Leaderboard

I bought a Pentax K5 for our EOSHD cheap camera challenge. But I am lazy so I did not get round to editing the footage. It's a charming little thing with 1080p MJPEG at reasonable bitrates and gorgeous colour Ergonomics are nice... Still totally not a hybrid camera, but the RAW 16MP S35 stills quality stands up today even if video doesn't! IBIS! Crazy AF in live-view that ZOOOOOOMS the screen while wirring loud screwdriver in lens mount, and making me laugh. Freakishly good build quality. Excellent top LCD. K5 users really got a lot for their money and I feel if it got any attention in GH1 days, it would have been a contender for image quality even in 1080p and surpassing it for stills by quite a bit. Also recently got a GR III This is a gem for stills, just wish the AF were faster. Much smaller than X100F and RX1 II And the lens is superb.

17.7mm vs 26.7 mm , an adapter should be doable! Would be a tighter fit though for the electronics. However people who buy GFX lenses (they're very expensive) is an extremely small niche of buyers, an adapter wouldn't sell many at all. And I doubt a Fujifilm FF camera should be made, as Fuji would just run into the same problems Sony did. (if not even worse, for Fuji) As Sony never started out with planning to make a FF mirrorless camera, thus when they decided to later on they had to face the decision of: 1) ditching E Mount and creating a new mount, like Canon has done with EOS-M (then making RF Mount instead) 2) squeezing in a shoehorned FF sensor into a mount intended for APS-C, with all those compromises that mean (such as Sony's IBIS never being as good as the competition) I personally think Fuji has been very smart here. They realize they're too small to compete head to head against the big guns of Canon/Nikon/Sony FF. Instead they've got the double headed strategy of: 1) embrace the essence of the purpose of mirrorless, high quality but very compact camera packages. A Sony FF kit will never be quite as compact as a Fuji APS-C kit (Olympus is taking a similar strategy here, but leaning the quality/compact balance further towards the compact side). This allows Fuji to sidestep competing directly against Canon/Nikon/Sony, and Fuji can instead play to their own strengths. 2) bring out mirrorless medium format cameras positioned above FF cameras. As Fuji is gaining the first mover advantage in the medium format mirrorless market, and in the long run sensors will become cheaper and cheaper. Eventually medium format will become "affordable" for even the average joe, just like has happened with FF cameras. Today an entry level FF camera is one anybody could buy, FF is no longer super expensive like it was back at launch. (imagine a world where a Medium Format camera only costs a few hundred bucks more than a Full Frame camera??) It's a nifty business strategy, sidestep the white hot intense competition in FF bodies, and instead bring out the very best there is one stop above and one stop below FF. (which also handily positions Fuji's own products two stops apart, which is a good distance to space them apart. Prevents their own products being so directly in competition with each other as they're spaced far apart. Interestly, Panasonic has a similar strategy wih a gap apart of two stops as well with their cameras: but MFT vs FF, instead of APS-C vs Medium Format) Is a bold strategy which is a bet on the future that Fuji (and Panasonic) are making: They're betting that with time the performance of their smaller sensors will become so good, many people will happily compromise in exchange for having a small compact kit. They're also betting (this was a much eaiser bet for Panasonic to make, than for Fuji. Except that Panasonic is fighting in a tougher market niche... against Sony/Canon/Nikon) that the prices on their large sensors will come down in price far enough that they can become relatively mass market products and not just a small small niche.

