Andrew Reid

I ended up getting a 1D X Mark II as well. It's astoundingly good but it has ONE really surprisingly disappointing aspect - they removed the digital moire filter in 1080p mode - it has more moire than the 5D Mark III and 1D X 1080p. A backward step for 1080/24p full frame. Good job there are plenty of other cameras much cheaper than shoot good full frame 1080p like the A7S!

Wow that is small. No word on video though?

It's a terrible mistake to have A-mount on there, the could easily keep the same A77 / NX1 style form factor with a mirrorless E-mount. Mirrorless does not have to mean small! Also can't see what it offers over an A7R II for video?

Very nice. Fingers crossed for some kind of decent video mode. X-T2 shows a lot of improvement for Fuji.

A-mount? 2x crop sensor? Both the Sony A99 II and Panasonic GH5 have a few aspects which look out of place in the high end market of 2016. However sometimes the most simple things are the problem. Read the full article

Yes it does look like they have managed to fuck it up.

First camera with revamped Sony menus. Looks more like a Canon menu system. Better grouping as well.

A bit of a bombshell this. Sony have just this second revealed a pro-level stills camera which maxes out the 42MP sensor last seen in the A7R II. Read the full article

If it is a 4:3 6000 pixel wide sensor then it would have to be bumped to 28MP. Then question is how are they doing 4K from 28MP? Pixel binning? Oversampling? So many unanswered questions, I'm surprised how little info they released.

No mention of 5 axis IBIS on the GH5 in the press conference? Uh oh.

If you are happy with the full frame raw image from the 5D Mark III you will love the full frame 1080p straight out of the 1D C as well, especially the 1.3x crop HDMI 1080p when 4K mode is engaged. I found raw on the 5D Mark III to be great, but reliability isn't a strong point.

Have my NX1 with me so will be interesting to compare And 1D C too

Nice write-up. I just bought an X-T2 (in a small shop in Venice where I am shooting and holidaying!) We'll see what it can do here, as it's a pretty photogenic place, quite demanding on dynamic range with all the narrow walkways and bright sun. I find Pro Neg Std does seem to lift the shadows nicely and sharpness all the way down + using 180 degree shutter helps with cinematic motion candence. The footage out there so far hasn't been very impressive as not many people are buying it for video.... yet? The only annoyance I have so far is that they removed the video record button and to switch between video & stills mode is now on the drive lever, which is an awkward bastard of a dial to say the least - not sure what they were thinking ergonomically with that one!! You cannot assign video to a funtion button or enter video mode in the blink of an eye. It takes a fiddle with the lever and an accidental turn of the ISO wheel...hmm. Am shooting via a passive Canon EF adapter at the moment, don't have my NDs or Fuji glass with me but at night I'll be shooting wide open at 1/50 anyway. What this thing offers over the Samsung NX1 appears to be a few advantages - - Fuji glass - Not discontinued - Better at high ISOs - Better EVF - Smaller - Speed Booster compatible (although a third party one is in the making for NX I've yet to see what the performance is like) That last point is very important as it turns the X-T1's 1.74x crop factor to 1.23x - similar to the Canon 1D C, with a huge range of full frame glass - A Mount, Nikon, Contax Zeiss, Canon FD, etc. So if we consider the X-T2 as a near-full frame A7R II replacement with the colour science and ergonomics fixed, for half the price, I think it's looking like a front runner. I'm off to shoot and find out!

I think I'd rather shoot with the 5 axis IBIS of Panasonic / Olympus and have a proper image

As far as I know the Sony A6300 is the only current camera that allows this.

We are critical because we care. Samsung made mistakes for years and nobody cared! They finally got it right and were rightly applauded. The 80D would set the enthusiast and consumer video market ON FIRE if only Canon made a few upgrades to the 1080p. Oliver - the 1D X II for that price is without VAT I assume?

Is that a specialist policy for photographers and how much per month does it cost?

