RichRMA: The EVF updating IMO, seems very slow on panning. It produces a real juddering effect at pan speed, though I noticed very little colour skewing. I don't see that juddering with the Sony and Olympus EVF's, especially when the Olympus is set on 120Hz. Is the EVF refresh rate adjustable on the X-T1?
Tony Northrup did an interesting comparison on EVF lag which included the XT1 in his A6000 review:https://www.youtube.com/watch?v=GXi2n1Nt_08&feature=em-subs_digestIt's very impressive (the XT1).
RichRMA: Why do Fuji RAW's at high ISO look like other camera's JPEGs? What I mean is that although their RAW's look clean, they look NR washed, for lack of a better term. The grain is massaged away. If I look at the RAW's and switch on other camera's JPEGs at 1600 or higher, in the studio scenes, I see more commonality.
It appears ACR still isn't that good with Fuji sensors, so not really a good comparison...http://chromasoft.blogspot.it/2013/03/lightroom-44rc-and-capture-one-versus-x.html(He's talking about Adobe's second attempt, which is still the one they use. He also writes Raw conversion software for a living.)Better to use SilkyPix Pro6 or CaptureOne it seems.
Donnie G: Now this is the kick ass Pentax that I've been waiting for. Not some wannabe medium format pretender dressed in FF 35mm clothes, but the real deal at an enthusiast accessible price point. Ricoh! You done good baby!
5inchfloppy - It's more what the Canon APS-H (most recently in the 1DmkIV) were to FF, as it has a 1.3x crop (per jaad75 above) not 1.5/1.6x as per APS. Also remember that's linear, so the difference between 1.3/1.6 crop is a lot more on area - 1.3 crop has 50% more surface area than 1.6 crop.
sh10453: The bar continues to be raised, and pretty fast, by all camera manufacturers.While I have always used Canon equipment, I think Sony's Alpha 7, 7R, and now 7S, are very impressive full-frame small cameras.I am leaning towards getting one of these, but only if I could use my stash of Canon L lenses on them.
If Sony has not caught up with Canon or Nikon sensors, as some comments have suggested, I have no doubt it won't be long before they surpass Canon and Nikon.Teaming up with Zeiss gives them a source for lenses that is second to none!
The other camera manufacturer that will most likely make big surprises down the road is Samsung.
Good job Sony; no one was even dreaming of, or imagining, a 400,000 ISO, just a short while back!
Sony make some of Nikon's sensors, Toshiba and Aptina make some too...
discbrake: The sensor reads out image data from every pixel. This camera would simply destroy Canon EOS 5D Mark III in the video department guaranteed.
The problem with the GH2/GH3 (I have the latter BTW, not a 5DmkIII) is you get too much moire and aliasing, which means ruined shots, you don't get this with a 5DmkIII which is its strong point. Also you need to boost the sharpness in post before comparing a 5DmkIII with anything, as it's very flat by default, before making comparisons. (I think I'll take Philip Bloom's word for this one, rather than yours, sorry...)http://www.twolightfilms.com/philip-bloom-reviews-the-canon-5d-mkiii/
Quite how you can say Canon will offer nothing interesting in video is clearly nonsense, as Canon keep their secrets better than anyone so you obviously don't know what's coming, but do appear to be ignoring dual-pixel AF, which started being usable in a crop sensor camera (although the hardware appeared first in other cameras).
Russell Chapman: Sony would have been better putting this sensor into a dedicated video camera. The camera seems to be aimed at people who do more video than photo. Instead they have created a system which will need to have various accessories added to it to get the best out of it from a video point of view.
I'm sure most people who are into video would prefer a form factor that suits that role better but which can also be used for occasional photography. This camera seems to me as if it has inherited the worst of both worlds.
I think the video people would really like a Super-35 sized sensor, they would also like a Global Shutter, but might have to wait a little while for that in a DSLR/Mirrorless camera.
Nindy: I wish Canon would innovate like Sony for the average consumer. Every Canon dslr hd footage I have seen including 5d mk iii is soft (exclude 1c). Well done Sony, I don't need more 12 mp for stills, I haven't heard a Pro Photographer say you need more then this, only mp nerds care. There is much more important aspects to a photo to magnifying 400% and comparing resolution. I have always hoped for a lower resolution for better noise performance, this camera could be a real winner, a dslr that can produce low noise photos and sharp video.
technic - there's an interesting point in there, the Panasonic sensors (well, in the GH4 and GM1 at least, I assume all of them) go from 12 bit to 10 bit output when you use the Electronic shutter, presumably due to readout speed issues (either due to more noise or a desire to minimise rolling shutter).
peevee1: "Sony told us that recording 4K footage internally would have meant moving away from the small footprint of the A7-series body."
Right, because you need a huge body to record 4k... oh, wait, GH4 and every new smartphone records one! Sounds like Sony A7BS to me.
