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Showing content with the highest reputation since 05/02/2020 in all areas

  1. 9 points

    Lenses - Sticky Topic

    A few stills from a shoot last night all on the Pocket 4K XL and CZ 35mm 2.8.
  2. 9 points
  3. 8 points
    Remember it ? All the usual caveats of "absolutely not its final form" but thought I'd show a (very) rough glimpse of its (very) rough format. Things have been quiet on it publicly because as I said in the very original thread that what was first shown was merely a jumping off point and it pivoted into what is now a very different product. As you should now be able to guess from this image, it is doing something a little different and offers both AF-S and AF-C modes for, lets just say, more than one focus target The purpose of this thread, aside from the update to prove its not slid into Sony A7S-III territory, is to provide little updates on what is happening as we edge towards release of the actual product particularly as the previous thread is a bit defunct in terms of what its final form will now be. I'll put up some video samples soon, although @Andrew Reid has had some over the past month so should be able to vouch for it actually working I won't be getting too much into the detail about whats going on under the hood until later on and I will be doing a blog post with Andrew to provide more insight nearer the time of pre-orders which should be in August. FYI, the cables you can see are powering the PBC and not going to the camera so no camera mod is required ! So, for now, fire away if you have any questions if you have any interest in it but if you can please just keep it to general operational stuff.
  4. 8 points
    So many times I wish I were a photographer instead You can get a beautiful shot with a camera that looks the same whether moving or still... But movement always has to justify itself. If the frame floats or moves with IBIS, shot dead. Mood gone. It's such a fine art. Camera movement is such a fussy thing. It's like colour - There's no point it being there unless the movement is beautiful or has meaning. Otherwise, may as well be still - or black and white. With a photo you can just make a pretty shot and it's job done. It's about timing, framing. With video you have to sustain all that's nice and has meaning for 10x longer. Sometimes 1000x longer. With photos there's the one-man nature of it... with video, you have to rely on others a lot more - actors, writers, and so on. And that's before you've even started the shoot Sometimes I hate video. And think I'd be better off with a Fuji GFX 50R, just enjoying myself. Just one man and his camera. With video, you often have to lug around rigs, tripods and monitors. To anybody who sustains their filmmaking over the years at a high level I salute you. It must be incredibly stressful!
  5. 8 points
    ...and posting no links to work or a reel. Does your first name happen to be Ebrahim?
  6. 7 points
    Hi all, This short vlog may be of interest as it's just a little chat about the dreaded Gear Acquisition Syndrome, and shot on S1H All natural light, VLOG 10-bit 4K 25fps full frame, I used a Tiffen Black Promist 1/4 and some stos of ND, Lens is the L mount Panasonic 50mm 1.4 Lighting is a window and a large silver reflector
  7. 7 points
    Just throwing this out there... So the plan is - I will be putting some future blog posts out in Mattias Burling style, with the voice over, the artistic shots and camera gear reviews in video form. I really like this format and Mattias did it brilliantly. The other thought is around some kind of live streaming and online camera 'festivals' with a good atmosphere and lots of guests. Like CineGear but online. I'm open to advice and what you guys want from EOSHD on YouTube. It is actually going ahead this time in a big way and won't be a one off podcast or interview. Suggestions welcome and ideas even more so
  8. 7 points
  9. 6 points
    Attila Bakos

    Colorizer 3D LUT smoother

    Just finished a new tool, it does what the title says. It's in beta, bugs are possible. [CLICK HERE] Fuji just released the Bleach Bypass LUT, which has some weird transitions, so I'll use it as a demonstration. This is the stress test image I'll use: See what happens when you apply the Bleach Bypass LUT: Now I use my tool in "box" mode with 1 iterations to create a new LUT: This is "box" mode with 5 iterations: More details on the site.
  10. 6 points
    What you haven't heard? Canon Egypt gave the green-light for the R5 dentist undergrad beta test program! 🎬 🎬 🎬
  11. 6 points

    Sigma Fp x Canon Dream Lens 50mm F0.95

    Desperate for any excuse to actually use my fP again, I've just gone outside to shoot this very quick, non-scientific and, indeed, slightly not focused on the ColorChecker test to show you the different profiles. I actually quite like the Portrait one as a flatter profile myself. STANDARD VIDID NEUTRAL PORTRAIT LANDSCAPE CINE TEAL&ORANGE SUNSET RED FOVEON CLASSIC GREEN FOVEON CLASSIC BLUE FOVEON CLASSIC YELLOW MONO
  12. 5 points
    Andrew Reid

    Anamorphic on medium format

    NEW BLOG POST https://www.eoshd.com/anamorphic/preview-of-coming-attractions-anamorphic-goes-medium-format-with-fuji-gfx-100-and-a-look-at-the-leica-sl2-5k-43-mode/
  13. 5 points

