Andrew Reid

Yes indeedy. Fidget spinners are popular too by the way.

Subscribe to Harv Video / Audio Stuff on YouTube and win a copy of EOSHD Pro Color V3 Purchase EOSHD Pro Color V3 here, for just $19.99 The British do not do YouTube like Jake Paul. There's no "whaaaaats-up bros!?" as an introduction. Believe me, this is a good thing. Read the full article

Page 6/9 of shoot menu 2 in main menu You will find option called "DISP button" Check "Show all info" box and select Enter to confirm the change. Now you can cycle with DISP and in one mode it will show everything inc. video mode codec, etc.

I don't think this is right. I don't know precisely the difference in readout but the A7R 2 and 3 are pretty similarly detailed in full frame 4K, both with a similar amount of moire. The A7R II is not a lot softer. The front-end LSI processing is certainly different though. Image processor is a lot better in the A7R3... Noise reduction on a different planet. What source did you obtain the timing of the readout from? 1/15 seems too slow to me. The timing of the readout from top to bottom needs to be fast enough to support 30p at minimum shutter speed of 1/30, without frames doubling up.

A7R II is cheaper now too... Seen one for £1400. Don't even need to link, they are so commonly found at that price now.

Yes this is crap about YouTube, it should remember your connection speed each time and only drop the quality if your connection is suddenly a lot slower or you are downloading a 100GB game patch on Steam in the background Vimeo meanwhile, I agree with all the comments about their reliability... It's pretty shocking. I don't know how such a well funded and successful business can continue to neglect the basic fact that they need to deliver their core business....Streaming. Videos. Smoothly! I suppose there is a balance to be had between YouTube's pixilated first 10 seconds and Vimeo's 10 minute wait before even one frame moves.

So if it is the very casual EOS M models driving these sales with normies, it may lead to something positive for us as well - a mirrorless camera for enthusiasts. You know, like every single other manufacturer has already offered for years The EOS M5 and M6 are toys. Nice toys (for stills), but still toys. The only reason I would buy an M5 or M6 is to load my EOSHD canon picture profiles on for JPEGs and sharing these JPEGs on social media without raw workflow. Would never use them for YouTube or any kind of video work. Since the M3, they are literally Powershots inside (Which is why Magic Lantern won't port to the M5, etc.) Hardly any native lenses. Absolutely terrible video quality, which limits appeal with YouTubers who need 4K (an increasing number) Very few innovative touches. Yet Canon continue to sell well... Brand image, user friendly ergonomics and colour, competitive prices. Innovation clearly is not the only thing that sells. Although you could say that even if sales are recovering, they will never reach heights of pre-smartphone era ever again... and that was an innovation problem.

Caption error in the video, should be A7S II

https://asia.nikkei.com/Business/Companies/Surprise-camera-comeback-drives-Canon-earnings-rally "In 2017, even as many abandoned hope for growth in such operations, the digital camera market rose for the first time in five years, aided by people's desire to shine on the photo-sharing social media platform Instagram. Healthy sales of mirrorless cameras propelled Canon to a 22% operating profit gain in a segment that had been on an uninterrupted decline. The surprise turnaround left supply nearly unable to catch up with demand at one point, and a major camera plant in Nagasaki Prefecture is still working to ramp up output." I don't understand normies.

Remember, S-LOG should be exposed differently to Cine 2 - at least 1 stop to the right. That's why the Sony shots look too dark in Phil's test. But we'll forgive him. He has the flu! What strikes me from that one is the colour on the GH5S is way better than Sony's default settings. The typical zombie yellow is there on the A7S II especially. That's what EOSHD Pro Color is for, as it fixes it.

Thought I'd kick this off for UK readers at least! Very nice deal on a used NX1 with 16-50mm F2 Pro lens and battery grip here https://www.harrisoncameras.co.uk/pd/used-samsung-nx1-camera-body-with-16-50mm-f28-lens-and-vg-nx01-grip_used-8jbycn6fc00001n-8hb9cn1fc0007mr The lens alone is worth £500+

The spec of the sensor matches exactly the Sony Starvis chip. Not hard to figure out either that a marketing guy or sales live chat would want to pretend otherwise!

