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P4K EC beta

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The GH5 just needed better AF like DPAF or PDAF to be the perfect camera. Sony just needs a better screen, be it tilty-swively or 90º up to appeal to people like bloggers and maybe 50p 4k and 10bit for cinematographers. Canon and Nikon are entering the fray bringing numbers and history but for some reason they're going to protect their DSLR line or their Cinema line. That gives Pana and Sony a very good opportunity to react and be in a better position when the landslide arrives. It's either that or being crushed to bits by the dinosaurs. Really rooting for the nimble mammals here.

4 x new full frame cameras + format wars = unprecedented forum hysteria!!!!!

Now some of the dust has settled in the 2018 full frame mirrorless game, we can start to get a clearer picture about what's on offer. Read the full article

More footage: Blackmagic Pocket Cinema Camera 4K : Mountain Bike https://youtu.be/7U_O5YBret0 ...and on Vimeo https://vimeo.com/288090282

Just bought a Contax 28mm f2 Hollywood (AEG) ? I'll test it asap and update here, I'm really excited btw it's my first Contax lens, just found selling for a good price and couldn't resist

3 vs 4 lenses really isn't a wide gap, especially when 2 are going to be incredibly expensive. The 28-70 will likely be $2500+ and the 50/1.2 will probably be close to $2k. We'll see if they announce a roadmap. Nikon has the zoom trinity coming by the end of next year. Its not about where they are now, its where they will be in 2-3 years once the system is more rounded and gen-2 bodies come out. Canon has a long way to just catch Nikon, much less Sony. The first R is incredibly underwhelming, even for Canon apologists.

They said that all their new lens where design with video in mind. There are only haters that just want to spread all type of fud about Nikon and video. They have put speed setting for the AF in video where you can speed it up or down, this with 10 bit, ibis, Nlog etc. make for a very powerful package for video shooters. They even added a pin in their tripod mount, might seem mundane but try using a dslr or Mirrorless camera a whole day for pro work and you would see how anoying and distracting when your camera is always spinning. If even this they thought about, then they really took video very very seriously.

IMO, there's only one way for a Panasonic FF camera to gain any traction - use the EF mount and essentially make a FF GH5. With a new mount, stills shooters aren't going to touch this camera for years (assuming they bring out a full lens lineup) and video shooters willing to buy into a new mount are a small subset of users - and Panasonic is already a smaller niche brand anyway. Panasonic going FF with a new mount is certainly going to be the odd-man out. Especially if they keep trying (and failing) to convince people that DFD is better than a hybrid AF system. A EF GH5 would be appealing to the video crowd and it would be a useful addition to a Canon shooters kit. Release it with 24 and 45 mp sensors to differentiate it from Canon offerings they'd be on to something. Without a massive lens catalog like CaNikon's combined 250 million lenses in the wild that can be adapted to their new mirrorless bodies, I really don't see how Panasonic is going to compete with anything stills oriented from Canon, Nikon and Sony - and that's still the driving force in ILC sales. Then there's Canon - given they still don't have a BSI sensor and so far haven't been able to make significant gains with readout times, I'd expect the crop and rolling shutter to be every bit as bad as current models. They're still a generation or two behind Sony. Its obvious with the RF leaks, they're focusing on their strengths - lenses. Its also an interesting conundrum with three separate mounts in a declining market - how much do they commit to EF and EOS-m lenses going forward? Plus there's no seamless move from M to RF. What happens when they bring a APS-c camera in the R line with no crop lenses? This is what you'd call some really poor product planning. The R mount makes a lot of sense, but if you want to go smaller with Canon you're using two mounts with incompatible lenses. Its only one camera, but the R is a lukewarm release at best. Canon is now protecting their cinema line AND their upper tier of DSLR's. There's no compelling reason for a Canon shooter to add a R to their kit, you would be buying a mirrorless just for the sake of buying a mirrorless, it really offers nothing over a 5d4. They've years to map out their mirrorless strategy, the RF mount makes the M mount look like a colossal misstep. And they're now the only mirrorless without a IBIS body. Many here pan the Nikon Z's, but they got a lot more right than Canon. The bodies are a compelling alternative to their DSLR's and offer features not found in any other Nikon body. At least if you're buying a Z6/7, you're bringing something new to your kit beyond a EVF. That's not the case with the R. Its going to take awhile for CaNikon to gain significant traction, but at the moment Nikon looks better positioned to make waves in mirrorless compared to Canon. Chris

I think that Panasonic has the biggest balls of any of the big companies. With the GH5 and GH5-5 they had ZERO fear to market against the bigger sensor companies. I always thought they were like a wolverine in the forest absolutely willing and eager to attack wolves, mountain lions ang grizzely bears all day long....absolutely agressive and fearless. If we see them going full frame with that same ferocious mentality. My God, they will dump everything known to man into that thing. They will do things that Sony and Canon will be too terrified to do. 10bit CODECS, All I frame, 6k sensor readout and internal recording. Anamorphic modes....maybe even raw sensor data output? Yeah.....they got the biggest marketing balls.

