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Wrong. The poor Canon spent all it's budget in the 24p license, no money left to license 30p.

In my view it just isn't an X-H2. The X-H2 body feels twice as expensive and twice as robust as an X-T3. It feels like Fuji took the safe and cheap option. Definitely not a bad camera but I need that X-H2 at some point. They better not have cancelled it. Plus where is anamorphic mode?

Pro tip: set camera sharpness to the max in the camera when shooting raw, to be able to focus better. I use this for raw stills and for shooting raw video, it really helps to see the focus area.

This is my first post here so hi to everyone. I must say the R5 is great news for all of us that started filming dslr with Canon. And most of us do not care about 8k so much, we care for a solid 4k with more than 30fps and maybe 10bit. As a Sony current user (weddings), i would love to be able to get back to Canon asap. I must say that everytime i check in my old files some C100 footage (my favourite WDR profile), i miss it. But Sony gave us easy and inexpensive tools, HD 120 fps, 4k, and in a price that most people can buy. This is the key, the price. And there is a price point (Sony has it) that a camera can be a hit and win the market or stay in low sales. I think arround 3000-3500$ is that mark. In the wedding film industry where i am , its hard already for anyone to beat Sony. Sony managed every of its camera "issues", disadvantages, characteristics to become normal, almost a must for every wedding clip. And got many well know wedding videographers for ambassadors. So maybe Canon should make the "revolution" along with a greeat product give a better price than Sony's. And even so it will take time for other brand shooters to change all of their cameras and lenses and give back to Canon its 5d era. Maybe the R6 is coming to help there, i dont know. One thing is for sure, this year is going to be a battlefield for Canon and Sony. Who will win? The one that gives the most and cost less.

Are people not happy with the focusing system of the X-T3? Maybe not dual-pixel AF, but easily as good as Sony’s implementation on their cameras, no? I wouldn’t hold my breathe on the R5 just yet, I know everyone is losing their shit over the potential of it (and rightly so if it turns out to be as good as it sounds) but never underestimate Canon’s ability to really screw things up, especially when something is suddenly leap-frogging all their current hardware; I’m interested to see what their version of 8K actually entails, or the quality of their IBIS. Or, at least, the price! Assuming that rumored €9999 price is wrong, but we’ll see. If correct, it shouldn’t be in the same conversation as a $1700 X-T4.

The XH2 will still come. In reality the XH1 should have been the XT3 with IBIS and the XT3 should have been what the XT4 is. That said its ok, Fuji is still doing more than most companies. TBH The XT4 will be an ideal camera. Nice bright screen, IBIS, great image as per Fuji, and great battery life(especially with a grip). It needs to get rid of the record limits tho.

3 or 4 years ago this would've been a huge release. Today though it's hard to justify spending $900 on this when there's so many options out there, even from Canon themselves. I'm sure it'll be a good, maybe even great, camera, but it's 2020... These specs are real late to the party.

Worthy quotable segments: Good to hear that the S1H sales are exceeding their expectations! (I wonder if the $99/week rental of the S1H was a signal of slow sales, I guess not!) Also was surprised that up to nearly a THIRD of S1 buyers are also getting the paid firmware upgrade! Interesting comments at the end about the hypothetical possibility of Ricoh/Pentax joining the L Mount system.

I am hoping the 3 xf lenses that are suppose to be released in 2020 are updated 23 1.4, 35 1.4, 56 1.2. With fuji really advancing in video, they desperately need these to be usable for video.

12032 x 9024 pixels and 6K (6016 x 3384 pixels) up to 30fps in the $250-350 price range this time? Seems we'll have news this October 24... https://www.gsmarena.com/xiaomi_mi_cc9_pro_rumored_to_bring_108mp_camera_and_snapdragon_730g_chipset_-news-39444.php https://www.technobezz.com/xiaomi-may-release-the-mi-cc9-pro-with-108-mp-camera-on-october-24-985365/ source Add Camera 2 API and you'll have manual controls, reach up to 200Mbps and yet extend your DR going with Log modes... Just holding less than 200 grams! E : -)

