Andrew Reid

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The Fp is like a Sony RX camera done right. Made by a camera design team, not the Playstation lads. Lovely chunky controls given how small it is. But yes, does need some Func. buttons. The AEL and center key can only really be assigned to focus mag. AEL has a range of AEL related things, but no ISO. That Tone key is a bit underused by me as well.

To really love a camera it must be a comfortable, fast sportscar, not a mundane commuting experience. Here's what I've grown to like the most, from the past year of camera releases which I've owned and shot with. NEW BLOG POST!

Yes sure there will be but never going to be perfect for panning without a tripod. IBIS works best for me for a totally locked down frame, trying not to do anything fancy. That's how I tend to use it but what this bug makes clear is that there is major work to be done on improving the cinematic motion of IBIS for camera moves that mimic a tripod or heavy handheld shoulder rig. They should get an artist in the lab, study how they move the camera and get the IBIS system to comply with it.

Disables HDMI though.

Cheap gear, not much of it around now! Anything vaguely interesting is at least $1000 Gone are the GH2 days. Fuji X-T4 is closest we get today. E-M10 III is the best ultra cheap. Although I do think the X-H1 makes a superb used bargain for $750 And diving back into old used cameras like the GH1 today makes for a fun challenge.

Very bizarre. I can't reproduce it on either my X-H1 or GFX 100 so looks like Fuji has work to do.

All IBIS systems have a degree of 'stickiness' with pans. Fuji should do a refinement of how it operates for certain camera movements. We should have a rotational pan mode, free up the stabilisation a bit in a "light" mode and make the movement as cinematic as can be. With 16mm or wider you will get warping on all IBIS systems. The trick there is to use OIS instead. Hopefully it isn't too noticeable at 23mm (35mm equiv.) and 35mm (50 equiv), which are the focal lengths I use most for handheld shooting. Does the X-T4 have a hybrid IBIS / OIS mode like Olympus Dual Sync IS when the 18-55mm 2.8-4 kit zoom is used? And how is it in 120/240fps?

I see. Certainly seems like a bug to me. Well mine arrives on Wednesday and I'll see if there's a way to shoot with it that doesn't provoke it. The rotating type of shot above certainly doesn't seem to be handled with any kind of finesse. But it is V1.0 firmware, so I am sure it is fixable. Fuji are very responsive when it comes to these things. I still have the X-H1 and will see if that also exhibits the behaviour. Clearly not going to hurt every shot... But those rotations, it seems like the camera wants to catch up or over-compensate... Possibly what I think is going on, is that the sensor is moving on the X axis slowly along to try and resist the rotation, and then when it runs out of room, resets itself to the middle and then starts again. Anyway, we'll see what Fuji has to say. I'm sending this to my contacts there.

Let's try and get a bit deeper into it... Not saying it isn't a bug, but we could do with knowing a few things... What lens was in use? What level of IBIS was turned on? Boost mode or just sensor shift? What focal length? Was it a manual focus adapted lens and was the focal length input into the menus? Or was it a native Fuji lens? If so, did it have OIS?

Yes about the same as GH5 for low light, maybe a bit better. It's a superb shot-getter. But X-T4 is also a gem of a camera. I'd go with either over a Blackmagic Pocket. He should try the IBIS boost mode as well. This adds a small crop but makes the stabilisation more effective in video mode.

They do need to smooth out those sudden jumps somehow, but I can't help feeling if you knock a camera, be it a Sony, Fuji or Panasonic with IBIS, they are all going to do the same thing? I'll do an IBIS round-up. Got a feeling Olympus E-M1X will come out top.

Would be good to have another cheap camera challenge. Going back to an original Pocket cinema camera could be fun. The GH2 stills holds up today. Berlin, Japan and Taiwan were really special places to film in those days. A lot more gentrified looking now with a lot more shitty street furniture, e-scooters, adverts, etc. I find that a challenge which is hard to overcome. Filming round the countryside isn't great, because nothing moves. Better for photography. I'll find something to do eventually after the lockdown ends. Until then, all I have is the trees and blooming of spring, like Hockney sat in his French garden with his canvas, it's not all bad... But it ain't exactly Blade Runner

Try an 8bit C-LOG file from the Canon 1D C as well. Cinema on a stick. You don't need Blackmagic's codec.

