Panasonic have not only announced their new full frame mirrorless cameras – the LUMIX S line – they also announced interesting news for the micro four thirds community: Firstly, there will be a new Panasonic firmware update for the GH5 and GH5S, which will improve the continuous autofocus function (AFC). Secondly, the company has announced the development of a new fast wide zoom lens – the Panasonic Leica 10-25mm f/1.7. Panasonic Firmware Update for the GH5 (v.2.4) and GH5S (v.1.2) Both announced firmware updates are about to be released in late October 2018. We will post the link to the update as it becomes available. The most significant part of the update, which applies to both the GH5 and GH5S, is the improvement of autofocus (AF) performance. With the previous firmware, there were cases where the focus point was shifted to the background while tracking the subject in AFC mode. The new firmware minimizes this problem. Tracking performance in continuous AF has been improved by optimizing the tracking algorithm. Now, the subject will be tracked even when actively moving, for example in sports scenes, where the focus previously shifted to the background. The second important improvement for both, the GH5 and GH5S fixes a bug in video recording operation. The one push AE (exposure setting) failed to operate when the shutter speed/gain was set to angle/ISO while shooting in Creative Video M mode. This bug has been fixed and one push AE works now. Improvements for the GH5S only: Operating stability during variable frame rate (VFR) recording via HDMI output has been improved. Improvements of video recording performance – the image quality when using V-log for VFR recording in creative video mode has been improved. Also, the image quality when set to i.Dynamic (intelligent dynamic range control) has been improved. Improvement of operation under specific lighting conditions (fluorescent lights, etc.) – there were cases where the camera did not catch up with the change in brightness smoothly under specific lighting conditions such as fluorescent lights. This problem is now minimized with the new firmware. Panasonic Leica 10-25mm f/1.7 MFT Lens In the shade of the announcement of the LUMIX S series full frame mirrorless cameras, these news might seem a little forgotten. Panasonic, however, did not forget their large micro four thirds customer base. They announced the development of a new lens in cooperation with Leica – the fastest zoom lens in the Panasonic portfolio – the Panasonic Leica 10-25mm f/1.7 (full frame equivalent of 20-50mm). This lens should feature superb image quality, which we know from existing Panasonic Leica lenses (like the Nocticron 42.5mm f/1.2 or the 25mm f/1.4 MFT lens). In the words of Panasonic: It should replace five fast prime lenses. That is how much they believe in the image quality of the lens. Now, the news from Panasonic were just a development announcement. As you can see in our video interview, Panasonic only displayed a 3D-printed mockup lens here at Photokina. We have been informed that we should not expect the lens to come in the early 2019. Panasonic might have more info about the lens during next Photokina, which will be in May 2019. What do you think of the new firmware updates or the new fast zoom lens from Panasonic? Did you experience any of the bugs, which the new firmware fixes? Are you planning to invest in the lens? Let us know in the comments below.

Many filmmakers have been waiting for the new Sony a7S III. After the interview with Sony we now know the camera is in development, but it is not coming anytime soon. Sony wants to “go beyond their customers’ expectations” with this camera. Many filmmakers have been waiting for it. The holy grail of full frame mirrorless filmmaking. The successor to Sony a7S II – one of the most popular (if not THE most popular) mirrorless camera of all times among filmmakers –the Sony a7S III. We talked to the Sony corporation senior manager Yutaka Iwatsuki during Photokina 2018 as we wanted to find out when this highly anticipated camera finally comes. It’s Time for the a7S III – When is it Coming? It has already been three years since the introduction of the Sony A7S II full frame mirrorless camera (our review can be found here). While Sony already introduced both a7 III and a7R III, the new S-model – fastest and most suitable for filmmakers – is still not here. So far, 2018 has been THE full frame mirrorless year with Nikon, Canon and now also Panasonic joining this battlefield. We have been assured that the a7S III is a very important camera for Sony. The company wants to not only fullfill their customers’ expectations about the new camera. They want to go beyond and introduce a really innovative product. This takes and will take a lot of work and time. Yutaka Iwatsuki said “for time frame, it may require longer than you probably imagine”. Additionaly we asked about 8K and medium format plans. The 8K recording is, in long-term, very important for Sony even for small mirrorless cameras. They, however, do not see 2020 as an important year for 8K. Regarding possible future plans for Sony to introduce medium format cameras, we have been assured that for now the company is focusing on innovating full frame and APS-C products and there are no plans for medium format at the moment. In general we have been assured that filmmakers and cinematographers are a very important group of customers for Sony and they will do their best to please them. What do you think about our video interview? Have you been patiently waiting for the new Sony a7S III? Is this new information going to influence your future gear investments? Let us know in the comments underneath the article.

