Andrew Reid

Yep great to meet you Crazy coincidence of me checking out the Panasonic 8K and you being there with an Iscorama!!

It can do 4K RAW internal and 4K MOV ALL-I Nobody at Sigma is saying it will cost $3000. They are saying UNDER $3000 and that is a conservative rough ballpark figure by reps because they don't know what the price is going to be yet. Could be anything from $1000 to $2999.

Experiment and tell us It's not something I've tried, but should work well with Pro LOG. Do you have that too? Let me know if you'd like to try it and I'll send you a copy for free to experiment with and try with Film Convert.

Yes they said under $3000, but I prefer to think of this as "price isn't decided to a large degree". I reckon it'll be £1999.

There were two highlights of IBC 2019 for me. The Sigma Fp, and the Z-CAM range. From the ground-up the Sigma Fp seems to be aimed at us, at artists. A small and incredibly light camera that hits the big full frame notes, some of the niche features like the digital director's viewfinder would be unheard of in a consumer full frame camera from a major manufacturer. This is clever and will get the camera a lot of use by top-flight talent. Most exciting for me is the focus on the video recording features - which are big leap for Sigma and indeed push the boundaries of whet we expect from a "prosumer" camera. Cinema DNG RAW 4K 12bit to USB C SSD media Internal 1080p 12bit internal RAW Cinema DNG uncompressed Internal 4K RAW uncompressed (bit-depth drops to 8bit at the moment) Read the full article

You’re a 30p user, must remember that.

They mentioned the 16 stops to me directly.

The 1/120 is intriguing me as well. You'd not think the rolling shutter would kick in at slower shutter speeds?

Probably. They had a few. Most very expensive. Nothing caught my eye in terms of doing a $1000 Iscorama quality small adapter, which is what we need here.

At IBC the Organic Sensor technology Panasonic is developing turned up in the camera above (with a rather nice choice of Cooke cinema lens). Along with the prototype camera, Panasonic had a wealth of information about what makes it such a big step for filmmaking and video. Read the full article

I had a go of this at IBC and found the concept admirable but I think they have work to do on the charm of the images it produces and character. Perfect size, build quality and price though. Would have liked to shoot more with it but they wouldn't let it out of the show and I much prefer the Iscorama for what I do.

Long interview with Sigma coming up from me with Sam Smith, one of the UK guys who really knew his stuff on the video side. Stay tuned. Also this guy was there:

I bought the Pocket Cinema Camera 6K recently and decided to take it on a shoot at Monza, to film last weekend's Formula One race and famous old banking (where sequences for 1966's John Frankenheimer film Grand Prix were shot). I also had a few stills cameras with me including the Canon EOS RP, and considerably more capable Fuji X-T30 and Samsung's famous last camera, the NX1, the only good one they ever made. These are super-fast small bodies for travelling light and the NX1 in particular with it's stunning 4K quality turned out to be perfect for sports photography with the 15fps continuous shooting rate. Read the full article

I am completely not interested in pro cameras, $10,000 stuff. EOSHD is not about this shit! Although it does explain why we have no a7s iii. Internal Sony politics. Oh well, it exists... Better get on with using my 10bit mirrorless cameras from other manufacturers. Yes absolutely agree... Pick one of these up for ten dollar!? Yes please! A bargain for 100% of this forum ? At $10,000 it is a bargain for 1% of this forum and 99% of the Cinema5D forum... Although the latter doesn't seem to exist any more ? Too inconvenient!

With Canon debuting the C500 II today, demand for a full frame in a C-series body is clearly there but Fujifilm is looking further into to the future. Their X-Trans IV sensor technology has already debuted in the GFX 100 and X-T3 but I can reveal a leaked slide-show shows Fujifilm might be taking the technology much further than we believed... A large format 44x33 camera optimised for open gate 4K3K RGB. Read the full article

More ill-informed bollocks. Canon 1D X was 4K capable, disabled in firmware. Digic processors in 1D C are identical. Canon 5D Mark III was capable of a 4K sensor readout, as Magic Lantern RAW clearly shows. Both those cameras date back to 2012! Are you suggesting Canon went backwards with slower processors until 6 years later? 5D Mark IV was Digic 6 by the way. Obviously not insignificant enough for Canon to keep it in like they did with nearly all previous cheap Rebel DSLRs aimed at the same customers. If it is an insignificant number tell me why Canon are bothering with the crippling at all or care enough to push customers towards the EOS R!

19.8ms rolling shutter is ok. Not quite as good as a GH5 but given it is 6K and a larger sensor, it's on par with Fuji and much better than a Sony A6500. IMATest says dynamic range is 0.2 stops better vs Pocket 4K. And the number is completely meaningless because the Pocket 4K is pink. A reminder always to trust your eyes and not only the numbers.

Sure, so the first thing I need at 180fps is to select 1/50 shutter manually ? Think. Why do you need manual controls in HFR mode? The ISO and shutter speed are going to be the same whether the camera sets it or you do. It is going to use the shutter speed most suitable for the frame rate, and the lowest ISO it can get away with in order to expose brightly enough for the available light. And you have an override with the exposure compensation dial to fine tune exposure anyway. So yeah, it's not perfect and could be better but do you want perfectly exposed 180fps full frame images or not?

