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I haven’t forgotten, I’m just a bit of a lazy bastard. I’m now in sunnier climes but normal overcast drizzle will be resumed when I get back in about a month so I will do it then. With the new PYXIS monitor upgrade for the Studio 4K G2 it might well be shot on that.

It was indeed. Was waiting for the firmware update before buying the monitor obviously but won’t be back in range of a dealership for the next month so it will have to wait. No, it’s the Micro Studio G2 so it is to all intents and purposes a cinema camera too just that it was lacking some easy control and monitoring for standalone use which has now been addressed with this monitor. Not completely because it is still missing the BLE control but it is now more or less a modular P4K. Which everyone claimed to absolutely need but judging by how little interest this camera gets didn’t translate too well into reality. Like Panasonic’s box versions of the GH5 and S5 didn’t either.

I liked the 2nd and the 3rd photo. The blooming / halation is nice or i think its nice anyway. The other photos seem subdued to me, but take anything i say with grain of salt. The lens looks like, its seen better days, which i suspect adds to the images. Not sure i want to see what a test chart looks like through that lens, but i think thats probably a great lens for a rainy / moody day scenario. Are these photos or stills from a video ? Sorry no idea what the gh7 can do. Anyway thanks for sharing

I have a vague memory that someone here was hoping for this - maybe it was @BTM_Pix? There's a new firmware for the micro studio (I originally thought cinema!) camera that (From the description below) adds full support for the Pyxis monitor. Available at https://www.blackmagicdesign.com/support/ Edit: Sorry, I guess this is in the wrong place after all! I misread and thought "cinema" when it's "studio." But maybe it's still interesting to someone?

Agreed modern Canon bodies really are not very crippled. The fact that the $649 R50V has CLOG3 10 bit is proof. But still, advancements on these older cameras is always exciting, and those old canon sensors certainly have a unique look that I think isn’t quite the same on the newer bodies.

The EOS R5 was sort of famously software-limited for overheating, but that was changed years ago, largely due to widespread shaming (especially from our gracious host). Modern Canons have been hit a lot less by the hammer. They've had to scramble to catch up with Sony. Competition is the antidote for market segregation. There are a lot fewer things on modern Canon where I'd be excited for ML. Open gate? Maybe. For me, at least, I'd be a bit more excited if they added "official" support for some of the newer EOS M bodies that are 4K-capable and have faster SD card slots than the original one. I don't remember any of the EOS M series having 10 bit recording - but if ML could enable a 10-bit (or more!) mode and keep DPAF working, something like the M200 could become a really fun ultraportable.

Yes it was up from 1.52 to 1.62 a litre with quite big queues of sheep all lining up to get there's. I decided not to bother and have another 400km in the tank to decide when to get more fuel...

Went for a wander in the rain over the weekend with the GH7 and this lens: I applied some filmic colours and a bit of grain, but the halation / bloom / softness / flares are all the lens. Just remember, the less you pay for a lens, the more fun it is.... and this lens is a lot of fun.

Didn't magic lantern get a cease and desist from canon ? I always thought magic lantern was doing some incredible stuff for canon. After magic lanterns advances I vaguely remember some of canons cameras having issues with timing and overheating which turned out to be software related. Which makes me wonder how long the cripple hammer in one form or another has been in active service with canon. In hindsight canon probably could have done all the stuff magic lantern did except they prefer to segregate their market and maximize profit margins it would seem.

Our local servo's tend to gouge us here, heck even the local shops aren't much better. We have had a new servo open up and thats dropped prices to a "tolerable" level. No idea for how long. Given any opportunity however and i'll drive the 70 odd kilometers to the next town and do some shopping get anything else that might catch my attention and get a couple of jerry cans as well as its always cheaper. Worst prices i have even seen was last xmas the difference was 48 cents a liter. here it was $1.98 and $1.50 70 kilometers down the road. I'd like to see them explain how it costs an extra 48c per liter to deliver it 70 kilometers down the road.

I’ll find out when I go shopping later this morning but I expect any excuse to push prices up instantly that will then take an age to come down and never back to quite what they were. This is the cycle we are stuck in… Speaking of cycles, I wonder if I can get a pedal assisted (not fully human powered, - I don’t skip leg day, but that would be madness) version of my 2.75 ton van?

