Andrew Reid

Turns out A mount is more adaptable than I thought. M42 adapter focuses to infinity, costs $3 Leica R lenses can be converted at home with $10 kit from eBay and 5 minutes with a screwdriver, just like I converted mine to Nikon. There's some nice Pentax lenses in M42 mount and the legendary Tomioka 50mm F1.2 Helios / USSR stuff can join the fun and there is even a 50mm F2 pancake that fits Helios 44M perfect for anamorphic, so they can play. So it's not all about buying expensive Zeiss A mount stuff, thankfully.

XL with full frame lenses. Ultra with APS-C, otherwise on the XL + APS-C lenses you will get vignetting, regardless of IBIS.

So did I, way back - I preferred A350 over Canon 450D. This was before video. It was a stunning shot getter and best live view at the time. A850 ergonomics to A7R - yes, it was a huge downfall. Why buy Minolta but then choose not to apply ANY photographic DNA to your mirrorless cameras in terms of design and handling? Autofocus isn't everything, but I really do think the A99 II has a few tricks up its sleeve we've not seen yet regarding video AF. Locking the pin wide open on the lens for a start, to avoid the F3.5 limitation. AF is a bonus on this camera. It's already very good. An A7R II with a proper body and not shit ergonomically. Does it get in behind the SLT mirror on the A99 II or did they solve that?

Yeah saw that guy on YouTube. Nice tips, but I still don't understand the technical reasons for P mode with static aperture. SLT AF in video mode has already been proven to work at faster apertures than F3.5 when the lever on the lens is jammed wide open at F1.4 And closing off all the manual controls in P mode is just daft. Fair enough, if you get jerky aperture changes during a shot with the older lenses then lock the aperture, but lock it during the video recording and allow us to choose the aperture in live-view first!

Great work @BTM_Pix On the GH5, maybe we could unlock that 400Mbit 4K mode ahead of time CineLikeD on the GX80 is a great start.

X-T20, tried very briefly, it doesn't have any extra crop in 4K, so an improvement on the X-T2 in that regards, but I think it has a bit more rolling shutter. A6300/A6500 is a 1.5x crop sensor (APS-C, Super 35) It turns into approx. 1.8 or 2x crop in some modes at the higher frame rates... 30fps in 4K and 100-120fps in 1080 Thanks!! Ah so it is for sale? Got a link? How does the EF lens aperture work? Or doesn't it? I agree. Dual Pixel AF is the only one reliable and consistently high performing enough for pro work. Sony's can be quick, but a bit crazy. GH5 isn't there yet. NX1 is definitely 2nd behind Canon but quite a limited range of Samsung lenses to make use of it.

I have done that and like I pointed out in the novel (an internet article longer than 4 words) there's no point because you are still stuck with the crap ergonomics of the A7R II and A7S II. The mirror box isn't useless for video as it has an EVF. The mount isn't as adaptable to other lenses as E-mount, of course, so in that sense the A-mount is a disadvantage but then do you REALLY need more than an 18-35mm F1.8, 35mm F1.4, 85mm F1.4 and 24-70mm F2.8, all stabilised, with superbly fast AF? Come on man do your basics.... A99 II has a built in EVF. It is not a DSLR. It is SLT. There's some really nice manual focus Minolta stuff out there including a class leading 50mm F1.2. I converted mine to EF mount. Will convert it back again now, haha.

Assuming they put lower resolution RAW in there to SD card, that would also be a bad business decision as it would take away appetite for the full 5.7K to external recorder, making it less of a selling point, and the 2.5K spec would come up in reviews unfavourably vs the C200 which does the whole full 4K RAW to CFast thing. I think Panasonic's only mistake is to not have a CFast slot on the EVA1, then they could have given us 4K RAW right from the start. PS was that Mitch Gross doing the Panasonic presentation? I thought he worked for Convergent Design?

