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I'm assembling and adjusting the first 100mm prime right now. Samples of the 100mm and 32mm should be ready by the time Cine Gear rolls around. Another two (50mm and 150mm) hopefully by the end of the year. The "in-betweens", 40mm, 60mm, and 75mm will likely not appear until next year. I'm not sure about the adapter schedule yet.

I need to test the HLG but even with EOSHD color profile I wasn’t happy with the color on the r3. I know it’s subjective but I just can’t get over it. I’m in alaska right now shooting on my 1DC and I’m so happy with the color and image quality. Also using a big hefty body in -3 degree weather that’s designed to withstand that temperature is so nice.

hi guys, i have travelled to Patagonia a month ago and put this film together. Was also shot entirely on Samsung NX1. Would love to hear your thoughs :

I've built prototypes of an iscorama-style single-focus adapter, but its really only suitable for shorter focal lengths in the 35mm to 75mm range. Also, its a bit large, and the front element moves during focusing, which may cause some issues with matte boxes. I'm also building a second type better suited for longer focal lengths in the 75 to 200mm range. I'm still debating whether to modify these for internal focusing, which would be good for heavy-duty cine use, but would make the adapters larger, heavier, and more expensive. To be honest, I've put the adapter project on hold until I get a few focal lengths in my anamorphic prime series completed.

I know this has Nothing to do with video. Well I use a Pencil to write story boarding and scripts. Does that count? But I will never look at a pencil the same again. Amazing amount of work and machines to make one! Amazing Photography to boot. https://www.nytimes.com/2018/01/12/magazine/inside-one-of-americas-last-pencil-factories.html

Here something that Sean Robinson (Panasonic) said on Facebook, if it helps:

Of course he would say that. He also says he'd use the top of the ISO range without much hesitation. He's still one of the most prominent spokepersons on behalf of Panasonic. Now... he's always been very real with us, that much is true. But they've also rather been hush hush about weaknesses and more about what others don't that they actually do, that's just healthy company policy. Atleast he knows he can't deny C-AF still has a bit of a way to go.

- A NX1 sized body. - IBIS - A7r II sensor as a base - Video Quality from D850 - Dual Card Slots. - Mini or Full Size HDMI out. That is all it would take for me to buy. I love my A7r II, but miss Nikon Lenses.

Shot this on the Leica 12-60 in HLG profile (ALL-I, 1080, 50FPS) with a Gorilla Pod. Gotta love that weather sealing!

Couple more great stills from David:

There is no doubt whatsoever if Nikon will release a full frame mirrorless, the question is if they will do it in their first year? Or will it not be until later down the track, after going with DX mirrorless first (like Sony did, but Sony didn't initially plan to go FF, but Nikon is so they can plan the mount right unlike Sony who kinda made a mistake there) More pancake lenses please. Rotate the "Z" and it is a "N" for Nikon! ;-) People might think MF stands for "Medium Format" "Manual Focus"! :-P

I had the 24-70mm F4 and I didn't like it at all. It's very sharp but the fly by wire focus sucks and the image aesthetic is pretty boring. The body of the lens isn't the strongest either. Kinda reminds me of the Lumix 12-35mm on a GH camera. SHARP AND BORING! Onto the camera, I've been 90% GH5 in the last few months yet still use an A6500 on a gimbal because of the AF. Rarely use the A7SII at the mo. I find the A7RIII interesting as a hybrid - the AF is a huge plus for gimbals work plus mega resolution stills. It's just the damn lenses and the reliability that I'm not convinced with. Got EF and M43 glass, too much to get E-mount as well. (i want ALL the glass!!) Cameras are so bloody distracting.

Cut it out Emanuel The forum is not about you. Sick of reading the argument stuff.

Ok, understood: You are never too old to do your home lessons... Thanks! On the other hand we are not talking about big money here... BTW I have learnt something new: Never heard FUD... And big thanks for your research. Those test footage looks really artificial and blurry. I still love old school ergonomics over software. I am an old man

Or you can look at it that it is 230 million more lenses for any mirrorless system with a shorter flange distance than the Canon EF mount. (including Canon or Nikon when they come).

Like this one ?

Gh5s 14 Stop DR Confirmation?

