Andrew Reid

Drag and drop film sound design EOSHD Pro Audio is a preset library for Adobe Premiere and Final Cut Pro X, allowing complete control over camera audio in post. Developed with a professional studio engineer in Berlin, the concept of EOSHD Pro Audio is unique. It is designed to fix common audio issues with internal stereo mics on DSLR and mirrorless cameras in an innovative way, as well as offering cinematic moods for specific scenes and shots – like LUTs for audio. Check it out - https://www.eoshd.com/pro-audio/

No really, the dynamic range is fine. You have to get the settings bang on. Gamma DR, -2 contrast (not too low), 16-235 and Smart Range + ON. I adjust the master pedestal as well and increase bitrate with the hack. None of that existed in firmware 1.0, so people thought it lacking. It isn't. The sensor tested for 12.8 stops on DXOMark if I remember correctly...That is more than a Canon 1D X Mark II and 1D C. On the build quality I'm afraid I have to have a divergent opinion to you sir there as well! It's superb for the price. All the controls feel solid and the magnesium alloy chassis feels like metal not plastic like it can do on a lot of other cameras (cough, cough GH4). It's also very responsive. When does it ever lag? Have you seen how fast it puts down a 28MP RAW before starting 6K readout for video? Compare that to the GH5 with it's laggy end to recording video and on many other cameras there are much slower buffer clearance times. Colour science is in Nikon-Canon league. Autofocus with the S lenses is superb, on-chip phase detect. Better ergonomics than a Sony A7 III. £800 used. NX-L for full frame. It's still the best bargain ever. So feel free to nitpick it on the basis that your battery grip might be faulty

I just invested in the 50-150S. That and the 16-50 are the best APS-C lenses ever made. Fujifilm come close though.

Is it me, or is the H.265 out of this camera getting better and better as OS support improves? I could never shoot at ISO 3200 before without it falling apart from noise and blockiness. Now I can with ease. I had the hack installed but now don't because it was giving me crashes and hangs... The bitrate increase doesn't seem to be needed because the files look without it, almost ProRes-like. Back in 2014 the NX1 was never this impressive on the codec front. I swear. And playback is so smooth in Premiere now...again like ProRes. Could it be the hardware acceleration of the latest GPUs coming into affect, lifting both playback performance AND image quality? PS...Full support in Quicktime now and latest VLC Player. No playback glitches, and Finder shows thumbnail previews.

Indeed the main customer for this camera is surely vlogger/youtuber/street photographer and do they need a fast aperture or 200mm? Hmm. I'll let Sony figure it out.

Great stuff. A G9 arrives tomorrow so I'll try it on that too.

If the point is the 24-200mm range in your pocket then one has every reason to get one. And shallow depth of field around 135mm for portraits would beat the old model. But 135mm is rather long. 50mm and 85mm is portrait. Anything shorter than 100mm and you're better off with the Mark 4 or 5. So what are we going to use that range for? Wildlife? Sports maybe. OK maybe street photos but I doubt it. I like pocket cameras. Nothing against them. Sony has the RX1 II as well, which is pretty unique... and on balance I feel superior to the Leica Q. I do at least like that the RX100 M6 has Hybrid LOG Gamma. Maybe it will also be EOSHD Pro Color compatible, I'll have to try that. I just think that the RX100 M6 should have been an RX200. They have basically discontinued the fast aperture model. They haven't improved the form factor. They are not close to competing with the LX100 for the look of the images. It is about 3 stops away from that camera when you take into account the smaller sensor AND slower aperture. It is a bit like shooting at F11 on a full frame camera. Meh. Give me a 24-100mm F1.8-2.8 like the Canon GX7 II.... It's not like it is lacking in megapixels either to crop the long end to 150mm. Also the Canon's colour profiles and better ergonomics is another win for the GX7 II. The problem for Sony is photographers are going to get the Canon...it is a better stills camera than the RX100 M6 for £450 vs £1200. Video is great on the RX100 M6 but for video, how many people absolutely NEED that pocket form factor? And no ND?

Cheers. Yes I do have an Android phone to try it on. Does the tweaker app work with GX9 as well? I have a GX85 as well in case it doesn't.

