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NX1 is actually more advanced with H.265, 6K readout, 1080/120fps and it is 5 years old.

I like the pictures. A lot. This camera will probably replace the micro cinema camera for me as it’s not much bigger and is much easier to work with. I didn’t feel as strongly about the 4K production camera / Ursa because they were limited, principally by dynamic range. I have a deep affection for the 4.6K sensor and have shot nearly daily withnit since before it was launched. I know it very well. This pocket camera will integrate and sit very nicely alongside the 4.6K. It’s already a closer match than the micro for me without having really tested it in an A/B scenario. I was a little worried about it having less DR Than the 4.6K but I think the other clips show some great examples of what this sensor can do. “Nature” was incredibly tricky material to shoot as anyone who’s been in that situation before would know and it was unfair to see it being derided. Those that did so only reveal their own inadequate understanding of what those shots reveal. I can think of a million other scenarios I would have rather done but these sequences were specifically produced to illuminate what the camera can do in specific situations. What im almost more excited about is the unification that Gen 4 brings. As I mentioned earlier, it’s pretty much the same people at BMD that brought you the first camera working on this camera. They’ve learned a lot (and so have I) and I think Gen 4 is really strong. I wish this and extended video would get rolled out wide already as I think half the issue I see with users of BMD products is a lack of knowledge in grading. Now BMD do have perhaps the greatest colour correction tool on the market BUT they don’t make it easy to get to a great result without a little arcane knowledge. Even I often run into issues when working by myself and I see extended video being a great step in addressing that shortcoming. There’s no point in talking about how great you can make images shot RAW if you don’t know how to do it and can’t easily or intuitively find a way to do so. With regards to the 4k Pocket. Its a genuine low light contender. I was really impressed at what a useable picture it produces with little lighting. I’m laughing at those that said it’s overlit. I mean a 500w chimera dimmed to almost nothing so the background lighting would still show though the tinted hotel windows is very very low light, much lower levels than the idiots demanding I walk out on the street and light by sodium were demanding. Again, I laugh when I see comments about how noisy ISO3200 is but I’m guessing those users aren’t aware how much image processing their cameras are doing at high ISOs. BMD allow you as the user to choose your poison. A very very underrated feature. And like colour correction it’s almost too powerful because users haven’t been instructed to change their expectations, nor how to add noise reduction or sharpening so they can season to taste. The best testbfootage will be friends users so the sooner they ship the cameras the better. Hopefully Gen 4 means there will be less hysteria about its performance and a few will realise there’s no point comparing it to a GHx or a Sony and learn to get the most from what it is good at. JB

Nah its accurate. Believe me. Im a Sony fanboy and Fuji shooter. I review all of them. If I review a Sony all is well. If I review a Fuji I get attacked by Sony Fanboys. If I review a Pentax or Nikon I'm attacked by Sony and Fuji Fanboys. If I review a Canon... all hell breaks loose since even Sony Walkman fanboys attack. I base this on receiving and reading 26 090 comments over the last couple of years. Just visit any forum and see for yourself. For example checkout the thread about the EOS-R on EOSHD. After my 6Dmkii review I had to block some really vicious people that weren't attacking just me but also people commenting on the video. And not about specs. We are talking threats and in general things that would lead to a punch in the face irl. The weirdest thing was they weren't all anonymous. They actually used their business accounts...freelancers, production house employees using their official accounts...

Full frame is pretty special but it’s just another format. S35mm is still king for Hollywood narratives and a lot of Hollywood DPs supposedly own Fuji as their personal cameras. In the end, who cares? John Brawley has already proven that a S16 sensor camera can be used in 1080p ProRes on a network television show. All of this other resolution and spec nonsense is propagated by manufacturers at an attempt to gain an extra percent of market share for their stock holders. Pick a camera you like the image from, or the specs that get you hot under the collar and work on your craft and create.

You understand how inherently flawed a poll like this is, right? If anything this just proves that the other fan boys are more fanatic - why would Sony people vote for themselves in this poll? It's like asking for a vote on which political party is the most out-of-touch - you think people are going to vote for their own party? See what I mean?

One thing we do know is it won’t meed a Leeming LUT to get good color out of it.

