Django

honestly, i don't remember all the details, it's been a while and for all i know these issues have all been solved..? It was Nightly build and ML was on the SD i remember that but i can assure you i'd often be getting frame drops, live view / audio issues etc.. I did make full use of a lot of options (perhaps too many were activated) yeah getting DNGs can be drag n drop with that one paid app.. still converting is time consuming depending on your cpu / hard drives.. i never fully bricked a 5D thank god but definitely severe lock ups requiring battery pull method etc. one day it took like 10mn for the 5D to come back to life, boy was i ever nervous.. didn't really do much RAW with it after that! of course your mileage may vary.. just giving my own experience of which ML felt unreliable at times. today if i needed raw for commercial usage i would look at any second hand Blackmagic camera before going to a hacked 5D3. again just my .2c

5D3 14-bit Raw is definitely some of the finest 1080p IQ outside of Arris etc... but shooting with it is honestly a little hit & miss. Not having sound, super choppy liveview, couple seconds before dropping frames etc makes it kind of unreliable for pro use. I only used it for certain money shots as B-cam footage to the C100 and even then was nervous until i got home and saw the footage. Raw is already a hefty workflow on it's own, and jumping through the ML hoops to get to that DNG isn't really a walk in the park. Just trying to inform people that might be tempted to go that route.. remember it is a hack.. and bricking your camera isn't excluded (i certainly had lock-ups quite regularly). That IQ though...

oh and as far as the whole 8-bit / 10-bit / raw / log etc debate.. this good old video by Dugdale revealed some interesting stuff using a multitude of cams (A7R2/A7S2/FS5/C100/Red):

Actually, outside sources reveal iPhone X is a flop and manufacturing will be cut by 50% this quarter. iPhone 8 is also underperforming.. but you know what i find most amusing? all this fuss over HDR.. to end up being viewed, by what 1% of the population? on a glossy 4" phone display in mixed lighting (while being bombarded by on-screen notifications & incoming calls..) what a time to be alive! seriously though i'm with others here.. HDR at this point is mostly marketing hype. Nobody in the real world is equipped for it yet and just like 3D TVs which came and went or even 4K TVs at launch that were being pushed before there was even any 4k broadcast material available.. heck i remember when HDR was the next cool thing in photography, now it's considered kind of corny.. time will tell but something tells me HDR video is just the trend of the day like hyper-lapse, super-slomo, VR etc.. All of which are cool things but I'm certainly in no rush to jump on the bandwagon, then again it's a subjective thing, and my aesthetic tends more around organic/filmic rather than hyperrealism.

Surely there are far better technical experts here than me but from my basic knowledge shooting log/raw, it isn't only about getting maximum DR.. it's also about getting a wider color/contrast latitude for gradability purposes rather than baked in profiles. if you're trying to match various footage/cameras or have a heavy grade/look it's for sure the way to go imo. raw has the extra advantage of giving you full white balance adjustment & various options that get unlocked in davinci and of course gives you true uncompressed image which can amount to greater detail. it's basically the same story than shooting raw vs jpeg with stills. that being said, if you don't know what you're doing, or don't have much post production time/skills.. shooting log can amount to ruined footage or post headaches.. and of course low bit codecs may limit your grading latitude and you may just be better off shooting baked picture profiles.. i hardly ever shot c-log on my C100.. WideDR and custom profiles were usually enough. and my XT2 has such gorgeous IQ that I usually just shoot SOOC with the film simulations and various custom profiles. but on the Ursa Mini Pro we rented last weekend for narrative work it was ProRes Film log / RAW shooting all day.. now i don't much about shooting HDR/HLG but from what i understand the point is to get max DR and color wow/pop factor while having a very simple workflow not requiring much if any grading allowing for fast turnovers. great for broadcast/events etc. not really interesting for narrative work etc where you want a specific look and/or full control over your image. of course only maybe 0.2% of the world population is HDR equipped to even view the benefits..lol

I remember trying out the MC-11 with Canon 35mm 1.4 L on A7R2 and getting pretty decent AF results to my surprise. I think it's definitely lens dependant (and there is a Canon EF compatibility list) what Canon lenses have you tested?

F mount is a different story, Nikon has 50 years of lens legacy to protect.. Z is a new mount and in view of Nikon's current status it would make sense for them to partner up with 3rd party imo if they wanna turn heads.. they've got a lot of catching up to do system-wise entering this late in the mirrorless game..

rumor mill has it Nikon is licensing Sigma to produce/adapt native Z-mount lenses.. a la Sony/Zeiss.

I'd love for Canikon to come out with a great FF mirrorless system with excellent video specs but have strong doubts on how/if that will happen. Canon keep trying to protect the C line so i don't see them putting out a large sensor 4k mirrorless with PDAF, log, assist features & a manageable codec just yet.. And Nikon just have so much catching up to do in the video department (no log, no peaking, weak AF, low bitrate codecs etc..)

well there you have it: different cameras for different types of shooters. lotta people can only afford and want a single body for both photo & video. a lot of people also like FF aesthetic & super shallow DOF (casey neistat even switched back from 4K GH5S to 1080p on Canon simply for the FF look -not sure that was the best choice but it does say something-). there are also advantages of being able to use native glass for your APS-C & FF needs without having to rely on speed boosters. DPAF/PDAF comes in very handy for a variety of situations from run & gun, gimbal use or if your stuck with internal 3" displays, especially with resolution/detail becoming so high. it just makes your life easier. sony have addressed a lot of their ergonomics, battery life etc.. issues with the A9/A7R3. AF is getting real solid. on the photo side A7R3 is basically camera of the year. the only thing that was still their biggest issue was the color science & weak AWB. so the fact this is now fixed and on par with Canon is quite big news imo. If the A7S3 has 10-bit, then it might just be game over for the competition. In the meantime i'm definitely going to rent an A7R3 and test all this out for myself..

