Rumored specs

• 12MP FF CMOS sensor, BSI, fast readout
• 5-Ахіѕ Орtісаl Іn-Воdу Іmаgе Ѕtаbіlіѕаtіоn
• 759 АF Роіntѕ соvеrіng 92% оf thе ѕеnѕоr
• 15 stops DR
• 9,44mdots OLED EVF
• Articulating LCD, around 2.4Mdot
• Conflicting rumors about deal ISO, native ISO must be around 800-1600.
• ВІОNZ ХR LSI, overheats as made using 8 year old process
• Video modes
  • Small crop in all video modes
  • UHD from 24fps to 120fps
  • UHD 10bit 422 up to 60fps
  • 1080p from 24fps to 240fps
  • UHD raw over HDMI
  • up to 600mbps bitrate
  • Н.265, Х-АVСНЅ codecs
• ISO 160 for S-LOG3
• Ѕ-Lоg Fх9 Соlоur Маtсhіng
• Rеаl-Тіmе Еуе АF оf Нumаnѕ аnd Аnіmаlѕ
• not impressive pasive only cooling, overheat shutdown system present
• video record button is now on the top of the camera,
• touch function available when navigating the menu (few kittens died at Sony to make it happen)
• Dual slots, UHS II SD cards and CFexpress Type A card can be installed in each one
• One usb-c port and micro-usb, full size hdmi port.
• Ніgh-Реrfоrmаnсе Ѕоnу Z-Ваttеrу
• 5Ghz WіFі Соnnесtіvіtу
• Shipment starts August 16th
• Price - $3498, 4200 EUR, 3800 GBP
  • US - https://www.adorama.com/isoa7sm3.html
  • US - https://www.bhphotovideo.com/c/product/1577838-REG/sony_ilce7sm3_b_alpha_a7s_iii_mirrorless.html
  • EU - https://www.fotokoch.de/Sony-Alpha-7S-III-ILCE-7SM3-Gehaeuse_35856_bewertungen.html
  • EU - https://www.calumetphoto.de/product/Sony-Alpha-7s-III/SONA7SIII
  • UK - https://www.wexphotovideo.com/sony-a7s-iii-digital-camera-body-1745993/

Based on cages initially built by hand, this next generation cage will be CNC'd and even more feature-rich than the previous generations, as well as incredibly light weight and well-balanced!

While the design is nearly complete, I am still open to ideas and suggestions people here might have. We addressed many of the issues often experienced with other cages on the market and added a few extra features never before seen such as a relocatable grip option!

Specs

• 24.3MP X-Trans sensor
• 4K p30 video recording, 1080p60 also available
• 325-point AF system
• 3" 1.24M-dot touch LCD
• Prices
  • body-only - $900 at https://www.amazon.com/Fujifilm-Camera-Silver-X-E3-Body/dp/B0759GZFMG/
  • 18-55mm kit - $1300 at https://www.amazon.com/Fujifilm-X-E3-XF18-55mm-Lens-Kit/dp/B0759HGV78/
  • 23mm F2 kit - $1150 at https://www.amazon.com/Fujifilm-X-E3-Mirrorless-XF23mmF2-Kit/dp/B0759G5XRK/
• UK Prices
  • X-E3 body - £849
  • 18-55mm kit - £1249
  • 23mm F2 kit - £1149
• Accessories
  • Fujifilm MHG-XE3 Metal Hand Grip https://www.adorama.com/ifjmhgxe3.html
  • Fujifilm BLC-XE3 Bottom Leather Case https://www.adorama.com/ifjcsbxe3.html

I'm saving up for a G85, and with that I'm looking for a new 4k screen.

The screen is going to be used as a monitor for my pc. I like to have 40" +.

My priorities are:

1. viewing angle
2. colour accuracy
3. NON flickering when set to low brightness
4. latency
5. HDR ready

My budget hovers about € 700.

Any recommendations?

• Thanks!

Now, Sony's new PlayStation 4 Pro comes (in November) with significantly improved, 4k/HDR capable hardware - but only an ordinary BluRay drive, so it cannot replay UHD BluRays. Epic Fail.

That's even more bewildering as competitor MicroSoft built an UHD BluRay drive even in its much lower powered XBox S.

Curious if anyone knows what cameras and lenses they used for the Season 2 premiere.

This is a Nikon B4-mount ENG lens.

While this may be an "SD" lens, I put it head to head against my Micro-4/3 (M43) still photography glass and this lens more than holds it's own.

This is because the M43 lenses are corrected in camera.

This Nikon is just purely great.

You can shoot HD with this lens.

I'm already shooting 4K with this lens on my Panasonic GH4 in full Digital Cinema mode and there's no vignetting.

If you use the full M43 sensor (for HD) then you see a little vignetting in the corners. But the 4K modes use a slightly smaller crop area and this removes any vignetting. The same can be said for the Blackmagic Design Pocket Cinema Camera's Super 16mm sized sensor area. You would have no vignetting there either.

This lens is PARFOCAL- which means that, once you set the backfocus to your camera/sensor, you can zoom in, get your focus, and zoom out. It's always in focus.

This lens is VERY WIDE. Most B4 lenses start around 8mm. This starts at 5.5mm. In M43 terms, it's like using a 7mm lens to shoot DCI 4K video.

