Tokura claims 8K went on there in an effort to be first ahead of other companies, and that he doesn’t care whether it attracts video users or not.
The CDA-TEK AFX module is capable of autofocus in pitch black dark conditions and in low light so extreme, even Dual Pixel AF doesn’t work. In this Q&A with the creator, we bring you a deeper look at the technology and how the AFX module is designed to be used by filmmakers.
In a historic interview granted only with the EOSHD YouTube Channel, a Canon colour science engineer finally sat down to talk about the EOS R5 overheating issues.
When I began shooting with my own Leica SL2 earlier this year, I found a lot to like about the high-spec mirrorless camera for filmmaking, and of course the SL2 is superb for photography. However, the battery power management has prevented shooting in 4K and 5K reliably, varying depending on the type of lenses used. After making Leica aware of this issue, Leica’s Head of Product Management, Professional Photo System and co-designer of the SL2 Stephan Schulz has been on my case and I have been on his!
The good news is that Leica are investigating the possibility of a firmware update to alleviate the problem and I will be carrying out testing duties for Leica on the video side going forward.
The Leica SL2 battery grip is on the way from Wetzlar and could offer an instant solution, but this needs to be tested. Here we hear directly from Stephan at Leica Camera AG, in this exclusive interview on EOSHD…
There were two highlights of IBC 2019 for me. The Sigma Fp, and the Z-CAM range. From the ground-up the Sigma Fp seems to be aimed at us, at artists. A small and incredibly light camera that hits the big full frame notes, some of the niche features like the digital director’s viewfinder are unheard of in consumer full frame cameras from major manufacturers.
This is clever and will get the camera a lot of use by top-flight talent. Most exciting for me is the focus on the video recording features – which are big step for Sigma and indeed push the boundaries of what we expect from a “prosumer” camera.
- Cinema DNG RAW 4K 12bit to USB C SSD media
- Internal 1080p 12bit internal RAW Cinema DNG uncompressed
- Internal 4K RAW uncompressed (bit-depth drops to 8bit at the moment)
Just last month I went to visit Panasonic UK for a hands-on with the new Panasonic GH5S. My full review is in the pipeline but first an introduction to the new camera on the block…
The GH5S has a newly developed 10.2MP sensor for enhanced low light performance with Dual Native ISO technology, as well as 240fps 1080p S&Q.
For the first time since the GH2 this sensor is an over-sized 1.86x crop multi-aspect sensor. Possible for the first time is 60p at Cinema 4K resolution (4096 x 2160), whereas the GH5 is just Ultra HD 60p. The field-of-view will be slightly wider in Cinema 4K on the GH5S compared to the GH5 due to the larger sensor. The new CMOS also brings colour improvements with a new 14bit readout and less noise.