I think we all want a 'do it all' camera in a nice form factor. I think Sony have always been stronger on the DSLR form factor ergonomics than their mirrorless cams. And it's not just the controls but the curves of the DSLR body are preferable to sharp, angular corners of the A7 bodies as well, in the hand... as well as the superior grip, much larger. Hmm apparently there is a hack to get the aperture to go wide open in video-AF-C mode instead of F3.5. Although it will still be Programme Auto (auto shutter speed) at least you will be able to do F1.4 in low light. http://www.portreti.lv/how-to-hack-sony-alpha-99-65-77-to-work-with-open-aperture-in-video-mode-autofocus/ You just stick something in the way of the lever on the back of the lens, and take it out when you want to stop down. AF tracking in video mode at F1.4... nice. Anybody know if ISO be set to manual in Programme Auto mode on the A99 II?

Does it make sense? Read the full article

The mount is perfect for the customers they are targeting the EVA1 at. If they'd gone with the Micro Four Thirds size sensor and mount to match, the amount of extra M43 glass they would have sold would probably not compensate for the losses Panasonic would experience through damaging their presence in the C100/C300/rental market, which is all about Super 35 and EF lenses. A good, pragmatic decision and I am sure the GH5 will sell a lot of extra Panasonic lenses to filmmakers any way! I am not sure Panasonic quite has the ergonomics right yet... The form factor is nice and small now but the physical controls are 10 years past their sell-by date and need to be rethought, as does autofocus if they are to catch Canon.

To Sandro, the NX1 is far more enjoyable to shoot with than the A6300 and the A6500 didn't solve any of the rolling shutter issues and just papered over the overheating problems in firmware. Less crop? I assume you mean in the 4K 30p and 1080p 120fps modes... no still crops in a bit like the A6300. But in 4K 24p there's no crop (again same as before). MountneerMan GH5 vs NX1 - They overlap in some areas and have pros and cons, with some things I prefer on the GH5 and some things I prefer on the NX1, so here goes... The NX1 is of course Super 35mm in terms of sensor size and the look, and GH5 needs Speed Booster to get that look. The GH5 is also double the price and Speed Booster will add to that. The advantage though is you might save money on the lenses if you already have Canon stuff. The GH5 is great for Canon lenses. The NX1 has no adapter that controls aperture of EF lenses yet and no Speed Booster (what happened to the third party one?) The image quality is quite close between the two, with the GH5 + Speed Booster having about 1-2 stops better low light performance, but still a maximum of ISO 6400 really, whereas NX1 is 3200, 1600 to be safe. Take into account 1 stop extra light from Speed Booster and GH5 is definitely comfortable at 3 stops brighter than the NX1. That's the difference between 1600 and 12,800 but ask yourself if you really need usable 6400 at F0.95... rather than usable 3200 at F1.4! It'll cost ya! Colour is a strong point of both, but the GH5 has the option of proper LOG. The NX1 stores a LOT of dynamic range in the standard non-LOG files and there is option to raise blacks, reveal more shadow info, prevent highlight clipping and adjust gamma curve so it's pretty good in this respect - and a LOT easier to grade. Rolling shutter is a big win for the GH5. Ergonomics are a big win for the NX1. Battery life is good on both but GH5 wins. There is a battery grip for the NX1 which sensibly doesn't require you to take the battery door off the camera or the battery out, it slots into a pin-out on the base of the NX1. ALL battery grips should be designed this way! Both weather sealed, as long as you also use a weather sealed lens. Samsung S 16-50mm OIS is weather sealed and one of the best zooms ever made. F2.0-F2.8 and super sharp. Stabilisation on the NX1 in DIS can be hit and miss but when it works, it uses very advanced custom hardware chips to completely lock down a shot, more effectively than Warp Stabiliser. It's 5 axis and amazing if not much is moving in your shot. Sometimes exposure changes and sudden movements in the frame cause it to lose track and have to regain its composure within a few seconds, but that can spoil a shot for sure. The GH5 is all-round more consistent with the 5 axis in-body sensor shift but surprisingly for locked down shots the NX1 is less floaty and completely still like on a tripod. You don't need to enter the focal length for manual lenses and it is even more effective when using a Samsung lens with OIS. I find it works best with 35mm lenses if you are adapting a lens with no optical IS. On the stills side, NX1 is superior for resolution and has very good dynamic range in the RAWs. GH5 is superior for continuous burst rate, stabilisation and adaptability to Canon EF glass. I use a Novoflex Sony Alpha mount adapter with my NX1 and the 35mm F1.4 G, 85mm F1.4 Zeiss Planar. The 35mm is an evolution of the brilliant Minolta design and the 85mm is an evolution of the Contax Zeiss 85mm F1.4, one of my all time favourite lenses. These are the only two lenses I find myself needing on the NX1 as I have the Samsung 16-50mm F2.0 to cover the rest and when I need AF. One important point about the Sony Alpha 35 + 85 I mentioned is that they are much lighter and smaller than the Sigma ART equivalents for Canon and Nikon mount. Of course you can get a Nikon adapter for the NX1 which adjusts aperture, just like the Sony Alpha adapter does, but I think Sony Alpha glass is a bit undervalued on the used market, with some real gems in the lineup. Video AF, I believe Philip Bloom did a big test of this and included the NX1. I rate it quite highly for this. The NX1 has phase detect pixels on the sensor so AF is really rather good in video mode - not quite Dual Pixel AF good but close. Sony's on the A6500 is hit and miss, sometimes works well, sometimes does stupid things. The GH5 doesn't have phase detect AF pixels so it relies on a very fast sensor scan of 240fps in stills mode and Panasonic's DFD technology to analyse focus and in that mode it is very fast. In video mode it falls back to the frame rate you have selected for the recording so in 24p the AF is really rather dog-slow and in 60p still not as good as the NX1. On the codec side they are quite different. 10bit and superior 1080p codec, 4:2:2 on the GH5. The 10bit 4K really is lovely and 8bit 4K 60p very nice to have. The NX1 is of course an 8bit camera but the image quality is right up there, like a JPEG still, it just doesn't quite grade as well and there's still some macro blocking even at 160Mbit in H.265 with the hack, although I still rate it as a good performance. The Canon 1D C's 4K is also 8bit and this eats image quality for breakfast. 10bit on the GH5 really comes in handy for improving Panasonic's colour science (although it's not just 10bit responsible but a lot of other nice stuff going on) and for LOG it helps too. However it does make for files that are almost impossible to edit natively straight off the card at the moment, so you will have to transcode. Then again you should do that with the H.265 files from the NX1 as well, although Premiere does now support H.265 you will get smoother editing performance by using EditReady to convert them to ProRes. Anything I've missed, let me know...