If these A7S-III specs are right. Sony seems to be targeting the Lumix S1 but maybe NOT the S1H. I suspect that the S1H is WAY over spec'd for Sony to match in any "consumer" Alpha. XDCAM managers will demand that the future A7S-III will need to be crippled in very distinct ways. Alpha will want it to have everything and XDCAM would rather it not even exist at all. At some point they will agree and compromise with each other. The S1H is overloaded with an extremely high feature set that rivals an FX9 or even possibly Venice. Lumix is using Sony's own EXMOR image sensors against them! 10bit color is a must but what about Alpha's 29 minute time limit? Will Sony allow it to properly overheat to keep the high dollar pro's away from it? Rumors also say an FX6 is on the way...the cheaper, SD card long-GOP version of the FX9. I suspect that the A7S-III is THE most hotly debated camera in Sony headquater meeting rooms in the companies history. The A7S-III's biggest enemy wont be Lumix, Cannon, Nikon or BlackMagic. Its biggest enemy will be Sony's own internal politics!

Yeah that's what I'm seeing too. Personally, I'd go with the GH3 over the G6. But I never found Panasonic's focus peaking to be all that great anyway, so it doesn't really matter if the GH3 has it or not. On a side note... Begin rant... There was something special about these cameras and what people were using them for. Today, everything is about corporate videos, or content creation for YouTube or IG, back then it was about guys or gals with a camera and what they could shoot with them. People were pushing the boundaries with what the cameras had. Today, it's complaining about what the cameras don't have. Don't get me wrong, I'm just as guilty of it. But I miss the days when I was so excited to go and shoot with my eos-m or couldn't wait to see the release videos from the GH3. I've been wanting a second camera for casual shooting for a while. I bought a BMMCC in the summer because I always regretted selling the first one I had. I paid $400 for it and $100 for the Ikan VL35 monitor. The problem with it is it isn't really good for casual shooting but for the price, it has the technical qualities and IQ to make a superb indie film with. Yet I still bitch that it isn't handheld enough, or the crop factor is annoying. I remember having a camcorder and I didn't care what the lens' focal length was... I just moved back or stepped closer if I needed to get the shot. And I think that's what's cool about these older cameras, whether it's the BMPCC or the BMMCC, the GH2 or the GH3, the G6 or the G7... even if it's the t2i, they all have a unique look. They're not trying to be an Alexa... even if the Pocket has been called the Baby Alexa... they were just tools for filmmakers to tell their stories. So with all that said, I think I'm going to revisit my BMMCC and if it is too much of a hassle, then maybe I'll look for a GH3 or maybe even a G85 and shoot in B&W so I don't have to mess around with WB. The point of these cameras are to have fun with them and push the boundaries of what you can do with them... for me... sometimes that's enough. End rant.

If you are seeing this cat... Then it means the move to the new server has worked for you. Good news. No more cats. Bad news. No more cats? EOSHD now lives in the cloud. Faster speeds no matter where you are on Earth. Please let me know if you see any bugs. via GIPHY

No chance. There's no way Sony would let this be better than the cheaper version of the FX9. I predicted a while ago it would be something like: - 4k 10 bit up to 30p. - 4k 8 bit 60p (10 bit external) - Updated with PDAF. - Bigger battery. - Maybe S-Cinetone profile to match with FX9. - One little surprise, like 4k 120fps cropped with buffer. - Announcement NAB 2020. It's 5 years in the making, so I hope to see something groundbreaking from Sony - but I wouldn't bet on it being "revolutionary". The camera to watch out for this year looks to be the XT4. Do we have a blockbuster on our hands?

I swapped XH1 for XT3 for video in order to get: 60p 4K 10bit eternal. The sacrifice was the superior build and handling of the XH1 and of course IBIS. Just give me the spec of the XT3 with IBIS in the XT4 and my spec quest ends for at least the next 3 years.

Interesting that the sensor for that camera was developed by AltaSens, the same company JVC purchased and made the sensor for the GYLS300.