    Fuji X-T4

    Ah, a little further elaboration... I use the 16-80 on one body with tripod, ie, static for ceremony & speeches only. The Sigma 18-35 is on another body and freestanding monopod for more considered work indoors. The Tamron 45 takes over outdoors and with both of the latter lenses, mostly shooting wide open ie f1.8. No client has ever mentioned blur, bokeh or any other technical/visual aspect. If they are ever going to want to talk about something, it will be music choices and can they have their Ed Sheeran first dance inserting somewhere 🤯
  14. 5 points
    If you wanna do it properly for professional work, there's a dedicated plug-in for adding motion blur called ReelSmart Motion Blur: https://revisionfx.com/products/rsmb/premiere-pro/ It has a number of parameters for fine tuning and allows you to add precise amount of blur based on captured shutter angle and desired shutter angle.
  15. 5 points
    Andrew Reid

    Enjoying the Panasonic S1 again

    What a gem this camera is. I always get distracted by what else is coming out - GFX 100, SL2, X-T4, and the list goes on. But when I look at my footage shot in Asia and Berlin on the GH2, I realised how effective locked down shots are with manual focus. Back when we had to use a tripod... Even the slightest shake is a distraction. There was no racking or AF during a shot either, that just ruined things. This was before follow focuses were common on mirrorless cameras... and the AF, well, it was useful for AF-S to lock off a subject and then you'd record and keep it there. I continue to come back to the S1 because it is the spiritual successor to the GH2. It's not expensive (well, compared to an S1H or cine camera) so it's aimed at the same people. It's relatively small, smaller than an C200 or FS5 for example which are the smallest popular cine cameras. It has a very good battery and huge EVF. The IBIS is tip top. The image in V-LOG, 10bit 150Mbit astounding, yet the file sizes remain much smaller than 400Mbit ALL-I. The 4K 10bit image quality difference to the S1H hardly exists. The ability to load a LUT onto the live-view display and shoot with your favourite one - what other mirrorless camera does that for £1500?! It is amazing in low light, it's full frame, and you can leave the tripod at home. I would take either over the X-T4 as it stands, good though that is. Now the GFX 100 is marvellous... but it's £8k even used! The SL2 would be wonderful if it actually shot 4K without the battery error, so that ruins that. The Sony A7 III is fine, but the image just doesn't hold a candle to the S1. So putting autofocus to one side and just shooting nice stuff the classic way... there is no better tool than the S1. If you want to use manual lenses with IBIS and shoot 4K 10bit LOG, the S1 is the best camera out there, especially for the price. Although the Sigma Fp doesn't have the same amount of features or an EVF, or yet a LOG profile, I rate that highly as well. Will do a round up of all the current cameras soon on EOSHD.
  16. 5 points
    Andrew Reid

    Anamorphic on medium format

    Some shots from the Baby Hypergonar on GFX 100 The trick here is apparently to use a lens with a rear element as small as your thumb. On a sensor the size of the albert hall. Light works in mysterious ways.
  17. 5 points
    Hiya! Another extensive post coming from me - brace yourselves! Long story short: I tried to minimize my 35mm eqv. setup and see what potential drawbacks would this bring. Left side: newly acquired Newyi 25/1.8 CCTV C-mount lens bought for astonishing 23$. Right side: Zhongyi Lens Turbo II + Nikkor 35/1.8 G (officialy it's a DX lens [meant for Nikon APS-C cameras], but it happens to cover FF quite nicely). Goliath vs David: Operation-wise, it's difficult to pick a clear winner. Newyi, being a CCTV lens, is so tiny that it's rather tricky to wield, even with my small fingers. Aperture ring is stepless and smooth, whereas focus ring is a bit stiff near infinity. Can't say a bad word about focus throw or focus zones overlaying one another - those are all good and allow to precisely nail the focus. Nikkor, on the other hand, isn't the most intuitive lens and is rather quirky to operate manually. There are no focus marks and the focus ring has little steps that can be felt while fine tuning. There is no aperture ring and the only way I can affect the aperture is via an AI - EOS adapter with built-in aperture lever. Having said that, Nikkor simply feels better in my hands. It may be bigger, heavier and not meant for manual use, but it is what it is. Newyi is advertised as a f/1.8 lens, yet it doesn't gather as much light as it really should. The same scene, shot in the same conditions, required a shutter speed of 1/60 when I used Newyi wide open, compared to a shutter speed of 1/105 when I used Nikkor (via dumb adapter, not a speedbooster). Speedboosted Nikkor gave me a reading of 1/160. That's a 2/3 EV of difference, which makes Newyi rather a T/2.2 (if not less) lens, not a T/1.8 one. Speedboosted Nikkor is almost a T/1.4 beast. Field of view between those two is almost identical. Nikkor has some serious barrel distortion, but it's due to it being a DX lens. Sharpness and contrast: Wide open Newyi is not only tack sharp in the center, beating the Nikkor easily, but also free of any noticeable aberrations/fringing. Unfortunately, it's less contrasty and introduces some ugly beige/red tint to the shadows. Some 100% crops. Those are my thoughts after owning the Newyi for 3 hours. I really wanted it to replace its bigger competitor, but to me contrast, color rendering and ability to gather more light is more important than sharpness and portability. Nonetheless, the fairy tale has a happy ending and Newyi managed to find a new host - Sony NEX-5. I hope my sister enjoys it, lol. Here is a photo taken with it on a NEX-5: And a 100% crop:
  18. 5 points
    Not sure whether this forum here is the right place for this video...
  19. 5 points

