Andrew Reid

Yes over 4 and 5 years, that points to something quite wrong doesn't it? Is Pana soft quitting on us? I sincerely hope not. Also you will notice the SL3 has also quite an old off the shelf Sony sensor, same as A7R IV and Sigma Fp-L. Certainly nothing as cutting edge as a Z6 or A1. Where's the L2 partnership going exactly? Into the old parts bins for cheap?

It is close to perfect and the image still stands up today as one of the best you can possibly get. But it would be nice to have even a small update, like: Less heavy, a bit smaller Phase-detect AF In-camera LUT feature Stacked sensor for 4K/120p

The S1H Mark II, and the other new S1 cameras should be here by now. Interestingly the Leica SL3 has arrived already. This is a camera that is engineered by Panasonic with Leica, and very much Panasonic in terms of electronics and firmware. The S1R Mark II has not come along with it. Instead Panasonic have given us two lower-end cameras, the S5 Mark II and S9. EOSHD looks at what's going on in Osaka. Read the full blog post: https://www.eoshd.com/news/is-panasonic-rethinking-high-end-full-frame-mirrorless-line-up-the-missing-cameras-of-2023-24/

Between the R5 and S1H, the Panasonic is the better choice for low light. I also rate the Nikon Z6 quite highly for the price, and the good old A7 III. At higher end of budget then the Sony a7s III and Fuji X-H2S come to mind.

DPR are in the business of writing advertising copy now and had been going in that direction for a long, long time. Rarely do they have a bad word to say about anything.

Best off hacking the Samsung NX1 which is fully Linux. I still have the source code for that if anyone is interested

RED have multiple different OLPF, for example the softer Skintone filter. But at the end of the day it doesn't matter, as the best filter is the lens.

Have you considered the AI Bot sub-forum?

#Copyright Panasonic Corporation 2019

Indeed, it'll be stuff like Java won't it? The actual firmware is closed.

They could also use a much slimmer bezel on an OLED display, like the Xperia 1 series phones, with square edges, which would eliminate the massive chin on the current camera LCDs.

There is a chance to go past 3" screens on the larger mirrorless cameras. All they need to do is reposition the joystick and get rid of the large jog wheel. Then the buttons below the screen can be screen icons as touch screens work better 5" rather than 3. When the screen is flipped out, it won't be any heavier as we'd use an OLED panel and titanium frame. At any rate it would definitely still be much lighter than a smartphone as it is just the panel, no internals like battery. So it shouldn't unbalance the camera when in use, and I'd prefer it to flip out rather than twizzle out anyway. Why haven't we gone past 3" do you think? Lack of demand, cost, or something else?

8K via YouTube won't look true. It will have been manipulated by your display for a start, downscaled to fit. Compressed to hell. Any sharpness in the original image will look worse. I miss the days when people were a bit more savvy about pixel peeping. Downloading the original files from Vimeo... Looking for signs of aliasing. And in-camera colour science was more important prior to the everything being shot in LOG format.

Something tells me the R1 is not the last 1 series EOS R camera to come... https://www.eoshd.com/news/hint-wait-for-the-canon-eos-r1x/ After all, back in the day they did split the 1D and 1DS didn't they?

8K with that firmware update for 500Mbit 10bit 422 is what the a1 is all about The super 35mm mode is your usual 5.8k downsampled to UHD... That has been around since the a7r II. No complaints with it but the full frame 8K is stunning. When the R1 hits $2000 on eBay as pro cameras tend to do... and Sony a1 comes down under $3k used, things will start to get very interesting again for enthusiasts.

Absolutely. The Fuji X-H2 does this for $1500 350 Mbps is more like it. Remains to be seen whether it is any better than H.265 at that bitrate though and it being not really RAW (as in unprocessed like Cinema DNG). Probably looks very similar to H.265 for all but the most extreme grades. We at least get a fan this time, so in a way all the controversy was worth it. No matter what though, It just isn't worth £4500 to me in today's market. Between the Sony a1, Fuji GFX 100 and Panasonic S1H I have the bases covered. There is no way the EOS R5 II beats a GFX 100 for stills and manual focus glass either. Canon FD glass looks so much more atmospheric in medium format. The GFX 100 is going for under £3k used in mint condition now BTW. The GFX 100 II is definitely worth saving up for when it comes down in price.

6K 60p Standard RAW – 2600mbps 6K 60p Light RAW – 1800mbps These are the bitrates for 6K RAW on the Canon R1 Do people still mind about manageable file sizes? For me I never tend to go above 700Mbit. Of course for 8K RAW on the R5 II the files are going to be even more gargantuan (2600mbps+) One thing both Canon and Nikon continue to omit is any sort of anamorphic mode as well.

