Dixie Dixon is a Pro Fashion Photographer, Nikon Ambassador, in this Interview she talks about using the new Nikon Z7 Full Frame Mirrorless camera during her Pro Fashion Photography shoot as part of the official Nikon Z7 launch campaign, adapting her favorite lenses including the Nikon 105mm f1.4, using the autofocus, using IBIS, using it for video. In this video I edit in some parts of her official Nikon Z7 video which shows “Behind the scenes” during her Nikon Z7 photo shoot. I also edit in some of the photos that she shot on there.

Sample video interview at the Canon Photokina 2018 booth filmed with the 24-105mm f4 on the Canon EOS R camera, since I filmed this in 4K30 it crops in by 1.8x. We also talk about the upcoming 28-70mm f2. This 24-105mm has in-lens stabilization which I thus am testing out in this video, the camera body has no IBIS though so the stabilization here is based on the lens only. EF-S lenses such as the 400euro 10-18mm for the 80D might be a good way to video-blog in 4K even with the 1.8x crop with the equivalence of an 18-32mm.

Canon releases their new Full Frame Mirrorless camera system, the Canon EOS R comes with a new R Mount, with new lenses but it can also adapt all previous Canon lenses using their adapter. They have a very fast and precise Dual Pixel AF for very accurate video autofocus performance. It only has a single SD card slot, 4K video has an 1.8x crop. It does have IBIS neither but the lens based stabilization such as in the 24-70mm f4 kit lens is quite good. The positioning is about in the middle between a 6Dmark2 and a 5Dmark4. The new Dual Pixel CMOS AF sensor provides high autofocus performance and low light ability. The new mount also provides very high bandwidth allowing for new features in the lens for better performance. Canon emphasises that the EOS R system is designed to be future proof, this camera is the start for this new mount, possibly this could mean they might soon also provide more video centric camera without the 1.8x crop in 4K shooting, I’d hope with video features like in the new XF705 Pro Camcorder such as 110/160mbitps H265 HEVC for 4K60 HDR HLG 10bit 4:2:2 recording internal to dual SD card slots too.

First Pro level camera with H265 HEVC compression format, saving higher quality to a 110 or 160mbit/s to dual SD cards, 1″ sensor recording HLG and PQ, it can record HDR (internal) and SDR (external) streams at the same time. Follow-up on the very popular XF305, it has 12G SDI connector, HDMI, 16Mbit/s IP streaming (even with 4K60 HDR). Dual XLR one at the front and one at the back. Slightly smaller and lighter than the XF305. The display can be swung onto one side or onto the other. It has Dual Pixel CMOS Autofocus which can also be used in manual focus mode with focus assist to help confirm proper focus in manual focus mode. Price is going to be around €7000 plus tax. Avid and other video editing apps will provide H265 HEVC support on launch. It also supports Canon Log3 for post production color grading. There is also H264 XF-AVC in 8bit 4:2:0.

The Sony Alpha Full-frame E-mount 24mm F1.4 Wide Prime G Master Lens (pre-order for $1398 at Amazon) features an advanced optical design, including two XA (Extreme Aspherical) elements and three ED (Extra-low Dispersion) glass elements delivering great corner-to-corner resolution, even at a wide F1.4 aperture. An 11-blade circular aperture mechanism creates great bokeh, a hallmark of the G Master series, fast focusing is attained through the DDSSM (Direct Drive SSM) focus drive system. This lens sports class-leading size and weight, providing great handling and mobility. I filmed a whole other interview using this 24mm f1.4 G Master lens on the A7III with Ben Pilling about the latest status of Sony in the Digital Imaging market here.

Ben Pilling is the Technical Marketing Manager of Sony Digital Imaging Europe. In this video (filmed using the new 24mm f1.4 G Master lens (pre-order for $1400 at Amazon) (mostly set at f1.4 for max bokeh effect (maybe too much bokeh?) in this video) on the Sony A7III camera ($2000 at Amazon)), Ben Pilling lists some of the latest camera achievements by Sony in the Full Frame mirrorless market. With their impressive Eye Autofocus for photos, in-body image stabilization, dual memory card slots (1 UHS-II the other UHS-I), true full frame 4K video without crop (only at 4K24 on A7III), extremely stable face-tracking continuous autofocus for video (which I use in all of my A7III with 16-35mm G master lens videos which I list in this playlist), Sony can claim market leadership in the Full Frame market, not just in the mirrorless market. Which is why Nikon, Canon and Panasonic/Leica/Sigma are all announcing new Full Frame camera systems at this Photokina event. Sony can claim to have 48 lenses available for their full frame E-mount system, with a target of having 60 lenses available before 2020, they also announce improvements with their G master lens technologies such as a 3x faster and more accurate autofocus motor as is present in the new 24mm f1.4 G master. I even get to ask him in this video about the upcoming A7SIII Full Frame for video, A7000 APS-C “high end” all those that are rumored over the past months at http://sonyalpharumors.com but which Sony decided not to launch yet at this Photokina event. For those I am hoping Sony will include a flip out display, 4K60, dual UHS-II SD card slots, no overheating with no 30min record limitations (EU tax still in effect or not, at least provide users with a paid plugin to unlock unlimited recording), H265 options for lower bitrate recording at same quality for faster YouTube 4K uploading. I’d even like in-camera basic trim/split editing and live streaming (perhaps even with multi-camera) support. A better and stronger IBIS (at least as good as GH5) would be good too.

GoPro releases their new Hero 7 Black sports camera, with 4K60 recording support or 1080p 240fps support, they have their new electronic image stabilization which they call hypersmooth. GoPro claims their electronic image stabilization to be better than a gimball, but I just don’t believe it. Looking at samples on YouTube I just don’t see it being that amazing. It doesn’t seem much better than for example the GoPro 6 and I think a hundred other much cheaper sports cameras have electronic image stabilization in them too. It’s not worth $400 when it probably costs them less than $100 to manufacture. Probably even less than $50 to manufacture. I’d much rather see them include a mechanically stabilized sensor + electronic image stabilization, and any kind of optics that would enable for smooth and good looking bokeh with perfect autofocus would be interesting.