Fuji X Pro 2 review – a Leica killer. Also a surprisingly capable Super 35mm cinema machine?

Leica are really going to after pro video shooters with the SL.

Meanwhile RED are persuading medium format photographers to use a 6K Dragon or Weapon.

A gap in the space/time continuum captain?!

Step forward the next specialised tool to turn camera-chameleon: the Fuji X Pro2.

Read moreFuji X Pro 2 review – a Leica killer. Also a surprisingly capable Super 35mm cinema machine?

New footage and test of the $995 Blackmagic Micro Cinema Camera

The Blackmagic Micro Cinema Camera is the not-quite-a-replacement for the Pocket Cinema Camera.

Although lacking the ready to shoot straight out of the box form factor of that camera, the new model adds a switchable rolling shutter / global shutter mode as well as high frame rates.

10bit ProRes, 12bit RAW and 13+ stop dynamic range for $995 round out the spec.

Read moreNew footage and test of the $995 Blackmagic Micro Cinema Camera

Sony FS5 codec problems and 4K ripped edges bug

The Sony FS5 has had a largely warm welcome from the video community but there has been one thing bugging a lot of owners and potential buyers alike – the quality of the internal codec.

Just how good or bad is it?

Read moreSony FS5 codec problems and 4K ripped edges bug

Shining a light – Sony A7S II first impressions & 4K S-LOG 3 clips for download / grading

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The Sony A7S II has arrived at EOSHD. Does it impress? Yes.

Before my full review, I can give you an initial brain-dump of what I have noticed so far.

Read moreShining a light – Sony A7S II first impressions & 4K S-LOG 3 clips for download / grading

Panasonic GH4 vs Sony A7R II in low light – Speed Booster Shootout

When you have a Need For Speed there are two people you can call – Shane Hurlbut or Metabones.

The Metabones Speed Booster adapters give us apertures as fast as F0.64 from the rare Canon EF 50mm F1.0.

The XL 0.64x version fits the GH4 and turns the scruffy 2.3x crop 4K into a shiny Super 35mm unicorn. F1.2 becomes F0.88.

The Ultra 0.74x version for E-mount fits the A7R II and turns the Super 35mm mode into full frame, with the benefit of 1 stop gain in low light and a further 1 stop gain in noise performance over the pixel binned full frame mode.

Read morePanasonic GH4 vs Sony A7R II in low light – Speed Booster Shootout