Andrew Reid

The question Leica must answer is why they feel it ok to advertise it as a professional 4K camera for £5300, but it doesn't behave like one.

Take a look here! https://www.eoshd.com/comments/forum/25-samsung-nx1-nx500-hack/ I recommend the 160 / 180Mbit mod As the NX1 records H.265, this is equivalent to H.264 4K quality at 360Mbit! I also recommend the EOSHD setup guide and LOG workflow. https://www.eoshd.com/samsung-nx1-video-settings-guide-tutorial/ As for accessories, look to see if you can get Luca's NX-L speed booster for the full frame look with Canon EF lenses. And the Samsung battery grip is pretty nice too. This camera really does hold up well today, apart from ISO 6400+ or the rolling shutter. Just keep the ISO below 3200 and use a fast lens in low light. Avoid very quick action pans! I wish Samsung would return to the market. Biggest loss of the past 10 years. PS - if you have trouble with the H.265 files try converting to ProRes with EditReady or using Blackmagic Resolve 16

FZ2000, RX10 III both good alternatives. The RX10 III has a great lens, and superb looking 240fps FZ2000 probably much improved with V-LOG. Did it get a bitrate bump along with it? The cheapest XC10 I have seen so far has been £950 on ebay. If it gets down to £700 I may revisit

Put one on an Alexa?

How is EF the future? Give me mirrorless lenses all day long It's not like people are short for good EF lenses

The buggy racing shots are my favourite.

I quite like the look of Canon's older zooms... the original 24-105 F4L and the even more past it 28-80mm F2.8-4L Pop them on an X-T4 and you have the XC-10 look with bells on and better AF too But I miss the XC10's "inventive" form factor and small size, especially the lens - which was lovely to use mechanically speaking Maybe it is worth giving the XC-10 another go if I find it cheap

I don't think the GFX 50 sensor is fast enough for 4K video readout

The actual 4K recording on my cards from the GFX 100 doesn't really look like 11K oversampled. It looks more like a modern pixel binning technique. It's a bit above the A7R IV but not as detailed as an X-T4 and there's some aliasing. So I doubt it is doing an 11K sensor output. Fuji once did a presentation on "their best solution for 4K" from the GFX 100's sensor. And it had a quad bayer pixel mix going on. If it does have 11K RAW video in the buffer before it gets downsampled on the image processor... I am sure it could be downsampled while remaining RAW data. Just as there are medium and small RAW stills options.

I like the XC-10 as a concept. But it needed a sequel. I would caution against bothering with it in 2020. Far better results can be had by putting the Fuji 18-135mm on an X-T4. Neil Matsumoto did a great review of the XC10. Have a look at the cons... https://***URL removed***/reviews/crossing-the-bridge-canon-xc10-review No Dual Pixel AF on the XC10. I found the AF to be very hesitant in 4K. It did have a decent 1080/60p mode with very capable stabilisation in that mode, but the stabilisation in 4K was nowhere near as impressive, and far less impressive than an X-T4 in 2020. Detail in 4K is a bit scratchy. Looks pixel binned even though it isn't. Low light is quite poor and stills are JPEG only. No RAW mode of any sort!! The screen is nice but the loupe a bit daft and blocks the controls. No EVF. The ND filter is quite weak, so in sunlight you need to add extra which defeats the whole point of the built in one :) Also the lens is quite slow especially at long end. But it was a concept that deserved a bigger effort from Canon and it never got it! Bit like 1D C didn't! So yeah - X-T4 a way better shot getter, with much larger S35 sensor, and optics in a different league. Ergonomically and with regards 5 axis IBIS it's also a lot nicer to use than the XC-10. The AF is far better, which is important for run & gun.

Is it Quad Bayer?

Is the Hasselblad H6D 100C RAW video still worth $35,000? 😆

The Fuji GFX 100 along with the Panasonic S1H is the most advanced mirrorless camera for video on the market at the moment. There are reports today that Fujifilm are working on a big firmware update for the GFX 100, with ProRes RAW on the list of features. NEW BLOG POST: https://www.eoshd.com/fuji/rumor-fuji-gfx-100-to-get-prores-raw-internal-recording-or-external/

LOL I'll tell you where that would have gone... 6 months with the BMPCC, then jacking it in for a C300. Blackmagic's greatest offering is Resolve. The cameras are overrated potatos that slow you down and lumber you with a horribly unergonomic rig. Shot missers. They are not in the same class as mirrorless cameras.

Blackmagic's first camera came out in the GH2 days (2012). Very people bought the GH4, GH5, A7R II, A7S II... Yeah right. In 2009 the situation was GH1 / 5D II... Those were the only choices. Two cameras!! So an affordable 2K cine Z-CAM back then would have been a big third option all on its own but in no way competing for same customers. Since 2011 most of the action has been with mirrorless and Blackmagic has been the little niche for indie filmmakers only. Until these cameras get built in EVF, proper articulated screens, IBIS and AF all in one body like a mirrorless camera, they remain sensors in a box. Different category.

