Canon now offers a control ring modification service for RF lenses and the Control Ring Mount Adapter to remove the clicking aspect of the control ring. The cost of the service is $79.99 for RF lenses or $59.99 for the Control Ring Mount Adapter.
It’s intended for video shooters who are affected by the clicking sound picked up during audio capture. The service can be ordered through Canon USA’s support portal. See Canon USA’s website or call Canon USA directly at 1-800-652-2666 for more info.
Fuji has announced the GFX100 medium format camera with a 102MP sensor and 4K video capture. The new GFX100 follows the successful Fuji GFX50R and GFX50S models, both of which sport a 51.4MP sensor in the same 43.8 x 32.9mm form-factor.
As you can see from the stock images of the GFX100, it offers a built-in vertical grip that also doubles the battery capacity by holding a second standard NP-T125 battery (Fuji includes two batteries with the GFX100 body).
The in-body image stabilization offers up to 5.5 stops of shake reduction and the new on-board phase detection hybrid auto-focus (AF) features near 100% coverage with 3.76 million phase detection pixels. The GFX100 has weather sealing in 95 locations across the camera body and detachable EVF to ensure an exceptionally high level of dust and moisture resistance.
Fuji GFX100 Key Features
102MP 43.8 x 32.9mm BSI CMOS Sensor
X-Processor 4 Image Processor
Removable 5.76m-Dot OLED EVF
3.2″ 2.36m-Dot Tilting Touchscreen LCD
DCI 4K30 Video; F-Log Gamma & 10-Bit Out
5-Axis Sensor-Shift Image Stabilization
3.76m-Point Phase-Detection Autofocus
ISO 100-12800, Up to 5 fps Shooting
16-Bit Raw Output, Multi Aspect Ratios
Built-In Battery Grip, 2 x SD Card Slots
The Fuji GFX100 will be available on June 27, 2019 for $9,999. Check it out here at B&H Photo.
Apple has updated its MacBook Pro line with an option for Intel Core i9 8-core processors starting at $2799.
The 9th-generation Intel Core i9 processor is the first 8-core processor available in the product line. Mating the 8-core processor with 32GB of RAM and up to a Radeon Pro Vega 20 with 4GB GPU provides some serious horsepower. While the laptops are still limited to four USB-C/Thunderbolt ports, they continue to be touted as top-of-the-line machines for creative professionals.
Of course, all this comes at a price. The entry to 8-core horsepower starts at $2799 and ratchets up quickly as you build up to a fully decked out machine for $6549. Check it out here at B&H Photo and here on Apple.com.
Video production requires so many tools for different set-ups. Many of those tools are super sexy cameras, drones, lenses, and accessories. However, there are some tools that fly under the radar but are critical to a fully functional system. One of these very boring tools is the Decimator MD-HX HDMI/SDI Cross Converter, which allows you to take virtually any HDMI or SDI signal and output it to a standard video signal that works with your system into either HDMI or SDI.
Over the years, I’ve used the Decimator MD-HX mainly for live video production operations; however, it works for just about any setup when you have to get an HDMI signal into an SDI signal. The unit ships with an AC power adapter and HDMI cable for $300.
My two primary uses for Decimators has been in (1) signal conversion or scaling (e.g., converting a computer output to a broadcast 1080/60i signal) and (2) HDMI extension (for runs longer than 30 feet or so).
Running HDMI longer than 50 feet can create problems with the signal strength resulting in loss of picture or inconsistent picture presence. I start getting nervous after 25-30 feet. Typically, if I need to use longer than a 25′ HDMI cable for anything other than a temporary solution, I default to using the cheaper $100 version Decimator MD-LX. As long as you don’t have to convert a signal, these are golden and reliable for just about any HDMI extension. There are no settings to adjust for the MD-LX. It’s as simple as plug and play.
I’ve used these on a number of security camera systems where I’m extending the display from a remote NVR to an office or another viewing area. Couple a pair of these with a USB-to-ethernet extender and you have direct input control of your NVR by using some affordable RG6 and Cat6 cabling. They work great for both home and commercial installations.