FUJIFILM has made an interesting announcement yesterday, unveiling the GFX 100Megapixels Concept – a mirrorless medium format camera with a strong eye for video. FUJIFILM has announced a new flagship medium format camera for their GFX lineup. The GFX 100 sports a 100 megapixel sensor (!!), first-of-its-kind IBIS, and 10 bit 4K up to 30p video recording. The price of the new camera will be around $10,000 and availability is expected during the first quarter of 2019. Also announced: The new GFX50R, the successor of the GFX50S. This new camera is noticeably smaller and lighter than its predecessor, aiming to capture the attention of street photographers. (The R stands for Rangefinder). When it comes to video capabilities, the camera is able to record in 1080p and we were told by FUJIFILM that the video quality is the same as the one found in the GFX50S. FUJIFILM GFX 50R Body Size, Sensor Size and Specs We don’t have the final specs for the GFX 100 yet, but we were told that the camera will record in 4K, 10bit, 4:2:0 internally with the ability to capture video in 4K, 10bit, 4:2:2 externally via HDMI. From the mockup we have seen, the body size of the GFX100Megapixel is rather similar to the 50S meaning, having a resembling size and weight of a large DSLR, like the Canon 1D C. Add the vertical handgrip, and the GFX 100Megapixel becomes bulkier, with its square body shape. FUJIFILM GFX 100Megapixel The sensor is roughly 1.7x the size of a full-frame sensor, creating the much wider field of view traditional in medium format cameras. But this massive sensor also comes with a few potential drawbacks: For example, we are really curious to see how FUJIFILM will handle overheating. We can only assume that recording time might be limited in order to avoid any overheating issues. Innovations in Medium Format Shooting A large, high-resolution sensor will make every shake, stutter, and movement evident when shooting handheld. At 100 megapixels, that can become a major liability. Therefore, it is very exciting that FUJIFILM has – for the first time – introduced IBIS to medium format cameras. Combined with the body size and style, FUJIFILM is clearly sending out the message that this camera won’t just be cooped up in the studio. Behold the stabilized sensor of the GFX 100 This sentiment also echoes through their switch from contrast-detect to phase-detect autofocus. The new AF system covers 100% of the image sensor, which hopefully will dramatically improve accuracy and speed when compared to the GFX 50S and 50R. FUJIFILM says that this new AF system is inspired by the well-received X series. I can’t wait to see if it performs as well. GFX 100’s Video Features This is where this camera gets interesting for us filmmakers. The GFX 100 claims to record 4K, 30p, 10bit, 4:2:0 internally with the ability to capture video in 4K, 10bit, 4:2:2 externally via HDMI. That’s all we get for now. We don’t know if this is a full sensor readout or a cropped image, we don’t know if it is capable of F-log, and we don’t know if there will be slow motion options when shooting 1080p. Personally, I am cautiously optimistic that they will make an honest effort at catering to the video crowd. Just think of what you could do with the X Processor 4 There’s no Full Frame Camera? In a year when everybody under the sun – including SIGMA, of all people – is announcing a full frame mirrorless camera, it seems that FUJIFILM has decided to skip straight to medium format. I have a few theories as to why that might be. 1 – FUJIFILM believes that the trend towards bigger and bigger sensors will continue through full frame and right on past it. (They refer to the GFX as “super full frame”). In this scenario, they are laying the groundwork for a future that they see coming over the horizon, and maybe even encouraging it by integrating medium-format sensors with familiar body styles and feature sets. 2 – FUJIFILM believes that the full frame field is too crowded and they want to be distinct from others. Lens development is expensive and time-consuming. Canon, Nikon, and Sony deal in much higher volume and can therefore invest more in development. Owners of FUJIFILM’s APS-C cameras seem to be perfectly happy with the sensor size they have (FUJIFILM believe that APS-C is the best balanced system as you save 1/3 weight compared to FF), so why invest resources in a format that is going to get crowded? So what do you think? Is Medium Format the next Full Frame? Let us know in the comments!

