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Seems to be essentially what the R6 should've been from the start. Kudos to Canon for keeping the price the same, I guess.

The X-T3 / T-T4 have been so good, and well received by filmmakers, they're really what made a name for Fujifilm among mirrorless filmmakers (along with the X-H series). Hopefully the Fujifilm X-T5 carries on this tradition! Has a 40.2 megapixel sensor just like in the X-H2. Here are the movie recording specs: Weight is even lighter than the X-T3! The X-T5 is looking like a good choice for people who want a smaller/lighter/cheaper X-H2 (without 8K though, but you still have 6K), as price is meant to be the same as the X-T4 was ($1699). Found this to be an interesting article on what FujifilmRumors feels is the historical relationship between the X-T and X-H series: https://www.fujirumors.com/how-the-fujifilm-x-h-line-saved-the-fujifilm-x-t5/

Yes you can 😀 And finally custom modes on the dial for video are also separate. But the usual cripple like custom WB picture, disappearing histogram (after recording), etc are still there.

So XH2 sensor and specs minus 8K (6.2K is actually a better resolution/file size ratio imo) in an XT body with the top dials and a 3-way tilt screen, probably my favourite design here (I'm sure @MrSMW will be happy to see this as well). All that for $1700 is a major WIN. If only it had open gate it would be an instant buy for me. What a month for camera announcements!

As an R6 user, I can tell you this is going to be Canons best selling camera (which R6 already is). It finally eliminates recording time limits and overheating at 4K30p. That alone is major. Adding false color, specific easy video menu, focus breathing comp and other video centric tools is fantastic. DPAF 2 is indeed killer. The faster read out times surely means lower rolling shutter. Really seems like the perfect mid-tier mirrorless. I don't see any cripple hammer, aside from no ALL-I codec so you'll need an M1 Mac to edit the 10-bit Log footage. Aside from that detail this is an A7IV killer. Needless to say my R6 is going up for sale today. Here is a pretty good rundown of the camera:

Nikon have launched the MC-N10, a $429 remote grip for the Z9 which really does bring a lot to the party for video shooters. it let’s you control all aspects of the camera like ISO/Shutter/Aperture etc but also has some neat tricks for focus and zoom. They are not making getting the Z9 any less appealing are they ?

Looks like there is a variable 10x FHD zoom function…which leads me to believe the FHD 24p image is oversampled. If so that’s huge.

From what I have seen of the FX30 and A7RV, they have tweaked a few bits again and it's just tipped the 'colour science' for me into the actually like it camp. Yep, all of that and exactly that. Unfortunately, I have to do something... I'm grateful to have just been fully working again this year, but it's been 'painful'. Partly the sheer workload which has been insane, but mostly just fighting the tools to achieve the result. I really cannot...and do not, need to be going into another year doing that. So will not be. Otherwise yes, I think it's more like they will being something out next year, but what and probably too late for me. I know some disagree and don't think companies need to inform us of their plans but as a business user, I disagree and have to make informed decisions based on fact/availability etc.

Yes, Fuji has that, but only for the X-H2/X-H2S

Can you shoot video in Aperture priority mode on this one? 🙂

Pretty cool, sounds like downsampled 8k to 6k isn't that feasible yet. I still think 8k is overkill for both video and photo. 6k sensors are awesome.

Having used the XT line for professional video since the xt-2 I feel I can confidently say that the XT cameras punch well above their weight for good looking video but you are definitely losing a lot by not using a more video-focused body. I've never had clients complain about image quality and had many compliments but I've also had to come up with many work arounds for stuff. I don't see much of a reason now to get the XT series for video work unless you have a specific need for high quality stills and video that you switch between constantly in a small and cheapish setup. I had that need for a while but it's much less important for me now. Also, they just look so good.

I can't help but feel like we're moving backwards when overheating is an issue that keeps creeping back in. Stop with the 6 or 8K resolution nonsense and just put out a camera that can do 4K 60p without overheating. It's not rocket science.

