androidlad

If you have face detection on, AF mode will stay as AF-C even your dial is in AF-S position.

You need to obtain a license to use any of the Olympic footage. http://www.otab.com/faq/

You need to be with an agency to get the press accreditation, the quota for Tokyo 2020 is "only" 6000: https://www.olympic.org/accred2020

Metabones confirmed in email communications that they are indeed working on smart EF-X speedbooster along with several other new products. Nothing imminent though expect a few months wait. X-T3 V2.0 firmware details announced, available December: https://www.fujirumors.com/fujifilm-announces-firmware-updates-for-fujifilm-gfx-50s-fujifilm-x-t3-and-fujifilm-x-h1/

Based on the X-T3 sensor IMX571 datasheet, it's an extremely versatile sensor, look at all these readout modes! (there are two more pages after this but it's about binned modes) Interesting there's dual-gain ADC mode similar to ARRI ALEXA's ALEV III sensor, and the sensor can also operate in global shutter drive.

Because Sony use E mount for both FF and APS-C stills/cinema cameras. A7RII/III have great quality S35 crop mode for video (and stills), but I rarely see people use speedbooster on them.

Yes that's true. From a business standpoint, developing a speedbooster that only works in video doesn't seem viable.

But those cover the whole sensor. For speedboosters to cover FF sensor, medium format lenses is the only way to go.Insert other media

Z6 has no crop in 4K, so I assume such focal reducers are meant to use with medium format lenses? If focal reducers only work in crop mode for video and have to be removed for stills I doubt they are commercially viable.

You're correct. The cropped area is between APS-C and M4/3.

EM-1X takes it a step further, it now works when handheld and the subject only need to be reasonably still (works for portraits), a la Google Pixel 3.

The high-res mode produces 80MP images, and it works even when handheld, at 1/60s.

It has all that and more. My source told me EM-1X has a 40MP sensor and obliterates X-T3 in terms of spec and feature set.

Why do you think 11bit ADC is kickass? It's a quality compromise for readout speed. X-T3 sensor IMX571 operates at 12bit in video mode. IMX461AQR-C_DataSheet(0.4.0)_171121.pdf

Apparently the X-T3 sensor IMX571 is so versatile and cost-effective, Canon will use it on a new APS-C camera (most likely mirrorless).

From GFX100S sensor IMX461 datasheet, the 4K readout is derived from 3884x2912 weighted 3x3 binning using 11bit ADC on the full sensor, maximum frame rate is 30.5fps, rolling shutter is 30ms. The sensor is also capable of line skipped FHD at 60p, HD at 120p.

You're confusing detail with sharpness, there's absolutely no difference in resolved detail between the two, sharpness can be added in post with far more control. It cannot be removed if it's baked in.

What you are discussing here is called Quantum Efficiency, current APS-C/FF sensors can easily achieve 50%-60% QE, so around 1 photographic stop loss of exposure, similar to how our retina respond to light.

So So, colour wise, instead of turning that guy into a zombie, Z7 whitewashed him this time...

4K60P on P4P is upscaled from 2.7K readout. P4P does not resolve more detail than M2P, the strong edge enhancement halo creates a perceived increase in sharpness. 10bit on M2P means complete absence of banding.

Actually there are two aspects to consider for external recording: 1. 422 instead of 420. 422 is beneficial for intense colour manipulation and/or VFX such as keying and compositing. 2. Minimal compression with robust codec such as ProRes/DNxHR. It's very easy to edit/playback in real time. Image quality wise, the difference between external recording and internal 400Mbps HEVC ALL-I is minimal in low to mid ISO. In higher ISO settings combined with low key lighting and/or high detail scenes, H.264/HEVC tend to break apart and shows more blotchness. ProRes HQ/DNxHR HQX are able to retain fine noise patterns for easy clean up in post.

It's called an Easyrig

You should have tested in 4K. the 1080p mode on X-T3 (and on most cameras these days) is not supersampled. It's a combination of line-skipping and pixel-binning, hence the heavy moire.

Ah I understand now, I went through some of images and videos you posted, I agree you totally made the right decision returning everything, as X-T3 doesn't deserve you, neither does 1DX II.

Most of the consumer electronics products are assembled in China, including those more sophisticated than mirrorless cameras. So no, it has nothing to do with the change in country of origin. It could be that very early production batch had rare issue that slipped through QC, this happens all the time in electronics manufacturing.