Panasonic S1H to Atomos Ninja V 6K ProRes RAW update now available to download

Panasonic S1H owners today can start recording in high-end cinema camera standard 6K 12bit ProRes RAW via HDMI to the Atomos Ninja V.

Unlike many ProRes RAW HDMI outputs this one is a full pixel readout from a native 6K sensor, with dual gain circuitry and incredible low light performance.

Most cameras have to pixel bin to achieve 12 bit colour depth in their 4K RAW outputs from a higher resolution sensor, but not the Panasonic S1H. This should result in the cleanest and best ProRes RAW output on the market.

Read morePanasonic S1H to Atomos Ninja V 6K ProRes RAW update now available to download

Sony A7S III is here – Sensible update but not as revolutionary as hoped, plus tough competition from Panasonic S1H

5 years after the previous A7S, the new model sees Sony playing catch up in some ways, having made users wait many years for 10bit recording on a mirrorless camera. The Panasonic GH5 has had 10bit since 2017 – 3 years ago. We have waited even longer for Sony to reorganise their menus! With the A7S III, they have finally implemented a Panasonic / Fujifilm style menu but the results don’t look aesthetic.

The Sony A7S III was promised to be “revolutionary”, an “everything is new” camera. I’d say it is more like an “everything is tweaked” camera, but I do like the new 4K/120p continuous recording (not limited to S&Q but up to 30 minutes in 10bit) and a seemingly efficient modern processor to handle the heat, although as we saw with the EOS R5 early quick-tests cannot be relied on for the full story. As for the tweaks – better EVF, faster BSI sensor, improved controls, new media, bigger full sized HDMI, 10bit 4:2:2 codec, H.265 option and of course those new menus. But it’s not the space-age camera some were anticipating from the rumours. Sony’s advanced Quad Bayer sensor did not make it. Stills remain at just 12 megapixel. There is no 8K recording. There is no internal RAW codec. There is no internal e-ND filter. There is a small crop in 4K/120fps. The ergonomics follow the A7R IV to a tee, so there’s not really a revolution here as far as hybrid usage goes and it is very much a stills camera design rather than anything more adventurous. At least the camera now has a GH5 / S1H style fully articulated screen!

Read moreSony A7S III is here – Sensible update but not as revolutionary as hoped, plus tough competition from Panasonic S1H

Canon EOS R5 overheating warning occurs after 0 minutes, following 1 hour photo shoot of 30 photos says Gerald Undone

This light usage in summer weather by Gerald Undone (one of the very few to properly test the camera, including Canon themselves?) further demonstrates the seriousness of the EOS R5’s overheating defect and could be grounds for a product recall.

Read moreCanon EOS R5 overheating warning occurs after 0 minutes, following 1 hour photo shoot of 30 photos says Gerald Undone

Associated Press switches to Sony, with A9 II and A7R IV (video a big motivation) – My thoughts, and why A9 series now needs SLOG

Sony has announced the global news agency Associated Press is to become an exclusive user of Sony gear, from the mirrorless cameras to professional FS series pro video range. Winner of 54 Pulitzer Prizes including 32 for photography, the organisation supplies photography and video to new organisations from over 250 locations. Until now AP journalists have used a variety of different cameras, mainly Canon and Nikon professional DSLRs to cover stories throughout the world, supplying over 1300 newspapers and broadcasters.

  • Video a major factor for AP move to Sony
  • AP wanted to go mirrorless
  • Canon EOS R system too late in the game
  • Nikon mirrorless system not professional enough
  • Agency will use A9 II, with small number of A7R IV reserved for specific usage

Read moreAssociated Press switches to Sony, with A9 II and A7R IV (video a big motivation) – My thoughts, and why A9 series now needs SLOG

Sale continues on EOSHD Pro Color, C-LOG, Z-LOG and selected Shooter’s Guides!

C-LOG LUTs

EOSHD Pro Color V4.0 HDR for Sony A7 III and Sony A7R III

Now is a good time to explore what EOSHD has to offer in terms of the camera colour science and camera guides for filmmakers.

If you want to spend some time shooting some incredible cinematic footage, pick up Pro Color for your Sony cameras, C-LOG for Canon or Z-LOG for Nikon cameras.

EOSHD Pro Color V4 for Sony A7 III, A7R III
$19.99 (usually $27.99)

‘Venice-style’ colour science for internal recording in 4K on Sony mirrorless cameras. Fixes a wide range of issues with Sony’s Picture Profiles.

EOSHD Pro Color V3 for Sony A7S II, A7R II and more
$14.99 (usually $19.99)

As above but for the A7S II and others. No firmware alteration required and everything is installed by hand in the Sony menus.

EOSHD C-LOG for Canon EOS cameras such as EOS RP, 5D Mark III, 1D X Mark II
$19.99 (usually $26.99)

This is an in-camera C-LOG profile for Canon cameras that are missing the official Canon LOG profile. Installed via the Canon EOS Utility for Mac and PC. Full instructions included.

EOSHD Z-LOG for Nikon Z6 / Z7 / D850 / D5 (and more) for internal LOG recording
$19.99 (usually $32.99)

LOG profile for 4K Nikon cameras (like N-LOG but for 8bit internal recording). Installed from the memory card as a Custom Profile.

EOSHD Pro LOG for Sony cameras – An C-LOG style easy to grade alternative to S-LOG
$19.99 (usually $29.99)

A creamy LOG profile for Sony cameras with ISO 200 base and a range of cinematic LUTs. Much easier to grade than S-LOG 2, better in low light and closer to C-LOG for compatibility with a range of LUTs.

EOSHD Panasonic GH4 Shooter’s Guide
$7.99 (usually $19.99)

The comprehensive 128 page guide for filmmakers shooting with the GH4

EOSHD 5D Mark III 3.5K RAW Shooter’s Guide
$7.99 (usually $19.99)

A guide for installing and shooting with beautiful 3.5K RAW video on the 5D Mark III with Magic Lantern

Read moreSale continues on EOSHD Pro Color, C-LOG, Z-LOG and selected Shooter’s Guides!