It's the same size. Here's some examples of scenarios for me where using a micro that will be replaced by a p4K once I can get one. JB Yes I've been on GEN 4 for a while with the Ursa's and of course the P4K and use them for monitoring. It's VERY hard to go back to using VIDEO. JB

Sure, The format that the Arri Alexa actually shoots to is LogC. The LogC conversion conforms VLog to the exact output of the Arri (when the footage is WBed correctly under a supported light source) From there, the LogC data format needs to be conformed to the display to allow the correct handling of RGB. The standard approach for Rec709 is to apply the Arri R709 Lut to the footage (which has the correct RGB primaries). Other Luts and workflows intended for LogC may also be used following the LogC conversion (the Alexa is often well supported by 3rd parties). My experience has been that Arri's default 709 color space is a very uninspiring starting point for me. The underlying color science is great, but the luma and saturation placement is just not very cinematic. Enter Main/Soft; these include the LogC conversion, combined with a luma and saturation placement that I much prefer (and conforms to the 'Sicario luma ceiling'). They include the Arri R709 primaries for correct RGB on a Rec709 display. The base look is informed by film (celluloid) luma and saturation. I may release this as a separate component for Arri users eventually (the 'Emotive Color' component) The following is from an Alexa Mini (Master Prime 35mm): LogC Arri 709 EC Main (Click to see in the correct dark context, the page is very bright)

Nikon Z7 has it for breakfast. About the only improvement over the 5D Mark IV seems to be substituting MJPEG for H.264. Not that it was overdue or anything! https://www.eoshd.com/2018/09/here-are-the-official-video-specs-of-the-canon-eos-r-full-frame-mirrorless/ About only thing I can hope for is that the 4K is somehow full frame and not a crop but I honestly just think it is a 5D Mark IV in a mirrorless body, looking at the specs sheet, rather than anything really new.

Do you mean switch as in just a simple A/B switch for monitoring so you don't mind a break in the signal while it re-syncs or are you talking about doing a live broadcast switch where you need it to seamlessly switch between the cameras? If its the former then there are tons of cheap units that will suffice (no external power required) on Amazon etc such as this one http://amzn.eu/d/i17hwow They are all much of a muchness at that price so just pick one that has the most positive reviews is the best rule of thumb. If its the latter though and you want to actually switch them seamlessly then you are usually looking at an entirely different solution like a BM ATEM unit but there are some simple HDMI switchers similar to the basic A/B switch (but more expensive obviously) that claim seamless transition between sources. This is an example of one http://amzn.eu/d/61pE8aU If you need the seamless transition do go that route of using the middle ground one such as the one above then see if you can find demos of the particular units on YouTube to check the transition.

Don't forget that Nikon doesn't have a cinema line of cameras to protect. I bet no 10-bit anything.

finally found some z6 footage. Only looked on my laptop so far. It doesn't have a lot of magic, (in fact the 1080 looked nicer to me than the 4K), but it doesn't have anything that screams terrible. I always found the d5300 vid looked miles better underexposed a bit. Curious about shadow noise

Finally a Nikon footage without clipped clouds

https://drive.google.com/file/d/1CAZOijAyrUJcOMWNHbjFpGq2CznrIAoN/view full specs sheet, no ibis, no 4k60, or high speed shooting

In my eyes the bodies aren't the problem, it's the glass. Take your typical higher end zoom kit common amoung those that shoot stills and video. Panasonic 12-35mm f/2.8 II $1000 Panasonic 35-100mm f/2.8 II $1100 Sony FE 24-70mm f/2.8 GM $2200 Sony FE 70-200mm f/2.8 GM OSS $2600 FF. is over twice as much. The sad thing is, I don't think this is something your average person looks into when choosing a system.

I don't know how they gonna handle the customer perception management. With m4/3 the message was "for high quality photo and video, you don't need FF, and with fast lenses we and others are making for the system, you don't even miss FF DOF". With jumping to FF, its like saying "sorry guys, we were wrong about that".

I couldn't agree more! Geoff Boyle's argument on resolution comes to mind... very true, if Blackmagic were to make an 8k broadcast cam I'd hope it would be in that price range ?

The video above on vimeo, thats why I live by Nikon colours

But that not a single frame from the digital ended up in the movie says a lot about film God I love The Room. I will have to replace my Bluray soon, wearing it out.

I can't remember exactly, maybe 18 months ago Panasonic said all the 2020 Olympus was going to be shot in 8K. I think this camera is the camera they have been developing that long and more to shoot it with. And it is not going to be a 2500 dollar camera. It will be a 25 Thousand dollar camera or more. I am afraid people are hoping for something that is not going to happen, at least not on the cheap. But I guess we will find out soon enough.