Panasonic just announced two new full frame cameras – the LUMIX S1 and S1R – here at Photokina (full article with the announcement can be found here). We interviewed Mike Owen from Panasonic about the new cameras and their features. Panasonic started this year’s Photokina show with exciting announcements. We were present at the Panasonic press conference and published the initial information. Firstly, Panasonic together with Leica and Sigma announced a new partnership for the development of L-mount, which is based on the Leica mount. Second big announcement were two new full frame cameras – the Panasonic LUMIX S1 and the LUMIX S1R. Shortly after the press conference we interviewed Mike Owen from Panasonic and asked about the new cameras. As this is an early prototype, we were not yet able to get all the information and couple of our questions remained without a clear answer. Panasonic LUMIX S Full Frame Cameras – Known Specs LUMIX S1R will have full frame 47MP sensor. LUMIX S1 will have full frame 24MP sensor. Both cameras will have identical bodies. Both cameras will be capable or recording 4K in 50p/60p. Both cameras will use the newly announced L-Mount which will use current Leica lenses and upcoming Panasonic and Sigma lenses. New Dual I.S image stabilization works with both sensor and lens stabilization – first full frame mirrorless cameras to offer dual I.S. Dual memory card slots for XQD cards and SD cards. 3-axis tiltable LCD screen. We have been assured that, when released, these cameras will have the best possible codec for video recording. Also autofocus for video recording is a priority for Panasonic, so hopefully the new cameras are supposed to have a powerful AF. We are still trying to confirm if the new cameras will have 10-bit internal recording. As soon as we get the official information from Panasonic, we will update the article. L-Mount Lenses With the launch of S1 and S1R cameras there will be three Panasonic lenses available – the 50mm F/1.4, a 24-105mm and a 70-200mm. Panasonic commited to have a lineup of more than 10 lenses for the L-Mount till 2020. Furthermore there will be Sigma and Leica lenses for the mount. Both cameras along with the three Panasonic L-mount lenses should be released in the early 2019. We will keep you informed as new information will emerge (most likely also early 2019). What do you think of the new full frame cameras from Panasonic? Do you believe in the new L-mount system? Let us know in the comments below.

Canon recently introduced their first entry into the full frame mirrorless segment – the Canon EOS R – thereby launching a fresh system with a new mount and interesting accents in body and lens design. The Canon EOS R launched with four RF lenses for its native, newly designed R mount and three adapters. Video Features Apart from shooting 30.3 MP stills in a newly designed RAW format, the Canon EOS R shoots 4k UHD up to 30p, in a hefty ALL-I 480 Mbps H.264 codec or 60p in 1080p, to a single UHS-II SD card slot. Higher frame rates of 120p can also be achieved, albeit in 720p only. The Canon EOS R shoots 8bit 4:2:0 internally, but is able to output 10bit 4:2:2 over HDMI. Canon’s log profile C-Log is on board and so is Rec.2020 recording for HDR purposes. Shooting 4k, the camera will crop into about an x1.75 crop. The sensor is not technically IBIS stabilized, there is however, a Digital IS option available including gyro stabilisation. The Canon EOS R also sports Canon’s popular Dual Pixel AF, Touch and Drag AF by touch, focus peaking and the Dual Pixel Focus Guide, helping shooters to focus manually. As with most hybrid shooters, there is a 30 minute recording time limit. Here’s an overview: 4k UHD 30p, 1080p 60p, 720p 120p in H.264 up to 480 Mbps x1.75 crop in 4k Internal 8bit 4:2:0, output over HDMI in 10bit 4:2:2 C-Log and Rec.2020 Digital IS (not sensor) Dual Pixel AF 30 minute recording time limit The body The Canon EOS R’s body incorporates decades of DSLR body design, while also trying to give a few new touches. Like the Nikon Z series, it features a customizable LCD up top, replacing the 80’s-alarm-clock-style displays still found in the 5D series, and a programmable touch bar where there might have been a joystick on a DSLR. The main LCD screen and viewfinder boast high resolutions at 2.1M and 3.69M respectively and the LCD is fully articulating. There is a mic jack, headphone jack, USB and HDMI ports and a remote jack. Strictly speaking, this might be lens design, but as it’s a system, I want to mention the additional control ring all RF-lenses have. This ring can be programmed to control a lot of aspects of shooting. For video shooters it’s a nice touch, allowing you to – for example – assign aperture to the control ring and execute aperture pulls, previously only possible with cine lenses, or in the dreaded autoexposure modes. Lens Mount, lenses and adapters Canon’s new R mount sports an impressive diameter of 54mm and short flange distance of 20mm, making it easy to adapt to other lens mounts, as is the case with most mirrorless mounts. Canon also introduced some impressive lenses: Canon RF 24-105mm F4 L IS Canon RF 28-70mm F2 L Canon RF 50mm F1.2 L Canon RF 35mm F1.8 Macro Seeing as Canon has the biggest lineup of native lenses, there are three adapters for the Canon EF system: Canon EF-EOS R Adapter Canon Control Ring EF-EOS R Adapter (including the mentioned control ring) Canon Drop-in Filter EF-EOS R Adapter (allowing you to insert a variable ND or other filter into the adapter itself) What do you think? Are you excited about the camera, or the new system? What about the lenses and body design? Let us know in the comments!