If Fuji and Olympus full frame cameras were on the market and Samsung back in the game, imagine how much fun that would be. X-T4 is going to be great, I'm sure - like an X-H2 for video, but Fuji are missing a trick. What if they designed an X-mount Full frame cam keeping same mount (like E-mount & Sony), then we could use our APS-C Fuji lenses in crop mode and GFX lenses in full frame mode, along with adapters for everything else. Fuji could give us a few full frame X mount lenses to start with and grow it over time. Sony didn't really take off until A7 came out. I feel if Sony had focussed on APS-C and medium format, they'd be a big hole in their sales. At first GFX looked like a great niche, a really smart move to avoid the overcrowded full frame market everyone was jumping into at once. It remains a great niche. I just can't see it becoming mainstream. 35mm is where it's at. It's really interesting to try full frame lenses on a GFX 100, a lot do cover but the corners and vignetting are quite pushed to limits.

I think Fuji has too many lines of X Mount cameras, with all these ranges: Mx, Ax, Ex, Txx, Tx, Hx, and Prox!! 7 lines just for APS-C is a crazy number, especially for a small brand such as Fuji. Of course, I think we're never going to see a "X-M2" in the future. The X-M1 was a one off, so really it is just six types of cameras. Am suspected the X-H1 will be like the X-M1, and it is going to be a one off that never gets repeated. Which brings down Fuji's line to five different camera bodies, which is still quite a lot, but is a much more manageable number. And that is why they didn't bring out a X-H2 before the X-T4

"camera: EOS-M with MagicLantern, lens: Angenieux 8-64mm Super 8 zoom, recording format: MagicLantern 14bit raw" :

Maybe it will have a boutique carved ironwood grip?

If the chart is true (Androidlad is usually right) it is a very disappointing one especially when it comes to new A7S Maybe it will shoot ProRes & RAW internally and redeam itself?!

Once upon a time, I had a K10d. Excellent ccd IQ plus IBIS, but no video at all. I would definitely give Pentax a shot if they would pull a Fuji and suddenly take video seriously. Or maybe get a cheap one for use with manual lenses, hmmm.

I can also warmly recommend the Tokina 28-70mm/2.8 which is a bought-up and continued Angenieux design: https://cameragx.com/2018/04/11/the-truth-about-the-angenieux-28-70-af-zoom/

GX85 Apart the Japanese menus and to invariably miss the much professional interface design because simplicity is to excel the filmmaking norm matching a superior IQ quality of my P4K, I love my GX85 and my three GH1 units as well, great cams, will never sell not even one of them ; ) Yet on 1080 fence, my two GF5 units instead look like even smaller toys made of dreamlike and reliable standards anyway. Wonderful tiny capture device format factor BTW. MFT is the best format ever, let alone the incredible unique light glass itself when not for peanuts price : P If you'd just want a 4K bargain to add to your arsenal, buy the G7 (I only have four of them! LOL : ) you'll be able to get in the range of 300-400 bucks. On those words, I just try to resume the framework which grounds my MFT option route. I confess : D cams are an addition, so we need to buy good for affordable... : X E : -)

Apparently the versioning officer from Valve now works at Sony.

I sincerely think these adapters are much underestimated over here, so I've decided to open this one here. We had this interesting article by Andrew: https://www.eoshd.com/2014/09/slr-magic-2x-anamorphic-footage-first-impressions/ Followed by his tests on GH4: And some other sparse ones... either on more footage or comparing it with the 1.33X anamorphic variation: The use of this very useful glass tool variant hasn't finished then, especially with more capture devices to arrive in the meantime, so what comes to the next cameras generation? EDIT -- Posted in the wrong subforum by mistake, please Andrew feel free to move it to the right location : -)

And here's another test comparing with the much more expensive lenses set:

We had half of this info before here in November: A good guess of the possible new Sony A7IV specs… https://www.sonyalpharumors.com/a-good-guess-of-the-possible-new-sony-a7iv-specs/

No it mentions FF 1.2x crop in new A7 column as well, exact same as last time. If it did the faster frame rate in 6K full pixel readout, it wouldn't need to mention a 1.2x crop at all. Who wants a 1.2x crop mode as a 'feature', creatively speaking?