Tell me how is Sony fanboys right at least for Nikon, oh yes that mystical Sony camera that will have better body, build/sealing, viewfinder, LCD, 10 bit, etc, etc. Everyone is making as if Nikon z7 is the only camera that Nikon has announced. While the z6 has what every reviewer are saying is better ergonomic, build, viewfinder, LCD and 10 bit out, which really makes LOG not just a marketing gimmick for the same price as a A7iii. That same camera which was herald as a game changer in terms of value to money in the FF photo video hybrid camera only six month ago. The only point of contention for now is about autofocus, DPreview goes as far as saying that the Z7 has the best video autofocus in all Dslr/MILC. OH, yes it does not has eye auto focus, I heard even if face detect works extremely well. People on here remind me like those that are still parroting that coal, nuclear or even gas is cheaper than renewable energy because they watch news or analysis 10 years ago and they did not take 5 min to google and see that the cost was divided by ten during this time. Today, perhaps not for long until Canon (very unlikely) and Panasonic release their rumored FF MILC, have the best (might not be in everything) package for a full frame Mirror less camera video/hybrid camera in the z6.

There is understandably a lot of buzz about the upcoming cameras from all the other companies - and from Fuji itself with the X-T3 - but I've got to say that this one intrigues me more than any of them.

What are you guys filming that makes S35 so redundant? I think it's a great format, you can have smaller, lighter lenses, but still get very shallow DOF.

That's the thing. We're paying for FULL FRAME lenses. A very nice one, in the case of that groundbreaking 28-70mm F2.0 (Although I am 99% sure Sigma is working on one as well, for EF, Nikon and Sony E mount). What's the point if we can't use them? May as well put a Speed Booster on it and use something else. Do Canon want to sell their mirrorless lenses, or not? I really thought the high-end full frame mirrorless would be when they woke up to what modern video users need. Apparently not. They are still more interested in segmenting the stills and video market with a big wall. Who is going to want to shoot 1.75x crop (worse if you calculate diagonal as well), with no IBIS, on a $2k+ zoom that has no wide angle end? Especially when you can choose a Nikon Z7, Z6, A7 III, A7R III or wait for the upcoming Panasonic monster cam.

Yeah I think you may be right here. I don’t think Canon is protecting their Cinema line as much as they’re protecting an upcoming 5DR.

This thing is looking more like a Canon 6D mk II than a 5D mk IV to me in a different form. This might be the 1995 dollar one and the 5D mk IV version is yet to drop for 3495 dollars, or what ever the Nikon Z7 is selling for?

To be fair, anyone who mentions anything remotely favourable about a Sony is hung, drawn and quartered as a Sony zealot / fanboy regardless of how much they actually care (or don’t) about Sony. As the technological leader (and the one that plays in the most spaces in the recent past) they tend to get mentioned a lot. $1900 was part of a totally bunk rumour that also said it was 28MP... i wouldn’t be clinging to that. They also said no RF lenses at one point.

No IBIS, no Log, no 10-bit, Cropped 4K is my guess. No 120fps in 1080p already confirmed. I think the EOS R is mainly focused on stills and video for the casual / vlogger people (DPAF & Flip screen is what they'll put forward). For serious uncompromised video Canon invites you to try their C line of products.

I didn't read the PDF, just looked at what was posted on the previous page, my mistake. Here's what the turn signal control bar to the right of the EVF does, perhaps silent controls when shooting video?

I think you'd be suprised how many Canon and Nikon fanboys are glad with these new cameras that aren't that radically different so they can ease into it. They've always been 'no matter what'-sheeple (I can't believe people kept buying them throughout the years, they kept doing the basics right, but failed to innovate in any significant way just giving it their minimum effort). That's the only thing they've ever known. So I think Sony still needs to worry regarding the whole Game of Thrones. It's gonna get messy. Now it's all damage control with the announcements. But they might feel cornered and start swinging. Better get my popcorn out and keep shooting with Panasonic and Blackmagic cameras.

Maybe when their sales figures suffer they will add C-Log for $100.

I wouldn't hold my breath. Canon slapped a 8-bit 4:2:0 codec in their $7,500 C200.. no way they're going 10-bit on their entry MILC. That's not the Canon way.