Poor AF? I’ve heard it’s usuable

Been waiting patiently for this one. I've always loved the form factor and specs of the XT3 and XT4. For me it's the perfect stealth camera for b-roll in the field. Particularly in places and countries where larger DSLRs make you an easy target for thieves. All that said, the poor AF in video mode has always been a deal breaker for me - so hoping they've finally stepped it up with the XT5. Otherwise for me it's a toss up between an R6 MKII or a used R5. Either way we are truly spoilt for solid options going into 2023!

..Furthermore.. there is a 1.23x crop in 6.2K & 4K HQ shooting. and no ProRes codecs anymore. alongside potential overheating issues and high rolling shutter this camera is also dead to me. a real shame as I really like the top dials, compact form factor and tilt screen a lot more than XH2/XH2S. But from watching the Fuji Summit it appears clear Fuji are now further dissociating XT & XH series. XT is much more photo oriented with severe video caveats and XH are the hybrids. XH2S remains the one for me personally..

Yup, massively underrated, especially by keyboard warrior camera collectors. Get out there and day in day out all season long, try shooting these jobs and folks will soon learn what works. And what doesn’t. I was considering the Sigma 18-35 again for the FX30 as I had it as a workhorse adapted on an XT3 a few years back, but nah, I’ll just crank the ISO up one stop and go with something smaller & lighter! Still a cracking lens after all these years but nah.

I love the HD from the G6 and even moreso from the G7, GX85 not so much. Good thing is, I could reactivate my G7 for some HD goodness. G6 has quit working, good old trusty plastic fantastic. 🙂

Clearly external recorders for cameras is not something that is going to last forever, as many cameras get better and better internal recording options (4K 10bit internal is now becoming common place and expected in every camera). This fact will become even more true within a few years once RED's patents expire (or even sooner if they get overturned! As they should be). Thus from the perspective of long term planning for the company it makes a lot of sense if Atomos starts to use their extensive knowledge with recorders and codecs to make "a recorder with a sensor" (i.e. a camera!).

I think this is an aspect that gets overlooked by people that aren't out filming on their feet all day. My own equivalent is that I have to be able to hold my camera in-hand for a whole day, only resting during breaks for food and bathrooms etc. If it's not in my hand then it's not ready to film and so I miss shots and we all know that even barely usable footage is still better than the shot you didn't get. This is one of the reasons I sold my Sigma 18-35, it was just too heavy.

Tomato - tomato! 🤣 The fact you say "the noise that comes from adding gain in post" makes me suspect it was more the issues with the equipment you used (low end consumer goods with noisy preamps) rather than the file format you used. The fact that everything with 32bit (MixPre series / Zoom F6 / etc) today has rather good preamps could lead you into thinking it was the file format which made the biggest difference rather than simply the general upgrade to newer modern semi-pro equipment. I disagree. Just because you're on a scripted drama series doesn't mean you necessarily get proper rehearsals, and neither are you able to go up to the 1st AD and ask "hey can we redo that because I blew up the mix?" (well, you could, but too many of those and you'll be out of a job!) Plus I work on plenty of documentary or reality tv shoots were there are no retakes and everything is totally uncontrolled surprises at times. I do try to keep that in mind, but I do work on a much more diverse range of productions than you think, not just larger budget productions but also a lot of "zero budget" shoots too. 24bits of audio has 144dB of dynamic range. When did you last record anything louder than 144dB? (120dB is already going past the limits of human hearing, at this point it can be painful and doing damage to you. The sound has been weaponised against you!) Thus my point before, it it like people having their Sony PMW-F55 with 16bit of raw and complaining it can't do 20bit raw instead? Errrr... isn't it already enough? I think a lot of desire for 32bit is really a desire for better equipment. Upgrading from an H4n to a Zoom F6 then you get the majority of the benefits from the quieter preamps (and TC/metadata/etc). If the original H4n had preamps as quiet as a F6, then people would likely peak their audio a lot less often than they did back then. Should a Sony PMW-F55 owner shoot their interviews in 16bit raw "just in case they get it wrong" because they're "also juggling audio and lighting themselves as well" so as to "give themselves a fighting chance"? It just seems to me like serious serious overkill, that's "fixing" problem that really shouldn't exist. If you're paying so little attention to your audio that you've got no idea at where even your very rough general levels are at, I just feel that there could be other serious issues happening as well! Just like if a cameraman can't even roughly get their exposure right (thus "needs" 16bit raw), you'd worry also about if they are framing in the subject at all, have they got focus at all, are things in the frame that shouldn't be? etc etc etc I'll happily record whatever they tell me to record in! And are paying for. But just like very very very few Sony F55 owners are ever being told to record in 16bit raw, but instead their bread and butter day to day shoots would likely be in 10bit, so the same is true for me. Will be many more years until the expectation changes from 24bit to 32bit audio files for me to record in. (am even a bit doubtful if this will ever happen in my life time. But "never say never", who knows, maybe in 2055 we'll all be filming even basic interviews in 32K of video resolution)