The hotshoe 3.5mm input is a great idea and camera companies should be encouraging developers. The problem is they have never got together and come up with any of the needed standards whatsoever. They all should have a common standard smart hotshoe interface and USB C should replace HDMI. The camera companies could do a lot for sales and innovation if they encouraged third party modules to be made that could all connect in the same way! Canon, Nikon, Sony, Panasonic, they all need to have a chat. Common interface for battery grips, which can take a data feed through USB C, would enable really cool video recorders with raw capability in a battery grip on the base of the camera. Sending a video signal up through a common interface in the hotshoe would get rid of the wobbly HDMI cable up to a external monitor. All future cameras should have that common "smart shoe" and "smart arse hole" on the bottom... Ok I thought of those names in a rush As for the RX100 M6, or as I like to call it... the IVIVIVIVIIVIIVVIIVIIVIVI. When Nikon cancelled the DL cameras before a single one was sold and a Panasonic LX100 successor went missing for 4 years (and counting!) one must ponder the existence of the dodo, or as they call it in the camera industry "the compact camera". Star of the show for me has always been the Sony RX100 line (and Panasonic LX100) and star of that range for me has been the fast aperture lens. If you go to the effort of a large 1" sensor in a compact body then you need the fast apertures to back it up otherwise you end up with a Canon G1X III type situation where an APS-C sensor looks smaller than the 1" sensor in the G7X II. You kiss goodbye as well to any improvement in low light and cinematic character. The other problem I have with the RX100 M6 is that it is £1149. That puts it in the price range of a high-end mirrorless camera. If you want to shoot 4K and have 120fps for slow-mo, along with 240fps cache record, for not much more money you could get a Panasonic G9 which is superior to the RX100 M6 in more areas than I can count. It does 180fps 1080p, 4K 60p, fast apertures, a huge EVF and fat battery. The next problem I have with the RX100 M6 is that the man who designed the camera body fell asleep in 2012 and nobody has been able to wake him since despite making a lot of noise. What the RX100 series was crying out for more than everything else is a better form factor and better ergonomics. The LX100 is a pocket 4K camera done right ergonomically. Fuji X30 too. This isn't. It's as fiddly as the others were. The dreadful ergonomics haven't changed in 6 iterations. If Sony are going to drop the fast F1.8 wide angle and give us 200mm instead, I suggest they do it with a separate line rather than spoiling the RX100. In fact they already had a separate super zoom line. With the RX100 getting a 24-200mm range it all feels very ominous for the future of the RX10 line doesn't it?! I don't think it had been mighty popular and maybe Sony decided to reduce things down to one more popular camera which tries to do everything. Needless to say the motivation to buy an RX10-type Sony just got chopped in half by the very company who make it! Results from a small sensor looks even smaller with a slow aperture, so effectively the RX100 M6 no longer has the same look as the RX100 M5 between 24-70mm, the range most people use the most often, and low light just got 1 stop worse at both ends of the range for more money. Canon shows with the G7X II that you can have a respectable 24-100mm range in the pocket with a wide F1.8-2.8 aperture and superb low light performance. You don't need to stop at 70mm like the more recent RX100 models which I admit is too short. Sony could have put an equally compact 28-135mm F1.8-2.4 on this if they wanted to give us value for money. They way things are, both on pricing and strategy this model makes zero sense.

I am developing Pro Color for the new Panasonic cameras. Possibly for GH5 / GH5S as well but since they have LOG and the G9 / GX9 don't, you can use LUTs. Now if you remember the original Pro Color for the Panasonic cameras previously, it does not work like the Sony one where you have a picture profile in-camera that fixes everything. Panasonic cameras don't have that kind of control in camera. What they do have is a superb codec. So once again Pro Color will be in the form of a LUT. And once again you will not need to shoot LOG. CineLikeD or Standard will do it... Or so I thought, because I have found something rather interesting in the process of trying it out. CineLikeV really crushes the blacks but I have always liked what it does to the typical Panasonic colour science vs the usual consumer camera photo styles. It brings that Varicam look to colour. CineLikeD is certainly the flattest image but I have never really been comfortable with it. I honestly don't like the colour from CineLikeD most of the time after grading it and I find the dynamic range advantage to be quite small anyway. That's why Pro Color was designed for the Standard photo style on the GX85 / G8 and GH4. Well CineLikeV it turns out can do dynamic range much better than I thought, and I just think it is looking more filmic. So should I design Pro Color to work with CineLikeV or D?! Here is the test version of Pro Color on the GX9 with CineLikeD... WITH WITHOUT Gets rid of that harsh digital look of the camera. Now here is the problem I have with CineLikeD... I have graded it, and the path up to the highlights says everything... The colour range is very compressed. And in CineLikeV it has come off far better with more going on colour wise, less mashed together... It has sacrificed some shadow detail but I think it looks more filmic as a base on which to build the Pro Color LUT. So far liking the GX9 by the way...It's a bargain.