First I'd like to say that I appreciate that the Lenses sticky thread is now it's own Sub-Forum. It really allows members to post more specific topics and it allows readers to ignore topics that may not be useful for them. With that said, @noone had a great idea creating a topic with one of his favorite lenses... so I figured I'd follow suit with one of my favorite lenses... Nikkor 35mm 1.4 ai-s As I started writing this brief, real world review, I realized that this lens represents a larger story of me as a filmmaker as it chronicles the highs and lows of my life since I started shooting my film... So what started as a brief review morphed into a much longer story. If you don't have the time or inclination, stop now. For those that are still interested... here we go... I love fast, wide angle lenses. They offer shallow depth of field while allowing you to get close to your subject. And a fast 35mm straddles a wide angle FOV and a normal FOV making it almost the perfect full frame, focal length for my style of filmmaking. This is my second copy of this lens and truth be told... I've almost sold this lens a half a dozen times over the past year. My first copy I bought when I started shooting my film. I had a simple game plan... the Canon 24-70mm f/4 IS lens for daylight and the Nikkor for lowlight. Here are a couple frames from the first shots I took with the lens for my film. For some reason I decided to go a different route for my lowlight shots and bought a Canon 35mm f/2 IS lens. In most ways, the Canon is a better lens, but it lacks the charm of the Nikkor even if it did match my zoom a little better. At the time, my film was moving along at a steady pace, so I decided to keep the Nikkor for a different, upcoming film... Well... Life had a different plan, like it often does, and some unforeseen medical issues in my family slowed production to a near grinding halt. With those medical issues came some unforeseen financial issues and I was forced to sell a bunch of lenses. For a brief time I thought I'd be forced to sell my camera as well, but I luckily made it work. Before I sold the Nikkor, I decided to take it out for a final spin. Here are a couple frames from that last day with the lens... By this time, I was also forced to sell my Canon zoom and my Canon 35mm f/2. Over the next 6 months I raided my closet to test any and every lens I had that could work for my film. Luckily, during that time, I found a Canon 28mm 1.8 listed on eBay "For Parts" for peanuts. Needless to say, I won the auction and found another one of my favorite lenses born from need. For the next 6-8 months, the Canon 28mm 1.8 lens became the only lens I used to shoot my film and at the time, I couldn't be happier with the results. But I still missed my Canon zoom and my Nikkor 35mm 1.4. Last year, I came into a little extra money and immediately sought another copy of the Nikkor and after a few weeks, I found one. With the extra money in my account, I took the opportunity to test a bunch of lenses I couldn't otherwise afford but always wanted to try. I tested some beautiful lenses but being a hobbyist, I needed to contain my obsession and build a couple logical lens sets. I used the end of my sporadic shooting days to test a lens. My method was simple, use my main actor as a model in the same locations I was shooting my film. Here are a few frames from those tests... After hours of deliberation and footage, I finally realized that I don't change lenses that often and I grew to like the idea of a single POV, from a single lens, as if the lens' FOV represents an invisible narrator's eye. I used my feet to zoom and put together a simple rig consisting of a closed monopod with a tilt head and a tape measure pouch clipped onto my belt. The bottom of the monopod fits snuggly inside the tape measure pouch giving me a stable image with a handheld-like flexibility. During these tests, I realized that I had way too many lenses and could easily shoot a short film a month, for well over a year, and never reuse the same lens... What was I thinking?! I am just a hobbyist with no delusions that I will make the next great indie film. This was getting out of hand. So I set up a final round of testing and narrowed down my keepers to a grand total of 5 lenses with the only "set" consisting of my Canon FD 50mm 1.2 L and my Canon 28mm 1.8. At the time, I even contemplated selling the Nikkor 35mm 1.4 one more time to keep with my minimalistic utilitarian approach. But after some careful thought, and some good advice from some other EOSHD members, I decided to keep it. Although I was still unsure if I needed the lens, after a recent go at some of the footage with my mediocre color skills and my crappy monitor, I came up with these frames from one of my test shots... Although, I realize that none of these shots are particularly spectacular, but each one represents something I like about cinematography and tells a story about my life over the past 3 years. Sometimes the gear we buy is more than just tools for the stories we tell... they become part of the story... part of the journey. Maybe I am being too sentimental but when I look at these perfectly imperfect images taken with a perfectly imperfect lens, I remember the moments that brought me from then to now and what I learned during that process... This lens taught me that my equipment is better than I am. I learned that I don't have to shoot everything wide open and that I probably shouldn't if I ever want to pull focus on an actor walking. I learned that some lenses have a vintage look when wide open, but when stopped down can look crisp and modern. But most importantly, I learned that I need very little to make a movie and gear is the least important. If you're interested in a more technical review, I recommend Ken Rockwell's review of the lens. He gets into the nitty gritty of the characteristics of the lens. I feel he's a little too hard on the lens but everything he writes is dead on accurate... https://www.kenrockwell.com/nikon/35f14ais.htm For me, I can sum it up in one paragraph... The Nikkor 35mm 1.4 ai-s lens has a warmer tone and when shot wide open, the images are dreamy, a little soft with a ton of coma on the edges. Stop it down to f/2 and it cleans up a little. By f/2.8 it's like you're using a different lens and that lens is as sharp as a knife. It's like having two lenses in one with both being sharp enough with a bunch of character. So there you have it... thanks for reading.