Absolutely none. Shoot raw format for an advantage in stills.

The problem I have with Panasonic going full frame is that I think Panasonic's very success in video is down to the competitive advantage they enjoy by using a 'smaller sensor'. The M43 sensor size brings a lot of advantages to video - better ibis, faster frame rates, more bit depth, higher bit rates and lower cost - than can be achieved with a bigger sensor. And of course they enjoy the widest and most mature, native lens lineup of any mirrorless system. I just dont see what they bring to the table in FF mirrorless especially against 3 'big players'. They may have lots of experience but that still hasnt prevented them from having woefully uncompetitive video autofocus (even with a small sensor.) I think Panasonic has been taking a lot of missteps recently - not capitalizing on their competitive advantage (by removing ibis from the GH5s) (or handing the update for the LX100 to the teaboy to do over lunch) and not resolving their weaknesses (as in sorting out their video autofocus). I suspect this will be another stumble.... They may prove me wrong - a full frame LX100 with a Leica fast zoom - now that would be innovative and different....

Well...what market, exactly? The consumer photo enthusiast market? I mean, I've literally had an Olympus high-def camera shoved up my ass. So there's the "camera-that-gets-shoved-up-a-patient's-ass" market and all the accompanying medial field stuff.

'Bugs' Peter Nearhos talks about using the new Blackmagic Pocket Cinema Camera 4K and the Laowa probe lens for the first time. ‘Bugs’ is a unique project where Peter could try out the Blackmagic Pocket Cinema Camera 4K in the world of macro filmmaking. “This was the first time I had shot with the Laowa probe or the Blackmagic Pocket Cinema Camera 4K. The great thing about the probe is it will cover all of the 4K sensor. Larger 4K sensors tend to play havoc with your depth of field with this sort of work. So the smaller micro four thirds sized 4K sensor used by Blackmagic Design, is much better for this kind of shooting.” “I have to say the 13 stops of latitude was also really great, because you can see into all of the dark spots. Which is very good when you are using hard lights, because you have detail well into the shadows under leaves and things. The other great thing about this camera is the really high native ISO. I tended to stay around ISO 2500 but you can go as high as 25,600. There are other cameras with insane ISO levels, but they become incredibly grainy which means a lot of work in post. I think Blackmagic have their ISO at a sensible level. Given that for most macro filming you will be using lights, the 25,600 ISO with this camera is all you’ll ever need.” Blackmagic Pocket Cinema Camera 4K ProRes 422 HQ ISO 2500 Laowa Probe 24mm, 60mm Macro 2:1, 15mm Wide Macro 1:1, 25mm Ultra Macro 5:1 EF mount, Canon 100mm 1:1, 65mm f/2.8 5:1 EF mount.. Laowa 7.5mm Micro Four Thirds mount. Metabones Speedbooster Ultra Aputure LS C300d and LS-mini20 daylight LEDs OG files on the download page: https://www.blackmagicdesign.com/products/blackmagicpocketcinemacamera/gallery

