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1/2.3" is like a Pentax Q, and some people like @Mattias Burling can show off what that sensor can do pretty well. A small sensor doesn't mean a bad image. D-mount lenses have a character all of their own. I think we'll be seeing more sensor sizes, more modules, more mounts in future... And an exciting explosion in at-home camera building and image processing. If you combine something like Magic Lantern and Digital Bolex, with rapid prototyping for body designs and nice ergonomics - wooden grips, and so on, you have the recipe for a very usable DIY cine camera indeed!

XH1 style body XT4 internal spec XT4 battery Err...struggling now. I don’t need or want any more than the above. Maybe a full-frame sensor that is a lowlight monster topping out at 20-24 mp max, but otherwise I’d by happy with that!

The tech for an ideal cameras is out there for me it just needs to be combined. Arri color Arri Dynamic range Canon PDAF Sony lowlight RED or BM RAW Just advance things so all that tech can be put in a small body say like an Osmo pocket(could be bigger but you get the idea) with a nice built in ff 28-70 2.8 equivalent, oh yeah with 4k 120fps and 2k up to 240fps 😄😄😄

I just want a board sensor that covers 16mm and has dual pixel AF so I can hack my 16mm camera apart and replace the ground glass with a CMOS and have reliable AF on a film camera.

We're really only talking about 2 generations (max) beyond what's currently available or the a7s3 finally being released, so changes will be incremental. Some of what I hope to see on cutting edge hybrids in the next few years Global shutter E-ND Larger LCD's with a more phone-like experience - this is where current cameras really lag behind so many other things, Sony's horseshit little LCD on a $4500 camera is a prime example. The user experience is something all cameras can improve on, I would hope more would be invested in that area instead of fattening the spec sheet, but a fully functional 4-5" OLED touchscreen doesn't grab headlines like raw video. Chris

Maybe a Digital Bolex D8, but maybe not. The list of redeeming features of the digital bolex wasn't just a single item about being able to get shallow DoF. Imagine if the ML guys decided to make an open-source camera on this platform, where anyone could develop the algorithms to process the RAW image data coming off the sensor.. @Sage or @Juan Melara having full control of the colour science, debayer algorithms, etc. Dual exposures for high DR, and all manner of computational photography options. Think of all the cool things that smartphone apps can do that your video camera can't do. This could enable all that stuff and more. It would make a pretty good form-factor too, especially for places where it's difficult to mount anything, etc.

Whoops! What a typo. Honestly I'd be happy to see ANY camera in 20205! As I'd be stoked to simply still be alive.

The way things are going MY camera of 2025 will either be another A7s mark 1 or i get to play with Ansel Adams' camera as he shows me how to use it! I would just like an A7s type low light sensor with PDAF and built in NDs, by then 4k 24/25/30p will probably be what i am using and all i need.

What a bunch of nonsense. You think you know me but you don't know shit. I'm probably one of the most brand agnostic persons around here. While I have my preferences when it comes to camera companies for various subjective reasons, I started photography on Nikon equipment and still shoot film with them. Did a lot of work on the D750. I was one of the first here to go all-in the Fuji hybrid revolution with XT2. My favorite camera is my Leica M9P. I've owned the A7S2 and I also currently own a Sony FS7, my professional workhorse. Finally I won't hesitate to rent a RED/ARRI or whatever if budget/crew allows it. Oh and I won't even go into lens manufacturers. So you see trying to pigeonhole me as a Canon fanboy is pretty ridiculous. Its not cuz I enjoy a particular camera, that I hate others. I stand by my word about EOS R. As flawed as it may seem, for my personal usage its a great hybrid. Laugh all you want.. IDGAF. I work within camera systems. The body is only one element.. That said, I never stated EOS R was perfect or better than any other camera. I only defended it against attacks of those that thought it was a useless POS. Most of whom never even picked one up. And that's one thing I don't understand in these forums is people talking shit about gear they have never touched or have any intention of using. That to me is true fanboyism. Cuz see you're attacking me for a camera I appreciate. It's so stupid man. Doesn't make me a Fanboy. It does however make you look like a Hater.

New blog post - read it here

Not ideal, but I can live with slightly reduced dynamic range if the rolloff is really nice (like Cineon log curve where colors desaturate to white as they get near 100% luminance). I just can't stand the nuclear orange supernovas around the sun... or around hotspots on peoples faces. A while ago (about three months or so) someone posted some film footage here from a formula 1 race (Le Mans???) and even though the DR was spectacular, the rolloff was nice.