The Sony FE lenses tend mostly to have the more quiet AF motors, but some of the high-end GM lenses do make a clicking sound. The Batis 25 and 85 are great... and silent. Very impressed with the Sigma 24-35mm...As well as world's fastest full frame zoom lens, the quality is as per Zeiss Batis 25mm F2 prime... Which is more expensive by the way, and only fits one mount... But with the Sigma, you are getting a 24, 28 and 35mm prime in one lens...that goes on A7R3, 1DX, 1DC, GH5, you name it... and a handy 50mm field of view when you switch to Super 35mm mode to boot. All at F2.0 and pin sharp, with Dual Pixel AF quality autofocus in 4K on the A7R3. Most of the Sigma lenses I've tried so far do all make a noise when focussing though, so you won't want to use the onboard audio with video AF... Same situation as on a 1D X Mark II, just for the record The 18-35mm seemed a lot quieter though, almost silent?! It's just very very positive to finally have Video Autofocus with Canon mount lenses... Albiet just the Sigma ones. The Canon lenses DO NOT autofocus in video mode, and neither do Tamron or the older Sigma non-ART lenses. Throw them on the scrap. When did they introduce this BTW? MC-11 has been out for ages but I haven't seen a word out of the other bloggers and sites about C-AF in video mode + Sigma lenses. Dickheads lol Metabones still works better in stills mode with Canon lenses... but reliability is shit with Sigma ART. So you may end up having to get both adapters. At least the Sigma is competitive priced. Mine was 250 euros brand new.

I really don't think it is, but we'll see. I'm thinking it's a split to another tier. So basically: GH-series: Hybrid line G-series: SLR-style line GX-series: Soapbar-style line Then you get the number of digits 1 digit: Top tier 2 digits: Middle tier 3 digits: Low-end tier

The problem is Nikon doesn't have much unique to Nikon that they can bring to the mirrorless market. They will just have to make it slightly better in every way. Ergonomics are probably the area they can do well in. A full frame NX1 body would be ideal. Not some vintage shit. D810 sensor? No thanks. D850 sensor, that's more like it. The D810 sensor isn't cable of 4K. It has to have IBIS to compete with Sony. 10bit 4K video to compete with Panasonic. It's a lot to ask from a first generation product, so my hopes aren't high and I probably won't buy it. It has to have a good lens adapter to Canon and great AF too... and not just great stills AF but in video mode too. Biggest weakness of the D850 is the video / live-view AF. It takes time to build an eco-system with third party companies making Speed Boosters and Smart-EF adapters, such-like. Another reason it's probably going to be better to wait until the 3rd or 4th model. If it does something amazing right off the bat that nobody else gives you though.... THAT would be reason enough to take it for a spin.

It is actually the G80's successor. The zero in the G80 comes from a short-lived and idiotic naming scheme to identify out grey market imports. It's really a G8. But they called it G80/G85 depending on region. The range though, goes all the way back to G1. And G6 was very similar product in relation to GH2. Same sensor, similar video features. What has changed is the price... no longer is it targeted at sub-$1000 consumer market. A very good point. People should dive deep as they can into their stuff and buy camera books, lights, LUTs, learn more and more, rather than splash out every 6 months. I am a guilty one but I have no choice, need to constantly keep on cutting edge of the latest gear to keep the blog fresh. But certain things I have kept hold of for a long time... like the 1D C and Samsung NX1. Really comfortable with them and know them inside out.

Really, if anyone comes out with a stills camera without sensor stabilization it will be a huge miss. Because that's one of the main advantages of mirrorless innovation right now over flagship DSLR capabilities. Worth so much for primes or allowing slower shutter times to expose the scene properly without compromising on depth of field or high ISO noise. Olympus had that bang on with the introduction of the OM-D E-M1 and Fujifilm and EOS-M really need to follow as well with their next release.

Jon in his provocative best ; ) LOL :-)

The GH5 and GH5S are both current models. Neither is outdated or replaced by the other.

