Livin' la Vida Loca
Henrik Herranen: Video of today is 4K / UHD, or in other words around eight megapixels. Lytro images show obvious digital artifacting even at 0.2 (zero point two) megapixels. Reference: pixelated out of focus areas between hand and background in http://www.dpreview.com/files/p/articles/1418225486/IMG_0331-ShallowDOF-520px.jpeg from article http://www.dpreview.com/articles/1418225486/lytro-introduces-focus-spread-feature
This technology doesn't work.
Do you edit 4K?I do.
Wavehog Films: The move to video is known as a "pivot." In other words, a realization that: your product is "sheit"; you as CEO, are about to get canned; and, to avoid giving money back to investors, liquidating and hanging your head in shame, you need another cocked-up venture to keep the pyramid scheme alive : )
It's about as close to dung as a modern camera can get. It solves no problems for a real photographer and actually introduces a few. Amatuers (or if you prefer, the mass market consumer) won't buy for a variety of reasons, and they have mostly moved to cell phones for their photography.
Editing 4K is not a problem. 4K is the future of 'home' video. You will see a big push this year and into the future.
4K 60p cameras are available, but not priced for the consumer market. That too, I think will change. Although personally, I don't know why the average consumer would want 60p.
Papi61: The camera market is older and more traditional, i.e. less open to innovation.The video market is younger and more experimental, ready to accept innovation.RED tried to market their products as photo cameras and failed. They switched focus to 100% video and now they virtually own the indie market.
Smart move, Lytro.
The problem RED had was they promised the original Scarlet at around $2000, fully functional. But they were unable to deliver on that promise. Instead the Scarlet morphed into what is available today at somewhat (read MUCH) higher prices than originally promised.
Saying RED now owns the indie market is something of an overstatement.
Professional filmmakers? Amaueur and semi-pro video is now at 4K (8MP), but professional filmamers are now using 6K(20MP - Arri Alexa 65). RED also have a 6K cinema camera.
I think if they could do an 8MP sensor for stills, many people would sit up and take notice. It's the low resolution of the current offerings that is the issue.
For the future, anything less than 4K in video will not get you very far.
Rooru S: DPReview Team. Did you ask Sony about any future plans for A-mount? Or can I start selling my equipment now?
In my opinion, Sony is fazing out the A mount. I expect to see fewer and fewer A mount bodies and lenses announced as we move into the future. Sony are betting the farm on E and FE.
The design, reminds me a little bit, of the Pentax 6x7.
'Is Canon serious?'... Well, obviously not, since they decided to avoid the USA.
faterikcartman: I was a Canon film shooter beginning in the 1970s. And I thought they were the bang-for-the-buck leader. I held off on digital but finally went Nikon. I've been unsure about that decision off and on over the years. And I've even regretted it from time to time. I'm fully vested now. But still check out new offerings as many have happily sold everything to jump ship (financial loss notwithstanding). I have an IPF8100 and IPF8300 so I can actually make use of more pixels.
But, I'm sorry to say, the first thing this camera makes me think of is "keep the Nikon gear and buy that Pentax 645Z. I'm not sure there's more quality pixels to be squeezed out of FF. I suppose there may be some who still buy based on pixel count alone. But are there really that many left who would into a large SLR system like this?
IMO, if Canon (or Nikon) wish to move into the 50+ megapixel game it is time to roll out a new lens mount. Beat that 645Z price and you'll get people interested.
I agree with your last paragraph. The problem is, the market for MF cameras is vanishingly small.
geenoz: You whinny poo haters, stopit already , if you cant see why we need 50mp dont worry yourselves into a heart attack, mirrorles this and mirrorless that wide DR, please get a life. Some cannot afford this camera so they crap all over it like a new born baby,stopit. Haters. Family portrait shooters will love this camera, when I look at the Images from medium format digital, I can only dream of one day owning one of those bad boys, Canon comes along to help us out a little and all of a sudden its not enough or its too much. Give the camera a chance to prove ifself. Nikon did an excellent job with the 800 model cams, at one point comparing it to medium format. So its not just the megapix race, its the Canon haters, so get the hell outta here and head on back to whatever ya shoot with and leave the photographers that make a living with their cameras alone,jeez
I think it is a very interesting camera. I will also be very curious to see what Sony and Nikon do in the way of a response.
