The native ISO range of the camera spans from 100-6400. The Quattro H accepts Sigma’s Global Vision lenses (Art, Contemporary and Sport). The result is a more filmic image, according to Sigma. One layer captures red chrominance information, the other green chrominance data and the top layer captures blue chrominance plus luminance information. Unlike traditional Bayer filter sensors, which split up pixels along a single surface to capture color data, the Quattro H sensor features a three-layered, vertical design. The Quattro H features an APS-H-sized Foveon image sensor capable of delivering the equivalent of a 51-megapixel image. See the full review of the Nikon D850 here. You can record 4K/30p movies without a sensor crop and full HD videos at a motion-slowing 120 fps. Time-lapse fans can capture and compile 4K time-lapse movies in camera or 8K time-lapse movies in post. Beyond its blazing burst speeds, the D850 offers the lowest base ISO of any full-frame DSLR (ISO 64), giving you extremely clean images when the light’s right. The D850 employs the same autofocusing system that’s found in the flagship D5 so you can lock onto fast-moving subjects. You can coax a 9 fps burst mode from the camera with an accessory battery grip (the MB-D18) and the EN-EL 18b battery. Nikon’s full-frame DSLR boasts a 45-megapixel backside-illuminated sensor with no optical low-pass filter and a burst mode of 7 fps. There’s HDMI out and audio inputs to aid in any medium-format movie-making you’d like to undertake. It also supports 4K and HD video recording in a proprietary RAW format that can be converted to the more universal CinemaDNG format using Hasselblad’s Phocus software. The 100-megapixel back offers 16-bit color and 15-stops of dynamic range. The backs ship with the HVD 90X viewfinder which offers a fill flash and a hot shoe for external flash units. You can view a histogram readout on both the rear display and the camera’s grip display. and offers dual card slots (SD and CFast), a USB Type-C connection with USB 3.0 speeds and a 3-inch touch display with a 30 fps live view mode. It supports a shutter speed range from 60 minutes to 1/2000 sec. If you don’t need such huge image files or don’t have handy access to an underground fortress where you can avoid vibration, the H6D-100c offers 100-megapixel images without the exquisitely sensitive shifting of the sensor. In both instances, the camera is extremely sensitive to any shake, even from passing trucks on a road (see “What It’s Like to Shoot with a 400-Megapixel Camera”). The camera can also take four images to create a 100-megapixel image with improved color fidelity. The camera must be tethered during Multi-Shot mode. The six images are then merged into a single 2.4GB 16-bit TIFF file (23200 x 17400 pixels). In Multi-Shot mode, the camera captures six exposures: four by moving the sensor by one-pixel increments, and two with the sensor shifting by 1/2 pixel increments. This variant of the H6D-100c 100-megapixel medium-format camera can create 400-megapixel images using the company’s Multi-Shot technology. See the full review of the Fujifilm GFX-50s here. Recent firmware updates have delivered a flicker reduction mode, the ability to enlarge the information displayed through the viewfinder or LCD and the ability to program a function button to set the camera into 35mm crop mode. Film simulation modes are also available when filming. The camera supports full HD recording at 30p. There’s built-in Wi-Fi and a pair of SD card slots. There are several bracketing modes, too, including AE, film simulation, dynamic range, ISO sensitivity and white-balance bracketing. These modes can be modified with a “grain effect” setting that mimics film grain and is available in either “strong” or “weak” intensities. And, this being a Fuji camera, there are 15 film simulation modes. Unlike rival medium format cameras, however, flash sync speeds are capped at 1/125th sec. with an electronic shutter option to boost speeds to 1/16,000 sec. You’ll enjoy a maximum shutter speed of 1/4000 sec. The camera supports continuous autofocusing and also offers face and eye detection. There are 425 available in AF-S mode and 117 in one of the zone modes. Where medium-format cameras are parsimonious with AF points, the 50S has them in abundance. Another eye-opener is the number of AF points. The camera has a native ISO of 100-12,800 with extension settings pushing the range from 50 to 102,400. Where it trails in bit depth, it leads in ISO. It delivers 14 stops of dynamic range and 14-bit RAW files-slightly lower than the 16-bit files pumped out by the 50-megapixel Sony sensor used in its rivals. Unlike other 50-megapixel medium-format cameras on the market, the GFX 50S uses a sensor of its manufacturer’s own design.
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