Canon’s ME20F-SH Multi-Purpose Camera Enables Viewers to ‘See in the Dark’ on National Geographic’s ‘Earth Live’

By Posted by Jody Michelle Solis, Editor

Canon U.S.A., Inc., a leader in digital imaging solutions, is proud to congratulate the team behind the National Geographic’s live television special “Earth Live”. The two-hour broadcast featured a live-production first, by using Canon’s ME20F-SH Multi-Purpose Camera along with a variety of Canon lenses, including the CINE-SERVO 50-1000mm T5.0-8.9 EF to show television viewers live images of illusive nocturnal wildlife from around the world at night, in color, without using artificial lighting. Hosted by award-winning actress Jane Lynch and award-winning television personality Phil Keoghan, the unprecedented two-hour event gave viewers an unfiltered, real-time broadcast feed to see Earth’s wildlife in various natural habitats with the use of 51 cameras shooting simultaneously in 25 different locations across six continents. The show premiered on National Geographic, Nat Geo WILD and Nat Geo MUNDO on Sunday, July 9, and aired in 171 countries and 45 languages.

Working closely with National Geographic, executive producer Al Berman’s idea for “Earth Live” involved several locations that were in total darkness during the live production and those dark locations would either require lights that would disturb wildlife, or the use of infrared or thermal cameras, which didn’t suit Berman’s idea. It wasn’t until 2015 when Canon debuted the ME20F-SH Multi-Purpose Camera that Berman saw the opportunity to broadcast undisturbed nocturnal wildlife in color. The announcement of this revolutionary four million ISO, full-frame sensor camera that can shoot full-color video in extreme low-light conditions, immediately caught the attention of Berman, who approached Canon U.S.A. with his idea. The Company’s technical support team worked closely with Berman and his crew to provide and test equipment to help bring this concept to life.

“The Canon ME20F-SH camera made it possible to do the show, and we were awed by the footage this camera was able to → continue…

From:: Student Filmmakers

Fixed & Downloadable: Sony FS5 Firmware V4.02 with Hybrid Log Gamma

By Fabian Chaundy

FS5 Firmware V4.02 has just been released, fixing some of the bugs introduced with the highly-anticipated V4.0.

A few weeks ago, Sony aimed to greatly increase the functionality of the Sony FS5 by releasing FS5 Firmware V4, bringing HDR support with the introduction of new Hybrid Log Gamma Picture Profiles, reduced minimum ISO for Slog 2 and 3, as well as support for 120fps continuous shooting with an optional license sold separately (you can read our post on this release HERE).

Only a few days later, however, Sony pulled the download due to “a minor issue found within the HDR function”. This caused concern among users who had already downloaded V4.0, as there is no way of rolling back on this camera’s firmware to a previous instance.

Sony removed the firmware V4.0 download, prompting worries from users.

True to their word, Sony have now released FS5 Firmware V4.02 available for download from HERE. The release notes also finally indicate the “minor issues” introduced with V4.0. From the Sony site:

V4.02 fixes the following issue:

1. Video image may be recorded with short delay of 2 or 3 frames of audio in other recording modes than AVCHD.

2. When choosing [HLG1],[HLG2] or [HLG3] in the PictureProfile and CENTER SCAN in the CAMERA/PAINT menu, rebooting the camera may cause brightness and color shift.

Were you a V4.0 early adopter and came across any of these issues? Have you already tested the new HDR support? Let us know in the comments below!

The post Fixed & Downloadable: Sony FS5 Firmware V4.02 with Hybrid Log Gamma appeared first on cinema5D.

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From:: Cinema 5d

Slow-mo shootout – which camera gives the most detail at 120fps?

By Andrew Reid (EOSHD)

Comment on this article at the EOSHD Forum

Comment on the forum I recently decided to find out which of the current 1080/120fps capable cameras does it the best. In the first half of the video we have a relatively close-up shot at F2 and ISO 200 with soft lighting, which is relatively forgiving of any detail loss or aliasing. Pixel peep the video to see which image you prefer. In the second half we have more challenging lighting, at ISO 1600 with the lens stopped down to F5.6 and the camera brought back further from the test scene so that fine details in the objects become even …

The post Slow-mo shootout – which camera gives the most detail at 120fps? appeared first on EOSHD.

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From:: EosHD

PXW-FS5 Firmware Version 4.02 Released.