Last but not least from our good fellow @ZEEK:

For the purposes that you've described you want to use it for, the answer is a massive one. The 2.88x crop factor will mean that those sweeping vistas from cruise ships aren't quite as sweeping. The limitation in shutter speeds will hamper timelapses, particularly for lower shutter speed equivalents. The power requirements for it will be a challenge as it eats internal batteries so you'll need to carry a bigger external solution, particularly for timelapse. Don't get me wrong, its a fantastic camera and you should probably look at getting one anyway on its own merits, just that for this specific role its far less suitable. With the BMPCC, RAW doesn't just describe its recording capability but also its shooting experience.

Well if it has to have focus peaking, you can rule out the GH2, so it's a choice between the G6 or the P2K.

Just looking at prices for the G6 vs G7, and had the most wonderful epiphany.... numbers are bi-directional!!! So, why shouldn't I get the G5? (or G4.. or G3...) My baseline is that it has to do time lapses internally, has to have focus peaking, and has to have better 1080p than my GF3. and @mercer moves into first place for most ridiculous suggestion! hoorah! My shortlist right now is the P2K, the GH2, and G-series of 6 or under. And i'll just quietly do a bit of googling about the classic just to rule it out completely...

I don't mean to speak for Kye here, but I think you guys may be missing the point with his intentions. Remember Kye hacked apart a GoPro so he could attach an old D-Mount lens for an 8mm movie camera, so I think this second camera is as much about experimenting with a cheaper camera as it is about having a second camera to intercut with his GH5. I'd say go with a P2K or a GH2... or an Alexa Classic.

A couple more in todays feed.... First up is Blondihacks making a tripod-screw-adapter from scratch on the lathe. Takeaways from this is a magic arm on a magnetic mount and metal plates mounted above the work areas. Its interesting to see the quality of the video and that it's shot entirely on a smartphone. Especially when you juxtapose her track record of high-quality videos which are at least partly monetised through Patreon, with her obvious naivety around the world of the DSLR. and next up is a BTS on a cooking video from Peaceful Cuisine (Ryoya Takashima). Here's the finished video: and the BTS vlog: No idea what level of monetisation is going on here, but considering it's shot on GFX100 with a Sony appearing in the video too I'm expecting that he's got a job and this is a passion / side-hustle. If you're thinking you want to get into YT then this is your competition.

Great lens. I briefly had it a couple years ago but had to sell it. I've been looking for another good copy ever since. @JordanWright has some great work with it shot on his P4K.

Reason why iPhone and OnePlus on Android side are still my choice for pictures acquisition going mobile...

I just got a Mate 30 Pro. Very large sensor in the ultra wide camera, for a change. Quality is very good but colour can be hit or miss, prefer naturalness and consistency of the iPhone Remember it's not all about specs!

Me in a camera shop.

Depending on which vintage of GoPros you use (the new(er) ones don't have the AV output), you can go the old school quadcopter route of using FPV transmitters and monitor on either a dedicated FPV monitor or one of the plug in receiver adapters for phones. The FPV transmitters are cheap, have a much longer range obviously and far lower latency than using WiFi. Whether you'd get enough channel separation to run more than a few in the same space is something you'd need to look into. As an alternative If you are going to use cameras that have live HDMI outputs then you could get something like this. This lets you put 8 different feeds in a variety of different splits (one big one with seven small picture in pictures etc) onto one screen simultaneous so you would put this in the car and then attach its output to a single Acsoon CineEye HDMI transmitter (which has enough range for the sort of distances you would be running) to monitor in the other car on a tablet or a phone. It runs on 12v so will be easy to power from in the car and small enough to put under a seat. There are 4 channel versions as well if you don't need to monitor everything. Total price including the CineEye would be under £300 and you'll get a lot of bonus use out of the CineEye on other jobs when the car one is over ! https://www.aliexpress.com/item/4000089013424.html