It was a bit odd and a shame that Nikon cancelled the DL cameras before they even had a chance. I would have bought one. A good range of lenses, better ergonomics and colour than Sony, plus better specs than the Panasonic 1" cameras. If they are going to dump the fast aperture zoom and make it a consumer super zoom, at least call it RX200. Besides we are on version 6! RX100 VI looks confusingly similar to RX100 IV. Roman numerals get a bit silly after 5. If you are interested in the RX100 6 for the very fast AF and clean 120fps + 240fps (albeit buffered) consider what more you could get for the same price. Panasonic G9 - nice 180fps with a much larger sensor, much larger EVF, better handling body and bigger battery, not to mention 4K 60fps on an interchangeable lens camera, which can take a 24-200mm equivalent as well as fast primes, so that is a better solution for sure, and much cheaper than a GH5 with nicer ergonomics, snappier AF, more responsive handling and better EVF. Unless you absolutely must have a pocketable 24-200mm. I don't know why Panasonic has not already brought out an LX200 and put it in the hands of every high profile YouTube channel on the planet. Is it begging to sell like hot cakes. What are they scared of?! We know the compact market is in an incredible era of decline but the Instagram / YouTube camera market is the answer to pumping up sales of the higher-end compacts. I don't even consider the consumer compact and the LX100 as the same thing... A high spec compact is really a mirrorless camera with a fixed lens. There will always be a space for a small high spec camera.

On the forum occasionally I've noticed advanced AI making posts, bots basically. This seems to be an example of that, it's quite clever. I don't think Jack is a real user. All very convincing...but everyone interested in the NX1 is aware it is not sold any more and that Samsung pulled out of the market.

I would like to thank Mokara, the Panasonic engineer for clearing that up! A big welcome to the Nikon product manager, Mokara! Thank you Mr Sony san!

ISO 12,800 is really the max, not bad huh!? Pro Color HDR V4 is happy at that ISO and any other.

It's all gone a bit focus group. I think consumers want the longer zoom, and to hell with the built in ND or fast aperture. What the slower aperture essentially does is give you a smaller sensor, so not much point of it being 1" in terms of the look now. May as well be small chip. I would have liked a longer zoom but not 200mm at all costs. 24-135mm F2.0-2.8 would have been great. For the money, and 6th model, I'd expect a bit more of an ergonomic flourish of creativity, the old form factor is very tired and the Panasonics are a lot nicer to use especially LX100.

How many iterations before they fix the fiddly ergonomics? The price goes up with every model. Current pricing vs old models: RX100: $350 RX100 II: $550 RX100 III: $650 RX100 IV: $750 RX100 V: $850 RX100 IV : $1200 $1200 is some serious cash for a compact point & shoot, with a slower lens than the direct predecessor. But on the positive side... Impressively small lens given the range. I wonder if it will destroy sales of the RX10 line. Dumb move Sony.

Have you tried Resolve 15 Public Beta? It is slowly becoming more and more like Premiere in terms of the editing interface and features, but without the performance issues. I am highly impressed. The purpose of editing is to trim the fat. Why not start doing some editing and remove those files from the project that you no longer need.

No that's not really the point of a straight out of camera colour profile. However I will be bringing out Pro LOG V4, which will give you that nicer colour from LOG footage quicker than S-LOG 3 (and without the horrendous banding).

I think Nikon might shade Canon with the generation 1 high-end mirrorless, as Sony sensors are far ahead... especially for video. Canon can't even do a full frame pixel readout on the 1D X Mark II. So their mirrorless camera will likely be APS-C for 4K at best.

£500 profit on each Japanese A7R II. Maybe Japanese Camera Hunter can branch out into digital?!

*Without* averts. Unless you count my own adverts!!

Looking back I owe everyone a big thank-you for using the forum and taking an interest in the blog, it is amazing what it has turned into with so little effort on my part I think this place must be the only website on the entire internet without adverts. Long may it continue like that. Got a GX9 arriving tomorrow... about time I did a review of something cheap with the big shift to high-end stuff. Let me know what you'd like to see in the review of it.

Indeed the A7 III is practically an A9 in hardware terms, with the added video features. I feel sorry for A9 owners with an interest in video. Sony should give them the extra picture profiles at least. Odd the 120fps quality is a bit down on that camera vs A7R III as well considering the speed of the sensor.

Yes with the A9 you are stuck tweaking the very basic Creative Styles. You can't get to the wider colour gamuts or different gamma curves, nor the finer tuning options. Sony aimed the A9 at pro photographers, a bit like the 1D X Mk II, which is same reason that doesn't have Canon LOG. Daft, I know. There is a Sony hack going around for the A7S II though, which may be interesting to keep an eye on for the future if it unlocks picture profiles on cameras that lack them... Like BTM_Pix has done with the GX85.

Thanks for the positive feedback. I am biased but I honestly think EOSHD Pro Color has never looked so good as it has on the new cameras, so Sony must take some credit after years of getting it wrong on colour. They are on the right track. A step forward between A7S II and A7R III / A7 III especially with the 14bit sensor output and the new HDR compatibility.