That is curious logic. They reference a crop mode for 1080p - What makes you make the assumption that it has anything at all to do with a 1.6x crop in 4K? Just seems like an odd leap. The crop they have (on all the previous 4K cameras) is a 1:1 crop of pixels. That's what dictates the crop size. Obviously we don't know about a pixel binning or full sensor read option. Again a kind of ridiculous comment. "what if they could only take one photo before they explode?!" Sorry where is the moaning about the 'crop' on the more expensive GH5S? Or the Leica SL having only S35 4K? You seemed to like that camera well enough. How much did people bang on about the GH4 and pretty much every Panasonic (including new ones just released) other than the GH5? Indeed. Here's a list of cameras (that I know of) that you have bought with 4K 'crops': GH4 Leica SL A99 II (same as A7R II) A7R II (full frame was unusably bad, supersampled S35 was way better) A7 III (crops in 30p) X-T2 X-H1 GX85 1DC NX500 Need I go on? It has literally been the latest round of camera powered by Sony sensors that haven't needed it. And? Isn't that the same bitrates as Panasonic are 'famously' providing in their superior video abilities? Not even remotely a problem. The last thing of any real expense is memory cards on a long professional shoot. I seriously doubt I would use ANY of these toys on a long professional shoot. Ok now you're making digs, don't like having people disagree with you huh? Funny last week I was named a Sony fanboy. What's the reality? Why? Because you're so angry at the 'fanboy' that you'll just lash out at BS for the sake of it? Defend what? 100Mbps 8bit 4:2:0... You're in dream land. S35 the only way to get decent video quality... Yeah sounds like it's thumping the Canon already Oh please do tell me what the 'and so on' is? Nikon only has Log on HDMI out and same with 10bit. Are you going to shoot everything to an external monitor? Or are you going to stick with the dreadful internal 8bit with no Log? Worse AF. Pathetic line up of lenses. Sounds super! At least use a Sony... Still didn't answer the question. The M5 has no 4K, so how does that sensor 'still' have a 4K crop. It is the first time it was used. So is it a new sensor? Or the same? "M50 has a wild 4K crop" Brillant, well done. This is definitely true. Sony provides all those other brands that would be up the creek without them... No DFD with Olympus (or anyone else's) lenses, even half of Panasonic's range. Weird mix of what does and does not work with the mixed IS. Clutched MF / AF works differently. Digital corrections. Sensor reflections due to different filter stacks. How do they suit? Then there is the huge difference in IS strategies between brands, that one's always fun. Context?

Indeed. Imagine the uproar if Canon's first full frame mirrorless camera had a limitation where it could only shoot APS-C stills. But video users are expected to put up with it "because.... S35". Bullshit. I won't be buying it if it is cropped. Doesn't matter if 1.5x crop, 1.6x crop, 1.75x crop, people can argue amongst themselves about that all day. I will simply take my money off to Panasonic, Sony and Nikon, and call it a day. No point having such a nice lens as a 28-70mm F2.0 if I can't make proper use of it in 4K.

I understand what you mean, but in my case no. I rarely use 4k, most of the time I shoot fullhd and then scale it up to 2k flatscope. I tend to dislike the oversharp look of 4k, and it takes a lot of space. Also most of the time I use a focal lengths between 30mm to 70mm. So for me this camera and lens it's actually great. Good color science, good ergonomics, nice menus and easy to use. Of course, it would be nice to have 10bit and clog but 8 bit 4.2.0 and cinestyle also does the job for me, and it's more changeling since you really have to nail it when you are shooting. No miracles in post with 8-bit.

I've been debating picking up the e1 since they're really fair in price. I know it has its limitations, but compared to a go pro in situations that don't need a plastic enclosure or waterproofing, there seems to be a lot in its favor.

1DX II apologist? Who needs to apologize for the 1DXMK2? It’s a great camera. Frankly, if you can’t do anything worthwhile with a camera as good as the 1DXMK2 you would be a lost cause with any camera. I’m just the messenger?

FWIW the 5D4 sensor is 30.4MP vs 30.3MP on the EOS R. incremental difference i know but could mean technically not same (old) sensor. We'll know for sure tomorrow: CRINGE

Well heres another fact: the single only Canon camera that currently shoots FF 4K without a crop is... the $33,000 C700 FF. Odds aren't looking very good but yeah who know's for sure heh.

Fuji rumors says under $1,599. Pretty impressive specs, AF also got a welcome bump.

I agree on the first part Sony also protects their higher end lines regarding video stuff like XAVC I at 600mpbs like the FS7 has will probably never trickly down into an A7s body. Sure the 8 bit codec at 100mbps is thin but the 4K image quality is amazing, class leading dynamic range and definitely sharper and more detailed 4K than out of the 5Dmk4 and M50.. Maybe im used to the 6K and 5K oversampling from Panasonic and Sony but the M50s 4K looks like its upscaled 1080P. Ive never had an issue with the menus on my Sony's maybe its because I spend a lot of time behind my cameras so I just get used to it? Sony lenses are not horribly overpriced, they are all brand new offerings to the market. Most of the equivalent Canon lenses have been on the market for over 10 years so the prices have dropped. Look at the brand new Canon EF 85mm f/1.4L IS USM ($1,600) The G master equivalent is $1,800. The recently announced Canon EF 70-200mm f/4L IS II USM is $1,300 the Sony 70-200mm f/4 is $1,300 The new 70-200 2.8 is $2100 the Sony equiv is definitely more expensive but its also corrected for Focus breathing and its par focal. You'll be surprised when the new mirrorless lenses prices drop they will be right in line with Nikon Z and Sony E mount prices. Going to autofocus.. 7:57 Sony seems better to me in his test. Every brand has its pros and cons I used shoot Canon, switched to Sony and was REALLY close to getting the GH5 when it first dropped. Just have to pick the best system for needs is all.