Concerning the EVA1 comparisons, have a look at the following video at around the 20mn mark, there is talk/footage comparing GH5 to EVA1 IQ specifically regarding DR, color, detail, motion & sharpening.. the difference is pretty drastic imo (EVA1 owners shouldn't have to worry about their investment!)

wow.. Panasonic on some Black Mirrors dystopian society master plan

Further proof Sony weather sealing has flaws.. even on it's latest "further improved sealing" model

Bloom breaks it down nicely in his review and confirms what other reports have been saying: EVA1 is a solid effort from Panny capable of gorgeous imagery and some cool features but that is let down by some odd choices (EF mount), questionable build quality issues & severely lacking in departments like AF & LCD/EVF. It's kind of a mystery to me how these companies can get things so right yet drop the ball so hard in other fields. I guess he's right that we'll never get that perfect camera that combines everything (at least not under $10K). Personally, I'd still probably put the C200 in front of the bunch just because of RAW & DPAF. FS7 is a workhorse but having used one recently for an entire project I did find it slow & clunky to operate. Feels dated. FS5 + Inferno is probably the best deal right now at current prices, but you have to wonder if Sony isn't about to pull out a MkII.. That being said, EVA1 IQ really has a bit of that varicam mojo, if you can get past it's shortcomings i'm sure the files are a pleasure to work with. Honestly it's a tough call right now in that mid-range video cam market!

I don't mind switching from still to video mode (all the way to the left on the thumb lever) but switching from video to stills is a little more fiddly. What I really do wish was that still/video settings were independent from each other. hate having to set shutter speed each time i'm changing modes. I hope XH1 addresses that, and of course, a record button would be nice too.

Have you forgotten about the upcoming Fuji H1? As a reminder, it will feature internal F-Log, IBIS, Touchscreen, better hand grip/ergonomics..etc for around $2,000.00.

No crop in 4K really? so you're getting APS-C/S35 4K?? If so that's amazing and makes it almost better than XT2! IQ is looking pretty sweet too..

.. more like wishful thinking! Bolex uses a good old CCD sensor, great look but poor ISO performance. we're talking worst than current GH5. that's not going to happen. Raw is also unlikely imo. even the +$40,000 Varicam 35 doesn't have that built-in. I even doubt dual ISO. again that would be stealing a lot of thunder from EVA1/Varicams. but it may trickle down eventually. Everything so far indicates GH5S is going to be an incremental update (after all it isn't GH6) . Besides Panasonic risk too great backlash from GH5 owners if they give too much only 9 months after GH5 release.

Agreed... 18 months seems absolutely reasonable as far as refresh calendar.. I think Sony has learned from the A6300/A6500 debacle not to refresh so quickly.. unlike Panasonic who jumped the gun imo with the GH5S announcement happening only 9 months after GH5 release. The real showstopper for A7R3 is, of course, the pending release of the A7S3.

@noone Come on dude, the article clearly exposes blatant sealing weaknesses of the A7S2.. and yes some camera models (especially Nikon & Pentax) are much superior to average in weather sealing: Go try that on a Sony cam!

It was one splash, camera was not submerged: This camera here was never fully submerged in water; the sensor chamber and viewfinder were clean. The reality is, the entire top assembly was clean except for the edges where water leaked in from the strap lugs or ports. But the bottom and port side was pretty saturated. So the likely scenario was taking pictures near the surf and water splashed up from below and probably behind. Looking at the salt stains on the chassis supports that idea; the bottom and edges are saturated. The edge stains go higher than the lens mount, there would have been marks in the sensor chamber if the camera had sat in water that deep. Furthermore, the teardown clearly exposed weak if not totally absent sealings in vital areas: This camera had easy water access from the battery door, the entire bottom, and around the camera strap lugs that we showed you. It also has two rotating dials that you can pour water through, but this splash didn’t hit those. The viewfinder and hot shoe are a bit leaky, too. To be honest, I wouldn't trust most mirrorless cameras around water but from experience and the above sony's seem particularly weak as far as weather sealing..

..you forgot Fuji XT2: 132.5mm (W) x 91.8mm (H) x 49.2mm (D) weight: 507g (including battery and memory card) & A6500: 120.0 mm x 66.9 mm x 53.3 mm weight: 453 g As for the 7D3, well it is kind of Canon's last chance at videographers for 2018.. they could turn a few heads around (myself included) if they gave us a DPAF equipped body with a non-crop (APS-C/Super35) full-readout 4K mode, C-Log and gave us another option than MJPEG or at least 4K HDMI out.. but that would mean Canon listening to consumers.. and what are the chances of that happening?

...Contrast only AF ?

yikes... not at all surprised having killed myself an alpha series camera after simply handling it for a brief moment with my own damp (sea water) palms.. good to know sony still hasn't bumped up their weather sealing. meanwhile i used to shoot for hours under pouring rain during my Nikon years..