I suppose I'll regret choosing to come straight home last night after a long shoot when I have to fill my nearly empty tank tomorrow... ... but not nearly as much as I regret my country's terrible choices in leadership. Who was the idiot on here who said they voted for that guy because they were so against violence and they were certain that he wouldn't get us into another war?

I am still shooting on a 7 year old Nikon Z6 and have found that I have not yet even reached the full potential of its 8-bit flat profile, and I've been doing video for 6 years...I am so bored with new camera releases. Yet another cash grab by Sony. Here's a trailer for a wedding I shot recently. Clearly, this video is useless, as it's only 8 bit, not shot in LOG and it's not filmed on Sony's cinema line. I can't be a professional filmmaker unless I get one of Sony's cinema bodies. Same goes for you all. Join me as we all purchase Sony FX2s using my affiliate link below. And don't worry; this review isn't sponsored.

Your friend must be incredible. The next Roger Deakins. How about you? Has the phone replaced YOU???????

**Haven't been active a while but have been lurking often, just not posting. Hoping to get back to posting much much more regularly now and actually being involved in this awesome community. Hope everyone is doing great and making awesome art that plays in sequences of frames 😉 "_names_are_hard" from the magic lantern forum made a post yesterday announcing a new official development team; I am not 100% sure but seems as though this was not the case sine a1ex left a few years ago. Obviously, awesome developments have still occurred in the mean time, such as the incredible work done to the EOS M, 5d Mark iii and more to sd overclock, implement new binning modes that provide more image detail and less moire, and enable excellent previews in modes that previously rendered almost unusable to monitor. Now an official development team is back, and their aim, according to the post, is to implement features into main builds; finally we do not need to dig through forum posts anymore lol... What is even more exciting is the announcement of great improvements towards Digic 6 and Digic 7 cameras. The Canon 200d/SL2 has an OFFICIAL build with WORKING RAW VIDEO. This excites me, as supposedly this camera has an entire stop better dynamic range at ISO 200 than the 5d mark iii does...and DPAF to boot. Makes me want to get one just to play around with and rig into a poor man's interview b-cam for my Nikon Z6. The 7d mark ii, 6d mark ii and 750d/t6i also have official builds, though more work needs to be done to implement RAW video. Still, even this is exciting news, because it looks like a point will be reached in which the aforementioned cameras all have stable RAW video. Man...the 6d Mark II is gonna become absolutely killer and I believe might overtake the legendary 5d mark iii as the ML king...why? Full-frame AND Dual Pixel Autofocus. So exciting. Imagine if they progress on the EOS R and we get RAW video on that...we shall see. Anyways, wanted to share as I think it is exciting that the ML community is getting active again. Although I have never personally owned a ML camera, it has always fascinated me and I want to pick up a ML-compatible Canon body, even if it's the dirt-cheap Canon 50d that makes it possible to shoot continuous 14-bit RAW video for only $86 US on ebay haha. Exciting times. Screw modern camera releases. My 7 year old Nikon Z6 is still alive and kicking. And these old cameras are about to become beasts. And to me 5d mark ii/5d mark iii/eos m crop mood stuff looks just as good as your youtube shill Sony FX2 bs anyways lol... https://www.magiclantern.fm/forum/index.php?topic=27315.0 Also here's the dirt cheap Canon 50d...I might buy one. Literally the cheapest half decent ML RAW cam in existence: https://www.ebay.com/itm/326652260011?_skw=canon+50d&epid=100134403&itmmeta=01JYD74BEKB8BK43GTP64YXEYE&hash=item4c0dfdeeab:g:zH4AAeSwaqVoO8fg&itmprp=enc%3AAQAKAAAA4FkggFvd1GGDu0w3yXCmi1dPuUUXNiquWqTtYdpH3VhCftZqA2312R5f5VSKqv6B737uadt8L7po3UhjQmLj7p22fLaKrov1%2FdF7%2FPis094b98Wz%2FnMbwS7WtRhqTqfyUhYZCMMmhc9OdIad%2FLodvcJXSllJYh90xsUWRTm7vGW5QqKQBbevi0jxouClCZ%2Fbk6QKRNa9LTJsvkdX56eaU7F7IwVfBdZCHZOygCtMLm6H3MlF0YovoZEHjhhYqNq10jPFnlPCjhOBrGydgfrK%2BKuCTwN1sGX5Pb3KDZ5MpxcA|tkp%3ABk9SR7i3kafzZQ

People are rushing to gas stations because of the price hike—up to about 5% just from this Monday on... Diesel was already sold out at the first station I went to... How is it over there in your area?

