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I think this is genuinely a HUGE step. Rarely, do we get such a big leap out of nowhere like this. I've never felt like any other camera was anything other than just good, or expected in 2019. This is different. It's like having a full frame Pocket 4K with nobs on... from the future. This image sits in the cinema world, not the video one. I've shot some S1 10bit V-LOG with it this weekend. Here's a frame: Compared to the X-T3 10bit F-LOG, dynamic range seems wider and shadows cleaner. Image is creamier, and less noisy at high ISOs. Base ISO is 640 in V-LOG, but extended ISO can go a bit lower. Compared to A7 III S-LOG 2/3, the codec is far more robust, less banding and compression, it looks like ProRes. I'll upload the original MOV files soon.

Product segmentation is unavoidable. Sony really isn't that bad. Unlocked FS5 with a recorder can do up to 240fps RAW 4K which is pretty wild. A7III is what imo sent A7S3 back to the drawing boards. Codec wise yeah I wouldn't dream. XDCam managers won't let an A7 line get 10-bit XAVC-I. A7S3 will have a crazy sensor that'll choke everyone, 6K/8K support and a killer new body design with a flip out screen. That is my prediction. Getting back to the FS7, thanks to those for suggesting that Venice LUT. It's an excellent starting point for SLog3:

Well, I haven't posted on EOSHD for ages, but when I saw this competition I thought that sounds fun. I dropped by on Bexhill-on-Sea on the South Coast yesterday on my way to somewhere else, and shot this footage over an hour or two. No grading, straight out of camera. Manual settings (although fairly limited choice that's all I'll say). Edited on my laptop this evening. I bought the used camera on ebay for £133. I'm not sure if this is the sort of thing you're looking for Andrew. As long as I don't come last.

Magenta in the WEX video 100% a result of their grade. Aggressive NR is = YouTube's compression. So here are some ORIGINAL files to play with straight off my card. 1.4GB's worth. https://we.tl/t-rELYefyjCr These are 10bit 422 V-LOG / V-Gamut on default settings. I recommend avoiding VLC Player to look at these especially on a Mac. Messes up the gamma curve. They won't play in Quicktime either. Pop em in Resolve or your NLE of choice and give them a good LUT. I used Fuji's F-LOG to Eterna BT709 LUT which worked well and built in Premiere Arri Amira LUT in Premiere was a good match. Lens: Nikon 55mm F1.2 AI with variable ND filter

Here is a music video shot for the musicbed challenge. On this project my assistant is the director and I help her. Shot on my XT3; F-log, 4K DCI, 24fps, 400 Mbps, All-I. https://challenge.musicbed.com/submissions/the-rise/rHvFZz

Samsung NX500 + 30mm pancake in the mid of 2019: NO hack, standard bitrate, all in auto: unbelievable result to my eyes (but I’m experienced))) I still keep three NX1 with hack (for bitrate) but decided to keep NX500 without hack just for stability, and use it as a main Photo camera. But sometimes use NX500 as a run-n-gun for video, and each time I’m impressed… https://youtu.be/4WJq5OSWhx4

Slashcam refer to the crop as being in the specification "The Sigma fp will be equipped with a 35mm Bayer sensor with 24.6 effective MP exposed at the back (so not with a Foveon sensor like the Sigma Quattro). In the technical data for the camera, however, a crop of 1.5 is mentioned, which will most likely be effective in film mode." If you look at the specification, the crop (or Clop as its spelt in the document ) is actually mentioned in reference to still formats rather than video. So the crop reference is purely there is to indicate the resolution you will get in stills mode when you attach an existing L mount APS-C lens like the Leica ones or Sigma's own upcoming crop lenses. I will have to resist all urges to refer to this as Jurgen mode when I attach an APS-C lens to it.

Ah, couldn't import the clips in Resolve (latest 16 beta), then discovered 10 bits h264 is a Resolve studio capability... So back to premiere... I may have to buy a bmpcc4k to obtain a licence key and be able to use S1 files ?

I sold my Canon mk3 with Magic lantern 14 bits raw, that was working great, to get this camera. My main reasons to upgrade to the S1 are better lowlight, IBIS and 10 bit Vlog. I'm hoping the vlog workflow will be easier on storage than my previous raw workflow. I just have to remember to nail the white balance. that was never an issue with raw. It seems like my choice is paying off. Will get firmware key next week. Looking forward to any more footage.

