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Lol! For entirely irrational, emotional and nostalgic reasons I often consider moving back to Canon for video. But it's stuff like this that acts as a reality check on my daydreams. At the moment I'm loving the spotmeter on the GH6. I look for something white, set exposure to +2.3 stops with the spotmeter and am done. OK, my footage might be out of focus but at least it's well exposed 😂

Rumored cameras are terrible at video. And photo. 😜

If only Samsung was here about to launch their Samsung NX3 with 8K 60fps 10bit h265 internal so as to push the limits once again of what mirrorless can do. (none can currently!)

People always want more but sometimes a refinement job is sufficient. We do get a new sensor with better rolling shutter performance and that allows 6K oversampling. New DPAF2 system. Detect only from C70. No overheating or record limits. False color. ProRes RAW via HDMI. Smart hotshoe for XLR. Breathing compensation. 10x zoom FHD. New video menu. Stills/video switch etc. All this for yes the same price as the R6. and people are still complaining. A7IV has overheating issues, severe rolling shutter, a big 4K60p crop.. lower resolution lcd, lower burst rate.. I mean what good is a BSI sensor when it has such limitations? You need to look at the bigger picture pun intended 😉

It depends... 8k (or above) for 8k sake? Nope. Delivering anything at 8k isn't even on my radar right now, but I guess one day it probably would be a la gramaphone-vinyl-CD-MP3 etc... Down-sampled is where it's most interesting to me, - 6 or 4k. Resolution/detail. I'd still pick a less noisy/cleaner, higher DR 4 or 6k any day though for/in pure video terms Of most interest to me personally though is the hybrid potential, ie, the ability to pull stills. I've pulled them from 4k and it was a bit hit and miss, - sometimes great other times not. 6k was better so I can only imagine what 8k is like...and that for me is why the Z9 right now is without having to consider the entire sytem, but as a single camera body, is by far and away the most interesting camera to me right now. I don't want to rig something out. I just want it in my hands with a lens. I use a lot of slo mo. 8k 50p internal will provide that and the stills capability (as long as the shutter speed isn't too slow and shooting for slo mo footage, you can easily crank up that shutter. And I do. All the time.) But as above, not at the expense of noise or DR and if there is anywhere where the Z9 for instance could be criticised, it might be in the DR, so if someone came along with say a 6k sensor that bridged the gap between 4k and 8k, I might be interested... You listening Pannyboy? 😘

If I m shopping for new cam or upgrading from R the R6II and R7 will be a really nice comob... for nearly same price as a single R5. The pre-buffer 3-5s for videos is really handy for wild life video and event work, there are some instances that I wish I press record sooner.

Some video from my daughter's dance show. Trying to get a 16mm film look - grading in Resolve. No audio. What do you think? https://www.dropbox.com/s/n8clsz53kl2olc5/fz47 lena dance 16mm.mov?dl=0

Even though I have n* number of cameras capable of shooting 4K and above, I don't have a 4K TV let alone an 8K one. If I was absolutely realistic about the number of people even remotely interested in watching anything that I've shot then, including myself, then my total audience is precisely one. And on a lot of occasions, this number can actually be less than that as I'm barely interested in watching any of it myself these days either. So, on that basis, if I was to only have cameras capable of shooting 1080p then I would have a 100% match with the display technology of my audience. That doesn't stop me wanting all the Ks though. n* - precise number redacted out of acute embarrassment regarding the extent of my addiction.