Are you that adamant on wireless monitoring? I'm quite into cars so I follow some automotive journalists if you will in the form of these 'cartubers'. Tim 'Shmee150' Burton for example mounts Sony FDR-X3000 action cams (with BOSS) in- and outside the car. So... that's the sorta thing I would do. The smaller the camera and the wider field of view the lens has got, the easier the rigging of course. So... Sony FDR-X3000... GoPro, Blackmagic Pocket or Micro or any other MFT camera perhaps (broadcast shows like Top Gear and The Grand Tour use Panasonic GH-range cameras most of the times). Set up your cameras, have a look at how they're pointing, hit record, fetch the recordings after the drive and put it all together. Have a trial run beforehand to make sure every occupant is clearly visible and audible.

I believe he may have used Emotive on the Ursa portions; he is a huge fan of GHa and has P4Ka as of 3 weeks ago. The rolloff on the sunny leaves etc. feels right, but the colors are very off and green; its a safe bet that the Ursa has quite a different color science than the P4K, and will need its own conversion (working towards that day)

He doesn't need to prove himself! He has an opinion and that's that. It's not a photo competition. The skin tones are pretty dreadful in my opinion as well, but it's not ideal light.

I moved from a GH1 to a G6, it is just so much better, and the G6 is now so dirt cheap I'd struggle to recommend for settling for anything cheaper. (then again the G7 is only slightly more.... it is a slippery slope! Next step each time just being a little more)

Are people not entitled to their opinions any more, unless they are magazine published? That would be a bit harsh!

They don't need to. Everyone using it on MFT with speedboosters anyway.

In the "Blackmagic Pocket Cinema Camera 4K" thread it is mentioned that the sensor stack thickness of black magic sensors (being that they have a thinner sensor stack) may cause issues with the image with lens not designed for a specific sensor stack thickness. There is a mention of the Sigma 18-35 f1.8 being basically immune to this issue due to the fact that its is a very telecentric lens. Kisaha wrote in that tread : "3. How telecentric the lens is. (More specifically, how far forward the exit pupil of the lens is.) A lens with the exit pupil far away from the sensor is not affected by the thickness of the sensor stack very much. A lens with the exit pupil very close to the sensor is affected a lot." and drm wrote: "3. The Sigma 18-50 f/1.8 lens is pretty much immune from the problem because it has an exit pupil distance of 150mm." As sigma does not make an 18-50 f1.8, I assume he is talking about the 18-35 f/1.8. So the physics of the Sigma 18-35 f1.8 with its exit pupil distance of 150mm makes it very telecentric, which may explain in part why it is hard to beat as it finds itself on so many different sensor stacks thickness and still maintains its image quality. The telecentric quality of the Sigma 18-35 may also allow the image to stand up better when running through additional glass like a speed booster.

I have only surface level knowledge, but any time your lens is longer than your FFD, you'll need extra lens elements to provide a "reverse telephoto." For example, an 18mm lens on an EF mount 44mm from the sensor. The extra elements introduce aberrations, which require more elements to correct, and so on. Add to that the complexity of making a zoom lens in the first place, and you quickly rack up size and cost. That's one reason there are smaller wide angle lenses made exclusively for mirrorless mounts, such as the SLR Magic MicroPrimes. On the telephoto end, it's simply the sheer size of the lens elements required. As focal length increases, the physical size of the aperture also increases to achieve the same f-stop.

Your nightmare is my reality.

Because no one cares about APSC except for Fuji.

That video made me laugh so hard. So uppity about the EOS R and RP's DPAF but the video is FULL of auto focus hunting. And the audio was horrific.

And a little BTS:

That was nice! It is a bit annoying that over half the run time is end credits, though.

I had so much fun shooting with Mavic 2 Pro. Felt like a kid who got his first video game console. H265 in 10bit holds up surprisingly well. I graded my video in HDR and didn't experience any issues other than slight banding in the gradients.

I still like the form factor of my Mavic Air better. Would love to see a 1” sensor in a future air form factor (or smaller). Ill trade less flight time for it too.