Personally, I have zero need for 50MP, and if I was going to go 50MP, I would much prefer to go the Pentax 645 route.
Miles Lye: If Sony can get IBIS and exceptional high iso performance in the A7RII, then what's the point in upgrading or considering this camera or a Nikon alternative? Why pay more for less? The A7 cameras aren't perfect at all but Sony is making amazing progression in a short amount of time and they listen. After using an A7 and seeing the progression with the A7s and A7II, I don't doubt Sony will make this camera look dated when the A7RII is announced.
If you are talking about FE mount lenses, then I agree with you. But talk about A mount and now you have a whole new ballgame.
PLUS, the Zeiss lenses for Sony mounts (A/E/FE) are all AUTOFOCUS.
munro harrap: Part III . Note too that the video is crippled. No 4K. only 30fps at HD1080p. There isn't even a headphone socket. You can get all that for far less than £3.2K on a Sony.
And this has me asking why there is no declaration here of buffer depths.Why is there no declaration here of shutter-lag?
Both of which cripple earlier models and the Sony A7R. I am waiting until CAnon reduce shutter lag to 0.42 m/secs or less.
IN fact I am wondering why this is not a mirrorless machine sold with an AF adaptor for all EF and EF-S lenses? Really.
Is that in 6 years and 2 "upgradeson" ? Well as a Nikon user annoyed that the D810 was not produced first, I'm sure Canon users will learn here from how we were treated, at OUR expense to below par specification- as you can now buy a second-hand D800 that cost £2.4K in spring 2012 for £1K with a years warranty, so expect your depreciation on the non R model to be the same....
High MP cameras are not good for video as too many compromises are required.
GodSpeaks: I have to wonder what this lens brings to the table over the excellent Samyang 7.5mm?
Other than speed and likely high price.
At 8mm you do not need AF.
One issue is that diffraction limits will set in around f5.6. That, and what lenses can resolve properly on a 50MP sensor?
As someone who owns both 24MP and 36MP FF cameras, I can state that 36MP is already too much, for me.
One thing I did learn was that technique is VERY important at 36MP. I can only guess how very very important it will be at 50MP. This is a tripod, not hand held camera.
I have to wonder what this lens brings to the table over the excellent Samyang 7.5mm?
cgarrard: Still- nobody is doing a camera like this with raw files ;)
Nikon 1AW1 shoots raw, goes to 49 feet, has a 1" sensor and has interchangeable lenses.
Perfect for the Bahamas.
Cane: Why can't this genre make bigger sensor versions of these cameras?
Nikon 1 AW1
So, still no raw and now no 4K too.
NAwlins Contrarian: The table on the first page comparing the GM1, GM5, and RX100 Mk. III is misleading in an important respect. For some purposes (weight, zoom range) the Panasonic M4/3s are listed with their kit lens, but for other purposes (depth), they're listed without it. As your pictures on page 2 show, put on the kit lens and the package becomes more like 3 inches (75mm) deep. An RX100 Mk. III is pocketable in most reasonable pants pockets; with the Panasonics and their kit lens, forget it unless you have cargo pockets.
Also, since we routinely list lenses with focal lengths as "35mm equivalent", can we please routinely do the same thing with apertures? For some purposes it's convenient to see that the 12-32mm kit lens is an f/7-11 equivalent and the RX100 Mk. III's lens is an f/4.9-7.6 equivalent. IOW, (1) the Sony can achieve shallower depth of field, and (2) in low light, its much brighter lens will tend to more than compensate for its somewhat smaller sensor.
Listing focal lengths as 35mm equivalent is good, but definately NOT for aperture.
The whole aperture equivalence is total BS and serves only to confuse. Not everyone is even interested in DoF across different sensor sizes, and f2.8 is f2.8 regardess of sensor size when it comes to EXPOSURE.
Personally I am sick and tired of the whole aperture equivalence argument as it is so often used by those with an axe to grind to put down cameras with less than FF sensors.
Capture One Pro is far superior to lightroom. Plus you are not forced to 'catalog' everything.