I'd take recording onto a FX30/FX3 directly over using a Nagra D! Four channels of 24bit audio with the FX30: https://www.bhphotovideo.com/c/product/1729318-REG/sony_fx30_digital_cinema_camera.html MixPre6 & Wisycom MCR54 could fit under your jacket without anybody noticing, and there is four channels of lavs being recorded with ease. I'd imagine the Marantz PMD661 rarely gets used now you've got the Zoom F4. Am not sure if I'd even bother with a MixPre6 if your Zoom F4 is working fine for you. I'd rather aim a step higher and get a Zoom F8n, or a MixPre10. (or if doing this professionally... an 833 / Nova2 / Cantar Mini ) Couple of points to keep in mind: 1) the professional market moves at a slower cycle than the consumer orientated market, look at how a new "Sony a7 something" comes out every time we blink, while the Aaton Cantar X3 is 8 years old (well, depending on how you count it... is over 8 years since it got shown off in early 2014, but orders didn't ship until later on in 2014 I believe) and yet the X3 remains today the very best you can get! A bit like ARRI who saw success so long with their original ALEXA sensor, only just recently bringing out the new ARRI 35 sensor. 2) the Sound Dept moves on even a bit slower cycles than the Camera Dept does So yes, that's why even ancient recorders like the Sound Devices 788T can still be relevant today (especially if you're not working on the higher end productions. In which case, it is high time you upgrade to a Cantar! Or at least a Scorpio or 888).

Two reasons... A: Overkill for my needs. B: Real world run n' gun usability/size/weight for hybrid style shooting. My needs are different to that of the purist wedding photographer I once was and also different to the purist videographer. If I was ever to become a purist photographer again, my choice would be simple; 2 bodies and a set of 3 or maybe 4 prime lenses and I'd simply switch between those 3-4 as required. If I was providing a zero stills service, ie, was a purist vidoegrapher then yes, something like the FX6 along with a pair of FX30's might be my choice with Sony. However, as a purist in either field, I probably would not use Sony, but Fuji for pure stills and stick with Panasonic for pure video on the basis that both would work brilliantly in either field. I know that as a former Fuji shooter of 10 years and because Panny is what I currently run. It's the specific requirements of shooting hybrid that causes the issues... Fuji is still an option with a combo of XH2 and XH2S's, but I still have some niggles over lenses and a couple of other lesser issues, but it could still be a contender for me. Brand preference aside, I think Sony is just edging it for the hybrid shooter. Nikon Z9 still makes the most sense also for the hybrid shooter and for one single reason and that is if in doubt, as in whenever the situation presents itself, "stills or video?", then arguably it's one of very few cameras on the planet where you can just point the thing in video mode and then pull off the stills later also. 8k 50p internal? Regular speed or 50% slow mo PLUS hi res stills as good as any 24mp FF camera? Err yeah, I'd have some of that action...and maybe still will... Ultimately it comes down to 2 factors: 1. Real world use case and right now, for the hybrid shooter, Sony are No.1. As a system, ie, not any single piece of kit as arguably, as above, Nikon has THE camera right now. 2. Availability. I'm still hoping that Panasonic will drop my ideal mashup of the S5/S1R/S1H into a single body. I don't want much, just; S5 size body but with S1H vent and rear screen, plus something at least close to the S1R stills capability. That would be it, right there. Right now, my ideal S5/S1R/S1H mashup does in fact exist. It's made by Sony and called the A7RV.

Remember kids... when venturing into new camera territory always wear your protective equipment - you never know what dangers lurk in the dark... Has anyone seen a glimpse of the dreaded hammer?