Thats my boy ! Yeah if its only through HDMI then they can fuck off and take these shitty low capacity batteries with them.

I got quite nostalgic there seeing those vintage cars as I regularly went on Sunday trips to the beach in one of those as a child. Sadly, it was the Ford Anglia and not the E Type Jag ! Got to admire a man with the self assurance to still be able to dole out a suspicious "what on earth are you up to?" look at someone else when he's the one casually taking his Dalek for a walk.

You shouldn't be getting duplicated frames unless your shutter speed is actually slower than your frame rate. You should be able to shoot 1/38 shutter with 24p just fine. So that's probably not it. You didn't transcode the footage at any stage, did you? If you are 100% sure of the camera settings, 23.976 fps with 1/38 shutter, then my guess is that there is something wrong with your computer playing the files. If you can upload an original clip from the camera, we can verify. Edit: Is your footage interlaced? Could it be a problem with deinterlacing?

Is your timeline frame rate also 23.976?

I record music with mainly 70's equipment.. analog gear has this timeless appeal vs digital. That said I'm also an advocate of "old" devalued high-end digital tech such as the Leica M9 I also purchased this year. 2009 Kodak CCD sensor. Shit on sensor charts. Mad mojo IRL. My C100 mk1 also long in the tooth, with a low bitrate 8-bit codec.. but also has this je ne sais quoi IQ appeal. Canon 5D mk1, my favorite out of the whole series..etc FS7 is just the latest in my gear purchasing pattern cycle. So yeah, I'm not worried one bit.. like I said I'm actually pretty thrilled ?

This thread makes me very excited for my update to arrive and even more excited for the S1H - if they can pull this off with their “hybrid” model, the video centric model should be pretty amazing.

That would explain your two in every three frames then, must have been 60fps.

I’m filming with a super 16 mm film camera in 2019 so I wouldn’t worry

Yes its nice, and with ios13 you can use a mouse too. so add a mouse and keyboard and you have a nice portable editing station.

I'm seriously thinking about ditching laptops (macbook pros) for a latest iPad with iPadOS. Since they added external file folder support and external drive support with a proper USB-C port. Can now just plug in a Samsung T5 drive and preview or even edit a video with lumafusion. It can handle 200Mbps HEVC files from the X-T3 without dropped frames whatsoever. This is so much better than a 15 macbook pro.

Luma fusion on the iPad can open them

The cable arrived & I've updated the firmware. The C-AF is freakishly good. At least the equal of any proper camcorder that I have used over the years. Initially I was horrified at the severe crop mode in both HD & 4K video but then realised that this is only when you have sensor shift & digital IS engaged & when you switch to sensor shift only there is no crop. I bought a cheap Vitrox speed booster to enable me to use my Nikon lenses but having tried then I don't think that this is going to be useful as the camera is hideously unbalanced when you put a heavyweight FF lens plus speed booster on the front of the camera. I'll just live with the 25mm F/1.7 which gives me 50mm FF equivalent view & can always use the lossless 2x digital teleconverter when shooting video to give a 100mm view.

Beautiful and captivating ! Ah, and so much flexibility that makes me jealous and my back cracking ?

I saw a video that was posted by Wex Photo Video and was seriously impressed. I think we have finally made it to true 14 stop mirrorless cameras (in video). The "Varicam Look" is starting to grow on me as well. ? Read an article on Newshooter "Panasonic told us at Cinegear that their strategy is to unify the Varicam, EVA1, and Lumix divisions and try and bring them all closer together."

its definitively because of the F55/F5/FS7 cameras that are keeping cheaper cameras like the FS5/A7s line from being truly great. I and I guess just about everyone else isn't asking for 16bit RAW via the Sony XOCN Codec (Venice/F65/F55) to be placed in an A7s body. Hell with what I do (sports/direct to social media content) I don't even need the 12 bit raw like what blackmagic offers. in 2019 asking for 10 bit 4.2.0 HEVC or 10 bit 422 H264 isn't asking for much imo XDCAM/Cinealta Managers need to relax. If you looking into buying an F55 then there's a really strong chance your not even considering an FS5/A7sii.