Already two other threads on the EVA1 so carry on the discussion here I'll close this one.

It would have been nice if Panasonic had applied their 5 axis IBIS tech to the new, larger sensor but I think it's probably difficult to have a sensor bobbling around behind an ND filter wheel and remain cost effective. Also with the sensor moving around they could have well run out of image circle with EF-S and Super 35mm lenses, some are quite marginal at the edges of the sensor. Not much point having one on the back like the FS5 does, when you can put a proper one on the top handle offset to the side so it's in the right position. It's really uncomfortable having it on the back and impossible even to use it when camera's on the shoulder.

Because 5.7K raw onto SD cards is pretty difficult. And the external recorders need to catch up and support 5.7K raw from the EVA1, no point having it in the camera yet if you can't record it. So I suspect they bumped it down the priorities list a bit to finish the rest of the spec, as camera development does run to a tight timeframe and they do need to ship at some point. The main thing about the EVA1 is that the codec isn't crippled like the FS5 and C200. You are getting a much higher-end codec to rival the FS7 / C300 II in a camera which will be priced at the FS5 and C200 level with their sucky codecs. The only thing the C200 has over the EVA1 is AF and CFast (for raw). The rest of the spec falls short. But we'll see what they are like in the real world and not just on paper.

With a completely new Super 35mm sensor, the Panasonic EVA1 has just been announced at CineGear Expo. The EVA1 is a compact version of the Varicam digital film camera. Read the full article

If price is not an issue the Canon 24-70mm F2.8 II is the best. Parfocal, weather sealed, ultra sharp, very cinematic 3D pop, very high contrast wide open, extremely fast AF on a Canon body for stills to boot. The only reason even to consider the Tamron is the optical image stabilisation and price. You don't need the optical image stabilisation on the GH5.