Never mind just saw that you actually liked the article. Also for saying you were wrong, you were not, I just misunderstood your post 🙂

units are starting to get out in the wild.. this lowlight footage is rather impressive for APS-C imo. it really looks like Sony has dialled down the in camera NR giving it a much more filmic look at higher ISO. That with the added oversampling and the IQ really rivals (if not surpasses) the FF FX3. what do you think?

Recently posted over on reddit what is the best prosumer wireless on a budget, which is the Sony UWP-D21, and why. Thought I'd reshare it here as well, should others here be interested as well: --------------------------------------------------------- If someone can't afford pro level wireless (i.e. a receiver such as the Wisycom MCR54 / Lectrosonics DSR4 / Sony DWR-S03D / Sound Devices A20-RX / Shure ADX5D / etc plus the appropriate matching receivers) then going instead with the fourth generation Sony UWP-D is no brainer decision! (although, I'd recommend 2x UWP-D21 over 1x UWP-D27) This choice is so easy it isn't even close, as the 2nd best choice comes a long long way behind Sony. Sony gives you: True diversity receiver (no other prosumer UHF wireless has this) Has a digital compander (avoiding the issues that say for instance the Sennheisers have with their analogue compander, giving you better quality audio from the Sonys. Essentially, the Sony wireless transmission behave more comparably to how Lectrosonics Digital Hybrids do, using the same mix of digital + analogue for transmission) A slot receiver (again, no other prosumer wireless does this! Although, sadly not unislot, you'd need to get the Sony DWR-S03D instead. Hopefully Sony will bring out a UWP-D receiver one day in the future with unislot compatibility) An option of using the smart shoe on Sony cameras to feed it audio directly, skipping doing another D/A conversion, along with numerous other benefits such as being able to add more audio channels than otherwise or being able to go cableless with the receiver or not needing to do battery changes either for the receiver (these are all features entirely unique to the Sony wireless) Sony UTX-P40 Wireless Plug-On Transmitter supplies phantom power. (the Sennheiser EW100 G4 plug-on transmitter does not) Headphone output (but yet again, the standard Sennheiser G4 doesn't have this) An option for a dual receiver (again, the Sennheiser G4 doesn't have this) An option for getting it in the 941 to 960 MHz frequency range (again, the Sennheiser G4 doesn't have this, Usually only pro wireless offers products in this frequency range) Backwards compatible with all past UWP products. Just a few of these reasons would be enough to make a strongly compelling case to buy the Sony UWP-D21! (especially as Sony is priced similar to or cheaper than the Sennheiser competition) But add them all up together? Sony blows away all the competition. There are literally hundreds and hundreds and hundreds of options for lav mics for the Sony wireless just merely listed on the one B&H website alone: https://www.bhphotovideo.com/c/products/mini-microphones/ci/3779?filters=fct_compatible-with_744%3Asony%2Cfct_connector-type_745%3A3.5mm-mini-plug|3.5mm-mini-plug-locking There are zillions of accessories for the Sony UWP-D system, such as these (would you like for instance a battery pack for your Sony transmitter so that you can run it for over 24 hours? You can do that!!): https://www.hlaudio.de/sony-pro-audio/wireless-zubehoer/ Unfortunately when people hear "Sony" they think of "cameras", not audio. What most people don't realize is that Sony's name itself comes from the latin word for audio: "sonus"! Sony originally started out as purely an audio company, and has been making wireless since the 1950's.

"Fujifilm says the camera can shoot 6.2K/30 video for 90 minutes or 4K/60p for 60 minutes at 25°C (77°F); these numbers drop significantly at higher temperatures, and there's no option to add a fan to compensate". And with that sentence, it died for me. My typical shooting temps are anything from 20-40 degrees C and some of my ceremonies & speeches can go over 1 hour. No fan. Dead to me. I could for this longer form stuff use 6k 25p, but still, those times are for 25c and not the 40+ and direct sunlight I can be working in. Why oh why oh why Fuji did you not keep this tilt LCD that both the XT3 and XH1 had with the XH2?! XF30 stays in the shopping basket.

One thing Canon does that irks me is how they remove important information once you hit record. What logical reason could there be for this? Surely it's not putting much strain on the processor to keep up the histogram while recording, right?!