Just throwing this out there... So the plan is - I will be putting some future blog posts out in Mattias Burling style, with the voice over, the artistic shots and camera gear reviews in video form. I really like this format and Mattias did it brilliantly. The other thought is around some kind of live streaming and online camera 'festivals' with a good atmosphere and lots of guests. Like CineGear but online. I'm open to advice and what you guys want from EOSHD on YouTube. It is actually going ahead this time in a big way and won't be a one off podcast or interview. Suggestions welcome and ideas even more so

Nice test, nice colour. I do like that Portrait one, quite a wide dynamic range. Did you try it with a flat curve in the in-camera curve editor? I have a soft spot for the Teal & Orange and Foveon profiles. Very "Hollywood".

Was talking there about the perceptions. 8bit and RAW clash in peoples minds. People don't usually shoot RAW to shoot at 8bit, do they? But when you look at the image, all is forgiven. It's great. As was Magic Lantern RAW at 10bit too. So no, we don't need 14bit or 16bit RAW. On the Fp, there is always the option of the 10bit RAW to SSD if you need to ramp up the shadows. On the Sony A7 III you don't have any sort of RAW at all, so I consider it a big bonus on the Fp to be able to do that, especially internally or to a cheap SSD without any need to invest in the Atomos monopoly

Yeah but if you look at original C300, specs were capped at 1080p 8bit, pretty weak, and 1D C was 4K, larger sensor, image quality thrashed it... Did it stop the C300 being a run-away success with commercial videographers? No. And same thing now, if you look at EOS R5 specs vs C300 III, in some ways they are ahead of even the FX9 and certainly way ahead of FS7 II. You know what though? Most pros don't care. They want the extra features and ergonomics offered by the larger pro cameras, and of course they want to LOOK like pros when they turn up for work. Sad but true Sony have nothing to fear by out-gunning the FX9 specs with an A7S III. The strange thing is, they don't seem to have the technology ready to give it us yet. Indeed, if you look at the photos side they are doing a bit of a Canon as well. A6400 / A6600 hardly an exciting step forward for stills. The A7R IV was more evolution than revolution too. I think it is probably a cycle all companies go through, especially if the have pushed hard for a long time to establish decent sales, and then they milk it until the next big step.

I beg to differ. SIgma Fp full frame RAW output to SSD Panasonic S1 V-LOG 10bit 422 Nikon Z6 ProRes RAW And arguably GH5S codec is pretty good looking.

There is no pixel binning, not sure where you got that from - the 4K is a full pixel readout from 6K sensor. The 8bit RAW is not a major flaw, it's a major bonus. Try getting that out of an A7 III type for same price. No doesn't exist. The results are incredible. You just need to look beyond the bit-depth and trying to break the image. The fixed screen, lack of EVF and no mechanical shutter make the Fp the size it is. If these features are important to you, then you may be better off with a larger camera. You can add the loupe to the Fp LCD to make it into an EVF though. Who is the camera for? Anybody who wants a small affordable full frame camera with superb video features and image quality.

I have the 35mm F0.95 from them on my X-T3. Lovely lens. Would like to try the full frame version for sure. It's between that and the 65mm F1.4 for the GFX at the moment. Weighing up which one. Maybe they can send me both for a review if I ask nicely enough

I see. But is it bayer RAW, can it be recorded to a card, or doesn't the SDK / LSI handle it?

https://www.raspberrypi.org/products/raspberry-pi-high-quality-camera/ Specs here imply it does output RAW? Sony IMX477R stacked, back-illuminated sensor, 12.3 megapixels, 7.9 mm sensor diagonal, 1.55 μm × 1.55 μm pixel size Ouput: RAW12/10/8, COMP8 Back focus: Adjustable (12.5 mm–22.4 mm) Lens standards: C-mount, CS-mount (C-CS adapter included) IR cut filter: Integrated Ribbon cable length: 200 mm Tripod mount: 1/4”-20

1/2.3" is like a Pentax Q, and some people like @Mattias Burling can show off what that sensor can do pretty well. A small sensor doesn't mean a bad image. D-mount lenses have a character all of their own. I think we'll be seeing more sensor sizes, more modules, more mounts in future... And an exciting explosion in at-home camera building and image processing. If you combine something like Magic Lantern and Digital Bolex, with rapid prototyping for body designs and nice ergonomics - wooden grips, and so on, you have the recipe for a very usable DIY cine camera indeed!

Thanks Paul I would like to try the Mitakon 65mm F1.4 on medium format, probably has unique look as well. That lens is £600 and probably worth a look for GFX owners.