You change it either on the adapter ring manually or if you put the ring into Auto at the end past F22, you get to dial the aperture on the camera jog dials instead. Only issue I find is it's very easy to knock the aperture ring on the Fringer adapter... Easy to knock it from F2.8 to F4 for example... And easy to knock it out of A mode to F22

The thing about actually finishing things got a nod and a laugh from me, I can't count how many things I've started and then left in limbo, meaning to come back later but never do. I think I am easily bored. Always looking for next idea. Nucleus nano sounds like a good idea. The S1H is a great cinema camera. It's never going to be a camcorder with AF or an effortless run & gun shot grabber. X-T4 with an 18-135 is better at that. I'd like to settle on one camera too. Would be nice 😂

No the price limit doesn't define the camera concept. The design of the camera does. Z-Cam is totally different in concept to an X-T4.

It's not even worth talking about. There is no comparison. It is not even just about time and dedication. It's about luck and talent, social connections, money, backing and reputation. You will never get to there. I will never get to there. We should focus on what's actually feasible. I'm surprised you ask something like that really. The goal is cinematography. What do you think it is? Scoping out who has the nicest hats? If we must dissect the art... The goal is to create emotion for the audience. Emotional shape... beauty, ugliness, all kinds of mood, and to do this by capturing real life. Of course it always helps if the audience has a sensitivity to what they are seeing. Some, erm.. don't. It's also about sound. The combination of music with moving poetry is really spectacularly moving, if done right and creativity. I it has a point to put across, a theme... It is easy to put some orchestral cliche over a sunset shot - but there is far more to cinematography in terms of poetry than that. It is like writing. Anybody can write, we can all use words and form sentences. But what makes the difference between a sentence by a monkey and one by a great storyteller? I am not frustrated, not lost at all. I have all sorts of ideas. There is a bit of writers block... Since I left Berlin, my life has changed. The issue is implementation. I don't have the energy or motivation. I know that whatever I create, it'll probably go on the internet and be tears in the rain. I also don't have here the connections to musicians and actors that I had in the city. So I am probably going to change what I do. And I have too much gear and a blog to run. It takes up all my time. Although the Berlin days are over where I shot a lot of creative work, the goal now is to travel and try to make emotional images, stuff that has meaning. Not easy in today's environment where everything is so gentrified. There's nothing commercial that attracts me. By not taking jobs, you have to do it all yourself, you're not institutionalised. You're on the outside pretty much all the time. Much harder. Experiments and some documentary style vignettes of life in the city are great but I am bored of them and want to move onto something fresh. It might not be video related at all. Anyway that's my existential crisis. How's yours?

I agree 100%, I love video. A massive buzz and lifelong passion. I'm not saying I don't like the process. I am saying it's just extremely difficult... To make great stuff that is. The post process, perfect music, story... These are the highest of the arts.

Maybe he meant Alexa M6 II Mini? That does have IBIS. But the Canon M6 Mark is not so hot. Pixel binning. Soft 4K. Weak codec. No features. Outgunned by about 12 other similar models. Not even cheap. And X-T4 destroys it. Not an opinion. It's ok but AF is much better on X-T4. OIS is ok. But X-T4 IBIS is better. On the X-T4 you might want to stick to Fuji 18-55

I could put Blackmagic stuff on the list but then you'd argue why Z-Cam, etc. isn't there, and before you know it you've got RED and Arri on it. More simple to keep it to the same class of camera (DSLR / mirrorless / stills), the cameras the blog has always been for.

Yeah. I know exactly the feeling. I just want to do the art bit... The rest of it is truly exausting and haphazards sometimes. Regarding the gear, it gets in the way for video like it doesn't for stills. Gimbals, tripods, it all slows me down too much. I want to strip all that back. I think AF, IBIS, even auto exposure, are all a big help... But then they're all designed for stills and the camera designers don't seem to have much of a 'cinematography brain' when it comes to how they've designed them to work in video mode. Good plan. I find it most enjoyable when the content just unfolds around you, and you're zipping around lightfooted, with just a tripod and a really capable, responsive camera. The natural street shooting, mood pieces, natural light, all amaze me.... But it's so fleeting. You blink and you miss it. I envy that photographers don't need to write a story and script, they can just hire the content and shoot it. Done. Music videos are a lot more my thing.

The trick is to get into his position. The support around him, the budgets, the sheer size of the credits that roll afterwards. It makes his job a lot easier, so he can get on with the art. A musician strikes his instrument and that's the art. A photographer uses his instinct and inner vision, minds-eye, that's his art. A filmmaker - fuck. Where to begin.

So many times I wish I were a photographer instead You can get a beautiful shot with a camera that looks the same whether moving or still... But movement always has to justify itself. If the frame floats or moves with IBIS, shot dead. Mood gone. It's such a fine art. Camera movement is such a fussy thing. It's like colour - There's no point it being there unless the movement is beautiful or has meaning. Otherwise, may as well be still - or black and white. With a photo you can just make a pretty shot and it's job done. It's about timing, framing. With video you have to sustain all that's nice and has meaning for 10x longer. Sometimes 1000x longer. With photos there's the one-man nature of it... with video, you have to rely on others a lot more - actors, writers, and so on. And that's before you've even started the shoot Sometimes I hate video. And think I'd be better off with a Fuji GFX 50R, just enjoying myself. Just one man and his camera. With video, you often have to lug around rigs, tripods and monitors. To anybody who sustains their filmmaking over the years at a high level I salute you. It must be incredibly stressful!