By alisterchapman

Sony have just released firmware version 4.02 for the PXW-FS5. This firmware fixes the bugs found by Sony in the initial release of the version 4 firmware and includes the new Hybrid Log Gamma picture profile No. 10 along with a change to the cameras base ISO rating. I note that there is no mention of the problems with HLG clips in Adobe Premiere, so this will require further testing to see if this has been fixed.

The firmware can be downloaded from here:

From Sony:

Ver4.02 (Functionally, it is the same as the Ver.4.00.)

V4.02 fixes the following issue:
1. Video image may be recorded with short delay of 2 or 3 frames of audio in other recording modes than AVCHD.
2. When choosing [HLG1],[HLG2] or [HLG3] in the PictureProfile and CENTER SCAN in the CAMERA/PAINT menu, rebooting the camera may cause brightness and color shift.

Ver4.00(For your information)
1. Support for High Dynamic Range (HDR) by shooting in Hybrid Log-Gamma** (HLG) standard
2. Support for continuous 120fps High Frame Rate (HFR) recording in 1080p with CBKZ-FS5HFR (sold separately)
3. Option to change the minimum ISO sensitivity number to ISO 2000 from ISO 3200 when recording S-Log2/S-Log3

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Canon EOS 6D Mark II Review


The Canon EOS 6D Mark II is the company’s latest full-frame DSLR aimed at advanced amateurs and enthusiasts, and even professionals looking for a second Canon DSLR body. Its all-new 26MP sensor has Dual Pixel technology for accurate autofocus during live view shooting, and it gains the same 45-point autofocus system from the crop-sensor EOS 80D for viewfinder shooting. A fully articulating touchscreen, built-in Wi-Fi and GPS capability, and 6.5fps burst shooting round out the package.

Coming to market over five years after the release of its predecessor, it should come as no surprise that the 6D Mark II builds upon the original in almost every way. Resolution, autofocus performance, burst shooting speed, video shooting and even battery life are all improved.

That said, five years is a long time in the digital camera market, and the competition hasn’t stood still. So the question remains: Has the 6D Mark II improved enough?

Let’s see if it’s all blue skies from here with the EOS 6D Mark II. Processed to taste from Raw.
Canon EF 24-105mm F4L II IS USM @ 32mm | ISO 100 | 1/640 sec | F5.6
Photo by Jeff Keller

Key specifications

  • New 26MP CMOS full-frame sensor with Dual Pixel AF
  • 1080/60p video capture with in-lens + digital stabilization
  • 45-point all-cross-type AF system
  • Dual Pixel AF for both stills and video capture
  • ISO 100-40,000 (expandable to 102,400)
  • 6.5 fps continuous shooting (4.5 fps in Live View)
  • 3″ fully articulating touchscreen
  • Wi-Fi w/NFC and Bluetooth
  • Built-in GPS

The original EOS 6D, along with Nikon’s D600, jump-started the notion of an ‘entry-level’ full frame camera; a camera wherein the true value of the thing lay in the size of the sensor, with a somewhat scaled-back feature set and body surrounding it.

The EOS 6D Mark II unabashedly follows in its predecessors’ footsteps. Its unique, → continue…

From:: DPreview

Studio portraits taken with the Godox A1 smartphone flash trigger

Photo: Godox

When Godox first teased its off-camera flash and 2.4GHz flash trigger for smartphones, the Godox A1, on Facebook a few weeks ago, people got very excited. Unfortunately, we weren’t really able to see what this trigger could do since the only images Godox released of the flash trigger in action were some silly behind the scenes toy photos.

Today, they fixed that.

In a new blog post about the release event for the upcoming flash and trigger, Godox didn’t just rehash the same details about the A1 that we already knew, they also showed off some professionally-shot studio portraits captured with an iPhone 7 Plus, the Godox A1 and a Godox 600II monolight. You can see a photo of the setup above.

All of the photos were shot wide open at f/1.8 (no other option really…) with the ISO set to 25 and the shutter speed at either 1/30 or 1/20 sec. Have a look for yourself:

The post is mostly about the big reveal itself, which will happen at an event on August 12th at 1:30pm Shenzhen time (1:30am Eastern). But the sample portraits give you a good idea of the kind of photography a product like the A1 opens up to smartphone photographers.