But which Canon camera? I've worked with 8 bit Canon footage from various versions of the 5D, 6D and 7D over the last decade and the footage was a terrible experience to grade compared to my experience with BRAW from the Pocket. Sure, when you pay money for their higher end cameras, you get the sort of files that make colour grading easier. But does my Pocket 4K or 6K sit in the same level as a Canon C500 or 1DX III. Of course not. It's not in ARRI territory either. Its foolish even to compare them in my opinion. I do look at image quality and colour, just as any other buyer of camera. I chose the Pocket 4K. I will doubtless choose the 6K too. I won't be choosing the R5. I am certainly intrigued by its developments and welcome Canon taking their lower end cameras more seriously, but it's not for me. As you say, no one cares what you shoot your footage with. They care about what you created. I pick the camera that is in my budget, has features I need and like and an image quality and colour I can work with. For those reasons, I chose the Pocket. Others on this forum chose the URSA. In my opinion they made great choices. Whether Canon colour is easier to grade with certain models and with the R5 is frankly besides the point. If I like Blackmagic colours, then I'm not fighting their colour science, I'm embracing it. That will always make grading easier. Why would I want an image I am working with to look like Canon, when I am not always a fan of the Canon image. Aside from great skin tones, which I do like, their colours often don't do much for me. And your examples have only proved that point to me. I'm sure we can all dig around on the internet to find videos to support our points of view. But frankly it's an argument that still is as many have said, including you at one point, very much subjective.

Handbrake/Vidcoder's decomb and Bob does a pretty solid job on most things. It's probably the easiest unless you're familiar with something like AviSynth.

Black Magic doesn't have a camera that can match something 3x its price, no. But a cinema camera is more than just color. Ergonomics have a lot to do with it. My reasons for purchasing an Ursa were many. Low rolling shutter at high resolutions, high speed at high resolutions, incredibly cheap price point (used at $1600), really good dynamic range, RAW at all frame rates and resolutions. Of course I was told by many it has great color science which maybe isn't true. I think both of you are just running in circles at this point. Informing a person by saying "this is better and I know due to my experience", is often a poor way to convince someone. Its kind of like my dad saying "listen to me because I am your father", (older more experienced). If something is definitively true it should be able to be proven by scientific means. Maybe Super8 simply doesn't have the technical knowledge to explain his opinion. That of course doesn't mean he is wrong. A colorist just needs to know what looks good and how to achieve it, having the technical background to prove it isn't needed. I can say gravity exists and be right without being able to explain how and why. I certainly know how to expose an image and use a camera, but if you were to ask how that camera works my knowledge is very limited.

That's what he said some time ago. Source.

My point was that I doubt the Digital Bolex D16 would have seen even half of its (limited) success if it had been a 1/2.3" sensor instead of a Super 16mm sized sensor.

Exactly. I'm think ML style digital 8 action camera. I'd make a little waterhousing for it, it would be amazing.

well i'd be happy if i could uninstall 2020 and reinstall it as my version has a virus 😉 , Actually i'll be happy to make it through 2020. For me 2025 is way to far off to worry or speculate about, however bm, if your listening make a full frame with a flippy screen and internal nd and throw in some other goodness and i'll start saving 😀

Ha, only yesterday morning out of lockdown boredom, I started to develop the germ of an idea to look at adapting old glass to a modern XT3. I know it’s not a new concept, other than to me personally. I have taken a good look at various modern manual focus adapted lenses, but they lack something for me. But by the close of play yesterday, I’d ordered a Fotodiox adapter and discovered a Pentacon 50mm f1.8 which will be my starting point. Point? Get back some of that less digital feel in camera without having to resort to LUTS and all that tweakery. XT3 apsc crop losing some of that corner rubbish + Eterna profile. I’m hoping for some good things to at least keep me amused whilst we are where we are. Intrigued by the FP though and would love to have a play, but no chance right now. @Andrew Reid I know it’s a ´big question’ but how does the FP compare with the XT3? Obviously one is ff and the other apsc and one does not have mechanical shutter, but would be interested (as I am sure many others would be) how these 2 stack up.

So like a C500 Mk 2? Or an R5? Come on guys, you just writing spec that are mostly exist today. (except Kye :P) 5 years from now these spec are really appealing to you? i mean you would spend money 5 years from now on camera with 2020 spec? On different aspect: why would not everyone of you rush to buy the 5 years old dream camera the A7s mk I or GH4? for 2015 both had insane spec! And it cost only 800-900 eur (500 or less for GH4) nowdays... So the R5 for example in 2025 will probably be obsolete.