The 4K looks like a photo to me, it's superb. Sharpness at -10 doesn't entirely give you an image as unsharpened or as natural as it could be, but you can always scale the 4K down to 1080p and then upscale that to 2.5K if you want less digital sharpness. It's true the D750 is nice and 'creamy' in terms of dynamic range, but the NX1 files clean up if you avoid the harsh clipping of highlights & shadows caused by NLEs and players misreading the 0-255 files. Set it to 16-235 in the NX1 menus.

That is so generous. Snatch their hand off. The X-T2 is the only thing that comes close to the NX1 even after 2-3 years... I prefer the NX1 over that (have both) in all respects apart from low light and 4K rolling shutter. I am quite comfortable using the NX1 at ISO 3200 as long as I have a good exposure, fast lens, master pedestal +15 and RGB range 16-235, to prevent the blacks from crushing and losing all the shadow detail. Noise at ISO 6400 makes it a bit less usable, so my limit is usually 1600 or 3200. But let's get real One has to balance practicality, usability, cost, all sorts of stuff. To get better low light without sacrificing too many features, your only choice (for 4K) is the A7S II, A7R II and 1D C. So triple the cost of a used NX1. TRIPLE! The X-T2 is more fiddly and crops the sensor in 4K. You'd need to invest in new lenses maybe too? A6500 could be an option but I don't enjoy using mine... ergonomics are shit and rolling shutter the worst I've ever seen. I believe even though reliability has let you down and the freshness of new models entices you, that the trusty NX1 is truly special and should be perceived with unless you can jump to a $3000 Sony and put up with the worse ergonomics.

If you're getting a full refund seems like a good offer from them Surely this allows you to buy an NX1 from eBay. They're still around.

In my opinion you are completely missing the whole point of this blog and the enjoyment of shooting with the mirrorless cameras. Yes for many it is a job and the C200 will be perfect as a workhorse for them. But the great thing about affordable mirrorless cameras is that it gives everyone the opportunity to wrangle a £1000 toy so that it produces images that rival a £8000 workhorse. Shoot something artistic and have fun. And for work, jobs, clients, there's the C200. I am not going to become like C5D, NewShooter, etc. and start aiming the site solely at pros. I get that a lot of pros read EOSHD but they will forever be a minority in the overall audience of 'cat shooters' as you so dismissively put it.

Wow a lot of hype in this thread. I am surprised at the specs (for Canon) as well, especially internal raw, but let's throw some cautions out there before somebody drops £7700 in a fit of excitement. Main codec at 8bit 4:2:0 150Mbit for 4K is worse than the current £1500 mirrorless cameras. Canon had no choice but to compete with the FS5 (which beats this on price) - but protecting C300 II came at a cost. The 1080p codec is even worse at 35Mbit, that doesn't compare favourably to the GH5 at all. Unlike the FS5 you are stuck with the APS-C / Super 35 look. No Speed Booster. Dual Pixel AF is a good selling point though. Of course you have internal ND filters (mechanical, not electronic like on the Sony rival) but no 5 axis in-body stabilisation... which is more important for production values, IMO. It remains to be seen how good the 1080/120fps is... if it is moire hell and soft then the FS5 is going to win in a key area. 15 minutes of raw at 128GB is a problem. That will not move RED users over to Canon. No way. And you can only currently edit it in one NLE. Does it only record 4K RAW or can you drop to 2K? RED raw compression is still streets ahead of everything else. Same sensor as C100 II / C300 II, which is to be expected. But you'd think for 2017 they could have done an update. Form factor is that of a work camera, I wouldn't get a kick of enjoyment from taking such a clunky camera out on the streets or on a shooting trip. The C200 is only 12bit in RAW. The normal codec is 8bit. Unless you are happy shooting 15 minutes at 128GB and archiving a whole week's shoot at that kind of data rate, you will not be using the 12bit RAW. RAW should be at least 14bit. At 12bit it starts to degrade. We know this from Magic Lantern's work. It drops even more dynamic range at 10bit in 60fps raw mode... in that mode the file sizes will be borderline unworkable and the shadows will be scratchy as hell.