Still no word on how much the Godox A1 will cost or when you’ll be able to order one for yourself, but we’ll get that info to you just as soon as it becomes available. In the meantime, take a look at the sample gallery above, and let us know what you think of the A1 and these smartphone studio portraits.

All photos courtesy of Godox.

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From:: DPreview

Panasonic EVA1 Tech Specs Preview

By cameraman

Panasonic today released technical specification data about the new EVA1 we’ve been eagerly waiting to see. It’s a 5.7K handheld cinema camera and they say it will start shipping this autumn. Some UK dealers are already taking pre-orders (whatever they are) at a suggested price of £6,215 +VAT (£7,458 Inc)

From the Panasonic Press Release:

Technical specifications now include a pixel count of 5720 H x 3016 V (17.25 million), confirmed dual native ISO ratings of 800 and 2,500, and 14-stops of dynamic range.

“The EVA1’s 5.7K Super-35 sensor has almost twice as many photosites as 4K,” noted Luc Bara, Technical Product Manager for Panasonic. “That means the 4K videos recorded in the camera will be crystal clear with rich colour information. The EVA1 also inherits the unique dual native ISO sensor technology from our cinema VariCam line, allowing it to shoot in bright sunlight or night exteriors without compromising the image quality. And the 14 stops of dynamic range capture a huge scope of exposure detail.”

The newly-designed EVA1 sensor is Super-35 sized (24.60mm x 12.97mm) with 5.7K resolution. With an active resolution of 5720 x 3016, the EVA1 delivers more than 17.25 million photosites, nearly double the 8.8 million for 4K DCI (4096 x 2160). By starting at a higher native resolution, the 5.7K sensor yields a higher resolving image when down-sampled to 4K, UHD, 2K, or even 720p. Additionally, the increased colour information results in a finer, more accurate finished image.

A key feature of the VariCam cameras, dual native ISO utilises a process that allows the sensor to be read in a fundamentally different way, extracting more information without degrading the image. This results in a camera that can switch from a standard sensitivity to a high sensitivity with almost no increase in noise or other artefacts. Dual → continue…

From:: Extra Shot

Panasonic EVA 1 Full Specs Announced with Confirmed Dual Native ISO

By Charles Haine

Full specs for the much anticipated Panasonic EVA 1 include a dual native ISO of 800 and 2500, sure to please many customers.

We were in LA for the official announcement of the Panasonic EVA1 at the Paramount theater during Cine Gear back in June, and the excitement was palpable. Many filmmakers remain highly loyal to Panasonic but have been frustrated that the price point for the amazing Varicam was out of their reach.

Read More

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From:: No Film School

PXW-FS5, Version 4.0 and base ISO – BEWARE if you use ISO!!

By alisterchapman

The new version 4.0 firmware for the PXW-FS5 brings a new lower base ISO range to the camera. This very slightly reduces noise levels in the pictures. If you use “gain” in dB to indicate your gain level, then you shouldn’t have any problems, +6dB is still +6dB and will be twice as noisy as 0dB. However if you use ISO to indicate your gain level then be aware that as the base sensitivity is now lower, if you use the same ISO with version 4 as you did with version 3 you will be adding more gain than before.

Version 3 ISO in black, version 4 ISO in Blue

Standard 1000 ISO – 800 ISO
Still 800 ISO- 640 ISO
Cinegamma 1 800 ISO – 640 ISO
Cinegamma 2 640 ISO – 500 ISO
Cinegamma 3 1000 ISO – 800 ISO
Cinegamma 4 1000 ISO – 800 ISO
ITU709 1000 ISO – 800 ISO
ITU709(800) 3200 ISO – 2000 ISO
S-Log2 3200 ISO – 3200/2000 ISO
S-Log3 3200 ISO- 3200/2000 ISO

At 0dB or the base ISO these small changes (a little under 3dB) won’t make much difference because the noise levels are pretty low in either case. But at higher gain levels the difference is more noticeable.

For example if you often used Cinegamma 1 at 3200 ISO with Version 3 you would be adding 12dB gain and the pictures would be approx 4x noisier than the base ISO.

With Version 4, 3200 ISO with Cinegamma 1 is an extra 15dB gain and you will have pictures approx 6 time noisier than the base ISO.

Having said that, because 0dB in version 4 is now a little less noisy than in version 3, 3200 ISO in V3 looks quite similar to 3200 ISO in version 4 even though you are adding a bit more gain.