Although the summer seems to be almost gone, the heat is not over yet! Hot on the heels of Nikon’s new Z6 and Z7, Canon releases their own take of a full-frame mirrorless camera, the Canon EOS R. This is it, the Canon EOS R. It is the company’s first full-frame mirrorless camera and it has plenty (but not all) of the features one had hoped for. 4K video? Check! Dual Pixel autofocus? Check! Swivel screen? Check! Alongside this release Canon shows four native lenses for the new RF mount. And these lenses come with some impressive specs! A 28-70mm f/2, anyone? The Canon EOS R The Canon EOS R is the first camera to feature the new RF lens mount with a 12-pin connection, flange back distance of 20mm and a wide 54mm mount diameter. According to Canon this enables a greater flexibility in lens design. We get to the four new native RF lenses in a second. First, watch the video below in order to get started with the new EOS R ecosystem: OK, let’s take a deep breath and sort this out. A new RF mount? EF glass only with an adapter? Yes, but that adapter comes with a twist! There are actually three different models of that EF – R mount adapter. A plain adapter, a adapter which sports a control ring (just like the control ring on the new RF lenses) and a version for drop-in filters. Your choice of a polarizer filter or a variable ND filter. The camera sports some new features when compared to the full-size DSLRs. On the rear there’s a new so-called Function Bar which is highly customizable. You can map whatever you want to it and control it conveniently with your thumb.  Furthermore, the camera body features a built-in EVF with 3.69 Million Dots, a swiveling touchscreen LCD and a dot-matrix LCD Panel on the top for all relevant information.   For stills, the EOS R shoots CR3(RAW/C-RAW) and supports dual pixel AF in RAW. The CR3 is Canon’s new RAW format for stills. The whole body is of course weather-sealed and dust resistant, just like you would expect from a Canon camera. Video Capabilities In terms of video the new EOS R does record either 1080p up to 50/60p, 4K UHD (3840 x 2160) in up to 25/30p. It’s also capable of recording 100/120p but only at a less than desirable resolution of 1280×720. The recording codec is MPEG-4 AVC / H.264 and video is recorded internally in 8bit 4:2:0 only in Rec.2020 or Canon Log (1). We’ve been told that the will operate in crop mode when shooting 4K UHD. That’s unfortunate but, and that’s a good thing, the EOS R features HDMI 422 10bit out in either Rec.2020 or Canon Log. So no real high frame rates (except for 720p) to be found here. Sony’s a7 III does 1080p in up to 120fps. Same is true for the new Nikon Z6 and Z7. According to Canon the EOS R is just the first body for their new ecosystem involving the new RF mount, so this might be only the beginning. For us video shooters the above specs seem a bit disappointing but I think we should wait just a little longer and don’t judge a camera solely from its specs. Let’s see how the actual footage looks like. What the Canon EOS R lacks is this: No IBIS (in body image stabilization). The New sensor does not offer any built-in IS features such as the Sony a7III or the new Nikon Z’s do. Furthermore, the EOS R sports only a single SD card slot (just like the new Nikon Z’s). New RF Lenses Along with the release of the EOS R body, Canon also releases 4 new lenses which support the RF mount natively. The four lenses include these models: RF 24-105mm F4 L IS USM RF 28-70mm F2 L USM RF 50mm F1.2 L USM RF35mm F1.8 MACRO IS STM The 28-70 f/2 is a world’s first in terms of fast aperture. All these lenses make use of the new RF lens mount design which offers greater flexibility when designing lenses. The rear elements of these lenses can be bigger when compared to EF glass. This results in more compact lenses while still be able to design very fast lenses. The RF lenses sport a new Control Ring which can be programmed to several functions such as iris or ISO control. That way you can hold the camera with both hands while conveniently controlling all the functions you need right now without fiddling with buttons and dials. The Competition The so-called mirrorless war is really heating up! Sony has been king of the hill in this market segment for some years now, but