My concern is it being jumpy.

I am pumped for this camera. IBIS + a bigger battery were definitely the two biggest reasons I was holding on to my GH5 as my take anywhere, traveling video production camera. But Fuji strikes the perfect balance of small, compact, lightweight (lenses especially), high-quality, large sensor, great image, great color, good AF, etc etc. Full-frame is great, but lenses do get big and expensive FAST. And MFT suffers from low light performance and not good AF - and the high-end lenses are more expensive than the Fujis. Not to mention the Fujis are much better photography cameras. Love the XT3, but the lack of IBIS and dismal battery life always held me back. Looks like both of those are fixed. Can't wait to sang the XT4 as my travel, small production video camera. Hope it gets true 10-bit 422 (rather than 420) and some sort of 4k 120fps burst mode.

Which XH2 have you got @Trek of Joy ? 🤩

hadnt seen any S1H samples with the FD's but heres a S1 video with Canon FD 55mm f/1.2 Canon FD 85mm f/1.8, and Angenieux 28-70 f/2.6 Angenieux 70-210 f/3.5.

Show me some vintage glass on this beast. This is an indie filmmakers dream! An all in one Varicam GH2 with IBIS. Anyone with a 20mm Canon FD on this beast?

I wonder if it's a case where people aren't so keen on Sigma's new entry into the cinema camera market since people associate them with slow but gorgeous "weird" cameras? Almost like if BMW were to suddenly decide to make a cell phone Every modern camera seems to be a great sensor in a box with the differentiation being software at this point, save for the obvious technical advantages of the higher-end cameras. If Sigma can make the fp platform stable, reliable, and consistent, I don't see why they couldn't continue the line well into the future.

As soon as other cameras have introduced ProRes and RAW internal, I would expect Blackmagic would have given us another camera model. You could just as easily ask what if BM introduced one with IBIS, AF or EVF, why would you shoot anything else. The Pocket 4K and 6K are not perfect, but they have their unique features,as useful and basic as IBIS and EVF... Punch in focus during recording... shouldn't that be like standard for any camera that records video professionally. Recording to a SSD drive via USB... no serious camera for video should be without it. Yes cards are good, but some like SD cards, which Panasonic favour are very fragile. I've had to bin a few last year for failing and in one case, one got stuck within a GH4r. CFast is a better option for cards and frankly for a professional camera should be the sort of standard over crappy, flimsy SD cards. But SSD recording is so very useful to me in my work. How many cameras offer this in this price range? Mini XLR... how many other mirrorless / DSLR cameras has this? The Pocket implements LUTs much better than my GH5; I can't speak for other manufacturers. With the Pocket 4K, I have the ability to record with LUTs embedded. There are also more options for your own custom LUTs than my GH5 provides. Also, when a camera crashes and all my Panasonic cameras have been guilty of this from time to time, I get error files that I can't retrieve unless I outsource. On my Pocket 4K, I don't lose the file at all, maybe a few seconds, but hardly significant. BTW... my Pocket 4K whilst has crashed a little more than my GH5, it isn't the worst camera for this. That honour goes to my GH4 and one of my GH4rs. Both have given me loads of error files I can't use. Plus the look and colour science of BM is superior to Panasonic in my opinion. So whilst I welcome ProRes and RAW to someday make an appearance on a Panasonic camera, I would also welcome at least some of the above to be included on them too. Not to mention great AF as well. Panasonics biggest failing. Of course, I have a list of things I want for future BM cameras too, including AF; no one camera is perfect alas.