The Z8 and Z9 shoot ProRes RAW as well though, not just N-RAW. They are in pole position for future cameras as well due to the infamous patent and RED ownership. What if they say to Canon - no more RAW for you? Unlikely, but Canon could end up paying significant royalties if there is a time-limit on the current patent swap with RED. By the way - depending on what was swapped, Nikon could now have the rights to use RF mount!! That would be funny. Far fewer resolutions, frame rates and crop factors. That is truly a camera for the faithful.

There is no line skipping any more, it is done by pixel binning and more intelligently merging groups of pixels. Sensors have come a long way since the 5D Mark II. Unfortunately for Canon, the competition's sensors have come along further than they have. If the trend continues then Canon will have to pay a heavy price for Sony's best process... And are not fully in control, but at the mercy of a rival. I am very curious to see if existing R5 and R3 owners in the current financial climate decide that it is worth it to upgrade.

That price difference is absolutely nuts. The R5 II is objectively worse than a Z8... Not by a lot, but in terms of the overall technology under the hood, the fact it needs a fan, the lack of ProRes and the worse RAW codec, and also the worse lens mount which cannot accept adapters to Sony E-mount - and I am not sure there is a autofocusing Leica M adapter either? Or Super 16mm c-mount? So that for me, is what killed the EOS R3 vs Nikon Z9 and it is same with the new models. Overheating times don't make for great reading either: https://www.dpreview.com/reviews/canon-eos-r5-ii-initial-review/2 Seems like just the original R5 with a re-worked fan from the EOS R5C in terms of thermals of the processor and sensor. And what's up with the R1 - for something that has cooked for 3 and a half years longer than a Sony a1, you'd think it would move the bar a lot higher - instead it is a reheated 1D X Mark III! That for me is a bit of a shocker. I was expecting something completely new and something which really put the relatively old-ish R3 and Z9 in the shade. I guess Canon decided that sports photographers didn't want the extra file sizes of 50MP+, so they played it relatively conservatively?

Canon G1X which was their largest sensor compact ever at the time... Micro Four Thirds size sensor Example shot is from RAW, no AI... Canon G12 typical small sensor (1/1.7"), RAW no edits Same RAW from the G12 but with the Adobe Camera Raw AI optic corrections activated: Can you tell that apart from the G1X any more? The difference is now virtually unnoticeable.

It didn't slow down much, have you seen what generative AI is capable of when you feed it a source image? The progress of that is huge in just 2 years. The processing power of Generative AI is in the cloud, which makes it an app. So it is a very short leap to embed this in the default iPhone camera app or the default Samsung camera. The question is financial... Who pays for the cloud processing and how much.... When do smartphone GPUs reach the advanced threshold required to do this processing on the device rather than it needing a subscription? 2018-2023 is only 5 years of debate, and it saw 1" sensors become mainstream on flagship smartphones, often 100MP+ and a readout architecture fast enough for 6K RAW video, with no crop. They don't need to go to APS-C or even MFT size sensors in smartphones, because Generative AI is here. They don't need triple gain sensors when they have a full sensor readout at 240fps The current multi-shot HDR algorithms work very well. The dynamic range of a years old Huawei is close to a Fuji GFX 100 RAW file. There's been a lot of improvements to the optics too. Sony have a folded variable periscope zoom which is tiny and thin. Apple have a mass-market folded optic, a 135mm equiv. prime lens in an iPhone. Which would have been unthinkable 10 years ago. This is an incredible lens, capable of stunning results. The advancement in cinematic video is also very large in the latest models. The ability to simulate any full frame lens is already possible with software, let alone generative AI. I disagree. If you feed a 1" sensor Xiaomi 12S Ultra image from a few years ago into Adobe Camera Raw and apply the AI optical corrections you basically have the look of full frame and can't tell it apart. The dynamic range is there, the resolution is excellent, the main lens is fast and capable. The telephoto also. But you can shoot raw DNG. This overcomes anything and everything you don't like about the smartphone image processor for taste reasons. The DNGs benefit like the HEIF files do from the multi-sampling, quad bayer, multi-frame HDR and contain a fantastic amount of image data. Even on a relatively modestly priced Pixel 6 from 4 years ago. The more you shoot RAW the more you realise that the hardware is really fucking good, and that the processing built into the low level hardware and sensor output can be as natural as a mirrorless camera. Then once you have the colours to taste, you can then apply AI optics on top in ACR

Yes, Sigma Fp-L and Fuji X-H2 They have the very high resolution sensors for it to work at MFT crop So you can put your 2x crop lenses on one of the above cameras and maintain 4K detail I had that adapter made for MFT lenses to Fuji... It is a very small niche though, maybe not commercially worthwhile. Even the X-H1 did a nice MFT crop in 4K

Clear Image Zoom is a crop at native resolution, so on a Sony camera 2x clear image zoom at 4K looks like 4K That's the same with the FP-L which has a 60 megapixel sensor, so enough resolution to do 4K at Super 16mm crop factors. It's very detailed and not a digital zoom or blow-up. In stills mode only I think?

Why would you not get a second hand Nikon Z7 for same price? Far wider range of lenses for cheap.