The MD-HX gives you so much flexibility when working with broadcast signals to getting virtually any video signal into a production switcher. Likewise, you can also use them to split signals to multiple locations in a pinch.
Both the MD-HX and MD-LX have pass-through ability for local viewing of your extended/converted signal so that you don’t need to use additional outputs from your source device.
I’ve tried other brands for HDMI/SDI conversion and just haven’t had the same luck. A colleague asked me to help troubleshoot a broadcast area recently and we quickly narrowed the issue down to a buggy Blackmagic converter. We plugged in one of my Decimators and all was well. These things just work and continue to work for years and years.
The Decimator MD-HX is one of my favorite boring video devices. If you need to run a video signal for 300′ from one HDMI device to another, the Decimator can do it. If you need to get virtually any modern video device to talk to another, the Decimator can do it. If you need to split a signal in a pinch to multiple SDI devices, the Decimator can do it.
The Decimator MD-HX and MD-LX are available from Photography Bay’s trusted retail partner, B&H Photo, at the following links:
The Canon EOS R is a camera we’ve all been waiting to see for several years now. It’s a full frame mirrorless camera with a 30.3MP sensor, 4K video capture, and an all-new lens mount. So how does this new camera and system handle the hype and anticipation that’s been building for so long?
In short, it’s promising.
In reviewing the Canon EOS R, it’s important to consider where it fits Canon’s new RF mount ecosystem, as well as relative to its EF mount counterparts. The hype, anticipation, and sentiment all wanted the Canon EOS R to be a mirrorless version of the Canon EOS 5D product line. Unfortunately, that’s not where Canon slated this first full-frame mirrorless outing. Based on the pricing and overall feature limitations, it’s more analogous to the Canon EOS 6D line.
Canon EOS R Key Features
30.3MP Full-Frame CMOS Sensor
DIGIC 8 Image Processor
UHD 4K30 Video; C-Log & 10-Bit HDMI Out
Dual Pixel CMOS AF
5655 AF Points
3.69m-Dot OLED Electronic Viewfinder
3.15? 2.1m-Dot Swivel Touchscreen LCD
Expanded ISO 50-102400
8 fps Shooting
Wi-Fi and Bluetooth
SD UHS-II Card Slot
Dual Pixel RAW
The Canon EOS R is built around a 30.3MP full-frame sensor and uses the new RF mount, which provides a shorter flange distance and results in larger rear lens elements to produce an image on the full-frame sensor. The RF mount also provides faster and more in-depth communication between the camera and lens thanks to the new 12-pin communication system.
When Canon first announced the EOS R, I questioned the rather bold use of the term “uninhibited.” However, after using a variety of EF lenses with the Basic EF adapter on the EOS, I have to admit that I couldn’t discern a difference in ordinary use. Additionally, I used the EOS R with several third-party lenses . . . even an old Sigma 70-200mm f/2.8 from 2005 that’s still in my bag . . . and it worked just fine. Sharp, fast, and consistent AF with everything I threw at it.
While I’m sure there are lenses that don’t well (or maybe at all), I have to hand it to Canon for working through the compatibility for older lenses. If you’ve got a bag of EF lenses that you are worried about functioning on the EOS R, stop worrying. That’s no reason to not buy the EOS R.
Canon EOS R with (circa 2005) Sigma 70-200mm f/2.8 DG HSM Lens at 200mm, f/2.8 and ISO 4000
The new lens options are enticing on the EOS R. The shorter flange distance (as compared to the EF mount) is already yielding some interesting lenses like the RF 28-70mm f/2. Unfortunately, I couldn’t get my hands on this salivating lens when I had the EOS R back around the holidays but I got to use the RF 24-70mm f/4L IS and the RF 50mm f/1.2L. Both are just fantastic lenses but I hardly took the RF 50mm f/1.2L off the camera.