Ah my Manchester. Piccadilly Gardens. YOU SURVIVED! I'm surprised you didn't get robbed of both cameras The 16-50mm F2-2.8 is indeed a superb lens, nothing has bettered it on APS-C since. Good job the crop cameras have Speed Booster, that's all I can say. AF is great on the NX1, best you can get without going all out Canon Dual Pixel AF and downgrading your image I also prefer ergonomics of NX1 to the X-T2, less fiddly. The low light and dynamic range of the NX1 depends on a few settings. Several things help - First set to RGB range to 16-235, otherwise you lose 2 stops dynamic range with horrible crushed blacks and clipping. Try master pedestal at +15 at ISO 3200 to reveal lots of nice shadow detail, so you can consider dropping to ISO 1600 if you have a bright enough exposure (fast lens of course helps) ISO 800 is incredibly clean, virtually same as ISO 200... Use it whenever possible. ISO 1600 and 3200 are acceptable under right circumstances. The high bitrate hack (160MBit H.265 = 320Mbit H.264, woooo!) also improves the image further. And no sensor crop, no short record length limit like X-T2. Of course dial down sharpness to -10 on the NX1. You should almost never see moire in 4K but I do accept it can happen with certain things (if your lens is sharp enough!) NOOOO you sent it back? They will be hard to find in future. I have used a lot of higher end stuff... 1D C, 1D X II, GH5, A7S II and I honestly think the NX1 is more FUN to shoot with than any of them. It may not have 5 axis IBIS, LOG, 10bit, full frame sensor, and granted those are all lovely, but they are luxuries and not having the video optimised ergonomics on the Canons, and having a slower, less responsive, weirder time operating the A7S II and GH5 is NOT as much fan as the swift little bird NX1. Good choice with the RX1R II, but consider the RX100 IV to accompany it - the slow-mo / video modes are superb. Actually the NX1 with latest firmware and hack shoots pretty good 1080/120fps which only the Leica SL betters. For the price that is very nice and way better than 60p for slow-mo. Unless you intend to shoot 60p for 60p and not for slow-mo... but then that isn't a very cinematic choice A lot of cameras do acceptable 1080/60p quality... check out the D750 and A7S (original version in S35 mode) for instance. Did you try D.I.S. mode? The NX1 surprises when it is enabled on the 16-50 F2... Again a firmware Easter egg I usually find poor stability ruins a shot before rolling shutter does. When shooting from a tripod it's good to do slow pans and locked down shots, very cinematic. NX1 isn't the worse for rolling shutter, it's merely average and I'd put the Sony A6300 and A6500 as the king of skew. In 1080p the NX1 has an astonishing 2ms rolling shutter like an Alexa. The colours in this video will never fail to amaze me... Really shows the analogue strengths of a CCD sensor for colour and a RAW codec. But I really do think the NX1 gets you close and with way more fun and far less hassle.

They are close for image quality, not much point pixel peeping them really... in some situations Sony wins and in some situations 1DX II. Obviously low light is a bit better on the A7S II and you don't have a 1.3x crop to contend with in 4K. The 1080p is far superior on the Sony by the way. The bigger differences are ergonomics, body size, body cost, lens support, and especially autofocus (which absolutely sucks on the A7S II). Maybe wait for the A7S Mark 3, it is probably not too far off. Of course the 1D X II is an upgrade from the NX1 but in some ways a downgrade... no articulated screen or EVF, much heavier and bulkier, 5x more expensive.

No sooner had I started to enjoy the 18-135mm EF-S on Metabones, did it break. Latest firmware update V2.70 stops AF from working. Does anybody have the V2.40 metabones software DMG for Mac? Or Windows for that matter. Metabones probably missed this because the EF-S lenses don't usually fit on the adapter at all - you have to pop the rear cap off the 18-135mm housing, then you can use it. I want my 12-100 F2.5-F4 back!! EDIT: Got it working, there is option to downgrade to V2.60 in the Metabones app, and that seemed to bring AF on the 18-135mm back to life.