Preview – Anamorphic goes medium format with Fuji GFX 100 and a look at the Leica SL2 5K 4:3 mode

This will be a short introduction before I get down to shooting with the beasts you see above.

On the left we have the Leica SL2, which features a 5K anamorphic mode (4:3 aspect ratio) that records in 10bit LOG format.

On the right we have the Fujifilm GFX 100 which is my first medium format camera that has been useful for cinema. However one ingredient has been missing with medium format and that is anamorphic!

Read morePreview – Anamorphic goes medium format with Fuji GFX 100 and a look at the Leica SL2 5K 4:3 mode

What REALLY prompted Canon suddenly to get their act together with video?

If EOSHD were a record player, there would be one particular groove it just couldn’t get over. It’d be the part of the record where she sings “why are Canon’s video specs so rubbish and where is the Canon full frame 4K high end mirrorless camera?”, and admittedly this isn’t the stuff of a number 1 hit single. I for one am very grateful the fat lady has finally shut up. I cannot put into words how relieved I am to no longer have to complain about Canon! Even the site name now makes sense! That gamble I made 10 years ago in believing Canon would run away with the DSLR video scene may yet pay off! It’s just that I’ve spent the first 10 years shooting mostly Panasonic and Sony. Canon seriously dropped the ball and for the longest time just didn’t seem to listen.

Speculative reasons for this have been legion – some say Canon lacked the technological capability to compete. Some say Canon wanted to avoid cannibalising Cinema EOS sales, or that Canon simply didn’t see a market for full frame 4K after the relative failure of the 1D C. Some say their sales had an unassailable lead with just 8bit 1080p (especially C300 and 5D Mark III) so why bother trying harder?

Now there’s another interesting theory, that Canon R&D works on a 10-year cycle with a big leap ready to storm the market at the end of each cycle, building on the initial success (reusing sensors in multiple bodies) with incremental improvements for 8-9 years before the next big leap. Let’s go all the way back to 2000 with the genesis of the Canon DSLR and CMOS sensor technology, fast forward 10 years and the cycle has resulted in a 5D Mark II taking the world by storm, a big leap on everything that went before and ahead of every other competitor at the time.

Fast forward another 10 years to 2020 and Canon looks to be doing a similar thing with the EOS R5. Could it be that Canon are just conservative, slow to make major moves, very calculated and taking the long term picture into account?

Read moreWhat REALLY prompted Canon suddenly to get their act together with video?

Inspecting the Fuji GFX 100, and having a cup of tea

Fujifilm GFX 100 with Canon Dream Lens

I often look at the 4 or 5 cameras in my bag and think “this cost me far too much and they’re all the same”. Then I have a cup of tea and try to forget about it.

Yes it’s true, the full frame market is overcrowded and image quality differences between them are getting smaller. What about selling 3 or 4 of those cameras, I thought to myself… And consolidating them into one giant mad one.

Read moreInspecting the Fuji GFX 100, and having a cup of tea

Canon EOS R5 8K video – It’s official – Monster camera puts Canon back in the match

A complete change in policy at Canon has transpired. The company has decided to compete in the mirrorless cinema market. With Cinema EOS established as a separate business, it seems the stills camera are off the leash. What a fantastic day it is for camera nerds and filmmakers alike who can rejoice in the specs and the creative possibilities of Canon’s new EOS R5 with 8K video and cutting edge new sensor technology.

Read moreCanon EOS R5 8K video – It’s official – Monster camera puts Canon back in the match

Upscaling the first 1896 Lumière Brothers film recordings to full colour 4K/60p with neural network engine

Lumière Brothers 4K

Shot by the Lumière Brothers in 1896 this is some of the first footage committed to film. There is now a technique to upsample this footage to high resolution 4K/60p using neural networks. Here it is in action on the piece “Arrival of a Train at La Ciotat”.

Read moreUpscaling the first 1896 Lumière Brothers film recordings to full colour 4K/60p with neural network engine

Canon officially confirms – 8K EOS R is in our roadmap

Yesterday all sorts of rumours started flying around about an EOS R5 with unbelievable video specs. A dream camera. I didn’t believe it. However, further digging by users of the EOSHD Forum, reveal Canon are officially on the record – an 8K EOS R is coming. As well as this, there are some interesting technical aspects in the alleged “leak” which – despite the unbelievably high specs – do actually add-up.

Read moreCanon officially confirms – 8K EOS R is in our roadmap

Sigma Fp Review – Part 2 – A few bugs you need to know, and comparison to Leica SL2

Sigma Fp vs Leica SL2

Two of the most unique cameras on the market today are both L-mount with 10bit capabilities in 4K. The Sigma Fp of course shoots Cinema DNG 4K RAW at up to 12bit to SSD via USB C and 8bit RAW internally. The Leica SL2 shoots very high quality 10bit 4K LOG internally with more of a passing resemblance to Arri Alexa colour science and LOG profile.

I thought I’d get to know the two, if that’s the case!

Read moreSigma Fp Review – Part 2 – A few bugs you need to know, and comparison to Leica SL2

Canon 1D X Mark III with 12bit 5.5K RAW in-depth – FINALLY Canon get serious about DSLR video

We have waited a long time for today – a true Canon 1D C sequel. This is also the first time since the 2012 Canon have released a ‘cutting edge’ DSLR for filmmakers. There’s good news and bad news – of course it costs $6500, has no EVF or IBIS by nature and many will say the form factor is obsolete compared to the full frame 10bit mirrorless competition.

Canon’s Larry Thorpe has published an excellent technical white-paper with the camera, so let’s take an in-depth look at the video specs…

Read moreCanon 1D X Mark III with 12bit 5.5K RAW in-depth – FINALLY Canon get serious about DSLR video