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My Review Of The Fuji X-T2: The Ultimate 4K Mirrorless For Narrative Filmmakers

By Noam Kroll

The body also features two SD card slots, which is one of my favorite little perks of the X-T2.

Although dual card slots are not necessarily an essential feature, they are an excellent luxury to have and allow you to focus on one less thing (swapping cards) while rolling.

The opposite side of the camera body has a mic/headphone jack, a micro HDMI port, and a full size USB 3 connection, which can be used to both charge the camera and download files. No complaints here, although if I’m going to nit pick, a full size HDMI port would have been preferable…

The 3” LCD screen pulls out and swivels up and down, but not side to side. I actually haven’t found this to be problematic, despite the fact that I am used to DSLRs with more of a full rotation/flipping capabilities when it comes to LCD screens.

I find myself using the EVF far more than the LCD, even when shooting indoors… This isn’t because the LCD is sub par, but rather because the EVF is just so good. The colors are vivid, the resolution is crisp, and the image being displayed is an accurate representation of the recorded file.

All things considered, the X-T2 is undeniably well constructed and is clear designed purposefully. It’s a pleasure to shoot with.


The menu system on the camera is quite straightforward and relatively intuitive to use. That said, I don’t rely on it much while shooting, as the physical dials on the camera and lens (including the manual aperture ring on my 35mm lens), allow me to adjust most of my critical settings without stepping into the menu at all.

When I do need menu access, I try to use the quick menu whenever possible (which is activated using it’s dedicated button on the back of the camera), since that’s usually the fastest way for me to get where I need to go.

The regular menu system is of course slower to navigate when compared to the quick menu or manual dials, but is otherwise fine to work with. My only real complaint with it is that the wi-fi setting by default is buried fairly deep in the menu, but this is really a minor issue in the grand scheme of things.


As is standard with most DSLRs and mirrorless cameras today, the Fuji X-T2 has the ability to record 4K internally, which is a big selling feature. While 4K is certainly not the be all end all (I would happily still take 1080p footage from an Alexa classic over most other cameras!), it is a nice feature to have and something most of us have come to expect on cameras released in this day and age.

The 4K recording on the X-T2 is UHD (not DCI), meaning the resolution is 3840 x 2160, or 16:9. It will record UHD in 23.98, 24, 25, or 29.97 frames per second, each at a bit rate of 100 Mbps.

In 1080p, the camera uses the same 100 Mbps bit rate, but can record up to 60p, which looks absolutely beautiful when slowed down. Here is a little sample clip of some raw footage from the X-T2, shot handheld at 60p with the Astia Soft film emulation, and slowed down to 40% in post –

In 720p, you have the same recording options as 1080p, although the camera will record at a lower bitrate of 50 Mbps. There is no ultra slow motion option in 720p, so really the only reason to shoot in 720p is if you are in desperate need of card space.


On a scale of 1 to 10, I’ll give the Fuji X-T2 a 6 with regards to battery life. It’s not awful, but certainly not something to write home about.

Under normal shooting circumstances – recording 4K internally and powering the camera down in between takes and setups – I’ll typically get about 2 hours from a stock Fuji battery. This is certainly workable, and a step up from what I had come to expect from Sony’s batteries on the A7S II, but it’s nowhere near the battery life I was used to on the GH4.

That said, the X-T2 does have an optional battery grip, which of course will extend the camera’s battery life significantly. If I were to shoot any larger scale projects on this camera, particularly anything where the schedule is highly demanding, I would definitely opt to bring along a battery grip.


Unsurprisingly, the bread and butter of this camera is it’s image quality… That’s ultimately why I bought it!

While the X-T2 lacks some video features found on it’s competitors (more on that below), it makes up for any shortcomings by delivering some of the most beautiful images on the market.

I haven’t shot any test charts with this camera as I prefer to make my judgments on cameras based on how they perform in the field… That said, based on real world shooting experience, I would estimate the dynamic range of the X-T2 to be in the 12 – 13 stop range, which is very strong.

In order to get the most DR out of the camera, I have generally found that protecting the highlights and lifting up the shadows 1 – 2 stops in post is the way to go. The highlight rolloff is very organic on this camera, but if you want to retain detail in the highlights it seems to be best to slightly underexpose.

