The new Sony PXW-FX9 XDCAM 6K Full-Frame Camera is what Sony fans have been waiting ever since the APS-C cameras Super 35 cameras like the FS5 and FS7 made the rounds. It is all that those cameras offered but now on a state of the art Full Frame sensor with Dual ISO capable of 800 and 4000 depending on the needed use. By being extremely sensitive the camera needs ND filtration and it doesn’t disappoint on that feature either by including a ramping – smooth increments ND filter from 1/4 to 1/128 which adjusts on Auto Mode depending on the scene without ruining the shot. An industry first.
On the Slow Motion front, the camera is consistent with Sony pedigree with now offering 120fps Full HD and with a promised firmware update 180fps Full HD and also 16-bit raw 4K/2K footage up to 120 fps to an external recorder. This is close but not quite what the FS5 is capable of in FHD which includes 240fps. The FS7 has in contrast 240fps @ 2K RAW Ext Rec & 180fps 1920*1080 Internal. Much closer to what the FX9 is capable of doing.→ Continue Reading Full Post ←
The recently announced Canon 90D, Canon EOS M6 II, Sony a6100 and Sony a6600 are cameras that refine everything that is already a current technology but bundle it in a lower price package with great performance. However, it is clear from the spec sheets that high frame rates have stagnated for the past few years in these camera lines with a maximum of 120fps at 1080p.
Sure some of them offer full-time autofocus in slow motion modes and face tracking which in the case of Sony is so good that you may not even match it if you had the best focus puller in the business hired for your shoot. But the frame rate war seems to be left to other camera lines and brands. Panasonic, for example, offers up to 180fps in their new S1H camera which should be in theory the best Panasonic mirrorless camera ever made and it should also allow for outstanding quality in 1080p 180fps.→ Continue Reading Full Post ←
As it was initially unveiled at Photokina last year, the Panasonic Lumix S1 and S1R cameras are their answer to the domination of larger sensors in stills and video mirrorless cameras. Is there any reason now to buy a Full Frame DSLR when mirrorless is so advanced? The only thing we can think of is to have marginally longer battery life. The mirror is on its last legs and fans better start offloading their lenses if they don’t want to mess with adapters. In the case of Panasonic however, it is not possible to use Lumix Micro 4/3 lenses on the Leica/Sigma/Panasonic Full Frame L-Mount.
The S1 and S1R will both shoot up to 180fps 1080p video with a crop that may or may not be impactful. Seems the S1R has less crop on 1080p than the video geared S1 which is an odd spec. We will have to wait for more samples and info on the HFR mode to see which of these cameras offers the best slow motion performance. From the limited samples, we can say that the quality looks very good and at least on par with the Lumix GH5 at 120fps.→ Continue Reading Full Post ←
Sony has decided to release the RX100 VA worldwide and it effectively replaces the RX100 V production line. The new camera will have a better EVF refresh, modern Autofocus with improved tracking and a larger buffer of 233 images. We considered the newly announced RX100 VI camera to be just a longer lens version of the RX100 V but with an increased price tag. That camera does have a touchscreen and the reach but the fans of the faster f1.8-f2.8 lens of the RX100 V now can get a more up to date version.
The Lumix TS7 by Panasonic “TS7 in the US, Canada, FT7 outside of North America” is a well-rounded package when it comes to pricing and features. It is a 4k 30/25/24 ready camera and it can go underwater 31 Meters or 102ft plus all the cool ruggedized features you might expect on a camera of this kind like being crush-proof up to 220lbs/100kg and freezeproof down to -10 °C / +14 °F. It is a real alternative to smaller action cameras like the GoPro, Xiaomi Yi 4k+ and Sony Action Cam series.
The lens is a 28–128 mm 35mm equivalent 4.6x zoom range which is quite sharp across the range as we have seen from samples. The main issue with this camera is the small 1/2.3″ BSI sensor and the fact that it packs 20MP or a resolution of 5184 x 3888px which is a little too cramped to be ideal for low light or in our view underwater performance without added bright artificial lighting. ISO goes from a low of 80 to a high of 6400 which probably is already pushing it too much. This camera would have been a better bet with a 10 or 12MP BSI sensor to maintain some edge in low light for the competition. → Continue Reading Full Post ←
As expected based on early comments of the slow motion mode on the GH5s, the camera has pronounced aliasing “seen in this video by Max Yuryev” and softness the higher the frame rate goes. Even at 120p it is less detailed than the standard GH5. It may be a function of supersampling in the higher megapixel 20MP GH5 vs the 10.2MP GH5s which is creating the new artifacts.
While the GH5s can shoot up to 192fps without cropping the sensor, anything above that up to 240fps it has a slight sensor crop which further decreases quality. While the VFR mode on the camera is better than most cameras in the price range that attempt the feat, it is of note that the quality instead of increasing or remaining the same as the sister model takes a hit which may kill it as an option for slow motion needs. We still believe the standard GH5 is the best Lumix option even when compared to the G9 in VFR mode.→ Continue Reading Full Post ←