If the "native" term is used as loosely as Panasonic marketing team then yes that is correct More correct is that dual gain has been around for quite some time, used by many cameras. Generally, native ISO should mean an ISO setting without any gain applied, but Panasonic defines two native ISOs as two base ISO settings that yield similar noise profiles: The varicams get the closest to actually having dual native/base ISO, but the EVA1 (and I am guessing the GH5s as well) does not (http://zsyst.com/2017/12/panasonic-eva1-first-look/): Whereas the noise profiles from Sony cameras come very close (A7s is even closer to true native ISO than EVA1...): This tells you how well Panasonic plays the marketing game.

My side by side testing showed Fuji APS-C out preforming the FF Sony A7 and A7rii when pushed. So they can claim anything they like as long as the X-Trans keeps delivering such quality.

Here's where the logic comes in: 2 x 0.64 = 1.28, similar to APS-H, as you say. But you're not comparing apples-to-apples if you're using an FF camera to shoot video. Because they have a 3:2 sensor, if you want to shoot DCI 4K, you've actually got a ~1.07x crop factor with any FF camera. So 1.07 vs. 1.28 is only a 1.2x relative crop factor. Which is of course noticeable, but very small. And given that the GH5S has a much more robust codec than any of the FF video cameras currently available for under $10K, and the new sensor appears to have higher quantum efficiency as well, you can call that 1.2x difference essentially negligible.

If it was a little off it would not be so bad. But to be off close to or a Whole stop well... Conclusion By now, it is a pretty known fact among the photography community that Fuji underexposes its images by around 2/3 of a stop to a full stop when compared to other cameras when shooting RAW and using most commercial RAW converters. There are all kinds of theories out there, with some people claiming that Fuji does this on purpose to look better, while others attribute this difference to Fuji’s X-Trans sensor and the demosaicing process. I have to say, that despite my attempts to normalize the RAW files by making adjustments, Fuji still looked pretty darn good compared to other cameras. The main source of this is reduced chroma noise, which is evident when you look at RAW files from both the above comparisons and other sources, such as DPReview’s studio comparison tool. That’s the main reason why Fuji looks so clean for an APS-C sensor. I do not know exactly how Fuji achieves this, but the X-Trans sensor and its demosaicing process are probably the reason for the reduced chroma noise we see in images. Update: Thanks to some awesome people like Iliah Borg, we now know the reason why Fuji RAW files appear darker. Turns out that Fuji has a special tag (0x9650) in its RAW files that highlights the necessary midpoint compensation for RAW files to interpret and make necessary changes. Below are the values for the Fuji X-T1: ISO 200 / 0.72EV ISO 400 / 0.72EV ISO 800 / 0.72EV ISO 1600 / 0.72EV ISO 3200 / 1.38EV ISO 6400 / 2.38EV So keep the above in mind when looking at Fuji RAW files and comparing them to other cameras. If you are using a RAW converter from Adobe (and potentially other RAW converters), make sure to look at the above table for adjustments needed to make images appear as they should. Big thanks to Iliah Borg and the LibRaw team for discovering the Fuji tags and letting us know!

Minimal: D810 sensor (DR and colors) Sony A7Riii level focus ability (with native Z-mount lenses and adapted Nikon G lenses) small but sharp 28/f2.8 or 35/f2.8 lens at launch. Plus: IBIS (probably wont happen, at least 1-2 generations later) 10bit 4k video D810 level weather sealing