Shooting in F-Log or with certain film emulation settings will also help you squeeze the most DR possible out of the camera. We’ll touch on this in more detail in the next section.

The X-T2 has excellent color science. It’s so good that I would argue that it beats out every one it’s competitors in this department…

Lumix’s color science has come a long way over the years, but in my opinion Fuji still has them beat by a long shot… Sony’s color science is by far the weakest of the other major brands (at least to my eye), and Canon sits right up at the top with Fuji. Both Canon and Fuji are capable of rendering gorgeous colors, but subjectively I still prefer the Fuji look.

Below are a few screen grabs from some recent test footage I shot with the X-T2. These shots were a mix of 4K and 1080p (all recorded internally), and they were mostly shot with the Classic Chrome or Astia Soft film emulation modes –

The X-T2’s colors are very film-like, and the built in film simulations (picture profiles) open up a lot of creative possibilities in-camera.

Below is a quick test video in which I compare identical shots from the X-T2, each captured with one of the film simulations: Provia, Velvia, Astia, Classic Chrome, Pro Neg. Hi, Pro Neg. Std, Acros, Monochrome, and Sepia.

My personal favorite profiles are Classic Chrome and Astia, both of which are highly adaptable and work beautifully on portraits, landscapes, and any number of scenes.

In the future, I plan to release a separate article that will outline some of my optimal settings – both in camera and in post – to enhance these two film simulation modes, so be sure to stay tuned for that.

With regards to resolution, clarity, and motion cadence, the X-T2 is absolutely superb. It delivers detailed images that are clear and crisp without being overly sharp, and it handles panning shots and other motion very well, with less motion judder/artifacts in 24p than what I have come to expect from many other cameras.

I also love the fact that the X-T2 has a Super 35mm (APS-C) sensor, which is my personal favorite sensor size for narrative filmmaking. Smaller sensor sizes (such as MFT) and larger sensors (Full Frame) offer many benefits of their own, but I’ve always found Super 35mm to be the perfect middle ground. S35 gives you more shallow DOF than Micro Four Thirds, but doesn’t limit your lens choices the way that Full Frame does. Not to mention, the Super 35 field of view is the most true to traditional motion pictures.


The X-T2 is capable of recording in Log color space using it’s F-Log setting, however it can only do so via HDMI to external recorder. I’m not sure if this will change in the future with a firmware update, but I’m also not hugely surprised that Fuji has opted to go this route.

From my experience shooting and grading internal Log footage from other DSLRs/Mirrorless cameras such as the GH4 and A7S II, it can be very hard to work with – particularly in post as you bring the image out of the Log color space.

Internally, the X-T2 records in 8 bit at 4:2:0, which is perfectly fine for most applications, but can pose issues for Log footage which typically calls for at least 4:2:2. For this reason (I would assume), Fuji has opted to limit their Log record to external use only, since the X-T2 can output an 8bit 4:2:2 signal which is far more suitable for Log recording.

There is no 10bit option available, but from my experience so far this has never been an issue and the 8bit 4:2:2 externally has been perfectly fine.

Below is a quick comparison video showing some externally recorded 4K F-Log footage and internally recorded 4K using Astia Soft film emulation. This clip includes graded and ungraded shots for each camera, making it quite apparent that the F-Log material not only has more dynamic range, but also has more detail thanks to the ProRes HQ codec –


The standard (non-expanded) ISO range on the X-T2 is 200 – 12,800, which is more than enough for virtually any narrative shooting scenario.

Generally, I find the X-T2 handles low light extremely well – particularly up to ISO 3200 which shows very little noise at all. Even at 6400 the images are quite clean, although I personally don’t like to shoot above 3200 on any camera, regardless of how clean the images may be…

No matter what you’re shooting on, you lose color information and dynamic range as you increase your ISO, so as a general rule of thumb I try to keep my ISO as close to the base as possible. That said, in a pinch I would certainly consider shooting above 3200 on the X-T2. While I’m certain an A7S II (or other full frame DSLRs) will perform better under no-light circumstances, the X-T2 has no problems with low light scenarios provided you don’t push it to the extremes.


The Fuji X-T2 is packed with lots of other great features and capabilities, and we’ve really just scratched the surface so far. Video-driven features like focus peaking are essential for those of us shooting as single operators, and overall it really feels like Fuji have designed this camera with the filmmaker in mind.