Greetings Creatives, I've created some brand new textures that would be cool for sci-fi projects. You'll find them here: https://soundimage.org/txr-metal-seamless/ CUSTOM MUSIC Need some custom music created special for your project? I'd love to help out! To date, I've worked with around 100 content creators. My contact information is here: https://soundimage.org/custom-work/ Please stay safe and keep creating. 🙂

You first asshole.

I'm a bit surprised that you'd find Moire with this camera. With 4K120 and 4K60 without "Extended oversampling", sure, since these settings lead to line skipping, there will be aliasing. I did see aliasing occasionally with the 36 MP D810 but on the 45 MP models it seems to require using extremely sharp lenses at their optimal apertures. I usually shoot either wider than that (i.e. f/1.4-f/2.8) or stopped down (f/8-11) and at these apertures it is rare on 45 MP. At f/5.6, sure. Overheating should be mitigated by using cards that are cool-running and perhaps also avoiding the most demanding video modes. I've never seen a heat indicator on the Z8 though I have seen it on the smaller Zf body. Though it must be stated that I live in Finland which isn't the hottest place on Earth and I did base my card purchases on the available information on which cards run the coolest. 😉 A little bit of sunlight? How much exactly?

P.s. i just realized the aputure is not working…

hi, i want to use the Canon R5c in super 35 mode. When i connect the sigma ef 18-35 to the camera via the meike ef-rf adapter (with variable ND) the camera states“ the lens is not supported - it will not work. But everything seems to work fine… Any idea what could be the problem?

