Andrew Reid

Source?

DJI should seriously think about getting their most advanced 5.2K RAW and ProRes image processor into a DJI mirrorless cinema camera to rival the Pocket 4K. The GH5 sensor in the X5S gimbal can come along for the ride as well.

Plus with XQD we can have 4K RAW internal. Magic Lantern would love it on a Canon

I was an XQD virgin until the Z7 came out and now I find it hard to go back to SD. They are just so slow, fragile and cheaply made by comparison. Roll on XQD. They won't even be very much more expensive in a year or two.

Z6 does and Panasonic S1 probably will. NX1 does if you use a Speed Booster Same with X-T3. Sony A9 has 6K readout as well, but unless you're a pro sports photographer, may as well get something else. I think it will be based on the X-T3, but in body of X-H1 and with IBIS of course. I think that's a safe bet. The AF will be at least as good as the X-T3 as well. It'll be a *superb* camera I know that much. X-H1 was already brilliant. Is it still their strongest advantage if they keep giving their best sensors to the competition?

In English again please Dan!?

I wonder if anyone will be brave enough to make a Speed Booster specifically for that 1.8x crop 4K? @Brian Caldwell The usual 0.71x adapters will I am sure come onto the market first, but then in 4K that will still be a 1.3x crop and not full frame. 0.60x Speed Booster would do the trick. Then finally we have full frame 4K H.264 from Canon with Canon LOG, after so long. Also with the flange being 20mm, that is more than E-mount, so more space for the Speed Booster optics to extend back into the mount close to the sensor.

I can tell you know there's not a donut in hell's chance of a new mount

I am slowly getting used to mine too. Got the Pro 2 and Zoom. It's incredible the possibilities.

Nice test by Slashcam. They put a lot of emphasis on the image quality difference between FX and DX but in the real world it's tiny.

I emailed Sony A7S II feedback 3 years ago Maybe it is just bad English but the Japanese manager says they haven't even begun yet. "We are thinking about making one" I don't feel the same excitement about their range of products as I used to. The RX100 VI with the slower lens, same old ergonomics as the past 5, where's the creativity? A7S II - past it. A7 III - pretty nice, I bought it, but it has a lack of personality, it's not as fun to shoot with as an X-H1, X-T3, Leica Sl, Z7 and quite a few others. A7R III - pointless to even own it now the A7 III exists Ergonomic side has improved very slightly, not enough. Menus still chaos. Sony have unsurpassed amazing tech. 24-240mm zoom lens on a 1" camera that does 240fps. Unique electronic ND filter on FS5. Great 4K on a full frame sensor with 6K full pixel readout. The delivery of all that is done in a charmless, unimaginative way. I'm sorry but it's true. You never feel really all that excited to pick up the cameras. They need to stop edging forward with incremental changes and completely revamp their bodies. I agree. Still the most fun camera in the APS-C line is the NEX 7. Since then, it's got more and more charmless. A6500 is a brick, with an awful control scheme. Zero innovation. At least the slim NEX 7 with twin dials was innovative at the time. What have they been doing since? Faffing around and tweaking stuff. The technology is racing ahead but the designs are standing still. To Sony's credit they do have affordable ones like the 28mm F2 FE and 50mm F1.8 The good stuff is always expensive and overpriced, whether you go Canon, Nikon or Sony. Panasonic and Fuji are a bit better but still pricey. It's how they make the BIG margins, on glass. Indeed. But you can at least buy the Sigma, as Sony let them have the e-mount specs.

I am going to have to be quite hard on Sony in this article, but it comes from a place of love. In an interview with DPReview, Kenji Tanaka, Vice President and Senior General Manager of Sony's Business Unit 1, Digital Imaging Group had a few things to say that interested me, but most of them not in a good way. Read the full article

Haha!!!!!!!!!!!!!!!!!! And yet they ALL still have better hair than Fro! Which one is @Jordan Drake?

Eh? A speed booster will be a full $3500 cheaper than Canon's hypothetical full sensor readout EOS R2 and probably 2 years earlier as well You can wait and pay if you want. I'm ready for it NOW.

Great stuff. What lens were the wide shots with?

Mr Kipon is a nice guy. I met him at Photokina! The range of adapters they had there was incredible. The great thing about Kipon is that they had lots of more obscure mounts and combinations, there's some real photographic enthusiasm there and it's not all about quantity and $$. Meanwhile, a bit concerned about Metabones. They've been very quiet on the release front. No EOS R Speed Booster from them? Would like to see more of those Caldwell Optics - superb!

Rumours sites aren't an authority on technical matters, they just identify second hand info and label it. That chipmod source just tells us the manufacturing process is Sony. Doesn't say the design is. And made by Sony does not mean it's off the shelf Sony. Nikon designed the sensor in the Z7, Sony fabricated it for mass production. The sensor has Nikon IP and circuit layout, Nikon specification, Nikon micro lenses and other patented Nikon design aspects. It has a Sony BSI manufacturing technique, on Sony mass production wafer, Sony quality control and made in numbers determined by Sony's manufacturing capacity at their factory, which isn't as high as Nikon would like because they have so many other customers. Nikon should diversify their manufacturers, but making a sensor like this is hard. You won't see a BSI sensor from Canon. It doesn't exist.

That's insane Sitting on stock while everyone buys it elsewhere. You'll be amazed by the lack of logic at big established companies, be it a shop or a camera company Enjoy the EOS R - looking forward to seeing your footage

To my unscientific eye I'd put the Z7 FX around 22ms and the EOS R 1.8x crop around 35ms. I do wonder what difference bit-depth makes to how fast a sensor can get the data off. It could be that Canon insist in a slower 14bit output, even in video mode (not just for stills) to preserve colour. Canon have always been big on colour. We know for sure it is a 14bit raw buffer from Magic Lantern even in line-skipped 1080p! It could be that all these Sony and Nikon sensors doing great video, drop the bit-depth to 12bit or 10bit to achieve the fast readout. Maybe they even drop to 8bit sensor modes and that's why I could never see the difference between 10bit HDMI and 8bit HDMI on the GH4 It also seems Nikon are reading more data in FX on the Z7 than the A7R III because the rolling shutter is less in full frame on that camera in 4K vs Super 35 mode, and it has more aliasing.

How did your football go with the Leica SL EVF? I am curious to see some shots if you can publish any. Hopefully the dreadful Spanish weather did not interfere!?

I have the E-M1 II and only ever used the 4K. I am sure the 1080p is a lot better than the E-M5 II. The problem on the E-M5 II for me wasn't the codec, that was fine. It was the line skipping, soft detail, moire. Those days are long past us. Unless you're a Canon 1080p user

Yeah sounds like the AF confirm chip is the problem... passive dumb adapter will do it but be careful it doesn't short the metal contacts on the Metabones. I have gaffer tape over some of mine, especially the silver non-painted ones which can brush right up against the contacts and short them out. For a moment I thought you meant the speed booster was causing lens attachment failed... It can do that some times as well... a wiggle sorts that out, if not attached to the GH5 mount quite solidly enough.

Why?

The foot lever is an excellent idea. I have shot with a monopod with Gitzo fluid head, works well - but the height adjustment is a pain and the yaw / side to side jitter can be a bit of an issue with monopods.

Who knows? Latest UHS-II spec SD cards are very speedy. No idea what controller is on the EOS R.