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It's hard to say it's gone wrong. It's so-called creative destruction. There's simply no need for a mass consumer camera market any more. Every home used to have a camera, be it a compact, a SLR, a Polaroid or whatever. No-one needs those any more because everybody (even the children) has a phone that will take better snaps with fewer skills, in a format that allows instant sharing.

New blog post here! https://www.eoshd.com/news/eoshd-podcast-episode-2-an-interview-with-michael-moores-producer-jeff-gibbs-and-their-new-film-michael-moores-planet-of-the-humans/ And new podcast can be streamed here: https://anchor.fm/eoshd/episodes/The-EOSHD-Podcast---Episode-2---Jeff-Gibbs--Director---Michael-Moores-Planet-Of-The-Humans-epsucf

6000$ is the new 2500$. Central Banking doing it's job.

Has the digital camera market finally bottomed out? Or will retailers like Amazon start to turn their back on cameras altogether? In terms of the number of units shipped each year to stores, digital cameras are now shipping in lower volumes than in the year 2000. The chart above shows the decline until 2019 before the pandemic, reflecting the failure of management at Canon, Nikon, Sony and others. However the latest 2020 figures show a further decrease from 14.86 million shipments to just 8.8 million which brings us under the tally for the year 2000, 20 years ago. Much higher prices now compensate for the loss in volume (as I look into here), as we the customers and our wallets know only too well. Companies have placed their hopes in products like the Sony Alpha 1, Canon EOS R5 and the Fuji GFX series, but professional users and enthusiasts have all without many exceptions been hammered by the coronavirus pandemic. I also have somewhat of a gut feeling there is a global economic catastrophe soon and during that, sales of expensive $6000 cameras will flop. Although the decrease in unit shipments is not the same as a decrease in profits or total sales volume, it does show the extent to which the market has had to adjust… New blog post

Phones with uw/wide/tele is satisfying most of people's use, now i dont even care those 10x zooms 1" DC when my phone can do it too lol. Some quick photo while waiting for the next shoot on mobile phone.

That looks like a rise to me. Did I miss something? 🙂

Perhaps it is time for the established camera companies to finally come up with something that resembles a 21th century camera body. One that resembles a smartphone, but with the bells and whistles of a proper camera. Sleek, pocketable, low-profile, a wide range of wireless functions like wireless charging, with new and smaller lenses.

It appears Sony has a new M43 sensor that is 30+MP and is capable of 8K. 43Rumors lists it as an FT5 on their scale: "At the beginning of November I got solid info that Sony will launch one new MFT sensor in 2021. I now got the confirmation this sensor will be able to record 8K video and have a 30+MP resolution. Now I have little doubt this is the sensor that Panasonic will use on the GH6." I really hope it's not just a GH5 with 8K, which I won't need for years and years. It's gonna be hard to get me to upgrade right away no matter what they release but just the ability to do 8K or even 4K 120p isn't going to be enough. For me this release is as much about figuring out if M43 is worth sticking with for at least the next 5 years or if I should plan to move to Sony or Fuji sooner rather than later. As much as I love what I've seen from their full frame cameras, I am very worried about Panasonic long term if they are going to remain behind on things like AF even if I really don't need those features myself. Regardless of what I want or need, the market has spoken and you need to meet their expectations if you plan to stick around.

The lack of travelling is a problem for me. I had the choice of shooting Sheep in the UK, or closed shops under a grey steel sky in Berlin and that has just been the last 6 months 🙂 Nothing is going on whatsoever!

All the survivors will be marked with a red dot. 🙂

The instant sharing part is a very important piece of the puzzle. When I am doing a photo shoot there are more pictures of the model on her Instagram page from her cell phone during the shoot than I am going to deliver for the whole session and the model spends more time trying to set up her phone for behind the scenes footage than she does listening to my directions. Also, I always say, thanks to cell phones the expectation is for quantity, not quality and an Instagram filter to fix it in 2s vs me spending hrs in Photoshop and Lightroom refining every detail. People don't care anymore if their heads are cut off, the composition is terrible, the camera is slanted, the WB is off, etc. The only thing they care about is if they are in the picture and if it got uploaded while it was happening; as if all of their "followers" will disappear if they don't get a constant stream of selfies from a model they have never met. Photography and Videography are a dying art and camera makers moving to the higher end to offset the lower sales was inevitable. These days reviews of a $6000 camera gets more views than the actual video and images taken with that camera.

I wonder what the used market is looking like. Because someone who was a new photo enthusiast and did little research can get a used DSLR and lenses for fraction of the cost on a camera 5-8 years old and the images really hold up. Not mention people selling off gear they don't use to pay their bills while unemployed.

Pity the enthusiast! 'pro-sumer' models have always been supported by healthy sales of point'n'shoots. Take those away and, as @Marcio Kabke Pinheiro says, we'll be left with pro cameras at pro prices and Leica-level enthusiast models. people will be able to snap 500MP pictures of us weeping, on their wristwatch cams.

Remember the hype about the first Fullframe digital cameras? In 2004 you could buy a phase one p25 with a respectable 48x36sensor or leaf equivalents with colors that make canon cmos look amateur. The price difference wasn't that high in the beginning until the 5d came along, but if you compare the hype... Still today, if I have to choose shooting with a modern CMOS or an old MF I would only use the CMOS if I needed fast AF and/or Iso above 200. That's some value for a digital product.