I wonder if BMD will ever offer built in NR or sharpening? For users who wanted SOOC footage closer to what they desire.

... And here's one of my favs of this baby to rivalry with Pocket 4K the title of 'product of the year' IMHO: Two tips for the best outcome to extract from these birds... As @Robert Collins has wisely hinted up there, go soft blurring your footage @post towards the right balance as much as necessary (use PotPlayer + Ctrl / R to preview the whole thing for this last sample as you wish) and don't throw away the chance coming already from the previous first generation going along with tap to focus to pair and mitigate the issue; from minute 3:45 on: (you'll see how non-sense the sharpness mantra can be; strictly under a very meaningful cinematic perspectve when it is where the unexpurgated frugal concept of beauty itself rises and stands -- funny and pretty ignorant times we're living in : P)

Yeah I really like the BM color science in this PCC4k, but it does skew cool in the highlights and mids for sure. I'm pushing quite a bit of orange and red into them for that balloon shot, using the color wheels in Lumetri.

I partly agree, but you buy an expensive full frame camera to shoot full frame don't you... Pay the same money, and do it on the Z6. Pay Canon and you get 1.75x crop. It's not acceptable. And I don't care about 10bit nearly as much as I care about the wide angle of my $2000 lens. I agree. But the EOS R is a $4000+ investment for most people, certainly not a 200D or a beginner to intermediate camera. Probably $2000+ for the body and the same again for new lenses. I have directly compared dedicated video cameras like the C300 and C500 (I own one) to my mirrorless cameras. Even the Samsung NX1's 4K is better than the C300, more cinematic, less moire and aliasing, just as good colour. https://www.eoshd.com/2015/02/samsung-nx1-vs-canon-c300/ Or you could get a Sony. I preferred the A7S II over the FS5. A7 III is even better. Or a Nikon. Or a Panasonic. Or a Fuji. Or an Olympus. Or a Blackmagic. If someone is in the market for a pro video camera then they wouldn't be evaluating the EOS R at all or any of the other full frame mirrorless cameras, so it's an unrelated argument anyway. Most people do not actually choose a C300 for the best image. They just don't realise you can add NDs, larger battery and a pro audio interface to a mirrorless camera And want to look "PRO". I don't think the ALL-I 400Mbit 4K on the GH5 is "quite poor". And the audience will notice the full frame look of a Sony A7 III before the notice codec subtleties. The main issue is people can't fcking grade it! I am curious what stuff you've watched from the camera and how well it was shot and graded.

I agree. Grading went wrong - in many directions. Somebody tried denoising the ISO3200 footage? Works extremely well and looks way better than anything I could even achieve on my GH5 using ISO1600 actually... Download here: https://drive.google.com/open?id=1wUgDW2keiCEiEKb9F3kSLOr6Pwm5u7uq (used Neatvideo (70% opacity) and grading in Davinci Resolve) BTW: walking-night footage is available now!

Yes, but people around here act like Canon is the only company that protects their higher line of cameras. Panasonic protects their GH line. Nikon protects their D series. Only Sony goes balls to the wall but one could easily argue that Sony cameras are an exhibition of their sensor tech, so it would make sense for Sony to that. But... Sony still uses that 8bit 100mbps 4K codec they’ve been using for 4 years now... where’s the outrage? Sony menus are still a mess... where’s the outrage? Sony cameras still have the potential to overheat... where’s the outrage? Sony lenses are still horribly overpriced... where’s the outrage? Even though Sony’s AF in the a7iii is really good, it’s still at least a generation behind Canon’s last year models. With this release, Canon’s DPAF could be 2 generations ahead of their competitors in AF. And when they release QPAF, I don’t know if any other manufacturer will catch up. If the EOS-R gets Canon Log (which I think it will) Canon will be the only manufacturer to have a Log Profile actually designed for 8bit video. I’m actually brand agnostic, so I am not bashing Sony or Panasonic here. I will probably buy a Panasonic by Christmas and I have had numerous Sony cameras over the years. The Nikon D5500 is one of my favorite cameras I’ve ever owned. But I’ve decided to invest in EF glass, so I will be sticking with Canon for the foreseeable future. And honestly I may never buy an EOS-R camera because I am tired of using adapters... especially big, clunky mirrorless ones.

I think it will be an EF mount like the EVA1.

You've given the marketing department a tough task - selling a photo-oriented camera with a 10 megapixel sensor!