competition is growing. First Nikon Z, now Canon EOS R, Panasonic also seems to have something up its sleeve. And of course, one question remains unanswered: When do we see a Sony a7s III? EF-EOS R adapter with variable ND filter.Adapter Canon’s signature dual-pixel autofocus is probably the best autofocus system for videos we know and it’s a great selling point for the new EOS R camera, I’m sure. Pricing and Availability The camera will be available from early October on. The body will sell for 2,299$. Pricing for the adapters and the lenses still remain unknown at this point  Pricing is now available, see below for all the details. Apart from the basic EF-R adapter, the other models will arrive a little later this year or beginning of next year. links: canon.com (press release) What do think of this new camera which actually opens the door for a whole new ecosystem? Share your thoughts in the comments below!

Today Nikon releases their new full-frame FX-format Nikon mirrorless cameras – the Z7 and Z6. The company also releases three new NIKKOR Z lenses with a new, larger-diameter Z mount and adapter for older NIKKOR F lenses. Both Nikon Mirrorless Bodies look identical from the front. Source: Nikon Nikon Z7 and Z6 Full-Frame Mirrorless Cameras Both new cameras are equipped with a new backside illuminated Nikon FX-format CMOS sensor with focal-plane phase-detection AF pixels and the EXPEED 6 image-processing engine. They are also equipped with an electronic OLED viewfinder: approximately 3690k-dots, frame coverage of 100%, magnification of 0.8x and 37.0° diagonal viewing angle. The tilting LCD monitor is 8cm/3.2″ with an approximately 2100k-dot touchscreen. Nikon mirrorless cameras feature a tilting LCD display. Source: Nikon Both, the Z7 and the Z6 can record 4K UHD (3840 x 2160) at up to 30fps and Full HD (1920×1080) at up to 120fps. 4K UHD movies support full pixel readout. Additionally, both cameras support focus peaking, timecode, and Active D-Lighting. Nikon also offers a new flat gamma curve color profile called N-Log which can be used with 10-bit HDMI output. With N-Log, Nikon claims, the cameras can achieve 12-stops of dynamic range. Unfortunately, the below video sample published by Nikon is underwhelming and shows blown highlights everywhere!  Both Nikon mirrorless cameras are equipped with in-camera vibration reduction, which provides compensation for movement along five axes. Both, the Z7 and the Z6 offer the same level of durability, dust- and drip-resistance as the Nikon D850. For photographers, high-speed continuous shooting is supported at approximately 9 fps (Z7) and 12 fps (Z6). There is built-in Wi-Fi in order to provide the possibility of directly connecting to a smart device using SnapBridge or transferring images and movies to a computer. The Nikon Z7 is the more expensive one of the two new bodies and has 45.7 effective megapixels. It supports a standard sensitivity range of ISO 64-25600 (can be expanded to the equivalent of ISO 102400) and its hybrid AF system has 493 focus points. The Z6 is a cheaper all-purpose FX-format camera with 24.5 effective megapixels and therefore supports a slightly higher sensitivity range of ISO 100-51200 (can be expanded to the equivalent of ISO 204800). It has the hybrid AF system with 273 focus points. New NIKKOR Z Lenses and Adapter Nikon is also releasing three new lenses compatible with the Nikon Z mount system, as well as the Mount Adapter for older NIKKOR F mount lenses. The Z Mount system features a bigger inner diameter of 55 mm and a short flange focal distance of 16 mm. The three new lenses are: Standard zoom NIKKOR Z 24-70mm f/4 S Wide-angle prime NIKKOR Z 35mm f/1.8 S Standard prime NIKKOR Z 50mm f/1.8 S New NIKKOR Z mount lenses. Source: Nikon All new lenses have Nano crystal coating to suppress ghost and flare and they are sealed, so the whole combo is dust- and drip-resistant. The 24-70mm zoom lens features a minimum focus distance of 0.3 m across the zoom range and it provides additional portability with a retracting mechanism which reduces the total length of the lens for transportation. Nikon mirrorless cameras with Z mount lenses. Source: Nikon The FTZ Mount Adapter allows shooting with AE or AF/AE with approximately 360 selected NIKKOR F