Our very good boy Hank with the Canon EOS R w/ RF 50mm f/1.2L at ISO 1000 and f/1.2
Crop of above image at ISO 1000 and f/1.2
There are gobs of samples you can dig up on more technical review sites and if you’re the pixel peeper type, I encourage you to search those out. I didn’t really get too technical with the EOS R’s image quality; however, I was never disappointed with the images it produced. It is head and shoulders above the Canon 6D Mark II and more closely aligned with the 5D Mark IV‘s image quality.
Canon EOS R Sample Image with 50mm f/1.2L at ISO 100 and f/1.2
Overall, I like the handling and grip of the EOS R. It’s definitely a step-down in size from the 5D line of DSLRs but I consider that a good thing. The button layout is good overall. Some of the new functions are a matter of taste though. The mode dial that brings up a sub-menu of modes on the camera’s LCD was a turn off for me. As was the new M-fn bar.
My opinion on manual buttons and switches is that I want tactile feedback of what I’m doing. I don’t get tactile feedback on the M-fn button/panel and I could never get used to the menu option of the mode dial. Would it stop me from buying the camera? Probably not. I think it would take me several months to adapt though.
Another complaint that I’ve heard since the EOS R was announced is the lack of dual memory card slots. I think is likely a small percentage of people with this demand. I’ve written about this before but I think is a non-issue with this camera. It has a fast UHS-II slot. Finally, Canon goes with UHS-II.
It accommodates 4K video and can record C-Log internally at 8-bit, along with still image capture up to 8fps. Again though, this is not the “pro” mirrorless camera from Canon. It’s prosumer for sure but not a replacement for the 5D Mark IV as a workhorse.
All that said, the EOS R can be a replacement for the 5D Mark IV among a certain class of shooter: the prosumer that has the image quality discernment causing them to reach for the 5D Mark IV’s capability but doesn’t need the robust build and workhorse demands of a professional shooter. If you wanted to go with the lighter and more affordable 6D Mark II but were put off by its lacking image quality, the EOS R may very well be the camera for you.
The built-in 4K timelapse works great for producing a ready-to-use timelapse movie in 4K quality. If you want more control, there’s no way to take still images with a built-in intervalometer like you can on Canon’s pro DSLRs.
However, the affordable Vello Shutterboss remote gets you more control than those cameras offer interally anyway. It’s the same remote that works on the Canon Rebel series and is a must-have if you enjoy shooting timelapse sequences and still want the flexibility your RAW files provide you after the capture.
I’ve gotten to where I love a good articulating display on just about any camera – and the Canon EOS R’s touchscreen display is a great addition. It’s very flexible in practical shooting situations and keeps me off the ground when framing from a low angle. The touchscreen is as good as the rest of what Canon offers – and I still think Canon has about the best touchscreen action of any camera.
The WiFi transfer works well enough to get solid images from the camera to your phone for quick edits in Lightroom or your mobile app of choice. I love to see some revolutionary advances in this space but Apple and Android have the hands to play and our niche use case as enthusiast and pro photographers probably doesn’t register loud enough to force their hands. For now, it is functional enough to get your high-quality images off your camera and onto Instagram.
On the video side of things, I think Canon is happy to let the EOS R lag behind and let a higher-end model step up the video segment in its mirrorless line. While the EOS R records 4K video, it is significantly cropped to the tune of 1.8x. This makes lens choices a nightmare and consistency with other Canon cameras frustrating. The jello effect is in full effect on the EOS R as well thanks to the rolling shutter. If you’re a video enthusiast or pro, then you already knew this. If you want some decent video, the EOS R can deliver solid results. However, this camera is hands-down a still image shooter first and foremost – a role it handles very well.
Most of all, the Canon EOS R has me excited and optimistic about where pro and prosumer cameras are heading. I’m glad to see Canon on the mirrorless train alongside Nikon. While the EOS M line has its own promising cameras, the EOS R line is the future of Canon and this first offering is quite compelling. As a Canon shooter with a bag EF lenses, if I was going to drop $2k on a camera today, the Canon EOS R would be at the top of my list.
The Canon EOS R and RF lenses are available from Photography Bay’s trusted retail partner, B&H Photo, at the following links:
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