frames that can be shot (battery life) is lower than when using the EN-EL18d.
However, the number of frames that can be shot (battery life) is reduced compared to when using EN-EL18d. Charging using the EH-7P AC adapter is only possible when using EN-EL18d/EN-EL18c/EN-EL18b.
only when using the EN-EL18d/EN-EL18c/EN-EL18b.
Main body charging AC adapter: Main body charging AC adapter EH-7P
AC adapter: AC adapter EH-6d (used in combination with power connector EP-6a) (sold separately)
Dimensions (W x H x D): approx. 149 x 149.5 x 90.5 mm
Weight: approx. 1340g (including battery and memory card, excluding body cap and accessory shoe), approx. 1160g (body only)
Temperature: -10°C to 40°C (-4°F to 104°F)
Humidity: 85% or less (non-condensing)