lenses from AI type onwards. In-camera VR (Vibration Reduction) is also available when attaching a NIKKOR F lens without built-in VR. That applies for both, stills and movie recording. Various sections of the adapter are effectively sealed to ensure dust- and drip-resistance. Nikon Adapter allows mounting older NIKKOR F lenses. Source: Nikon Furthermore, Nikon has announced the development of the NIKKOR Z 58mm f/0.95 manual-focus lens. It is supposed to be the fastest lens in Nikon’s history (within interchangeable lenses for Nikon SLR cameras and advanced cameras with interchangeable lenses). It has inherited the design concept behind the original AI Noct-Nikkor 58mm f/1.2 – a standard prime lens released in 1977. The lens should be released in 2019. Price, Availability and Thoughts Both new Nikon mirrorless cameras, the three NIKKOR lenses and the NIKKOR F adapter are available for preorder now. The expected shipping date is October 3rd. The Nikon Z6 body starts at almost US$2,000.00 and the Nikon Z7 at almost US$3,400.00. The prices of the lenses and sets can be found under our article. By releasing these new full frame mirrorless cameras, Nikon really tries to catch up with its competition – especially Sony. (We hope Canon is watching and listening). It is now to be seen, if these new Nikon mirrorless cameras hold up in the field of video as well. The official press release didn’t reveal too many video-oriented features yet. 10-bit HDMI output in 4K with N-Log sounds nice, but it needs to be tested to see the real world results and image quality. One advantage that Nikon definitely has on its side is a significant community of photographers with high-end NIKKOR lenses. These people may not have to switch to competition, if they decide to take advantage of a compact full-frame mirrorless body. If these new Nikon mirrorless cameras really prove to be a threat for Sony’s a7 line of cameras – especially in the field of video – it will be interesting to see how Sony reacts. We hope that 10 bit recording, higher internal 4K frame rate and maybe a price drops on the a7 line will be the outcome. For the full press release regarding the Nikon mirrorless cameras click here and for the NIKKOR Z lenses click here. What do you think of these new cameras and lenses? Can Nikon finally attract filmmakers too? Let us know in the comments below.

Nikon has finally officially announced development of a next generation full-frame mirrorless camera system, along with NIKKOR lenses that feature a new mount. Nikon catching up with Sony – low light capable mirrorless camera? It’s been 5 years since the original Sony a7S was announced. An announcement that on reflection can be considered a game changer. Whilst not as monumental as the 5D Mark II announcement, the mirrorless movement has been pretty huge – the small form factor, big-feature-for-your-buck technology has lead the line in the consume filmmaking market over the last few years. It became a bit of a novel conversation about when Canon would dip their toes; building on the success of their video-able DSLRs that started everything off. But a company that has sat there equally as quiet, but with less questions asked of, is Nikon. With only large collection of DSLR lenses to protect, there has seemingly been nothing stopping Nikon from giving the mirrorless market a real good go. They are finally making some ground on the matter, with announcement of a new generation mirrorless ecosystem that promises a full frame body, a line of NIKKOR lenses with a new mount and backwards compatibility with existing F-mount lenses using an adaptor. How good will the video recording on Nikon Mirrorless be? The question is just how much attention they pay to video. Nikon has been adequate with their video inclusion on DSLRs. The mirrorless market is very different, Sony and Panasonic take video very seriously on their respective mirrorless lines; for Nikon to compete they will have to give it equal attention. There’s no word on when Nikon will actually announce a physical product. No pictures at this stage either, just the above ominous video. What’s your take on Nikon’s move? Is there still a chance for Nikon to catch up with the mighty competition? Let us know what you think in the comments below.