I don't think there is Any dual native thing going on in Any Sony A7 series camera. There used to be the misconception that it had a different base ISO in Photo and Video. That was proven wrong also long ago. I would love to be proven wrong though. Yeah there is an extended ISO, that is not really Dual ISO's. Almost Every camera has that feature. This was written a Long time ago on DPR. And Jim Kasson is a wiz at all this stuff and DR. "JimKasson wrote: JDLaing wrote: What is the native ISO on the Sony a7II? 100 or 200? Do you mean base ISO? In that case, it's 100. I this I consider this sensor to have two "base ISO" - one for both conversion gains. ISO 100 is one of them, the other seems to be ISO 650. I'm not sure how "base ISO" is or should be defined though, but for me it's usually been the point with the least gain amplification. And for this sensor (and the A7S) sensor there would be two such points Let's define the base ISO of a digital cameras the ISO setting for which the gain at the output of the analog to digital converter (ADC), measured in counts per electron, is the lowest. In most cameras, it is the setting where the upper end of the linear region of the pixel voltage/electron count curve produces a full scale output from the ADC. Let’s say that the full well capacity (FWC) of the a7RII when the ISO is set to 100 is 50,000 electrons. That’s close to the real value. You will see that the exact number doesn’t affect the conclusions of the calculation to follow. Full scale on the a7RII is 16372. But that is before the black point is subtracted. The nominal black point of the a7RII, like all the a7x cameras, is 512, so let’s say that full scale is 15860. You will see that the exact value is not important either, but it’s nice to keep things real. Thus, the gain, at ISO 100 is 15860/50000 = 0.317 counts per electron (you may be used to seeing the inverse of this number, or 3.15 electrons per count). At ISO 500, just before the conversion gain is changed, the gain must be (500/100)*0.317 = 1.58 counts per electron. By looking at the read noise curves here, you can see that the conversion gain change is a little over one stop. Actually, you can get the answer to the entire question by inspection of the top curve, but I’ll leave that analysis as an exercise for the interested student. Let’s be generous and say that the conversion gain changes by a factor of three. So the gain that we’re looking at must be (640/100)*0.317/3 = 0.676. That is larger than the gain at ISO 100 by a factor of more than two, so the a7RII does not have two base ISOs. With the a7S, it isn’t even close, since the conversion gain change happens at a much higher ISO. Jim"

The ergos on the Panasonic g80 and canon m5 are fantastic. And the xt2 (which is similar size to the g80) has dual card slots. XT2 also has non-overheating 4k. So clearly there are no inherent issues with small bodies as long as they're designed well. My main gripe with mirrorless manufacturers these days is they keep releasing DSLR sized lenses. What is the point of mirrorless of the lenses are still going to be bigger. That's part of the reason why I hope Nikon choose the aps-c sized sensor for their first cam. But the mount diameter suggests full frame.

As an exclusive mirrorless shooter, that's exactly the way I look at it.

HLG is 10bit not 8bit. And if you wanted to to 60p then I'd suggest 4k cine-D 8bit rather than 1080 10bit hlg.

Here you will find a comparison. If you want good AF there is one choice.

Sorry about that. I wish I had better news to report myself. The A7RIII does hold a unique place in the market. Yes, the D850 is very heavy, but it is built like tank. The entire body including lens mount area is magnesium for zero flex. We can hope for more competitors. Nikon may come out with their full frame mirrorless later this year. Canon may have something, too.

Well stated. Like I said since this GH5s has proved you don't Need FF to get decent low light I see no reason to buy a Sony A7xxx camera anymore new to be honest. I doubt Sony is going to come out with Anything that is going to top the Gh5s features wise. How can they. It, other than IBIS, has everything but the kitchen sink in it now. And it is surely cheaper than any A7s mk iii will be. I doubt a Plain Jane A7 mk III will be tons cheaper. I mean Sony is not stupid, but Panasonic in the last year, and now with the GH5s have given "Normal" people 3 cameras that are pretty much unbelievable for what they can do. They have given people a upward path from a G7 to hell, up with the big boys with the EVA1. There is no real reason, other than if you are Glenn and you HAVE to have Raw LoL, that you need some camera other than the 3 that have just come out as a average, or even half serious Pro. Sure a Arri is IT, but we ain't ever buying one of them, but you can buy a GH5s that in reality ain't far from it, for peanuts price wise, to a Arri. We all ought to be happy as hell on here, and some people act on here like the GH5s is a piece of shit. A Downgrade of sorts. Hell I say it is a nearly a Arri for 2500 bucks! What can't you really shoot with it? What else , other than Raw, is it missing that would stop you from making a feature film on it? This ain't no Barbie Cam, this thing is the real deal, for people that want to make the real deal. I think anyone that is serious about this stuff will have no reason Not to buy one I don't give a shit what the New Sony A7s mk III has. I say it Can Not beat this camera, unless like I said, some crazy ass breakthrough and you know that would go to the high end F55, F5, FS7, Etc. first.. The Only thing I see the Sony A7s mk III having is cleaner 52,000 ISO and above even over what they have now. But that is the reason Thomas Edison invented light people. I don't see that a big enough reason to buy it over the GH5s. That sort of ISO is not used very often to give up what the GH5s has to offer. But I am sure the new A7s will be a great product either way. I am not a Sony hater that is for sure.