I'm still feeling it is a good 50/50 odds as to if an a7S mk3 will even ever happen. Is nearly 4 years since the a7S mk2 was released. That is forever in camera tech terms. How many more years need to pass before people will finally give up hoping for an a7S mk3? https://www.sonyalpharumors.com/sony-russia-manager-says-not-all-technologies-are-yet-ready-for-the-a7siii-and-expect-an-a65000-successor/

That looks fantastic!

Yeah, I didn't mean to imply it necessarily wasn't a DC connector separate to the battery, I literally just meant it looked like a dummy battery, and I assumed that little port on the side was for a dummy battery wire when I initially saw the camera.

Wow that is a pretty amazing video. Well done.

I think logically it will be in that sort of price bracket and probably at the lower end of it. It doesn't have an EVF and for stills shooters they will be expecting it to be at least as cheap as a full frame mirrorless that does like the Canon RP or even the Sony A7ii. My concern would be that Sigma have set some optimistic prices for most of their other cameras at launch but those cameras were always going to be niche so hopefully the economies of scale with this one will change that. I hope so anyway as I'm already doing the "Well, I've already got so many of the BP-51 batteries already that it almost doesn't make economical sense not to buy it" justifications to my better half I might be in full on justification mode here but I'm pretty ambivalent about it recording RAW internally. In the context of it being a modular camera anyway, using a Samsung T5 drive or whatever to record to is perfectly OK by me for a few reasons. The first one is the capacity aspect and the second is actually about then just being able to attach that drive to the computer and start editing it instead of having to tit about with card readers. Those drives are also a bit more readily available if you're out and about than having to track down CFAst or ultra fast SD cards. The other reason is a bit more philosophical in that I think the FP is a stills camera and it is a cine camera but its not necessarily a hybrid. The modularity of it, to me at least, means its a sensor in a box and you dress it accordingly or not dress it in the case of when you want it to be a stills camera. As a cine camera, I envisage it having a grip that incorporates more power but also has an SSD slot and you just attach that as one piece at which point what is internal and external recording is a bit of a grey area if you know what I mean. For example no one considers a RED to not record RAW "internally" but the reality is that it is doing it externally internally and this would then be exactly the same. I think that is why Sigma were making a big issue about opening it up to accessory manufacturers as a way of having much better integrated solutions than having to cobble together rigs. To be honest, even if I was ostensibly taking it out to use as a stills camera and thought that I might want to record some raw video then its no hardship to have a T5 in a pocket should the need arise. In point of fact, if Sigma put in a file transfer page to move stills on to a T5 directly from the camera then I'd always have one with me anyway because, again, that whole card reader thing gets old for transfer particularly if you want to edit on a tablet. See, I told you I was in full on justification mode

More. This is like someone taking a plate away, after offering a tiny little bite.

Same. I think the smart play would be between $1300-$1600. The BMPCC 4K put a wrench in a lot of cameras. So unless the FP shoots internal Raw at around the price point of the P4K, I don’t really need it. As a hobbyist, I only NEED 1080p Raw. I already have FF Raw with my 5D3. And I have S16 Raw/ProRes with my newly acquired BMMCC, so to upgrade to 4K Raw, the FP would have to be competitive with the P4K. The next year should be pretty interesting. If I’m being honest with myself, I probably won’t upgrade my cameras for another year or two, so hopefully by then all of my boxes will be ticked for $2500 or less.

You wouldnt guess for how little I got that beautiful body of a FS700R camera! @BTM_Pix thank you for posting! Still, I don't have that RAW nor 2k nor 4K out option, which is seen at the beginning of the video. So question would be if a software update would be needed, since the infamous hardware upgrade should not be needed due to the R version of my camera. Maybe software update from 3.0 to 3.1? Would be cool if any FS700 lovers could chim in and put some light into this. Thinking of @IronFilm, with his love for the beautiful F3. That is a pretty looking camera! But back to topic, I have the R version, so I should every reason to look forward to some fat n juicy 10 or 12 bit files! Hmm, just saw in the Odyssey video, one can record proxies internally while being in raw beast mode! Right now very happy about my purchase, will be even happier to get the raw option figured out, will be even more happy to shoot some kewl video for it! So much happiness. Not just yet!

Kind of expensive even used, but it is a great all in one lens. On the slow side though F stops wise, but most are in that price range. No free lunch. https://www.amazon.com/Fujinon-XF18-135mmF3-5-5-6-LM-OIS-WR/dp/B00KZHOYSW

Me! What I'm waiting for is: 3.7M-dot EVF, IBIS, NP-FZ-battery, a7-like controls. Just something to challenge / surpass X-T3.

