RogerRabbit

As an owner and fan of the Nikon FE2, I would have definitely bought this if it had the F mount, FF sensor and same form factor (image plane at the rear of the camera so that the body has short depth) and no screen. This is once again a half assed approach to retro. And their continued interest in shitty zoom lenses really truly baffles me. I think camera companies are really underestimating the market for a retro SLR with digital sensor.

Wow I can't believe your bad luck. I've sold thousands of $$$ of equipment over the years, including the last year where I sold a Leica Q2 and more, without a hitch. Try craigslist/gumtree or the berlin equivalent next time! Also, is that blonde lady who features in some of your work your partner?

I have made a lens review and couple of short films with me in front of the camera. Yeh I agree it's way harder than you'd expect

I tried this with the X-T4 and found that 10bit was more noticeably better when there was more different colours in the frame. So, blue skies, green grass, orange/pink people etc.

They're being overly ambitious with the X-H2 when really all they needed was the X-T4 in the X-H1 body. Does the consumer really want even more bells and whistles and a much bigger body? 4k 60p at 10bit is already stellar.

Flatbed scanners don't really capture the detail and grain of 35mm film properly. And mounting film can be a pain. Scanners like the Plustek OpticFilm only scan one frame at a time, which takes ages. And mounting the film into the holder, especially if its bent, is a huge pain. What you really want is a dedicated film scanner with an automatic feeder. Your options are: Frontier or Noritsu - Same as what labs use, but they're very expensive. Most reliable for scanning rolls of film with great colour rendition and resolution. Pakon F135 - Allegedly has the best colour rendition but when I used it I found I still liked the colour from the labs more. Requires a Windows XP machine (or virtual machine) to run the software. Can load whole uncut rolls of 35mm film at a time and scans pretty quickly. Very convenient. Pacific Image XAs (aka Reflecta RPS 10m) - The most "modern" of these scanners. More resolution and dynamic range than the Pakon but the automatic feed mechanism is unreliable. Nikon Coolscan (LS-40, LS-50, LS-5000, IV ED, V ED, 5000 ED) - More resolution and dynamic range than the Pakon but apparently the colours are not as good. I am planning to buy one soon so will let you know how it is. Has a reliable feeder mechanism.

Hi, I recently acquired an LG OLED TV which looks fantastic, particularly with HDR content which take the TV up to around 800 nits (normal SDR is about 300). From what I understand, HDR footage is just normal video but with an extra luminance mapping to tell the display how bright to make various parts of the image. When you record with a camera that does HLG, I don't believe there's some extra sensor in there that measures the light. It's just simply giving luminance levels to the recorded video. So with that in mind, I was wondering if anyone here knew how to convert LOG footage to HDR? Either in Premiere or Resolve. How do I add these luminance values to the footage?

They're fantastic. AF works great. Image quality is great. The 23 even has a slight rainbow flare at f1.4 which is a nice characteristic. My only grip is that they don't look great and the aperture ring isn't clicked, so I end up moving it a lot by mistake, although that's less likely to happen now that I can control the aperture with the front dial.

Got mine 🙂 Grip is great. It really should be standard on all their cameras, especially now that most of their newer lenses are bigger and heavier than their older ones. Controls are great. I can put the lenses into A position and control the aperture using the front dial when in Aperture or Manual exposure modes. Things generally feel more intuitive and when I want to change my exposure triangle my fingers dont have to move around 3 different parts of the camera. I haven't done any tests with video yet but if its the same as the XT4's h.264 mode then it should be fine. Obviously if you do more serious video work you'll want the XT. It's a real shame there's no 4k60 as well. Viewfinder is smaller. They could have put a bigger one in. The Panasonic G85 was around the same body size and had a 0.74x magnifcation. This only has 0.62x. But to be honest I don't mind much. It's actually still bigger than enthusiast DSLR's such as the Canon 80D which had a 0.59x magnification. I've always loved the Fuji look but disliked the ergonomics. This one is a real winner. The smaller size and weight, combined with better grip and ergonomics makes it much better for use as a casual camera. I'm also pleased they put the mic jack out of the way of the screen. I would happily pay more for a camera that's just like this but has 10bit h265, 4k60 and uses the new bigger batteries.

It's a shame because their SOOC image for both stills and video is stellar. They just never came up with features that appealed particularly to people, and then they kept diluting their portfolio with odd products that further split their R&D capacity (the Z50?). They spent years releasing crop sensor cameras but only unexciting zooms for them. The Z cameras are great (from what I hear) but their strategy of releasing relatively large and expensive primes killed it. They had an opportunity to take on Fuji and Sony but flunked it and then flunked it again by releasing version II's with incremental improvements. They occasionally showed inspiration with the J1 series and the DF but they too were eventually failures.

Part of the appeal of the RX1 was the size. It was expensive but you were getting something almost impossibly small, which was a unique selling point. I don't know who this camera was made for..

It's a common misconception that focal length or crop affects compression. If that were the case then smartphones and other small sensor cameras which have miniscule focal length lenses would have super distorted images, but they don't. The only thing that affects compression is your distance to subject. Wider focal lengths just mean a wider FOV, which will reveal more distortion, particularly when close to the subject.

I'm waiting for the gray market edition 😁

Amazing. Love the uber chad face in the thumbnail too

I love the look of this camera. It looks like a Nikon FE. I'm seriously considering switching to this from the XT4 because of the better grip and the PASM dial (controversial I know) but that lack of h.265 and 4k60 is a little bit frustrating.