PDAF/DPAF isn't magical you know. Its computer based just like any auto-pilot system. Having used Canons DPAF since C100 I have learned to "master" it. And it requires careful control from the operators side. I have a whole technique down that requires custom button configuring and specific AF settings. And even then its not fail proof, I often disengage it. But its a very handy tool that has saved me in tight situations. It has also evolved throughout the years and is now very sophisticated. But it still requires careful monitoring and technique to be used properly. It also has a very different behaviour in between the Cine line and the mirrorless line although those lines are getting blurred. The C70 had indeed trouble focusing on dark subjects (not just humans). Its a known issue but was indeed fixed in firmware. Taking these isolated cases such as the C70 OS V1 or an AF fail from a solo YouTuber isn't really fair and I dare say your whole criticism of the DPAF system is rather armchair opinion. I won't address the GH5 AF as I am not a GH5 user. But I do know that contrast-only AF is shaky at best for video usage. Its what my FS7 has. Like any AF system though you can learn its strength & limitations so no blanket statements here from me. Getting back to Fuji, I have owned and used Fuji XT2 professionally and recently tested XH2S. In short, there is major improvement, in scenes with one subject the detection is very sticky. Problems arise when two or more subjects appear in frame and the camera decides who it focuses on which is a big no no in AF. Human operator should always be in control.

I firmly believe that almost everything can be quantified, but this one falls very far beyond the point of what is practical. The GH5 tests I saw with the person stepping into and out of frame had the AF recognise a face and change focus across a range of reaction times - sometimes it was fast and other times reluctant, and occasionally the person would just stand there being ignored like a camera nerd at a high-school dance. There aren't any easy way to quantify this. GH5 testers couldn't even get the test to replicate, providing a number of hilarious examples were the person was walking around saying how bad it was and it tracking them just fine, and other testers saying it was really good and it doing quite badly. One YouTuber who got the C70 when it first came out admitted in a follow-up review that he had to stop using the C70 until it had a firmware update or two because when it first arrived it had trouble recognising faces of darker-skinned people. IIRC he had to hire something to use on commercial shoots because the C70 wasn't ready yet. Canon can't even test their AF properly and it's one of their key brand differentiators! If you were to quantify AF performance, not only would you have to have a dozen or so metrics (speed to recognise a face, how out-of-focus the face can be before it recognises a face, maximum tracking speed, how much of the face has to be visible, how far around the side of the face it detects, how bad the lighting has to be for it to recognise a face, etc) but you'd really struggle to quantify the GH5-style lack of reliability except to have an enormous sample size. Peter McKinnon made a promo video for his new product, and at the 6:12 mark, the camera goes from focusing on the object: to focusing on his face: the two frames above are 2 frames apart. Why did the mighty Canon PDAF randomly choose that moment to change focus to his face from the largest object in the centre of the frame? Heck knows, but there were even previous frames where more of his face was showing and it didn't choose those times to change focus.... Here's the video linked to that time - judge it for yourself... That's an AF problem right there. People tend to think that Canon PDAF or Sony eye-detect PDAF are perfect but in reality they stuff up from time to time, and they tend to think that GH5 is completely useless when it actually gets things right quite a large percentage of the time. I've seen shots in vlogs where Canon PDAF cameras just randomly focus on the background when the persons face was visible the whole time. They're rare, but I've seen at least two that made it to the final edit - we can only guess how many others ended up being cut. Any methodology that quantifies AF performance would be useless if it ignored the lack-of-reliability problem (because it would declare the GH5 AF to be great when it's obviously not) and it would be wrong if it gave Canon and Sony a perfect score when they obviously aren't quite there, despite being impressively close. Sure, you can quantify some aspects of AF performance, but to be even remotely useful, you'd have to test so many variables and some of them would require such incredibly large sample sizes that it just wouldn't be practical.

AF performance can absolutely be quantified. How it levels to your particular needs is subjective though obviously. Generally speaking subpar AF performance is simply an AF system that hunts/pumps or/and doesn't stick to your subject. Then you've got second gen PDAF that detects left/right eyes of various subjects. Object, animal etc detection. And finally tracking. Canon/Sony have tap to track which Fuji is still lacking. Why would Canon/Nikon/Fuji goal be to push 8K TVs? They aren't Samsung, Sony or LG. I doubt anyone buying an 8K camera is even planning to view it on an 8K display. For 95% mainstream consumers 8K is just a distant buzzword. But camera/phone manufacturers have to justify new model purchases and increased pricing by adding specs so 8K is the obvious thing to add despite overheating.