And a telephoto end. Finally

I have been trying out the EOSHD C-LOG and Film Profiles pack on a few other cameras, and came across a cheap 80D today. Installed a few of the profiles on the camera in-store and boom - MASSIVE improvement. So the camera I said I'd never buy is going to get a review after all! Hmm these words are tasty! Right now in my bag I am shooting with the 1D C, NX1 and now 80D. Let's look at how these compliment each other, because after all I'd rather just carry one camera in an ideal world - NX1 is in there for the 1080p 120fps. This used to be a bit pants. But subsequent Samsung firmware updates and now the bitrate hack means I get sharp, detailed 120fps at 160Mbit (equivalent in quality to approx. 300Mbit H.264). This camera continues to astound me. 1D C is in there for the sheer brute image quality and full frame goodness, both in 4K video mode and as my main stills camera. I am even starting to warm to the full frame 1080/24p image again because of my Film Profiles. This camera already has Canon LOG but it is immensely satisfying to carry my own pre-graded no-hassle looks around with me and see instantly what the finished shot is going to look like, in cinematic full-frame-o-vision. Also the JPEGs not just the MOVs. 80D is in there for many more reasons of where it is strong than where it is weaker. The camera is surprising me. First the size and weight - it is my travel camera when I can't risk the 1D C or don't want to lug it. It is my crop sensor camera when I need a good quality zoom but don't want to lug around a full frame 24-105 or 24-70mm F2.8. I have the Sigma 18-35mm F1.8 and love to make use of it, I have the Canon 18-135mm and despite it not being a super fast aperture zoom, it is light and gives a fantastic range with a cinematic image + fantastic stabilisation. The Canon 24-70mm F2.8 II lovely though it is on the 1D C does not have the range, stabilisation or small size. I sold it and now just use primes on my full frame camera. The main reason however for adding the 80D to the bag is for the Dual Pixel AF and articulated screen. This makes the 80D a much better run & gun choice than the 1D C. When it is slow tripod based lock-down art shots I select the 1D C. When it is documentary, camera movement, quicker pace of shooting the 80D can 'get the shot' much better. I have not yet felt justifiable the 6000 euros for a 1D X Mark II so the 80D at 1/6th of that for the same Dual Pixel AF performance and an articulated screen allows me to 'live without' 4K for now. Now to image quality. The 1080p of course could be better, this is Canon after all. But the skintones, colour science, codec, rolling shutter performance and low light are all very nice indeed - much better than most of the 4K cameras out there in fact and much better than Sony. The image upscales well to 4K on my LG DCI 4096 x 2160 display. In fact overall detail appears much higher than any Canon DSLR before it, way better than the 60D and 70D. It looks like the GH2 on many shots especially those at closer focus distances. Check out the 1080p frame grab below. It is much better than when I first tried the camera, maybe Canon did a tweak. Shot in C-LOG, graded with EOSHD CINE LUT 1: The 60p seems as highly detailed as the 24p. Just a shame about the aliasing and the moire can still rear up and bite you, but overall the image is very satisfying when the conditions are right to use it. And if it means getting the shot vs not, then this justifies the 80D's existence. The stills are superb - fantastic dynamic range, resolution and colour, can barely tell it apart from full frame for the most part. Now a surprise The 3x crop mode with 1:1 sensor output (full pixel output of a cropped region) delivers absolutely superb image quality with no moire or aliasing. Wrap up The whole usability seems refined, a very nice sense of ergonomics and straight-forwardness. Touch screen for Dual Pixel AF works superbly. Build quality could be better, it doesn't feel as solid as a Nikon D7200 for the price point. Dual Pixel AF is very quiet for the most part and flawless, especially with the STM lenses. Enjoying the 24mm F2.8 EF-S pancake. The C-LOG image grades superbly. It's a good codec on there even in 60p.

Great to see it working on the EOS M cameras as well. I have just tested it on a Canon 80D. Liked the results so much I bought one. Also Magic Lantern are developing for the 80D right now. Until there's RAW though, there's C-LOG and small files sizes

Nice, enjoy. 5D Mark IV should be out next week I hear!

RED do face online attacks when something goes wrong. There are plenty of professionals who use forums. Let's try to see the positive side of this rather public relationship Blackmagic and RED have with their customers. We can all share knowledge and sort out a huge number of support issues online, rather than having to go to a service centre one by one like sheep. I am sure whatever issues Blackmagic have with the URSA Mini 4.6k, they will sort them out, as RED would do, or Arri, or any of the others. This is a very grey area and to pretend any of us know all the answers is pretty dangerous. There are just so many aspects to this. By saying 'designing' you could mean numerous things - inventing new technology, planning out pixel architecture in a design room, or simply asking for a certain spec and having a custom order... it's a pretty broad spectrum. The manufacturing of the sensor is an ocean of different aspects linked in with the design as well, if you're going to invent a new kind of pixel architecture or readout mechanism for example you need to have the tools to manufacture it. Arguing about where on this spectrum of engineering a custom-made sensor falls is a bit pointless because... The image is about the whole package - Blackmagic's colour science and sensor calibration is superb. Along with Canon and Olympus I think Blackmagic's colour is one of the most flattering of the talent in front of the camera. Until we see the exact same 4.6K sensor in any other camera, the URSA Mini has exclusivity... I'd question why the whole topic even matters, since as I just said, it's the whole package that makes an image unique. The whole workflow as well - this is an important part and the sensor is just one link in the chain between the lens and the final image. Respectfully disagree. RED don't have an entire sensor design and manufacturing workforce in-house. RED call on similar outside talent to develop a CMOS design, specced out for a particular camera. Probably TowerJazz. Leica do it as well - CMOSIS and Panasonic both design and manufacture sensors for them. Where's the shame in this? Fairchild are just another sensor design company to partner with and a very good one at that. Blackmagic and Fairchild = "lack of expertise" is a really below the belt comment and just not true. In fact, that is just your assumption. You don't actually know.

Bags of dynamic range, superb 2.5K image. Shame they dumped it in the bin afterwards and never updated the camera properly. URSA is a totally different beast!! I want another BMCC 2.5K!

Sweeet! What camera will you be shooting with? Use EOS Utility 3. They are PF3 files not PF2.

D3300 no articulated screen. D5500 is mega small / light, video is basic but very clean, easy to handle files, decent low light.