Sharpness seems very natural to me, although I am not at the level of pixel peeing as others around! What I can say is that the Prores feels like Prores from a cinema camera. So the files edit like butter, the grain is well captured and not removed / crunched, etc. I've done quite a lot of low light high-ISO testing in the last few weeks and even up to ISO 12,800 the footage cleans up in post using temporal NR, which wouldn't work if the compression killed all the noise. Punch-in focussing is available during recording, and pops up automatically if you touch the focus ring on a native lens, and has a custom amount of zoom. I'd assume it's the same as previous cameras where you have an option to give you a punch-in box in the middle of the monitor, or for the whole monitor to show the punched-in part. The focus peaking was also active within and outside the punched-in part of the screen. The in-camera digital zoom is changed from previous models, and significantly improved at that. It's quite different now. Let's say I have my 9mm lens fitted. I hit the button I have mapped it to (it's called Crop Zoom "CrZ") and it activates the feature, showing me the current focal length (9mm) and there are a bunch of ways to get it to smoothly zoom in and out, displaying the current equivalent focal length as it goes (10mm, then 11mm, etc). The function is integrated into the zoom controls for the powered zoom lenses too, so I think you can zoom in and it will zoom the lens in as much as it can and then (if enabled) it will keep zooming in with the digital zoom. I thought the idea was it will keep zooming in until it gets to a 1:1 sensor read-out and then won't go any further, but the manual just lists some rather arbitrary zoom amounts. With my 9mm lens, if I shoot with the C4K mode it will go to 11mm, but on the 1080p mode it will zoom in to 24mm. In my tests I've found that the in-camera cropped images are free from artefacts, and I'd even zoom in/out during recording using it if I felt the need to. I'd happily use it for S16 cropping, or any other cropping you wanted. Perhaps the only caveat is that if you wanted to crop more than the 1.3x it will do in C4K, or 1.4x in UHD, then you have to use the 1080p mode, and that mode seems to have a slightly different look to the images, a bit more like the OG BM cameras in that it looks like a lower-resolution sensor readout. It's got a bit of that lower-resolution more sharpening look to it, rather than a higher-res-downscaled look to it. It's subtle, but it's there. It's still high-quality, but just compared to the 4K modes it's noticeable. I've been doing lots of tests for my next ballooning trip, and these include low-light testing. I figured I'd take my 14-140mm zoom for when the light is sufficient, and I'll take my new 9mm F1.7 as my ultra-wide, but was wondering if the 9mm could be my low-light non-wide lens as well. I did two tests. The first test was an ultra-low-light test. I tested: - GX85 with TTartisans 17mm F1.4 manual prime at F1.4 - GX85 with TTartisans 17mm F1.4 manual prime at F2 - GH7 with 9mm F1.7 at F1.7 (shot in C4K and cropped to be 17mm FOV in-post) - GH7 with 9mm F1.7 at F1.7 (shot in 1080p and cropped in-camera to be 17mm FOV) - GH7 with 12-35mm F2.8 at F2.8 and 17mm - GH7 with 14-140mm at 17mm - GH7 with TTartisans 17mm F1.4 manual prime at F1.4 - GH7 with TTartisans 17mm F1.4 manual prime at F2.0 - GH7 with Voigtlander 17.5mm F0.95 manual prime at F0.95 - GH7 with Voigtlander 17.5mm F0.95 manual prime at F1.4 - GH7 with Voigtlander 17.5mm F0.95 manual prime at F2.0 I reviewed all of them with just a 709 conversion, with NR/sharpening, and with tonnes of NR/sharpening. This is a test of lots of things being traded-off against each other, as the slower lenses all needed a higher ISO, and the 9mm was sharp wide-open and brighter but also pulling from a smaller sensor area, but I didn't upload to YT so it's not a full pipeline test. The result was that the Voigtlander won, the TTartisans at F2.0 was good, the 12-35 was good, but the 9mm was still acceptable and waaaaaay better than the GX85 + TTartisans wide open (which was what I shot the previous outing with and I found to be disappointing - the combo of the TTartisans at F1.4 combined with the GX85 ISO6400 was just a killer combo). I also tested the 9mm F1.7 wide-open vs the 12-35mm F2.8 stopped down to F4.0 against each other in good lighting and native ISO and using the 1080p in-camera zoom to match focal lengths. I reviewed all of them with just a 709 conversion, with NR/sharpening, and with NR/sharpening put through my FLC pipeline (which includes softening the image slightly and adding grain). I didn't upload it to YT either, so it's not a full-pipeline test but was a good indicator of it. I found that the 9mm zoomed to 12mm was equivalent to the 12-35mm, at 18m it was noticeably softer, and at 24mm it was really noticeable and getting into vintage territory. I can post some stills if you're really curious.

I have so much great footage I've taken with the gx80- the one that was used in that gx85 thread started way back when (and briefly became the most popular thread on EOSHD ever). Every camera I've used since (there have been many of all shapes and sizes) was either bigger, lacking features, or didn't have add significant improvements over it. In retrospect, I probably should have stuck with it and I would have saved a bundle and paid off my house that much quicker. Just last night, I was live streaming via HDMI with my S9 (not recording) and the camera over-heated mid-session (about a hour in), something my M43 cameras NEVER did. Granted, I don't think the S9 is made for what I was doing with it in a VERY hot attic (~35C), but still I wasn't even recording and I had a dummy battery. I guess the S5ii will now need to be doing that job and I'll set up my GH2 as a backup (just in case it happens again).

There’s a truth in that and every time I try a prime again, it’s pretty much straight back to a zoom. I recently invested in a set of Panny L Mount f1.8 primes and though I like the 50, the 18 is just too wide and I’m just not using the 85. So it’s back to the 28-70 f2.8, probably keeping the 50 as I do need something as I have ‘stolen’ back the 28-70 from one of my statics. The 18 and 85 I reckon I just need to sell but most likely trade for the Sigma 28-45mm f1.8 because for indoor work and my needs, I can’t see past it. I did look at this new 17-40, but no dice as I’m not going back to 4k crop when for the last 2 years, I’ve been shooting full frame 6k open gate.

Landed, my friends... :- ) https://www.the-digital-picture.com/Reviews/Sigma-17-40mm-F1-8-DC-Art-Lens.aspx