Come on, sensor of humour required Innovation is higher at Panasonic. First to introduce a mirrorless camera of any kind, first to create Hybrid-type camera (GH1) aimed at filmmakers and videographers - a full 3 years before Blackmagic entered the market. First to provide 4K on a mirrorless camera and first to cinema standard 4K under $2000, first to 10bit 4K (for competitive prices) and 4K/60p with no additional sensor crop (GH5). At the same time, they practically invented Micro Four Thirds, an entire system, while making their own lenses and providing Leica with core camera tech and manufacturing, firmware development, support, and let's look at Panasonic's innovation on accessible pricing too - GX85, with IBIS, an EVF and even a screen visible in daylight for under $500. Compared to this Blackmagic's only camera-related "innovation" is to come up with a low price for a sensor in a box that happens to shoot ProRes and RAW internal whereas other cameras tend to stick with compression, and much smaller file sizes with a small trade off in image quality. As soon as there is ProRes and compressed RAW internal recording in a Panasonic GH6, or S2 full frame mirrorless camera, why would you choose a Blackmagic with smaller sensor, terrible battery life, poor ergonomics and uninspired feature set that lacks basics such as IBIS, AF, EVF, and so on? Blackmagic brought us Resolve, first dedicated affordable cinema camera and I do applauded them for that, in fact I did so for about 6 years, but I am not clapping any more. Time to judge in the cold light of day I'm afraid. Let's not start a cult.

No words on 4K crop or not ? Canon may have waited too long to update their cameras but they still hold up to me Completely silent autofocus with the STM lenses Great AF with dual pixel, smooth transitions Smooth iso transition in auto mode (no steps) Great user interface Great tilting screen Best color science to me Great colors in low light Good battery life Great handling I owned a X-T20 and returned it when i realized it's not all just about bitrate

This is kinda what Panasonic has done for awhile now. Especially with the GH5. This maybe brings clarity to the G9 firmware bomb they dropped.

Yeah the S1 is going for stupid cheap used. I'll get one later this year almost 100%

This camera is basically a DSLR version of the Canon M6 Mark II, which is a camera I've owned for the past several months. It's actually a terrific camera. Not a spec monster but does most things right. Good ergonomics, good colour, good DR and low light ability, microphone jack, sharp 1080p, sharp-enough 4k with low rolling shutter, good lens selection. I actually prefer this camera over the Fuji X-T30 that I owned previously. So if you have bigger lenses like the 17-55mm f2.8 then you'll have yourself a great camera to use it with if you get the t8i.

I reviewed the EVO I for fstoppers. Bottom line: good hardware, some nice features but the gimbal performance was horrible with constant and severe horizon drift (roll axis). I still see some drift on the video posted above. It also suffers from multiple glitches. The colors were a bit "flashy". It had some potential but they need to fix that. As for the EVO2, I'm curious about the quality if 8k on such a small sensor with a very limited bitrate (120mps). There is much sensor an h265 can do and the lens won't exactly be Sigma art... Looks like a useless gimmick to me. It's advertise as a digital zoom feature. Perhaps because they can't mount a proper optical zoom or don't have a good gimbal tech to stabilize it? I'll try to get my hand on the EVO2 for review. We really need more competition on this field. PS: the support chat is very good and responsive with Autel. Big difference compared to DJI...

It shoots 4K at 24p exclusively, so that means it is meant for serious cinematographers only. No home videos, blockbusters only. No wonder no has the cohones to step up to it.