Sony's new sensors have a very impressive pixel design when it comes to low light, the A9 is another one - was blown away how good it looked at high ISOs in 4K, considering it has none of the compromises of a 10 or 12 megapixel camera on the stills side. I actually would not mind that 24MP sensor in an A7S 3. It no longer needs to be just 12MP! The pixel architecture, low noise readout, aluminium process instead of copper, less heat, oversampling, downscaling, BSI, all helps. Sony also designed the sensor in the GH5S. I hope Panasonic's Fuji partnership for an organic sensor bears fruit, as Sony definitely need better competition. Canon 5D Mark IV is shit in low light for instance.

Paramount don't think Ex-Machina director's next film, starring Natalie Portman will make any money so they scrapped the cinema release and dumped it for cheap on Netflix's porch like an abandoned baby. https://www.theatlantic.com/entertainment/archive/2018/01/annihilation-paramount-netflix/551810/?utm_source=atlfb These execs are going to be the death of cinema. Good thing is we have great TVs now and HDR Alex Garland is one of the most talented directors and writers working today, loved Ex Machina and it was a huge hit. Intelligent sci-fi is in. Black Mirror on Netflix is popular. Arrival was a hit. Why not this? Apparently Annihilation is a direct to video B-movie in the eyes of these Paramount idiots whose summer schedule consists of a Transformers spin-off called Bumblebee and another Mission Impossible... and practically nothing else.

Note 1: Download the video at Vimeo for pixel peeping, to bypass the streaming compression! Note 2: My camera is running firmware version 0.2! If the performance changes when updated, I will re-do the test Does the Panasonic GH5S finally achieve full-frame like performance at ISO 12,800 against the best of the competition? Here I put the little nocturnal fox in the ring with the Sony A7R III, A7S II, Nikon D850 and the plain old 'non-video-orientated' GH5. Read the full article

Looks like Sony need to pull this update. Major bug! What happens when you choose a creative style, after selecting PP off? Is the problem in stills mode, or just video mode?

Yes it's out of focus. What's source of that scaffolding shot - the video from previous page? A9: A7R3 III Super 35 A9 is actually even sharper and cleaner than the A7R3 Super 35 4K mode.

Because you don't want advertising splashed all over your videos. That's one reason why I think Vimeo is still important They need to get several big problems sorted out though - the dropping interest, the dreadful buffering problems and slow performance, and the lack of innovative new features being rolled out.

Yes it does indeed seem faster, although I only had a few minutes with the A7R2 next to my A7R3 last week - it appears to be quicker when both are set to their fastest video AF setting and less liable to jump to the background like the A6500.

Any demos of it working in video mode? Or the X-Pro 2?

A flat ProLost profile or C-LOG style picture profile uploaded to the camera do not just tweak the camera settings on Neutral PP! Was that what you meant...or...? When you load on a custom picture profile it is a completely separate gamma curve and colour science setup to what is already built into the camera with the default profiles! You can't conform 30p to 24p in post. It doesn't work, you end up with uneven motion like frame skipping... We all tried this in the early days of the 5D Mark II when it only shot 30p and it never gave good results conformed to 24p in the edit... That's why there was such a clamour for Canon to update the firmware with 24p.

Fast AF. Fast as... f... Wonder why Sigma hasn't done an official MC adapter for Fuji yet? Where can I buy the "Fringer"?

Right just tried it. And it seems to be total crap. VIDEO mode. Set advanced mode on Metabones adapter V0.57 (Mk IV) - latest firmware Tried Canon 35mm F2.0 IS (new-ish one with STM AF) Even with AF responsiveness and speed both set to their fastest on the A7R3, performance is dismal compared to the Sigma lenses on the Sigma MC-11. It's laggy, unsure, unreliable and noisy. This is not in bright sunshine, it's inside. Maybe it is better in very bright light? But the Sigmas were in dim light as well and did much better. It's just about usable for a slow focus rack in bright light, but I wouldn't challenge it with anything else... Better to swap out the lens for a Sigma and MC-11. Now in STILLS mode with Advanced mode set on Metabones... Oh dear. It's even worse. C-AF seems not even to use phase-detect AF and hunts around never really acquiring focus with any certainty! Will do a bright light test tomorrow but doubt it is any better.

So in advanced mode it is using PDAF points in video, no hunting. What if you set stills mode to C-AF (which uses PDAF like in video mode)? Metabones should update their firmware to automatically toggle advanced mode in video mode and green mode when you go into stills mode. Problem solved. The other option would be to buy two adapters - have one in advanced mode for video work and one in green mode for stills shoots!

15 stops dynamic range in raw video. Dual Pixel AF. Multi-aspect ratio sensor (1.86x crop in Cinema 4K). V-LOG built in as standard.