seattledv

Actually I just discovered the 10/31/19 Sigma First shots post has some excellent info about the file sizes, using slim RAW etc. And the comments from that post are also helpful. But if you have even more suggestions...I'd like to learn more. I will try the 12 bit RAW, but frankly The 8 bit RAW might work just fine for the majority of what I'd shoot. I'm not sure I can manage the data, working with an ssd etc. We'll see. I do like cameras that are unique and aren't afraid to push boundaries. The Sigma FP is certainly all that and much more. I'm hopeful the summer firmware update makes it even more of a little power house than it already is.

Andrew, it may be a little off-topic...but if you have enough time on your hands during lockdown it might be worthwhile to create a Sigma FP guide like you did for the Panasonic cameras. I'm awaiting delivery of an FP, and I can already tell the learning curve on this camera will likely exceed anything else I've ever used. So far I've found very little info on specifics of set up, basic workflow with the cinema DNG files and best practices for using the camera in the field. (Apart from the 30 or so pages in the EOSHD forum re: grading FP RAW files, comparisons to BM RAW etc. that seemed to hijack one of the main forum threads for the FP.) Any other resources you might suggest for a Sigma FP newbie?

I agree the S1H 120fps doesn’t look right. Makes me want to see other samples. Almost looks out of focus in the watery areas. Andrew have you experienced issues with the S1H 120-1080?

I’ve been curious as to why Panasonic equipped the S1/S1R with an XQD/CFexpress card slot when the S1H has dual SD card slots. Does Panasonic dare to offer 4K RAW recording to S1/S1R and leave the S1H with external raw recording? Does anyone understand Panasonic’s reasoning behind the high speed card slot for the lesser equipped cameras?

If the new $2300 Canon R 50mm 1.2 struggles with AF in video, won't the new $2300 Panasonic 50mm 1.4 L-Mount struggle even more with AF on the S1? I really want to like the S1 but the AF video samples I've seen on the web seem to show inconsistent AF in video. Seems like DFD tech is still lagging compared to Full Frame cameras featuring sensors with phase detect AF. I recognize that using manual focus eliminates those issues, but reliable AF is still something I like to have as an option in fast moving situations. Have you tried the Voigtlander 50 1.2 on the S1? Preferred adapter?

I'm glad to see you rediscover yourself Andrew and return to the ethos of EOSHD!

My comment may be off topic, but it seems to me the Z6 with the Ninja V and the Apple ProRes Raw codec is the most intriguing hybrid Full Frame option for video. I’m looking forward to Andrew and other filmmakers trying this option and giving their feedback from use in the field. I’ve been hesitant to use an external recorder, but the option of having RAW files and a recording time limit constrained only by the size of your SSD and chosen codec seems pretty appealing.

If you have not seen this Webrunner5...take a look at what Mark Smith did with a Sony a9 while shooting birds in Florida...

I really wanted to like this camera... but there are so many other choices at lower price points with arguably as good or better overall features that I can’t justify buying one. It’s hard for me to envision anyone switching brands for this camera or adding one to their existing kit for an additional feature set. Even for die-hard Oly fans the EM1-mk2 seems like a much better value as a “Pro” camera and for casual use the EM-10mk3 can’t be beat. Not sure who will really buy the EM-1X for $3k. Seems like a real missed opportunity for Olympus to increase their market share.

I think this statement is at the heart of what we’re seeing right now in the marketplace. Sony is NOT releasing a new camera every 6 months like they have in the past. The mirrorless marketplace has changed and in full frame it’s never been more competitive. ALL of the full frame mirrorless manufacturers are jockeying for position against each other AND in some cases internally within their own corporate structure. It’s near impossible to predict the future and how the full frame mirrorless video/still/hybrid camera landscape will look in the next year or two. Whether there is a new A7s lll sooner or later or never doesn’t really matter...because the marketplace is changing so fast. The hot camera today can easily become the not-so-hot camera tomorrow. What matters is that manufacturers remain innovative for the long term and keep imaging technology moving forward. Complacency is corporate cancer and more than one camera manufacturer is likely to disappear from the marketplace if they can’t correct their myopic corporate vision.

Probably true for most consumers, but all of these new camera releases seem to have so much hype surrounding them that it’s really hard to separate facts from hyperbole. Do I really need to know how well a new camera performs in Hawaii or Las Vegas under manufacturer controlled conditions? In addition to using exotic locales, professional models and hand-picked reviewers, manufacturer’s often bundle incentives for their new products to boost pre-orders. If I had watched just about any of these YouTube reviewers and pre-ordered an EOS R without knowing it had an unbelievable rolling shutter issue, I’d be angry—angry at the reviewers, angry at the manufacturer and angry at myself for being so easily duped. If you can’t trust the reviews and can’t trust the manufacturer then the pre-order option starts to look pretty dicey. Deceptive marketing whether intentional or not is not good for promoting new camera sales, creating manufacturer loyalty or building a YouTube subscriber base. When you can’t trust marketing information and the reviews presented on the internet, then whatever gear you currently have starts to look better and better. Just forget about watching reviews or buying any new camera...at least until you’ve tried it yourself with a rental or a retailer that has a generous return policy.