Dont agree at all. The first one is massively 'oversharpened'. You can tell because 'sharpening' increases contrast at the 'edges' within an image. Oversharpening results in halos and the first image has halos in spades (or in the case of the playing card - diamonds.) This sort of sharpening results in horrible motion artifacts.

Leslie. You've admitted you've not watched any footage and have no production experience. You're speaking to an audience here in this thread that has a either a great deal of experience, or lot more experience than you yourself and who have actually bothered to read a little more before posting to an audience of like minded individuals. Consider researching a little more thoroughly at least before throwing some handgrenades of questions like the ones you dropped in your previous post. I don't even know where to begin if I have to explain why it can take much longer to grade a shot than to shoot it. Learning is great, and knowledge can be had here. This is a very helpful community but you have to put in a little effort rather than it being spoon fed to you. JB

There are far more lens choices with Full frame particularly third party Sigma 24-70 F2.8 Art US $1300 Tamron 28-75mm f2.8 US $400 Tokina 24-70 f2.8 US $950 If you want high quality wide or fast with micro 4/3 you pay through the nose -Panasonic 42.5mm f1.2 US $1400

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 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

I never get why people call someone out when they share their experiences with a camera or a lens. Its just a lens and I'm just pointing out my experiences. I want to get the shot without having to do a lot of work in post to fix it. Having ugly purple highlights around your subject - especially in someone's hair, or surrounding a tree, or filling up a backlit shot is a deal breaker for me, hence why I said "YMMV" -- because its not something that matters for everyone. I didn't find it to be particularly sharp either and the posted samples demonstrate that, or maybe that was just my copies. For me the Nikon was better, sharper, more contrast and a better overall lens. Just like lenses that need heavy in-cam corrections, some don't care, I don't like it. Its just a lens, its really not that big of a deal. I like lenses to be good throughout their range, but I'm a one-man-band and always shooting high mp stills with video when someone is paying for my services. The Tok/Ang isn't up to 42mp stills. And I prefer opening the aperture to bumping ISO for cleaner files or when faster SS's are needed, so performance wide open is something I want. So my needs are obviously different for yours, no big deal. As always YMMV. Sorry to take the P4k thread OT with a silly lens debate. Back to more Pocket talk. Cheers Chris

It would be nice to save stills not only as DNG but as PNG with baked LUT and chosen aspect ratio. Tokina 28-70 f/2.6-2.8, Tokina 28-70 f/2.8 with screw in hood (1st ver., on the attached picture) and with bayonet hood (2nd ver.), all with 77mm filter thread. Avoid 72mm version (Tokina Pro SV).

New stuff I did for Olay;

It even has a little swirly bokeh that is popular with some vintage lenses...

I know @andy lee recommended Yashica ML lenses for years as Contax Zeiss alternatives so I dug out an old, new in box, Yashica ML 50mm f/2 and brought it along with me on my shoot day on Tuesday... I must say, for a $25 lens... it's not bad at all.

Of course it does. It requires more processing power, which creates more heat.

Lovely colors and skin tones, they just look right, even when the white balance is off, which is where the Sonys always struggle, even the latest ones.

Pretty sweet 10-bit 4:2:2 colors demonstrated here. Slow-mo seems pretty sharp / alias free & AF face tracking does good job on the gimbal (ibis?) shot. My Fuji system might be getting the axe soon..

Waiting to see the one thing that hasn't been addressed, how good is the rolling shutter on the camera?

My whole philosophy for buying gear is to buy the camera that does the most stuff, and hire everything else. As much as I love my C100mk2, most of my jobs are in stills, so it tends to just sit in a bag most of the time. There's tons that I'd still prefer about it, from the long battery life, dual card recording, proper audio, and not needing to rig it with anything -- but I can always hire it if I need it. My last video job I was shooting stills and motion and switching back and forth, and for a few shots when I didn't have time to switch, I just shot it with my X-T2 and it looked great. I see the Z7 as a higher resolution X-T2 with better AF, so that's my draw to it.

Touch Focus, Face recognition & tracking, 8K Timelapse, 10-bit / N-log via HDMI, View assist, Timecode..

Focal length or pan speed does not really matter as long as you can see and measure the effect. In short you have a vertical line like a lamp post, when you pan it at a constant speed you take the distance between two frames, then you check how much the bottom part of the line lags behind. Then you calculate the % of the distance that it lagged compared to distance moved. Then you take the frame time, roughly 42ms for 24fps. And you apply your % to that. X-T2 would be about 72% lag if RS is 30ms. Which when you think about it it is quite a lot, the bottom part of the image is lagging a significant portion of the frame behind. The a6300 pretty much lags an entire frame behind between top and bottom, which is why 30fps had to be cropped (only 33ms to work with)