Im away at the moment so not had a chance to catch up. They are aware of the DNG flickering and hope it will be in the next firmware last i heard. They've now announced the SDK which could be of massive interest, depending on what access the SDK gives you - for me this *could* be the feature that really propels Sigma out there because they're not protecting a line of cine cameras and if the SDK gives full or wide access to the camera then the possibilities could be endless. On the other hand if, like Sony, it's a limited SDK then that's of less use. I really want an EVF. I don't mind using the optical VF (gotten used to people looking) but it's bulky for a camera so compact. I was wondering if a better optic would work - like half the size but i've not found anyone that has done that. Or a compact EVF would also work - the smallest i'm aware of is the Zacuto stuff but it's still too big. Anyone found anything of interest? The Video HDR function seems interesting, i wonder what that is... cheers Paul

@HockeyFan12 Hey Matt, Proxiscope does not add vignetting compared to the original housing (I design products in a way the front lip is nowhere near the angle of view of the lens itself). I suggest a simple test – put on the old housing (good thing the rehousing is reversible and takes 5 minutes), and shoot a scene from at tripod, then put the new housing on and repeat it. That should help you life your doubts. Front element has to travel 6mm to get from inf to 2m. Of course to travel from 2m to 1.1 the front lens has to move more, in our case it's another 6mm. That would obviously increase vignetting and there is no work around that, but still, the front lip is so short that it's not the cause of vignetting even at 1.1m. My newest design Nexiscope has three times more trave, and even if the lip is 6mm deep and 72mm in diameter it's not going to vignette. Cheers.

I have shoot severeal feature films with the Agascope lenses back in the eigthies. The most famous one was "Ninja Mission" in 1984. Today a cult movie. I used all four of them with the Debrie mount on Arriflex IIC cameras. These lenses are NOT old soft lenses. They are supersharp with good contrast. Fantastic lenses! In the fifties and sixties you could only rent them. AGA never sold any lenses so lenses on the market was probably stolen. I think that the above one is a prototype as I have never seen or heard of a 50mm Agascope. The lens was made in 1959, at the end of the Agascope production era. They came in 46, 75, 105 and 210mm. I don´t think there are any problem rehousing these lenses today.

The iPhones actually take the first image before you press the shutter (i.e. they’re constantly buffering). Android phones might do the same, I don’t know.

Is there a way to fix the alien colors?

I have recently received the iPad Pro and it is also a great tablet for art, but it is very VERY expensive. Also (unfortunately) all the art programs on the iPad Pro require you purchase an additional stylus in order to use pressure sensitivity. I purchased the Apple Pencil ( the highest on recommendations) which also costs a very pretty penny at the price of 95$. I love my XP-Pen Artist 22E Pro 21.5" IPS display monitor tablet so much. I learned how to operate this at my animation and video editing class! xp-pen produce the good graphics tablets for art in the industry . But please do not forget that this is a PROFESSIONAL TABLET please take that in consideration first before you go out and buy one. Lets consider what it can do! 1. Its at least 550$. 2. INDOOR USE ONLY . 3. Can be used with any computer. 4. Great for animators and artists . 5. Awesome display . 6. Stylus comes with tablet . 7. Can run Paint Tool Sai, Photoshop, OpenToonz, and much more! iPad Pro + Apple Pencil I am really liking it so far (even though I only use one app for drawing.) It has a lot of potential to being a great tablet for the arts, it just needs more apps for...well art. They have lots of sketch apps, but after shooting my pocket and buying an Apple Pencil I can barely afford a peanut. Most of these said apps require you to buy a subscription to even enable pressure sensitivity or layers in the app. Which can kind of get costly when it isn't even the best quality. It can be for indoor and outdoor use! Battery life kind of runs quick but besides that it's pretty good! 1. At least 600$ The one I have is approximately 800$ . 2. Indoor and outdoor use! 3. Is only compatible with Apple products. 4. Great for artists, not yet for animators. 5. 12.9 Display IS great for artists! 6. Stylus is not included. 7. Can only run apps that are available in the Apple App Store. So that's all I have to say about these two tablets! Now you decide which is the better of the two!