That is preposterous it really is. The 1D X Mark II cannot compete with the X-H1 on pricing, size, weight, codec, file sizes, 120fps quality, handheld shooting, stabilisation, ergonomics, EVF or LOG. And that is just the features off the top of my head. The video market knows exactly what it wants and the 1D X Mark II isn't it. Otherwise they'd be a big thread about it here but there isn't. And when I reviewed it, it didn't exactly set a discussion going with hundreds of people saying "this is for me". I liked it in 2016 for stills and for giving the 1D C Dual Pixel AF - but losing Canon LOG and increasing the crop factor left a sour taste for my $6k. The 1D X Mark II is a superb pro stills camera and I used it as such... With Canon's best looking 4K outside of the 1D C... But it just isn't practical. Paying that much money to shoot MJPEG in 4K, massive file sizes, losing the EVF and IBIS, very important features... Why? Along with introducing moire in 1080p and 120fps, all I can say you must really need it as a stills camera to buy it in 2019. It's a dodo. In 2019 I would use the X-H1 every time instead.

Further Canon madness with regards EOS RP, M6 II and 90D: - Aperture Priority mode 4K shooting is disabled - Video mode is either Full Auto / Full Manual. It does not follow the mode dial selection - Cannot shoot 4K by hitting record button in a stills mode - and 1080p is recorded in P Auto no matter what stills mode you are in - No ALL-I codec option - No AF or IS with 120fps - 120fps is cropped, using 84% of sensor - Bitrate for 4K is just 120Mbit There is a movie-cropping feature on the 90D, so it will be interesting to see if 4K in the cropped mode is a 1:1 crop with no binning. Either way it's lose-lose. Crop in one, poor resolution and moire in the other. It isn't clear whether the EOS M6 II has the cropped-sensor mode in 4K or whether this is a 90D feature only. https://www.usa.canon.com/internet/portal/us/home/learn/education/topics/article/2019/august/video-with-the-eos-90d/video-with-the-eos-90d/!ut/p/z1/jZFbT8JAEIV_DY9ltuz25tvS0otWsWCB7otpy1IaeyGl0sCvd1GiMWpx3mbynZlzMsBgBayKD3kWt3ldxYXoI6Y-3weu7nom8pHlGyiYTseWbZseoQSW7wD6oygC9h99D8D61y8gmkBUei_BMYPbq9fsT5bJ4jbrFdypVwCHXADd0yeugUb-1Hc0RDWToNkTlZ1Q-bFhMSaIqoZl4pF9znABeiKKVFlRJx_foFWCdeG-4Rve8Gb42ojxtm13-5sBGqCu64ZZXWcFH6Z1OUC_Sbb1voXVdxIi8QftK4djehYKKJ7ZPp075FGF5SHnHYRV3ZTCyfxse5fma4g0BWN5LSuSwnUuETXFUhwniiQbKVFkvsYbOQEXwa4Mw0opDC_3JJYc8Wn8IL0BI0U2tA!!/dz/d5/L2dBISEvZ0FBIS9nQSEh/?urile=wcm%3Apath%3A%2Fcanon_newweb_content%2Fdigital_learning%2Feducation%2Band%2Binspiration%2Farticles%2F2019%2Faugust%2Fvideo-with-the-eos-90d%2Fvideo-with-the-eos-90d

I'm having a problem where the camera is unresponsive for 10 seconds after the screen comes on... won't record a thing. Lost shots due to that. Maybe the SD card is too slow, but it is a UHS-II one with 150MB/s speeds Maybe best to use CFast... But damn, with an image this good, it's a shame they did not put it in a better & more reliable camera body!

Is it officially listed as compatible with the Fuji you have it plugged into? If so, buy the cable that works?

Another guy who needs reminding of why EOSHD started... suddenly cost wasn't a barrier to entry any more, people could pick up a GH1 or 5D Mark II and shoot cinematic images for cheap. Isn't that what's great about the Pocket 6K? If the image stands up head and shoulders (even above) C200 RAW but costs FAR less, with arguably a better RAW codec (and internal ProRes) to boot... That is exciting. Then again it's no surprise to long-time EOSHD members! I remember comparing the C300 early on (when pros were gushing over it) with the Samsung NX1 when it first came out. The 4K from the NX1 beat the shit out of the C300's image quality - yes, in terms of skintones and colour too. You sure can shoot a documentary bare bones with some cameras more easily than others... Pick up a GH5 for instance, and you can shoot bare bones better than with a C200 thanks to the stabilisation and smaller size.

Pocket 4K/6K sit in a big ecosystem of software and hardware from Blackmagic. You can't isolate the sales figures of a couple of devices as all the other stuff is important for Blackmagic, and Pocket cameras help their business profile and ecosystem. The main point is - if all these huge companies - Sony, Blackmagic, Nikon, Panasonic, Fujfilm, etc. feel that video on mirrorless cams and under $3k is a worthwhile thing. So Canon must be shooting themselves in the foot by being the odd one out. Cinema EOS don't count. Different thing altogether. Simple as that.

The Canon 90D targets wildlife shooters. I refuse to believe we're a smaller market than wild boar pig lovers. Read the full article