All this is based on such a slender rumour......... I can't see how Panasonic would want to enter an already crowded and shrinking marketplace while having to bring a whole new range of lenses with it. If Panasonic do have a full frame sensor in development it's much more likley to be a high end cinema camera with 8k capability. The M43 system is not going to be dead anytime soon as despite some disadvantages it produces stills and video of sufficient quality to satisfy most users in a package that's significantly smaller than larger format systems.

Great color and skintones. Can't get that with Sony. Autofocus looks good too. Nice and smooth.

5D4 & M50 have no mention of the 4K crop either in their specs... Sad to see DCI 4K gone. Praying for C-Log & the rumored 10-bit out via HDMI. No IBIS is a major letdown.

Exactly! Is a matter of been able of choosing different stocks and Luts for starting point. Arri Log-C is universal and widely supported. That said, I really like sage work on "Main", i'm planing on using it more often. I'll keep that in mind and try that way!

Let’s just say the lenses are it’s strong point lol Same video specs as the M50, except offer IPB and All-I. So maxes at 480Mbps. Which is nice compared to Sony / Nikon. But no clue on crop or EVF specs. 5fps with AF is pretty basic.

I wish, I'm pushing 39, and if you believe my wife I'm 10 years older than that, not to mention I have a general dislike for members of the generation you assumed i was in. On the m43 forum you will find the legions of people who will tell you they left because they wanted smaller kit. By kit they mean lenses and bodies. A lot of them are doing nature photography, and yes at medium to long end the size and weight savings is substantial. Others are people who do lots of travel photography, and use the smaller bodies and smaller lenses, and again the weight saving can be substantial.

Latest Rumor.. Looking damn good. 10-bit 4K HDMI clean output support BT.2020 color matrix, not the old BT.709. https://www.canonrumors.com/further-canon-eos-r-specifications-cr1/?utm_source=browser&utm_medium=push_notification&utm_campaign=PushCrew_notification_1535852207&pushcrew_powered=1

I'm so excited, and I just can't hide it I'm about to lose control and I think I like it

I know which one I'd choose for stills. That 50mm F1.2. Not so sure about video... because if it's 1.74x crop that F1.2 look is lost entirely. Canon have a great strength on the optics side. 28-70mm F2 is frankly amazing. But their sensors are a laggard and their management are fucking idiots for letting the body specs drift along. Nikon F1.8 to keep the size down is silly. These are not cheapo lenses. Lastly, look at the video button placement. Tells you everything

What are you smoking? The brand new Z6 in z7 can't even match what the over a year old gh5 is capable of with regards to video. Not to mention they are more expensive!

In his case, I believe he is using a Film Lut intended for LogC. Arri tends to be more rigorously supported by third parties (accurate film conversion). This would be a very different starting point from Arri's R709 Lut. Main/Soft are a nice place to start grading from (without further *technical transforms etc.)

Please stop. Finding the best GH5S price in Sweden by Googling around is a particularly silly and pointless argument even for EOSHD. How about the G90 though? GH5S sensor with IBIS at consumer prices, the only question is how they'll cripple it. I'll probably buy it...unless somebody can find me a GH5S in Sweden for less than $1200...

I am still firm APS-C believer - best compromise between size, IQ, price and DOF capabilities. FF is just too expensive and too big. All these FF rumors have me wondering, who has the money for this stuff (professionals aside)? Hopefully, Sony and Fuji will keep the flame alive and Sony won't just focus everything on their FF efforts.

Imo, The Z6 is the most underrated camera this year. And its not even out yet..

The GH5 really is a fantastic camera. It's wild that we're nearing the 2 year anniversary of it and it still has so many features that others do not.

As someone who has BMPCC4K on preorder and was a GH5 skeptic, I only recently used the GH5 in a shoot for the first time and was blown away by the ease of use. The gimbal ended up in the bag, and I shot the whole thing by hand. If it's anything like the micro 4/3 camera, along with a higher megapixel sensor (40 to 50), I'm jumping in.

In the interest of conversion fidelity, its worth noting that exposure corrections should go after GHa, and WB corrections before (the core LogC conversion is a delicate thing, so to speak)

FF 8K 10-bit & Raw internal..?? with A7S3 sensor ?!!! Why on earth would Sony grant them that? Why wouldn't Panny use TowerJazz sensors? I gotta seriously question these "leaks"... not to mention such specs would render their $7,500 EVA-1 obsolete.. after only 8 months..