Here’s the new Fuji X-T4 due to be announced in 9 days on February 26th. Fuji chose to go with the familiar X-T3 body design and add IBIS, along with a fully articulated screen similar to the GH5. There’s now a stills/video toggle on the top panel, but no deeper grip or top-LCD like that found on the X-H1. I am disappointed it is not an X-H2 by design. The X-T4 uses the same sensor as the X-T3 and I am told there is no 6K as originally rumoured, but we’ll have to wait and see on that one.
Rumours have gained pace all over the place about the X-T4 and the discontinuation of the X-H2. I have to say this makes perfect sense if the X-T4 is going to be an X-H2 anyway in video terms. 10bit 6K/60p anyone?
Above: X-T30 versus the EOS RP (coming soon on EOSHD)
The Canon 90D targets wildlife shooters. I refuse to believe we’re a smaller market than wild boar pig lovers.
The 100 megapixel monster announced at Photokina last year has landed.
The Fuji GFX 100 will be shipping from June 30th and it is far better from a video perspective than I imagined.
In fact in many ways, you are looking at the best studio and mirrorless camera ever made, as far as the specs sheet goes.
That larger-than-full frame 44 x 33mm sensor is going to cost you over the usual 36 x 24mm though…
Compared to a high-spec $2000 full frame camera the GFX 100 is $10,000. Even so, this smashes a barrier for medium format pricing compared to the first one to shoot 4K, the $28,000 Hasselblad H6D 100C.
UK based, Japanese owned chip-designer ARM this week announced it is severing business ties with Huawei and others are following suite. Panasonic too, have announced a complete cut in the supply of unspecified components to the Chinese company. According to Nikkei Asian Review, even German chipmaker Infineon confirmed on Monday it needed to “halt American-origin shipments to Huawei to comply with U.S. law”. What hope for Huawei supplier Leica?
Huawei said in a statement to reporters that it valued the close relationships with partners, but recognised the intense pressure they are under as a result of ‘politically motivated decisions’.
Oh look! It’s time for Canon to roll out their old chips again! The EOS RP has an identical sensor to the 6D Mark II, with a micro-lens array design more suited to mirrorless lenses. Canon openly admit in interviews that the RP cannot even do cropped 4K/30p without overheating. Even the modest bump in frame rate would have necessitated “a larger body design”, they say. Not sure I believe them, but clearly the technology is behind the curve.
Most disappointingly of all, it turns out that the EOS RP lacks Dual Pixel AF in 4K video mode, like the M50, which means it’s a “no-buy” from me and better to stick with the EOS R until the pro body is released, which perhaps, is the intention.
Fuji on the other hand – an even smaller, lighter (380g) and cheaper camera has a full-width 6K sensor readout without overheating and most of the 4K video features of the superb X-T3 for under $900, with F-LOG, 120fps 1080p and bonus 10bit 4:2:2 external output.
There is a GULF between Canon and Fuji in their video technology.
Here’s my top 5 cameras of 2018.
Of course we all know “there’s no such thing as a ‘bad’ camera” any more but there is such a thing as a dull, boring rip off. Then there’s the stuff that has a shelf life of a few months, that you just know is a stepping stone before the real deal arrives. In many ways 2018 was a good year to keep hold of what you have and wait for the dust to settle. An eventful one for technology, especially in the second half where we saw some glimpses of the future. In 2018 we had six truly great cameras for filmmakers and a few that didn’t make my top list like the M50 or RX100 VI but which are nevertheless still useful in one way or another.
Back in June I reported on the joint sensor development between Fuji and Samsung. You can read all about that ISO Cell project here. This was 100% not a rumour.
Now you may look at the X-T3 and wonder where the new 26MP sensor comes from.