A side by side comparison of them

Thanks, Andrew, for chimming in! I am going to rent a Shogun Flame. There are just no 2K or 4K raw output options in the freaggin menu though:( I was fortunate enough to buy the R model in nice condition for a price I could not resist.

I kind of agree. H265 is hard on most PC's and I don't think it yields any better results unless you are using very low bitrates.

Welcome to the dark side. I've been eyeing the FS5 as something a little more robust than my a73 (plus 10-bit) and right now Adorama has a stripped body for $2k. The raw upgrade, a few Smallrig bits, and an external recorder would come in under $4k total. But with 10-bit and 4k60p popping up in hybrids like the S1 and upcoming S1H - my preferred form factor - I can't pull the trigger just yet. There are some great values in used cameras a generation older than the current model. Chris

Yeah, I agree. Although, personally, I separate out the weaknesses / requirements of the camera into things that I could work on and things I can't (or have chosen not to). For example, if people shoot run-n-gun with the GH5 and get great low-noise footage then I'm very interested in how they do that. If they do that by having great lighting then that doesn't apply to me and how I shoot (I shoot exclusively in available light) but if they've achieved that in post then I will absolutely work my butt off to learn how to do that. So in a way, I will use the best examples of what is possible as 'inspiration' for me to push myself and learn more about the craft. The GH5 is a funny one actually, because for me the GH5 produces absolutely glorious images and so (for the most part) I can just look at the camera as being infinitely good, and if there's issues with my films then it's basically my fault. I know it's not true for low-light shooting (for example) but mostly I push myself super-hard to create magic. It means that I'm basically always disappointed with the results, but it makes me learn at the fastest rate I can, so in that sense it's still worthwhile. Every now and then the factors I've chosen not to control will come together and magic will get recorded to the SD card and it makes me really happy and makes everything worthwhile. I also have a big skew in my approach because I completely accept that my shooting will be far from perfect, but then I work super hard in post to get the best results I can. In this sense I think that tests like this are great for reminding everyone that there are many cameras that produce workable images, and my personal opinion is that if you know what you're doing then you can really elevate your work by colour grading and otherwise manipulating images.