I use them nearly daily; they are a great relatively inexpensive way to increase the production value of a project. That being said, many people overdo it or end up with long boring drone videos that only other drone pilots would want to watch. To me a few seconds here and there to tell more of the story or to set up for a transition is all that's really needed. Also, living in FL, they are invaluable for boat and ocean footage when it is needed.

Go to video -> Sound -> audio setting -> PCM Recorder Link -> Camera REC volume. You need to have it set to "disabled". Now there's no more hiss, but you need to have your external recorder connected to the mic input as it is now the preamp and the camera does nothing (except record the audio it receives). Took me forever to figure this out. I thought someone might be interested.

I've seen the Production4K Camera go for as little as £550-650 and there are a couple on eBay uk now at that sort of price. To be able to get a global shutter camera that can shoot 4K CinemaDNG or ProRes internal straight to cheap high capacity media that has an internal battery and big screen for that sort of money is almost unbelievable, even if it has a limited ISO and the ergonomics of a paving slab. Its certainly not a run and gun shot grabber but if you can live with its limitations, and even actually embrace the benefits of it requiring a bit more graft, then I think its still relevant and an absolute bargain compared to anything else. The interesting thing from my own personal point of view about the Production4K Camera is the "very nice" to "meh" ratio in terms of footage I've seen with it is consistently amongst the highest of any camera. I think that definitely reflects the fact that it doesn't lend itself to being just wafted around and a bit more care has to be taken with it.

Fuji want everyone with an MFT or APS-C camera who is eyeing the move to FF to give it a miss and move straight to MF. Its a good strategy as anyone making the move to FF is also having to factor in buying in to one of the four new mounts (E,L,RF and Z) three of which are far from being established and don't have a plethora of budget options available (although Sigma are rebalancing this a bit with their latest L mount releases). So Fuji are offering a way to not only leapfrog the quality of FF but also, by being pretty much the only realistic player in the hybrid MF area, removing the uncertainty of which mount to go with. It also offers the upgrade path to their X series owners to keep them onboard which Fuji would otherwise have to do by bringing out not only an FF camera but a whole new lens range to go with it. There is an argument that the image bump from APS-C to FF or from FF to MF isn't particularly dramatic (although in the case of the GFX100 it is IMHO) but it certainly is a noticeable one from APS-C to MF. And thats what upgrades should be about isn't it? Actual "wow, this is so much better" rather than simply "OK, this is better". The GFX100S may not be the final destination for everyone but it is certainly the biggest signpost yet that there might be one.

I don't know about that. In many ways, I'd rather have a mega clear window that I can make as dirty as I like, than a window that's dirty to begin with. I could film something today, give it to 100 different editors and they'd all make it look different. In fact, I can grade something myself today and tomorrow decide I don't like it and create a whole new look. Maybe that's where the artistry will lie? Rather than filming on a grainy 16mm filmstock and assuming that makes you an artist. You also need to factor in lighting and set design etc. which plays a huge part in the quality of the final image. Plenty of artistry to be found, even if you're looking through a window.

The 4KLQ mode is fine to use in a pinch if you can't film in 4KHQ mode. The OLPF (or whatever canon is doing) helps with the line-skipping and pixel binning and a small amount of sharpening in post cleans up the rest. So in good lighting, 4KLQ looks pretty good. Way better than EOS R ever did that much is for sure. If it's going on Youtube and you're not zooming in 200% percent on your image YouTube will make it look like trash regardless. I also find the 4KHQ mode upto 128000 ISO is quite amazing for 45MP sensor. I'm also wondering if the RED Komodo is using the same sensor but with a global shutter. If you do the math for the crop the megapixels come out exactly.

Here is a very short movie I made, under heavy covid restrictions etc... It was meant purely for fun and shot in about an hour. I used an X-T3 with a 18-55 , f 2.8-3.6 , f-log, iso at 3200 mostly. Denoised in a very buggy Resolve 17 that could not export a 1080p file from a 4k master and which gave me lots of trouble with its idiotic ram handling of my gpu .Very inefficient code. ( I know its beta , but Resolve is very inefficient in handling 6gb of Ram even in 16) First outing for the mixpre 3-ii I was really impressed by it , I have never recorded sound that sounded so lovely and clear. I blame @IronFilm for his bad influence on my sound aspirations 👍 Fuji's AF in the dark is mostly useless . It was mostly manual aF and parts of scenes were shot a bit out of focus for artistic effect (that is my excuse and I am sticking to it) 😁 Mostly shot handheld/on the shoulder with his supposedly engaged on the 18-55. In retrospect I may have saved myself a couple of stops of light and used my 35 1.4. We had fun and that is the most important thing that we sometimes forget. https://vimeo.com/495306397

Osaka BlackCat's use on D-Cinelike night footage coming from such tiny sensor size going with that low light outcome still really impresses me... :- )

I am a little confused on why it doesn't have 10 bit 422 recording. You'd think a smaller sensor would be capable considering we have stuff like the Sigma FP doing full frame RAW internally. Also what's with camera companie's obsession with not being able to dial back sharpening?

Shot in 2160p HLG picture style on the Lumix G9:

Shot this 4K video on the G9 of my favorite park: -12-60mm Panasonic kit lens -HLG Picture style -Edited in Davinci

He doesn't test cameras but his face to his followers. Here's a test for serious: Who can not buy one?