I was looking for some light stands and saw this four-socket lamp holder, which lead to me to think - why not put some quite efficient lightbulbs in there and call it a day? Sure, I could use some 80W CFL lights, that are even cheaper than those LEDs I bought, but even though can be bought in professionals photo equipment stores, their color renderition is really poor - couldn't find anything better than 85 CRI. I wish! Tungsten bulbs for domestic use have been banned in Europe for more than 10 years now. Getting some could prove to be difficult.. Sure, if you don't have anything against my face, I'll do it. ( :

I read your article right before a Zoom meeting so I gave it a go and it connected just fine, but there are some caveats which I imagine may apply to other clients like Twitch as well. First the autofocus is quite atrocious and that alone limits its use as a webcam, probably for most people. With the 45mm Art it really struggled to track my face and I can't always be close enough to adjust it manually. Also once connected all the camera settings are locked. You have to disconnect the USB to change anything. On the 45mm I could at least change the aperture and toggle AF/MF using the lens controls so hopefully the lock on the camera side can be removed in a firmware update. My take on it is it's great in terms of plug&play--if nothing else then as a proof of concept, but not quite there yet in overall user experience.

So once again, you're doing this:

Cool, so now tell me how anybody can determine which camera is easier to grade than another? (and you can't dodge the question again by just giving easy uncontroversial statements such as "ARRI is easier to grade a Pocket", as 1) that doesn't answer the question 2) does nothing to improve our knowledge to understand how to apply this judgement to a general case, such as E2 vs P4K or any of a million other matchups??) So how anybody can determine which camera is easier to grade than another? Without using an personal judgement whatsoever, as that has biases and is subjective. You can't make broad vague blanket statements such as "raw is always better than 8bit to grade". Because what if we're comparing two cameras which are both raw? Plus of courses there will always be outlier exceptions who'd disagree even with a statement such as "raw is always better than 8bit to grade"! (I'm certain there is someone out there in the world who thinks C200 4K 8bit footage is easier to grade than RED ONE M 4K raw footage!)

Exactly. (or Z Cam E2-S6 vs BMPCC6K, I'd say they have a much closer market overlap than EOS R vs Pocket 6K. Plus the E2-S6 vs Pocket 6K used to be quite close in price too, before the 6K's slash in price) @Super8 so you're agreeing with me now that color science is subjective? As if there is a way to approach this analytically, I'm all ears.

Translation: Your argument is based on an appeal to authority fallacy. Because inherently your approach is subjective, and has no absolute truth to it. Thus the point remains: "color science is subjective", you have not disproved that. (which is a pity, I personally wish this statement could be disproved!) We could have one "expert" saying a RED Epic MX has "better color science" than a Sony PMW-F55, only for another "expert" to come say the opposite. Or that a Panasonic Varicam LT looks better than a Canon C300mk2, only for another "expert" to say the reverse.

Private messaged ya Devon

Actually, what I REALLY need in a camera is enough AI in it to warn me when the shot I am framing up looks like hot trash...

In 2025 my camera will head out to work according to whatever I've programmed it to do with whatever program I use to do that. My camera will the edit the footage perfectly so that my clients (mainly bots) can like me to fuck on whatever social network dominates in 2025. I, hopefully, will be somewhere nice and green with my family. My only connection with technology will be a message that says my client has paid me.

Double the new price and no warranty. 🤣 Anyway, got my C100II second hand for about 1000 euro with 18-135mm lens, multiple batteries and rode mic.

Pretty sure the A7s III will still not be announced by 2025 🤣 Canon will stay with 8k till 2030, skip 16k en jump ahead to 32k!

Probably something with a lot of AI in it / in-camera processing will be the next big thing in camera development, if I were to bet. For my particular needs, more usable dynamic range is always a priority.

@Devon, I am not Andrew, but a gray market camera simply boils down to a camera without warranty, so you're getting a discount for the risk of likely having to pay repairs or replacements out of your own pocket if your copy should be defective. Postscript - Sigma very clearly states that their warranty does not include gray market cameras: https://www.sigmaphoto.com/article/important-information-regarding-gray-market-sigma-products/ "As of January 1, 2017, any product that is not imported by Sigma Corporation of America or purchased from an unauthorized Sigma USA Dealer will not be serviced under warranty regardless of the service required. The Sigma Corporation of America Service department will service these products for a minimum $250 charge in addition to the required parts and labor charges at the owner's expense."

I would not even swap an XT2 for an NX1. I had both and felt the XT2 video was better in colour, DR and noise performance. Also that vertically folding-out screen was great for stills. The only reason I would still love to have an NX1 to this day is that 16-50mm f2-2.8 ❤️

I kind of doubt it is a camera or a Ninja V problem. It is more of a HDMI problem. The Z6 is probably using a newer version of HDMI. There is a reason Pro stuff uses SDI connections, even Fiber for really long runs, not counting a more secure connection.

Ι can understand the love for such a lens. But not using that on a modern camera. CA seems terrible.