Ninpo33

I was told the all black version will be coming to the U.S. a bit later but I’m seeing a bunch of them in the wild. I couldn’t pass up a $500 LUMIX S5 this week so I’ll have to wait on the X-M5 till after the holidays anyway. Hoping they don’t have the same shortages as the X100 series.

Smart choice and for the money, more practical for sure. Until the AF gets better it’s still a pretty specialized system. i would love a new GFX rangefinder 50R mark 2 or 100R that shoots decent video. The 100S has gotten crazy cheap for what it can do but I need better video so I’ve always talked myself out of one. For my needs I need Video even on the third C camera that also acts as a high res stills hybrid.

Ummm, have you seen the Gerald Undone review? He refreshingly pulls no punches this time.

Yeah, I was disappointed in the same/similar video specs but also relieved. If prices come down considerably on the A1 mk1 that will be worth this release alone I suppose. The A1 is a sweet camera and was ahead of its time on release but priced high. I’ve been waiting for a deal on one so hopefully the new model should force the mk1 down on the used market. Sony is known for its slow, incremental releases but the photo specs are a nice step up with this model. However I can’t help but feel like maybe we are at a slow time in sensor/camera evolution with not much development in the space. Feels like all the major brands are releasing recycled parts with old sensor tech. And if Sony isn’t revolutionizing things with their flagship model I don’t know what to say. Would be nice if the other companies can get their own sensors going so everyone is not dependent on them.

Not exactly Black Friday but the service I use to buy cheap used gear in Japan has a bunch of 10% off coupons that work in their auction sites. https://buyee.jp/yahoo/auction Just scored a very nice lumix S5 for $550 including FedX shipping to the U.S. with a coupon.

No, AF is not supported at all. There is a Sony adapter for A mount lenses to E mount bodies but it’s only for photos and has no video functions unfortunately. I shoot video/films and rarely use autofocus so for me adapting lenses is all about the image IQ first and I can usually live with other issues. Most likely I will end up getting the whole set rehoused in the future to PL or LPL anyway.

Yeah, that’s just one of the things he does. He does wildlife and has several YouTube channels too. Lots of good testing in the real world with examples which I like. Takes the time to actually shoot and not just read of camera specs at their desk so he gets my vote.

Yeah, we’ve had this discussion before. Obviously the 1st gen Panasonic box cameras were kind of a lazy recycling of parts, not a truly innovative new mini cinema cam. The GFX 100ii is $7k so the Eterna being double the price of a C80 makes sense. It’s apples or oranges anyway.

And you know for a fact that this sensor doesn’t support any tweaks/adjustments or the ability to improve performance? Please post a link.

While I agree to an extant for Red, Arri is in a whole separate universe and pretty much untouchable in my opinion. For large productions they don’t even bother looking at other cameras. There are just so many other factors at play when making a movie so a lot of times they don’t want to mess with any untested new stuff. Playing it safe and choosing the tried and true camera system that “everyone else uses” is the norm. Once in a while someone will get creative and use something interesting for a specific look or to achieve a particular effect. Alex Garland in Civil War for example and his choice of the Ronin 4D for some of the shots…

Same here, it’s good for us consumers and even if the cameras aren’t perfect it motivates the other cameras into action and forces them to compete. (Ideally) Maybe this will help give us the full frame lumix EVA or a FX3 mk2 box camera from Sony. Just happy to see something in the pipeline announced that isn’t a small camera marketed for vertical shooting “creators”.

The X-H2s is a beast. Going to finally build mine up this X-Mas into a mini Cine camera with a Cineback and some other goodies. X-H2s is $1,400 US now on the used market and it’s a lot of camera for that price.

I think this video sums of my feelings perfectly…

Taking a bunch of old things and putting them together does in fact make a new thing if those things in that configuration never existed before. Is the ZV-E1 a new camera or is it just an FX3? which is just an A7sIII… Since you’re splitting hairs here I will clarify that the “newness” in my original post referred to a newly announced medium format cinema cam for the low end market. That is new is it not? My point was that innovation in the market has been stale and it’s nice to see Fuji announce an $800 camera with 6.2k open gate 12 Bit HDMI Raw and a medium format cinema cam in the same month. I’m optimistic about the future but feel free to argue about partial tech specs from a day old press release.

It’s early days and we don’t know exactly what the final product is going to end up with right? Lots of time between now and when it’s released. Fun to speculate of course but yes it is a bold move by Fuji. And while the individual components in the preproduction model announcement might be existing tech, I would argue that it is indeed a bold camera. Andrew has already expounded on it better than I could so I won’t go into detail here. I know locally here in Los Angeles the Old Fast Glass, “Custom 65” rents out pretty much continuously and they’re building more to keep up with the demand. The fact that they even put that custom rig together and how popular it’s been show shows me that there is a desire for a camera like this and it’s been popular even in its limited speced, modded out version. For perspective, Canons are not renting at all for larger productions and even the new C400 is sitting around right now. It’s all Alexa Mini LF and 65 on the high end and FX6 with FX3 on the low end. Smaller owner operators are different but local DP’s love the idea of a cheaper Medium Format option that can use adapted vintage glass. All it will take is faster readout speeds and reduced rolling shutter to take it a level above where it’s at right now.