I take a look at what’s been going on in cameras this week, with some thoughts on the GFX 100, EOS R6, Panasonic S1H and other “goings-on”. Caution: some strong(ish) language.
Above: The new Fuji X-S10 and Canon EOS R6 10bit mirrorless cameras do not play well with Adobe Premiere Pro.
Fuji users have probably – 90% of them – not been seeing the true capabilities of their cameras, because Adobe Premiere’s hardware acceleration doesn’t interpret the files correctly. As the EOSHD Dynamic Range Enhancer shows by fixing this, the full range 10bit H.265 files are heavily clipped in both the shadows and highlights. With the M1 processor, this seems to be improved due to Apple’s new hardware acceleration but the issue has been plaguing Fuji users for years on Intel, Nvidia and AMD systems. You can find out more about the EOSHD Dynamic Range Enhancer download here.
The other problem with Adobe Premiere is the lack of hardware acceleration for Canon’s 10bit 4:2:2 H.265. This is the format Canon has used for C-LOG recording on the new mirrorless cameras like the EOS R5, and the Cinema EOS C70. Even on a new M1 processor, I find that files fail to playback at all and buffer constantly – and this is just a single clip on the timeline without any effects or grading applied.
There’s a reason Fuji chose 10bit 4:2:0 for their HEVC codec implementation on cameras like the X-T4 and GFX 100 – Nvidia and AMD GPUs don’t support hardware acceleration of 10bit 4:2:2 H.265. So did Canon not realise this?
Either way, Canon EOS R6 and R5 users are stuck with uneditable files that have to be transcoded to another format to be usable in Adobe Premiere Pro.
Here are some shots I recently took with my GFX 100 and 32-64mm F4. We’ll also compare it with the 50mm F3.5 pancake.
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Are you seeing the full dynamic range of your files?
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The download contains four LUTs to fix dynamic range on your timeline, and a test to determine if you have the problem. The included user guide and further content helps guide you quickly through the process.
Here we go again.
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Pro Color 5 is finally here! Newly refreshed for the Sony A7S III as well as current models such as the A7 III, A7C and A6400.
Pro Color 5 has been developed for over 2 years since version 4.
The acclaimed EOSHD Pro Color gives you cinematic straight-out-of-camera image quality, improved skintones and colours in all shooting situations.
The 10-25mm F1.7 will soon be getting a sister lens, to extend the range through 25-50mm again at F1.7.
I am taking the original for a trial run to see how it performs.
The Panasonic GH6 is going to be the most advanced Micro Four Thirds camera ever made.
The reaction has been pretty positive.
But is it enough for it to be a solid update over the GH5? Does it need a big attention grabbing feature that makes it unique?