Good overview of Z7...I find it very tempting except for the price. I'm finding the Fuji X-T3 to be really good overall and it's tough to beat for its price point. (Z6 may change that of course) My real issue with all of these new cameras is that its very hard to know which system/cameras/lenses warrant a BIG investment. I think it's too early to tell. All of these cameras have their pros and cons with none of them yet emerging as a market leader. It's going to be a real shootout in the marketplace and it's hard to say which manufacturers and camera formats will survive and which will go the way of the Nikon 1. Ultimately competition is good for consumers, but right now it's REALLY confusing and hard to know where to put your money in this scramble for market share.

Looks terrific for a 24mm! Vignetting not bad...adds some character.

Andrew...have you tried the newly acquired Canon FD 24 1.4 on the GFX?

If it’s a Sony sensor then why wasn’t the rumored Sony a7000 released BEFORE the XT-3 so as to upstage Fuji’s effort?

Really looking forward to Panasonic FF announcement now!

The rumors of a partnership between Samsung and other Japanese companies for FF and APS-C sensor development might be a HUGE leap toward breaking the Sony stranglehold on other manufacturers dependent upon Sony sensors. Samsung might end up being the sensor source for the Fuji X-T3, upcoming X-H2 or even the Panasonic FF. A tear down of the XT-3 would be quite revealing.

I suppose there’s some kind of logic to the niche marketing of so many cameras, but I have to wonder if at some point if this trend will end. Perhaps the A7 iii is finally a big step in that direction as an excellent hybrid shooter and an all-rounder if you had to pick just one camera from Sony— at least until the A7S iii arrives...

Looks great Andrew. Would this new color profile be applicable to the A9 as well or would you have another recommendation for changing A9 color rendition?

If you have influence with Nikon by all means use it. Make it happen!

You're right. All the major manufacturers have been doing this for a long time. That's why the effort from Black Magic, Ikonoskop, RED, KineRaw, Digital Bolex, Magic Lantern, Vitaliy and the Gh2 hackers are so important. They challenge the status quo and may ultimately get one or more of the major manufacturers to respond with changes in the way they do business.

I agree 100%. A great example of how filmic the D5200 can look.

Nikon has enough engineering and marketing resources to develop just about any camera they want. The Nikon 1 system with a 1" sensor has the potential to be a Black Magic Pocket Cinema competitor. It's surprising to me that there's been little mention of the styling similarities between the Nikon 1 series and the BMPC. They have similar size sensors as well. Of course Nikon could also challenge the Canon C series if they chose to develop a large sensor cinema line. I hope Nikon has the vision and determination to develop a dedicated cinema/video camera division. They already have a vast array of lenses that could be integrated with Matrix metering, AF, Vibration Reduction and even a power zoom. An innovative adapter like the FT-1 could allow for the use of Nikon legacy lenses. IMO the biggest question is whether Nikon has the corporate vision and leadership to execute a dedicated video/cinema camera division. So far, Nikon has mostly been a sleeping giant when it comes to video and cinema camera development. I hope they awaken with a passion. Otherwise we'll all be waiting until 2020 when Black Magic finally announces it has an M4/3 mount with fully dedicated electronics for ANY feature offered by lenses from Panasonic, Olympus or other m4/3 lens manufacturer.

Nikon may not have had 4K in mind for video, but that doesn't mean the idea shouldn't be explored further. Canon did not intend to start the DSLR revolution with the 5D Mark2, but it happened because of a "still camera" feature that creative filmmakers realized had tremendous potential. Perhaps the 4K video myth could become a reality rather than a novelty for future Nikon cameras. Would the option of 4K for video in a still camera be desirable? Owners of the Canon 1 DC are likely quite pleased with it. It's not a myth for them, it's a reality. I'd like to see more manufacturers move in this direction. I guess I'm fond of Great myths.

Are you saying that the V1 with the FT1 adapter will allow a manual "focusing aid" with the Manual focus AiS Nikkors? The list of manual focus lenses that Nikon says works with the FT1 adapter is very small. I did not notice if the FT1 will offer a "manual focus aid" for older Nikkor lenses. That's big news if the focusing aid can work. I'd also like to know if the FT1adapter works with more AiS Nikkors than their website suggests.