Yes. Electronic shutter only with quite important rolling shutter and no drive mode, only single shot. No EVF. If you are mainly stills oriented or even hybrid, the FX30 would be the last camera I'd choose. What about Canon? R6 mk2 + R7? Or is it the third party RF situation that is keeping you away? Seems like tamron zooms are your favourite lens options regardless the camera mount.

While this is kinda old news and not strictly FX30 related but with the similarities between the FX3 and FX30......Greg Fraser is apparently shooting his next feature "entirely" on the FX3. Normally I would agree that what people are calling 'cinema cameras' really aren't cinema cameras but merely marketing BS and Greg does call it what it really is: a 'prosumer camera' but this is blurring the lines I suppose. Go to 38:28 in

yup basically this. also future proofing. for me 6K is enough and a good middle ground of resolution / file size ratio. that being said, 8k is the last priority in new camera specs I'm interested in. oversampled 4K is also good enough.

8K is definitely nice for greenscreen, especially like shooting veils or woman's hair in genral

The XH line has holes for it to attach to but as far as I am aware, the XT not. I believe it is a decision to really differentiate the 2 lines which is interesting because then how will that play out with the lesser models and the X100. The latter is the one I am interested most in… X100V with 40mp sensor?

I think there's a need for 8 and 12k, just not in these tiny mirrorless cameras and not for 98% of us. 4K, in many ways, was overblown. There is a difference but not a significant difference between 1080p and 4K when watching on the most common TV size people own (55 inch), especially when it comes to streaming. The exception for me is when watching 4K Blu-ray discs. 8K will be much the same. There will be benefits, but will 8K really look significantly better on a 55 inch television than 4K? Probably not. I have a client that was obsessed with everything being filmed, edited, and delivered in 4K. I'll upload his stuff for him and he used to marvel at how amazing the 4K was on his 4K TV. I just kinda brushed it off until one day he needed me to help him download an original file to his laptop to put on a thumbdrive for a presentation. Seeing how slow his connection was, I realized there was no way he was watching anything streaming in "4K". I had him play a video on his TV and then showed him that it was playing in 1080p. He had no idea. I told him even if it were playing in 4K he'd notice very little difference given the compression used. He stopped marveling after that, and I kinda felt bad about it for a bit. I still film and edit everything in 4K because there's really no reason not to. But I can't really think of any reason why I'd need 8K. I really don't need that much extra resolution to reframe (or really any extra at all... You can get away with it enough in a lot of instances in 4K) or anything. I don't think there's a ton of people really that need it who aren't in the film industry doing fx work or something. I'd much prefer camera companies push 4K to its limits while maintaining reliable functionality over this race for higher resolutions.

Native WB on the GoPro is supposed to give you more color information, but you have to white balance in post. So, I tried out this setting. With Native WB, Protune Flat, 10bit color, and the 180 Mbps bitrate, this is the best the camera can do. Oh, it is 5.3K at 60 fps also. Linear mode, so no fisheye.

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.

Quite surprised how on the ball Nikon is at the moment. I think it was a make or break year for the company and they are having to push to survive. The grip looks great. Just what was needed.

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. 🙂

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:

Impressive Strides sounds like the name of a shop in 1960s Carnaby Street where Austin Powers would go to buy his best kecks.

Impressive strides? 😆

My vote is for Cinemartin 🤪

Hi all, about to finish the historical clip. As said, will link it here for your interest. Meanwhile I have also taken some shots of my little daughter and used that material to give you an idea of how the two LUTs I have posted for you are looking like. Have not altered anything in the material except for adding the LUTs to show what that camera is capable of. (Shot with my Sirui 50mm 1.6x anamorphic lens wide open, in ISO 400, only natural light, closed some curtains for a little bit of lighting control) Panasonic Rec709 LUT: ARRI Classic Rec709 LUT: For me I am personally in love with the rendering of the skin tones and overall colors of the ARRI Classic LUT. Don't ask me how they do it, but the skins are somewhat creamy, whilst the Panasonic approach seems to introduce more contrast. All in all if you take the ARRI LUT and opt for shooting ISO 800 you will get as well a very nice highlight rolloff. Cannot repeat myself more, love this camera now and what it is cable of doing. 🙂