That said, there are a few features not included on the X-T2 that I would have liked to have seen. For instance, the camera doesn’t have the ability to display zebra stripes, which can pose challenges for those of use who rely on them for quick exposure changes… F-Log recording is great, but it is only available externally and you can’t simultaneously record to the SD cards. The X-T2 also doesn’t have in-body stabilization, which has recently become one of the hottest new features available on DSLRs and mirrorless cameras today..

All that said, none of these considerations are deal breakers for me. As I said at the top of this review, no camera is perfect, and no camera can do it all… Every camera purchase will always call for you to sacrifice some quality, feature, or capability to gain some other benefit, so it really just comes down to prioritizing your needs as a filmmaker. For many of us, the features the X-T2 lacks are a small price to pay for all of the benefits it offers.


As a narrative filmmaker myself, I was drawn to this camera largely based on it’s abilities to capture filmic looking images. As such, I would highly recommend the X-T2 for any visually inclined filmmaker working on films, commercials, or other scripted content – especially those that need to keep a small footprint.

While I can also see documentary filmmakers using this camera, it may be the less obvious choice due to it’s slightly more limited low light capabilities (when compared to the A7S II), the lack of in body stabilization, and the shorter battery life (compared to the GH5).

That said, for documentary filmmakers that do want to benefit from the X-T2’s tremendous color science and tactile controls, it can easily be adapted to work under run and gun conditions. For instance, Fuji offers stabilized lenses that solve the issue of needing internal IS, and the optional battery grip can be added to increase shooting time.

There have never been so many incredible camera options available to filmmakers in this budget range, and we are fortunate as filmmakers to be able to choose between so many great tools. The X-T2 isn’t going to be the right camera for everyone, but for many of us in the narrative space, and even some of us in the documentary world, it just may be the best option on the market today.

Check back soon for more updates on the X-T2, as I plan to release some more video material shot on this camera in the coming weeks and months.

And be sure to follow me on

A couple of months ago I picked up the Fuji X-T2 to round off my current lineup of cameras which was sorely lacking in the DSLR/Mirrorless category…

After selling my Lumix GH4 back in 2015 and “upgrading” to a Sony A7S II – which I also sold not long after due to issues with it’s color science – I was left with a gap in my camera bag.

I found myself owning cameras such as the URSA Mini Pro which covered my larger narrative and commercial projects, and cameras like the Leica Typ-109 for really tiny shoots… But I didn’t have any interchangeable lens mirrorless/DSLR option for those mid level projects that called for a camera that could deliver beautiful quality footage with a minimal footprint.

I had been keeping my eye on the market for a while, and knew that ultimately my decision would come down to the Lumix GH5 and the Fuji X-T2. Both are excellent cameras, and while the GH5 is likely a better option for many filmmakers, based on my unique needs I chose to go with the X-T2.

The only other Fuji I have ever owned is the X100T, which is a gorgeous stills camera that severely lacks in the video department… With that in mind, I knew there was a possibility the X-T2 would let me down when it came to it’s video capabilities, but decided to take a gamble on the camera as I truly believe in Fuji’s color science and was impressed by the test footage I had seen online.

Having now shot with the camera quite extensively, I’m very happy with my choice.

While the X-T2 is not perfect in every way (no camera ever will be), there’s no question that it’s one of the best choices for low-budget narrative filmmakers looking to benefit → continue…

From:: Noam Kroll

Exciting New Sony FS5 Firmware Update Includes ‘Instant HDR’

By Jason Boone

Sony’s FS5 firmware update comes packed with new features.

Sony recently released the 4.00 firmware update for the PXW-FS5, bringing three exciting new features to the wonderful workhorse camera. These features include support for Hybrid Log-Gamma (“instant HDR”), the ability to change the minimum ISO number from ISO 3200 to ISO 2000, and support for shooting continuously at 120fps in 1080p.

HDR Capability

The Hybrid Log-Gamma is an HDR (high dynamic range) standard developed jointly by the BBC and Japan’s NHK. The two countries worked together to provide an easier way to capture HDR images. For instance, the new standard allows you to shoot HDR in-camera without color grading. Metadata allows displays that support the HLG standard to show the footage in HDR as intended.

There are four new hybrid gamma modes for the camera, including:

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From:: No Film School

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