Andrew Reid

What for $6k? From Canon? I doubt it It probably doesn't even have peaking Honestly guys I would not expect a professional video codec on this camera... it will be small file sizes all the way. It isn't a Cinema EOS camera, it is designed for news crews, paparazzi and sports photographers to WeTransfer MOV clips to hacks.

My bet is it will be Super 35mm crop not 1.3x like the 1D C or full frame. There are also question marks over the codec. I doubt it is 500Mbit/s at 4K 60fps! The 1D C is 500Mbit/s in 24p - so a very nice image. It could be a worse image on the 1D X Mark II with more compression and less sensor area. Ultra HD crop from 20MP like we saw with D5 is 1.5x.

Looks like Alistair finally got the memo. http://www.xdcam-user.com/2016/01/sony-make-official-statement-regard-fs5-image-artefacts/ He eats words like I do cornflakes for breakfast.

Only if you're stupid. That's why you test a new camera before deploying it at work. Or read EOSHD before buying something. Or just avoid the settings where the bugs occur. Not rocket science is it. Not just fix it, but add new features like raw. Hard not to get excited about that Mr Cynical.

They could have saved themselves a lot of bad publicity and lost sales by having stronger critical judgement from their pre-production shooters Alister Chapman is looking very silly now. In the end the customer is always right... We are the ones that have to be convinced by the images, and at the moment there is unfortunately still too much XDCAM VIDEO DNA in the FS range.

Last week I had an insight into just how responsive Sony are becoming in rolling out support for their cameras. As users like myself and Paul Antico discovered soon after the FS5 was released the image had some issues. The very week I bought my camera Sony were in touch by email - I was then tasked to shoot some tests and send the XAVC footage to their engineers in Japan so they could work on analysing the problem. The detective work complete, Sony have now just released a statement saying they've identified the bugs and will squash these in upcoming firmware updates. Read the full article

I don't think there's quite the community around Fuji's cameras to make this possible like there is for Canon and Panasonic. Especially not for video.

I would go for the Metabones, it's worked well for me so far on the FS5. Any issues I had with it were on the A7 series cameras and they are mostly fixed now as well.

You guessed it, I am It's exactly as Inarritu says in the article (great read by the way) - if they had not toughed it out in nature but instead sat around green screens and CGI workstations all having a merry time with cups of coffee it wouldn't have had the same authenticity. Suffering for an art is very noble. I think we should all do it. It's not as if Inarritu ran an irresponsible set. Many precautions taken for safety. But what they were trying to achieve was difficult, especially since Lubezki wanted to go all out Mallick with his pursuit of real light. Again that word - authenticity. Obviously with something this difficult the last thing you need is a bunch of moaners.

Although the C300 does have 1920x1080 pixels for each colour channel it isn't a Foveon-like image you get out of it, far from it. I believe the main reason Canon wanted to buy Sigma (they were rebuffed) was to get hold of the Foveon patents. I believe they are desperately trying to come up with their own design, but had they been successful I would have expected to see it by now. I am on the verge of buying a Sigma DP3 Quattro for timelapse (nice built in intervalometer). Resolution in terms of detail matches an 8K bayer sensor, maybe even upscales to 10K. Colour is on a whole different planet. It's certainly not the versatile stills camera the Sony RX1R II is but it offers something completely different in terms of how close the images are to film (which is also mutli-layered). I am so glad Canon did not absorb Sigma.

What he means is that the sensor outputs all pixels (4K) for extra RGB data when producing the 1080p image on the processor.

Maybe we should listen to both sides of the story and make our own minds up without changing our minds about the people giving each side... or demonising one person or the other. Maybe it's possible to separate a standpoint from the person making it, you know, like in the old days before the internet. Unions - in the UK politically these are quite militant. They're so powerful they have a big sway actually in who the Labour party (our Democrats) elect as leader. For two successive leaders they have elected completely unelectable people who they think can look after the interests of the unions, even though they're completely out of touch with the voters and have no chance of putting the party into government. I think union leaders have a lot to answer for. In the case of B&H I don't know enough about the politics of it all to comment... I just want the best for their workers and for the company to treat them fairly.

