Andrew Reid

Take camera outside, shoot in daylight, see if the bands are still visible. If not, then when indoors try shooting with the shutter at 1/50 for 25p or 1/60 for 30p and 24p.

What's wrong with the 18-200mm exactly? What are you expecting? A 16-400mm F2.0?

F3 is a cinema camera not a mirrorless / DSLR

We head into 2016 with a treasure chest of great cameras but how exactly do the mirrorless and DSLR cameras rank for video? View the charts here

It's downright weird who gets to use Blackmagic's new stuff first. Surely they can get it into some more talented hands than this? A big name even? Shane Meadows is a user for starters.

Nice investigation, Watson.

It was definitely the most Canikon DSLR inspired mirrorless camera out there. Can tell from the body design, the Canon and Nikon aspects they copied, the robust build quality and style of marketing too. That's why to change the mount and brand it 'Nikon' makes so much sense... it would sell a ton. Sadly, it didn't sell in the already pretty good state it was in, due to a lack of customer education and a lack of willpower from them to invest in a new set of lenses especially the good, expensive S zooms. I am using my NX1 with some Novoflex adapters for A-mount (another dead system?) and Nikon so the lenses are absolutely not a problem, but I am still mega impressed with the 16-50mm F2.0-2.8 OIS and the 85mm F1.4. The Zoom in particular. I have had it out in the pouring rain and it just carries on and on.

$150? Well then, that is the best video you can get for the price for certain. No contest. BTW, anyone tried the 100D for raw?

Erik Naso says the codec on the FS5 is worse than on the consumer Sony cameras. Quite disappointing if true! He sent his back. You can read more here (view on Facebook) -

Are you shooting in a stills mode or in movie mode? Stills mode live view has a battery conserving lower quality which does a pixel binning on the sensor to give a 'rough' image. When the camera is recording video it does a full pixel readout of the sensor instead (4K) and scales that to the small LCD, which is what reduces the noise. Same reason why pixel binned 4K on the A7R II is noisier than the full pixel readout Super 35mm crop mode.

Very interesting. And got to love Edmund's bokeh!!

Yes definitely. Arri should be Leica's benchmark for the SL. Take it to the max! Unfortunately they had feedback from some pro shooters in the US that 8bit was their preference and they didn't want to deal with 10bit file sizes. In fact ProRes is much easier to edit than H.264, runs more fluidly. H.264 is not an editing codec. It's a consumer television / internet codec. I think 10bit ProRes is a much better match for a camera of this calibre than 8bit H.264 personally! Or at least the option for it internally, without having to add the recorder. It's not just a Leica problem though, it is time Sony and Panasonic all stepped up their codecs in stills cameras. Why is it only Blackmagic giving 10bit ProRes for under $7k, indeed under $1k with the Pocket cam!

The A7S II doesn't overheat as quickly. Perhaps consider that if you are shooting 11 hours a day

Since the issue of black levels in LOG mode on the Leica SL was raised on EOSHD, Leica have reached out to me. Here I can reveal Leica are working hard on video related refinements. Last week in Berlin, product manager Steffen invited me to see the new firmware in action. Read the full article

For telephoto / wildlife a 7D Mk II with Sigma 50-150mm F2.8 beats 5D Mark III with 70-200mm F2.8L any day, just so much nicer to carry around than that fat bastard I am using the sigma zoom on the NX1 for 4K at the moment. It is also par focal!

They have just made this - http://stkb.co.jp/info/?p=2679 Medium format look on your A7S II?

This saves you having to apply the Fast Color Corrector in post but you can of course record in 0-255 and bring back the shadow detail and highlight roll off nicely with that

This is a very basic test but it does show the resolution advantage of oversampling 4K from a 6.5K sensor on the NX1 Doesn't show much else, like what it is like to grade or dynamic range, where the FS5 definitely has an advantage with S-LOG and the 10bit output Internal 1080p is also much better on the FS5 but good 1080p is pretty commonplace these days so not jumping up and down in excitement too much for that at $5000 I absolutely love my NX1 and the H.265 codec maintains a TON of fine detail in the mids... not so much in the shadows or places where there's not much detail anyway NX1 with the Novoflex A mount adapter and Sony / Minolta / Zeiss lenses by the way = MEGA!!

The high frame rates aren't a patch on the RX100 IV but the colour, resolution, quality of the 1080/60p/24p overall is really very good. Dynamic range is good, more in keeping with a DSLR than a compact but there's no S-LOG, so 1-2 stops less than the RX100 IV can manage. Apart from that it is really like an interchangeable lens mount on the RX100 IV... and nicer ergonomics actually.

I am right though, it will be fixed in future and you will see the technology of stills and video merge, just not all the shooting techniques. Global shutter is here already, 24p 8K raw with Weapon Full frame is almost here already, as for OVF/EVF quality I know which I'd rather have... already. The small media is CFast 2.0, here already. Take the Samsung NX1 as another example of how close we are to 8K. It has an 6.5K image pipeline and SD card huge bandwidth to spare at 4K thanks to H.265 data rates of just 70Mbit/s.

Yes shutter speed is, but that part isn't hard to fix is it? If you're shooting stills with a video camera, just select the desired shutter speed. If you're not trying to deliver video, just stills, then it's not a problem. If you're trying to do both at the same time & you're using 1/50 for crazy fast action, it's likely the wrong choice anyway. 180 degrees shutter and 24p doesn't suit ALL. I disagree with you I'm afraid Ebrahim as like I said in the article I think the technology or stills & video will merge. Firstly it will be global shutter for both stills and video as standard soon and the mechanical shutter will be obsolete, as will a rolling shutter. We're nearly there... few more years. It won't hurt image quality at all in 2018. Look at the Sony F55 global vs F5 rolling for instance. We're almost already at a point where a global shutter's impact on low light is minimal. The sensor for that camera was developed before 2014. Again it depends on the technology of 2018 not of 2014. These are also all fixable in future. The technology is merging, like I said in the article, but the technique is not really the same for going about capturing the content. A7R II's on-sensor phase detect speed at it's best is easily a match for any professional DSLR! Panasonic GX8 contrast detect system is as fast as a DSLR with many of Panasonic's lenses. EVFs are coming that will blow your socks off. Seen the one in the Leica SL? The mirror assembly is definitely going to be obsolete soon. Nah it's not Again an easy technological problem to fix in future. Soon even REDs and Arris will have small batteries as their processing efficiency increases. You see how thin laptops have become? That is all due to lower power consumption. Same trend is seen across all semiconductor technology. Who says what Panasonic, etc. will produce will be huge? Might be a GH4 style body! Cost of storage is actually coming DOWN.

Nice work sir!!

That is coming soon as well! I am now using V-LOG, it's pretty good. When I find time will write more about it.

On performance grounds it does call for a full frame sensor really, although the Samsung NX1 at almost 7K is APS-C size (1.5x crop). Low light on a 2x crop M4/3 sensor at 36MP would not be ideal. It is certainly possible though. You can even go smaller. The approx. 1" Nokia 808 Pureview mobile phone sensor was 41MP, 8K stills at least if not video.

Ah, sorry. I lost interest when I hooked it up wit the Atomos, the image didn't really look different to the internal codec at all. The D5500 is another one where Nikon need to improve the HDMI.