I believe the GH4 does use all the pixels within the 16:9 crop it uses for 4K (which is a horizontal and vertical crop of the sensor down to about 8MP), it only uses 69% of the pixels for 1080p (which is only a vertical crop).
peevee1: If the sensor full- readout speed limits it to uhd @ 30 fps, does it mean 1080p60 is not downsampled from full sensor (which you would need to readout at 60p then) but instead skips every second line?
Some sensors combine pixels on-sensor prior to readout, reducing the bandwidth required. No idea if that happens here though. The GH3 and GH4 do 1080p by combining blocks of 2x2 pixels on-sensor (although only using 69% of the pixels in the 16:9 crop area, alas).
FlowerHappy: How many negative comments will we see from the 4/3's groupie's
I suspect the real issues are elsewhere, like how good the AF is and what the burst rate is like (which I haven't seen yet) plus are the users stuck with Sony's lossy compressed raw files still, which could be a real pain at very high ISOs and low light.(I shoot m43 and FF, but I don't see this competing other than very slightly against the GH4. Other than that it's different markets. Also a very cool idea.)
semorg: Sony is going for the kill.....this camera will kill Canon 5DII/III when it's used for videos. You can shoot 4K, and no pixel dropping or other tricks, probably without any of the aliasing issues. Have a 4K footage or downsize to 1080P/720p, etc. for broadcasting distribution
The 5DmkIII is really good for aliasing/moire as they have a clever way to minimise it. I suspect they are going at different markets, Canon has a just slightly better lens range (c. 180 vs 5), plus an ever-increasing range of pro video lenses you can rent.
mpgxsvcd: The GH4 and the A7s are two totally different cameras. The GH4 is meant to be a universal solution. Average users could us it as an everyday hybrid camera. Pros could use it as a really nice 4K video camera.
The A7s is meant solely for pro videographers or more specifically pro wedding videographers. It will be incredible for low light with nice big full frame lenses. However, it will need to be tethered for 4K footage.
Both are great but neither is a true competitor for the other.
Although the GH4 also needs an external recorder to shoot 4:2:2 4K.
The Canon 5DmkIII is highly rated for low moire and aliasing (they did something really clever there - BTW I have a Panasonic GH3 where they didn't do anything as clever, alas), plus the files sharpen up nicely in post, so I can't see it being a big improvement there. I think low-light is where it will be the most interesting compared to the Canon.
Scottelly: Does it have built-in image stabilization? I really don't get it. This thing better be stellar at producing low-light images.
I can't imagine it would, when shooting 4K for a period of time you need to get a lot of heat away from the sensor, so heat-sinking it to the body is a much better idea than floating it in mid-air with nowhere for the heat to go.
Lab D: The difference in low light between the 36mp D800E and current 16 and 12 MP full frame cameras is slight because according to DxO when you down size and image DR goes up and noise goes down. This is why the D800E gains 1 EV in DR when downsized in their tests. My bet is the real reason for the low res sensor is HEAT. This is also the reason this 4K camera can't shoot 4K unless you buy extra stuff.
However the 20MP RX10 also does full sensor readout for video, so IMHO sensor size is as much an issue for readout speed as pixel count. Now if they had gone for a 24.9x18.7mm sensor readout area crop for 4K (ideally with a Global shutter) and full readout they could have just printed money... (That's Super-35 BTW, what those movie people use.)
Just a Photographer: Well now we know what the Canon 5DMK IV and Nikon D900 will have as a feature set. Canons 1D Cinema line will get a lot cheaper too.
I myself am not into video, so I don't care.
I don't know, a lot of the really serious people still value many other qualities over resolution. The 2.8K (until recently was 2.5K, not a typo) Arri Alexa is still the commonest camera on big budget movies, as it gets people the "film" look they want, plus the all-important Global Shutter.http://nofilmschool.com/2014/01/which-cameras-were-used-on-the-oscar-nominated-films-of-2014/
Just a Photographer: Why buy this camera if it doesn't work out of the box as advertised?
4K video is only there when you buy additional hardware.12 MP on itself is not of these days anymore, although it will deliver good images at high ISO's (if Sony Digital Imaging doesn't screw up, like they often seem to do - Great sensors, but bad camera development).
I'm not sure the Blackmagic 4K is a good counterpoint as that needs lots more stuff around it to get anything useful. BTW the Panasonic GH4 also needs an external recorder to do 4:2:2 4K, but anyone serious about 4K is likely to be using something like an Odyssey7Q anyway (which is a combined 7" display/recorder).
IMHO the 5D3 is still the best prosumer-priced DSLR-style-body camera for MF video, as they have way less moire and aliasing than all the others and that's something you can't fix later. It also sharpens up nicely in post (see what Philip Bloom says for more on that). I shoot with a GH3 BTW, where moire and aliasing are a feature of life (some of the time, even shooting completely flat - I see a GH4 in my future).
Looks a lot like the Moment Kickstarter project (which is lenses and a Bayonet mount adapter):https://www.kickstarter.com/projects/584288471/moment-amazing-lenses-for-mobile-photography
Allegedly the E-M1's sensor is the same underlying part as the GH4, I wonder if the GH4 will get EFCS? (I'll certainly feel happier buying one if it does.)