With the Z-mount or whatever it winds up being called - it would make sense to start with 3 primes and a zoom or two. And I think it'll definitely be FF, a new line with low margin bodies makes no sense. It would be nice if they did some combo of the 21/24/28/35/50/85 right off the bat. Make them all 1.8's, the uber 1.4 G's can come later. And a mirrorless version of the 24-120/4. A 70-200/4 would be a smart move too - that way you can get a relatively complete kit with a wide range right off the bat. Sony had the 28/2, 35/2.8, 55/1.8, 24-70 & 70-200/4 when the a7 was released. Plus that crappy plastic kit lens. Also, publish a damn roadmap so early adopters can have a little sense of what's coming in the next year or so. Put a long tele, a few fast primes and the 2.8 zoom holy trinity of 14-24, 24-70, 70-200 on it. P.S. Nikon should call the new mount 'MF' for mirrorless F mount. The tagline possibilities are limitless. Chris

Yes, aps-c/FF is a custom button function and you can now switch between them. Its awesome - I wish Sony would add it in a FW update but the r2 is now left for dead. I do it a lot on my a7r2 - that's my #1 complaint about the r2, #2 is UHS-1 on a camera writing 42mp raws. I have the r2/s2 - in FF 4k there is a world of difference, the r2 is softer and gets really noisy/mushy above 1600, the s2 is clean to 25600 or so. APS-c on the r2 closes the gap and is sharper since its oversampled, but its still noisier above 6400. Rolling shutter is bad on both. The r3 has improved that dramatically. It would be an easy buy for me if it had 4k60p. AF on the r3 looks vastly improved, but I'm still holding off to see what NAB brings - a 10-bit a7s3 with the new body, updated sensor with faster readout/less RS, and PADF would be my ideal video camera. But Sony will likely gimp it in some frustrating way. Chris

My bet is that Nikon mirrorless will have a modern-retro design, from the depths of brand history (FM2?). Canon and Nikon do not consider mirrorless lines as heavy professional equipment (yet..), and Sony did the same for a long time (before the A9 and the new improved A7Riii). Canon, that already has a history with a mirrorless series (M), do not have, even one pro M lens. They will provide a smart adapter in box, or with an offer, or very cheap, as Nikon is proud of their lens/mount continuity and they want to be sure that existing Nikon users can go mirrorless without much hassle. I remember reading some impressive mirrorless designs in patent offices and the such, they will combine small pancakes with their existing line up, as it seems, for starters. I am very positive that Nikon lenses selection can turn the tide on this undeclared mirrorless war. No way it will be a video monster, not even close to specs Kings GH5/5s, or A7sIII, but probably for a majority of people, their color science, spec list and experience will be enough to buy Nikon. Maybe not for the price though. It could possibly cost more than A7 mk III series cameras (R or S).

Doubt it. Probably D5600 form factor regardless of FF or APS-C. Because, that's what Nikon users like. They'll start out with 0 lenses. Well, probably a 18-55 not so sensitive (like f/3.5-5.6), maybe a 16-35 sensitive (f/2.8(-4)), then perhaps a 35 and 50mm prime (f/1.8, the 50mm perhaps as f/1.4) that are native to the mirrorless game and more compact than anything they've come out with before. But mainly people are initially going to want to use their existing lenses, which Nikon will provide a smart adapter for (like Sony has done for Sony Alpha lenses and Canon for the EOS-M). So... myself, for example, my lenses include the Nikon mount 18-55mm II, 35mm f/1.8 DX, AF(-S) Nikkor ED 17-35mm f/2.8 D, 28-70mm f/2.8 D, 80-200mm f/2.8 D, 28mm f/2.8 AI-s MF & 35-70mm f/3.5 AI-s, Tokina AT-X PRO DX 11-16mm f/2.8 II, AT-X PRO FX 16-28mm f/2.8, AT-X 535 PRO DX 50-135mm f/2.8 & AT-X PRO II 28-70mm f/2.6-2.8, Walimex Pro 8mm f/3.5 II fisheye & 24mm f/3.5 Tilt-Shift and then Sigma ART 18-35mm f/1.8 of course. Those are not the kind of lenses you pair up with a cute tiny little camera with poor ergonomics... ... plus we've seen what happens if you make a compact body the headline selling point... ergos are poor, hardware interface is limited... no dual cardslots, no dedicated headphone jack, quite bad battery life, they've once mentioned that they didn't want a vari-angle screen on there, because it would make for a bulkier design... space is so tight it isn't able to dissipate heat properly, so the screen dims, overheat protection kicks in, or with a raised threshold for it to do so leaving the camera so unfomfortably hot that they call it 'tripod' mode. Suboptimal chip infrastructure, mad rolling shutter, etc. Do you really think that Nikon, that makes pretty rugged workhorse cameras, will stand for that? Especially with hardly to no development of a dedicated compact lens line-up, it's just useless. So, expect and sure hope not. I'm very pro GH5, E-M1 Mark II, NX1 and X-T2 style and size bodies and very against what Sony is doing. Now with the A9/A7RIII it seems they're starting to realize this too, though, so maybe things are looking up from here on out.