It goes down to an f1.7. And it's a flat 1.7 across the entire zoom range. Like any very low aperature lens, the image qualty steps up once you get to f2.8 or so, but when you need those extra stops, this lens has them.

It has an internal "DOUBLER." But this one is not a full 2x, it's a 1.7x which means there's more light hitting the active image area of your sensor because the "doubler" doesn't spread it out as far as a full 2x doubler.

It has a MOTORIZED SERVO ZOOM. This means you can provide the lens 12v power (adapters are readily available on e-bay) gently push the zoom rocker, and the lens will gently creep through the zoom range- without the lens adjusting the iris in the middle of your shot like it does with still lenses. The motor can be disengaged and the lens used completely manually too.

This lens focuses down to 1-FOOT. You read that right. 1-foot. The other B4 lenses I see all have a minimum distance of several feet. But this lens you can zoom in to a very small item just 1 foot from the front of the lens and you can focus on it without even using the lens' macro.

It has a MACRO. Which means you can pull the focus even closer. And unlike other B4 lenses I've used that lock the Macro out, the Macro on this Nikon lens can be used even with the doubler engaged.

OMG! There has got to be SOMETHING wrong with it.

Well, yes, there is. When it got shipped to me from Europe, the manual/servo rocker arm got banged. It's a bit more wobbly than it should be. It still engages and disengages the motor, but you may have to wiggle it a bit. The servo motor still works, but sometimes, if it's not engaged fully, the connection between the motor and the teeth on the lens can be intermittent. If you want to open up the lens and see if you can adjust this to make it better, it's just four screws away. You could also remove the servo grip entirely and the lens would work perfectly as a fully manual zoom with teeth ready for any follow focus system you'd like to add. Personally, I like the grip because it's in the middle of the lens and it balances very nicely in my hand, even with the big Panasonic GH4 on the back of it.

I see there's actually another Nikon B4 lens for sale on e-bay right now and the grip surface around the lens is peeling away. That lens is banged up. That lens has clearly seen many years of service.

THIS lens, on the other hand, looks and feels new (except for the manual/servo switch).

It's VERY clean.

The grip is in GREAT shape, though the leather part of the hand strap does show some wear, it's perfectly functional.

The focus, zoom and iris are SMOOTH.

The doubler pops in and out beautifully.

The optics are CLEAN. Surprisingly clean.

It has a rear lens cap.

It has a front lens hood with protector glass integrated into it.

There is no front cap.

Look at the pictures.

Watch the video.

This thing is amazing and whomever wins this auction will be capturing stunning images with this lens for a long time to come.

Expanding the color gamut of UHD was hot topic. Much as already been said about the gamut known as Rec.2020, which encompasses a significantly wider range of colors than HDTV's Rec.709 and even the digital-cinema P3 gamut. (Actually, color gamut is only one part of Rec.2020, which is more formally known as ITU-R Recommendation BT.2020 and also includes parameters such as display resolution, frame rate, color bit depth, and color subsampling.)

Some presenters advocated going much farther by using the XYZ color gamut, which extends well beyond the entire range of colors visible to the human eye. By using XYZ, the system would be entirely future-proof, accommodating any display technology that might be developed without having to create a new system all over again.

Frame rate was also debated. Of course, higher frame rates result in sharper motion detail, especially if the camera's shutter aperture—the fraction of the entire frame duration that the shutter is open—is low. (The longer the shutter is open during each frame, the blurrier moving objects appear.) However, a low shutter aperture also increases visible judder, a stuttering in what should be smooth motion. Also, higher frame rates look less like film and more like video, which many cinephiles object to. Still, many presenters said, in effect, "Get over it, this is the future we're talking about!"

Richard Salmon of the BBC brought some demo material comparing standard and high video frame rates—50 vs. 100 frames per second for Europe and 60 vs. 120 fps for the US. In the European clips, the 50 fps material was shot with a 50% shutter aperture, while the 100 fps footage was shot with a 33% aperture; in the American clips, both 60 and 120 fps were shot with a 50% aperture. In all but one case, the objects in motion were much sharper at the higher frame rate, and I did not see any judder. The only exception was a side shot of a woman juggling three bowling pins, and in that case, there was no improvement in the motion sharpness because, we were told, the human visual system cannot resolve rotating motion very well.

HDMI 2.0 was mentioned by Peter Putman, a well-known industry analyst and journalist whose presentation focused on the consumer-display side of the equation. According to his calculations based on using the RGB color space, HDMI 2.0 with 18 Gbps of available bandwidth can convey UHD at 60 fps with 8-bit color but not 10-bit, while DisplayPort 1.2 with 21.6 Gbps of bandwidth can handle 2160p/60 with 10-bit color using RGB coding.

Most of the presenters advocated for UHD to adopt the entire Rec.2020 suite of parameters, including a resolution of 3840x2160, the specified color gamut (if not XYZ), frame rates up to 120 fps, at least 10-bit color (preferably 12-bit), and 4:2:2 subsampling (if not 4:4:4). However, HDMI 2.0 at 18 Gbps can't accommodate all these upgrades, so we face a dilemma—increase HDMI 2.0's data rate, abandon HDMI for DisplayPort, or accept lower standards for UHD.

Check rest at http://www.avsforum.com/t/1496765/smpte-2013-uhd-symposium