I put together a Interview Lighting kit that fits all into a backpack including 3 light stands, batteries, chargers and umbrellas. Got to test it out Saturday night and its perfect for interviews when traveling and I believe everything should be safe to carry on a plane. The new Aputure Amaran AL-F7 on camera LED light' have a very good energy efficiency when set at 55k color temperature and along with the GH5S and A7S Mk ii low light capabilities got me thinking about making a very useful scaled down lighting kit for travel. I am using 4x Aputure Amaran AL-F7 LEDs with batteries. Each NP970 battery is getting little over 2.5hrs on a full charge. I have 10 in the kit giving me at least 5hrs of battery life plus 2 extra when running all 4 lights at 100%. In the images below I have some screen grabs from the interview I did last Saturday. I got with my GH5S with the Metabones Speed Booster F2 at ISO 400 with V-Log. The close up shot was with the A7S MK II at ISO 2000 with F2.8 while being 1 stop over exposed for SLog. I did a lot of looking around and for diffusing the key and fill and the best thing for being fast and compact enough to fit with in the backpack were Westcott Collapsible umbrella. So even though I own a lot of lighting and grip gear I can find myself using this very often. Air Travel would be a big one. Cramped spaces like offices or small living rooms for interviews. But also when I do documentaries sometimes the subject being interviewed can be intimated by lots of lighting and grip gear. This would give me the freedom to make the subject feel comfortable. The kit with everything in the list below was $1050. Let me know what you think, if you have any questions or suggestions for improvements. Here is the list of everything in the kit: 4X Aputure Amaran AL-F7 On-Camera Variable Color LED Light (3200 to 9500K) https://www.bhphotovideo.com/c/product/1400467-REG/aputure_amaran_al_f7_on_camera_led.html?sts=pi Lowepro S&F Transport Duffle Backpack (only backpack under 100 that fit the length of the light stands.) https://www.bhphotovideo.com/c/product/736044-REG/Lowepro_LP36261_PAM_S_F_Transport_Duffle_Backpack.html 3x Kupo Handy Stand (7.4') https://www.bhphotovideo.com/c/product/840712-REG/Kupo_KS041011_Steel_Baby_Boom.html?sts=pi 2x Westcott Optical White Satin Diffusion Umbrella collapsible (43") https://www.bhphotovideo.com/c/product/63314-REG/Westcott_2001_Collapsible_Umbrella_Optical.html Westcott 43" White Umbrella, Collapsible https://www.bhphotovideo.com/c/product/501164-REG/Westcott_2011_43_White_Umbrella_Collapsible.html BUBM Electronic Organizer Travel Gear Bag(3pcs/Set/L,M,S), Cord Organizer(Black) https://www.amazon.com/gp/product/B075Q58KCT/ref=ppx_yo_dt_b_asin_title_o00__o00_s00?ie=UTF8&psc=1 5x Wasabi Power Battery (2-Pack) and Charger NP-F970 (10 all together) https://www.amazon.com/gp/product/B00FPZY0BK/ref=ppx_yo_dt_b_asin_title_o02__o00_s00?ie=UTF8&psc=1 3x NP-F970 USB Dual Digital Battery Charger https://www.amazon.com/gp/product/B01GPEREXU/ref=ppx_yo_dt_b_asin_title_o02__o00_s01?ie=UTF8&psc=1 ChromLives Dual Flash Bracket Hot Shoe Speedlight Stand Umbrella Holder (Used this to double the LED panels as the key light) https://www.amazon.com/gp/product/B07FYF8GXV/ref=ppx_yo_dt_b_asin_title_o03__o00_s00?ie=UTF8&psc=1 ChromLives Flash Bracket Hot Shoe Speedlight Stand Umbrella Holder 2 Pack https://www.amazon.com/gp/product/B07317T52Q/ref=ppx_yo_dt_b_asin_title_o00__o00_s02?ie=UTF8&psc=1 3-Pack 3-Outlet Grounded Power Cube Wall Tap https://www.amazon.com/gp/product/B01LY5WZVT/ref=ppx_yo_dt_b_asin_title_o03__o00_s01?ie=UTF8&psc=1 AmazonBasics 6-Outlet Surge Protector Power Strip https://www.amazon.com/gp/product/B00TP1C51M/ref=ppx_yo_dt_b_asin_title_o00__o00_s02?ie=UTF8&psc=1

I'm never going to sell my NX1/NX500 combo -- at this point I have gotten rid of all native lenses except the 16-50S and the 16-50 PZ (and I have one of Luca's speedboosters as well). But the NX500 with the hack enabling silent, electronic shutter is invaluable to me as a timelapse camera. While I have moved on to an S1/GH5 pairing for most of my paid work, the dynamic range of raw photos on the NX cameras at ISO100 is still basically unbeatable in my opinion. 28 megapixels, and shadows can be boosted to 100 in LR with zero downsides, it's amazing. Video-wise, while these cameras, some 5 years later, are finally, finally starting to get a little long in the tooth dynamic-range wise (and missing higher 4k framerates,) If you keep them locked down, in 4k 24p, the image is still so sharp and beautiful, and in reasonably low-DR scenes still does -- and always will -- achieve stellar results. For me, IBIS is a must-have now, and a real game-changer for my type of work. While the new Nikon cams are interesting, no 4k60p is very annoying, not enough of an upgrade from the NX cameras. The XT-3 is very cool, but has poor battery life and no IBIS. I have really been liking the S1 though. Its autofocus is not as bad as they say, especially with the recent update. Stills are technically lower resolution but hold detail far better at high ISOs than the NX1, which turns to mush after ISO 800 really. Of course, the S1 is also quite large and heavy. No perfect camera! Although the NX1, for its time, was pretty damn close.

Man might ditch other camera and go for L mount exclusively, 4K raw in such tiny body! Paired with the 45 2.8 this is pretty compact, lighter than a7iii body by itself

Stumbled upon this gem. Zeiss 35mm 1.4 ZE

You don't know your ass from a hole in the ground about grading. Maybe you Ought to Calibrate your Monitor if you think it is OK. It sure as hell isn't on mine. I guess the new norm on here if it is half assed it is fine. Sure we are probably going to half ass stuff, but if that is the best video on You Tube to show off the XT-3 well Woopty Ding.