100Mbit/s in 4K. The bugs are being worked on but they also need to step up the quality of the codec in my opinion! Other than that FS5 is a nice camera. Great slow-mo. Decent 4K. Good future upgrades like raw (though wish it was internal 1080p raw not external 4K - file sizes too big). The FS5 is almost as small as a mirrorless camera when you remove the top handle, screen and grip and just use the EVF. The old Blackmagic 4K sensor isn't great... noisy past ISO 400! A7S II is a big upgrade from the GH4. Full frame sensor, much superior low noise. Consider the 1D C. Best image of the bunch and easiest to grade, yet remains small and relatively easy on the battery. Files are big but you can always convert to ProRes LT.

Good news all round.

Ebrahim have you tried the Nikon 14-140mm VR on the D7200. I did but only briefly and for a cheap lens I was impressed with how the stabilisation and sharpness stood up - the VR on this lens is quoted as 4 stops!! That's almost as strong as a E-M5 II. I could do some pretty nice moves with it and the jitter for static shots had been damped pretty well it seems at first glance. I am tempted to sell all my expensive crap and just get the D7200. I have the D5500 and LOVE the image but the build quality is yukky and I have the D750 but it's much bigger with a decent FX lens compared to the APS-C cameras and to be honest the image is no better, not even in low light. Such a smooth codec and sensor they have on the DX range right now!

It'll be a non-modular version of the S35 I bet, but I don't expect the price to come down too much.

For me there's two kinds of docs, the ones which hook you visually and the ones that pull you in through a gritty ugly sense of realism, presence and story. Take David Attenborough's nature films on the BBC (Africa series certainly) as a good example of the visually spellbinding type, where the camera work is so important they attach 30 minutes to the end of each episode to show how they did it. In that case the cinema aesthetics are mega important (and sound) in terms of building tension, mood, poetic struggles for survival and drama. Take Koyaanisqatsi as another example - that's a poetic 'earth' doc shot in a visually mesmerising way, zero dialogue just spellbinding cinematic imagery and a Philip Glass score. No way would that have had the same effect on me if it had been shot sloppily by a news crew with a small chip ENG. And for an example of the polar opposite kind of docs, well there's plenty of those. Ed is right, in this case the visuals matched the content and it didn't matter about making it cinematic. I highly recommend the Nikon D5500 and D7200 if anyone wants to get out of the rat race of specs. They look just as good as the high end stuff in terms of style, with none of the hassles or expense of editing & storing 4K res footage.

I disagree. The 1080p of the D5500 and D7200 is very solid indeed with the Canon LOG style flat picture profile. D750 as well, very good!

Looks great. I've been toying with the idea of doing something similar to this for S-LOG. Would your LUT work with the 1D C - it's for Canon LOG right?

The Revenant is an obvious candidate for one of the most cinematographically spectacular films of the past year. Director Alejandro G. Iñárritu had a documentary crew following him from the start of principal photography in October 2014, following a gruelling shoot, 20th Century Fox have uploaded the entire 45 minute documentary to YouTube.

I don't know maybe we'd be better communicating through fridge magnets?

Very strange. Got to only hope the software version up solves this Jones.... Anyone else with issues too do make yourself heard!

OT, you're back Jones, did you get the forum issues resolved with the cookies clear out? Would be good to know what was causing the text box to deactivate.

Typo sorry, meant film grain simulation. The film simulation (colour, contrast) modes are alive and well in video mode like I said at the top of the post, that's one of the main reasons for getting it!

Looks nice and small to me. Bit of a strange announcement date, 2 months from NAB (why not do it at the show?) Shame they don't take that sensor and put it in a more affordable camera for a bigger market though, I have a feeling the price will be enormous.