Well most other camera take extra crop in 16:9 mode let alone 17:9, so while the crop in GH5S stay the same other camera take a hit on FOV

If you live from making videos...it might be the time to get a Video Camera instead and keep your nikon for stills, I have heard from this forum good words for Sony F3, FS5 perhaps Canon C200,C300 Mi, or MII, or blackmagic ones. It will be hard to find one camera that do everything that you want, it will never exist. Every time we get an excellent new camera then suddenly the competition make something different, new feature the other doesn't has and the wheel start again...

Welcome to my world When I read people talking about getting 14 stops of DR with a camera, in video mode no less, I can only roll my eyes. Nikon/Sony cameras can get sort of close to 14 stops at ISO 100, but nowhere near at ISO 400/800 say (which is where most video is shot) To extend what you're saying. Even if you ignore the camera's suggested exposure, which I agree, is tweaked according to what mode you're in (unlike what a light meter would say) , you have to consider the sensitivity as pixel exposure decreases as you go from brightest to lowest light. So if your middle gray, or wherever the sensor can most accurately read light, is moved up or down, it effects the NOISE 2 stops below it. That is, if you you expose to avoid clipping you may add noise below the image. If you clip, you may get better saturation (less noise) below--AT ANY ISO, because again, ISO just considers your center exposure. Cameras today are truly marvels. That said, it's still very difficult, for me at least, to really nail exposure. It's an art, for sure. Getting a really good exposure, both in setting up lights, and setting the camera up, is no trivial matter. I believe the best photographers really SWEAT those details--getting the center 6 stops in the optimum range. Like Andrew's latest video. The way the lights were blowing out drove me a bit nuts. I wonder, why can't the camera just figure that out? It has a computer in it But it can't. To get the image Andrew really wants, I assume, he'd have to replace all those practicals with low watt bulbs and then bring up the room light to the right ambient level for the camera. The camera, any camera, is really the least of one's problems So when I read people saying they want 10bit, or LOG gammas, I think, I have enough trouble getting 8bit normal gammas working well! I mean think about it, why should we have to set a LOG profile and all those parameters. Why can't the camera analyze the scene and give us some options? Maybe one day. For now, I agree with your last post. You either A) sweat the exposure if you're looking for a certain level of color fidelity or B) put it on Auto and focus on composition. Doing both at the same time. I can't do it. Not even close.

Luke, they want to firmly send a message these devices are at same level of those used by the big guys. It works. I recall when I was in the €103.000,00 F900/F900R camp... That's all! (E :-)

No need for IBIS here: https://www.youtube.com/watch?v=-f2b9xsAtnY

Better to leave it stuck on 2500 going with the GH5S... :-D

at the start of the clip have look at the rolling shutter i think it has dramatically improved over GH5

Excellent, please do. With current progress, I think it is reasonable to say that there may be some exciting news later this year. Here are stills shared from David L'Abbée:

For some reason you are suppose to use a fairly wide angle lens when using it. It does look interesting. And price is certainly cheaper than a normal Gimbal, and looks less Dorky using it LoL. Come on Panny We were hoping you would be the Ginnie Pig to buy it first and tell us about the results.

That is for phones / action cameras. Not mirrorless/DSLR