Andrew Reid

Hmm the colour looks off, not the faault of grrade nooooooo

How did you find the Speedmaster? Looks like a great lens.

How is any of that the camera's fault? It doesn't grade itself.

Back in June I reported on the joint sensor development between Fuji and Samsung. You can read all about that ISO Cell project here. This was 100% not a rumour. Now you may look at the X-T3 and wonder where the new 26MP sensor comes from. Read the full article

I am looking forward to all the "Pocket" rigs again ?

He could be in trouble with YouTube's guidelines on sponsored content as they have to comply with the FTC. Don't know if you've noticed but YouTube is American ? If he doesn't care about the FTC, I think he should at least care about keeping to his "I only review cameras I buy myself with my own money" word... But anyway, I like his channel. I am just trying to point out a few ethical issues and give him a small tip. I'd like to meet Wolfcrow one day... Awesome cinematic knowledge.

I think there's more than enough room for a few new raw codecs on the market. RED raw did not kill any Apple codecs as far as I could tell!!

Yes the codec's great, but nobody seems to be considering the whole package here, because there's no IBIS, no EVF, autofocus performance is yet to be proven, the battery life is miserable and the files will be VERY large at their highest quality. You have to measure the EXACT difference in the final graded image between BRAW on this, and something like 10bit LOG on the X-T3. I think for all the codec niceness the difference will be smaller than people think. Now ask yourself if it is worth the hassle of the strange form factor, no articulated screen, need to rig it up with EVF, external bits and a stabiliser... It is also sensor-limited. We're not talking about a sensor as good as the X-T3 or A7 III. And the slow-mo is an even bigger crop. Sure, I liked what ProRes and RAW brought to the image with the last Pocket camera, certainly in the creamy shadows and in low light. But it was as good in 10bit ProRes as it was in Cinema DNG RAW. So 10bit H.265 at the same bitrate as ProRes with Fuji F-LOG from a larger BSI 6K sensor with full pixel readout (possibly Samsung) has the potential to be just as good if not better. Not to mention the fact it is much easier to go full frame on the S35 sensor with a Speed Booster than to turn the Pocket 4K sensor into no-crop.

Someone needs to do a tear-down and see if the X-T3 is indeed a Samsung sensor. Are we looking at an NX2? Sony don't seem to have anything matching the 26MP chip, as far as I can see.

Yes would be great to have 10bit ProRes LT 422 with LOG on a mirrorless camera. Unless you're a PC user.

Fair point on distribution, but it still sucks that paying first-adopters may have to wait until the end of the year or longer to get their hands on one, whilst plenty of people swan around with a free one.

Where? "Hi my name is... I want to unbox the cinema camera...I want to walk you through the features, my first impressions of it...so let's get down to unboxing the camera...As you can see it's a retail box, this is probably the final production version..." Already 1 min in. "So welcome message from Blackmagic...Resolve studio...I'll have to install this" "We have a battery...." 2 min in. "Next up.... finally the camera... it's bigger than GH5" Ah finally at around 3.30 he says he's been given it by Blackmagic. It should be right at the start and in the description much clearer.

This post should be taken as friendly advice to all YouTubers. In the video above he says "I do not get cameras for free. I buy all the cameras I review". In the next video, on the Pocket 4K camera he says it is the final retail version, and starts unboxing it. There is not a single disclosure about it being sent to him for free by Blackmagic expressively for a review. This is known as "sponsored content". In fact, Wolfcrow has broken US law without even knowing it. The FTC (Federal Trade Commission) says that all sponsored content should disclose the relationship with the manufacturer. If you don't clearly label it as such, in the description for example, it is punishable by law with a huge fine and legal action. This is NOT me being "sour grapes" about Blackmagic again (although I SUPER pissed off they lied to me about camera reviewers not being sent units). I like Wolfcrow's channel. But if he is going to say "I never get a camera for free", and then suddenly he goes against his word and has a pre-release camera from Blackmagic, he should disclose it. Right up-front, start of video, clear as can be. End of story. No discussion. Just do it.

Looks sweet with that tiny Voigltander. I would rather shoot with this any day than a Pocket 4K. What do people think the audience notices most - full frame look, or raw? I'd say, if you're good at grading LOG, they'll notice the full frame look more. So why go through the pain of shitty battery life, limited ergonomics and missing EVF on the Pocket when you can get a Z6 at around the same time for $700 more?

This totally undermines what Blackmagic told me, about reviewers with a blog not getting a unit yet. Props to Wolfcrow though. How come they are not ready to ship yet with so many final units out there and even the box is finished? Don't paying customers deserve to have the first units?

Will be interesting to compare 422 vs 420 NONE of the early reviews have done any pixel peeping

Z6 has a full pixel readout at 6K in full frame. The Z7 is pixel binning from 46MP to 4K in full frame, which results in some aliasing. So the Z6 had an advantage there for less money. The Z7 has the better Super 35 image (5K full pixel readout). On the Z6 the Super 35mm is a upscaled a bit. The A7 III also has the 6K full pixel readout, certainly not crap. The D850 and Z7 will do a very good image in 4K full frame, even with the pixel binning sensor readout. But they do have aliasing where the Z6 does not. In all other aspects - DR, colour, rolling shutter, etc. they are almost exactly the same. So why pay more for the Z7? I don't think they'll do ISO 64 in LOG though, which is where you'll see the most dynamic range... in LOG. LOL. No.

9ms sounds a bit optimistic and Cinema5Dracula have been wrong before on their rolling shutter tests. Fuji themselves claim 17ms in the fastest sensor mode, 4K 60p. The GH5S is similar, maybe a bit less around 14-15ms. The Alexa is around 10-12ms. I highly doubt 24p is 9ms when Fuji themselves claim 17ms for 60p!!

Help us out then. Source? URL?

H.265 is hardware accelerated now unlike in the NX1 days. Resolve / FCPX will handle it WAY better than Adobe does with their dated software architecture. What GPU do you have? Either way, transcoding to ProRes is also hardware accelerated if you have EditReady to hand.

10bit Fuji-digital-film Super 35mm for £1350 is a yes from me! Read the full article

Apparently what I have heard is that they will use the Leica SL mount, as Panasonic already makes the SL's autofocus lenses. They can supply Leica with the same glass they make for their own system, just re-badge it. Makes total sense if both systems use the same lenses. I already have a Leica T 23mm F2 that could be handy in Super 35 mode for testing out AF. And if the AF is good enough I am sure I'll invest in some Panasonic / Leica glass.

I think he was using a lot more rigging than $6k But yeah, the image looks great.

Yeah we're getting amazing progress for our $1500. I remember people comparing a GH2 to the RED stuff. Will be even closer now haha. X-E3 is also worth a look if you want to spend even less. $700-800 for Super 35mm 4K, no crop. Fuji film colour.

It's sort of charmless. Too much sharp metal on the panel behind the screen and it's pretty ugly when swung out. Nice idea but needs refinement.