    Fuji X-T4

    Absolutely underrated. IBIS is on par with S1H. And I fell in love with it's autofocus using Z lenses (have 50mm and 24-70 f4). Never thought I would, but they did it right definitely giving video shooters some thought - lenses practically don't breath, focus absolutely silently, and there's no hunting, transitions are smooth. There was so much hate and misinformation about Z6 from the beginning. And Nikon are so incapable of marketing the strengths of their products, it almost makes you cry...
  20. 5 points
    Andrew Reid

    Fuji X-T4

    So very true Still sets a high bar nearly 6 years later. Especially with the high bitrate hack. That is a very good lens by the way, incredibly sharp for a zoom. Fuji's lenses are fantastic, however the Samsung version of that zoom was a stop faster at the wide end and had OIS. I notice the X-T4 IBIS has a mode which combines OIS and sensor stabilisation BTW. You should try the Fringer EF mount adapter for the Z6. The AF is like dual pixel AF. Works much more reliably than the Techart e-mount adapter did. The Z6 remains a very underrated tool. I think the problem is that almost all the competition is more interesting in one way or another and the body design make it look like a cheap Nikon 1 series thing. Yeah, I'm not warming to the feel of it either. X-Pro 3 and X-H1 far nicer and pro-feeling. The whole thing is covered in soulless, thin, faux leather. The way that fake leather covers the entire back of the LCD when it's closed - UGH. What were the thinking. X-T4, for want of a better word just feels a bit cheap? A bit clinical? Not as fun? Yet it has all the right features in the right place... Just played at a slightly tinny tone. I feel it will improve with a nice cage and wooden grip like SmalRig offers for certain cameras, such as the Sigma Fp. The shallow grip is woeful on the X-T4. The buttons feel no better than an X-T200. It's a bit of a shame, because the flip out screen, EVF, and new movie / stills switch are all good handling features. The X-H1 dialled down (no pun intended) the retro stuff and got it right. Why the X-T4 simply didn't just adopt the X-H1 body I have no idea. There doesn't need to be two lines at the moment. The one thing I DO like about the shutter dial is it's quick to go from 180 degree shutter to auto. I have 1/50 on T, Bulb uses minimum shutter speed in low light for video, and A is effectively an aperture priority mode for me. The ISO dial doesn't do it for me. Would rather have it on a jog wheel like normal. I find it depends a lot on the lens. Some of Fuji's best lenses like the 23mm F1.4 have old fashioned grinding motors and moving barrels during AF. They are extremely loud for video shooting and slower than the internal focussing lenses like the zooms. Fuji needs to update their primes and it was a stupid decision in the first place to put such old AF tech in the lenses. On the camera body side I feel the AF is fundamentally good but still not as reliable as it should be for video. I also like the Micro Four Thirds 1.95x crop mode at ALL resolutions and frame rates F-LOG is great for maximum dynamic range, at least 12-stops by eye, and the view assist works well too although could use a contrast adjustment slider. It does take longer to open out than a tilt screen, but it's horses for corses...pros and cons. The GH2 had one. I loved it, never had a problem with it. The finger hole to undock it and the mechanism is a bit too stiff and fiddly on the X-T4 though. The Nikon Z6 I think is a bit of a Canon EOS R6 type camera, if that is how we expect it to turn out - not quite a 1D X III with RAW and 5.5K but 4K at normal frame rates, a good all rounder, with good colour and decent AF with EF lenses (Fringer adapter). I feel the X-T4 neither has the nimbleness or fun of an NX1, but it doesn't lack for features that's for sure. It feels like Fuji has one set of designers on X-H1 / GFX 100 and another set on X-T series. One side is designing pro cameras, the other side is a bunch of hipsters with their retro ISO dials and should be fired.
  21. 5 points

    Fuji X-T4

    I see a lot of mixed feelings on this thread, and that may be because this community is very demanding, in a good way I would think that's because many of us owned THE NX1, which was so much ahead of it's time. Now that being said, I just got my XT4 a couple of days ago with a 16-55 2.8., and it's my first XT4 camera so keep that in mind while reading my first review so far. Also I'm a 70% video oriented 30% stills. Also I have zero brand loyalty. I don't care about brands at all. If tomorrow Sony has the camera and lenses that suits my needs better I'll sell everything and jump ships. Just to give you a bit of context I should also add that I own a Z6 and I find that it's an amazing camera with amazing (too few) lenses. So far this is how I feel about the XT4 : Ergonomics : It's a beautiful camera ! However I don't like the ergonomics to be honest. I think the camera feels bulky, it's like handling a brick. I'm still working to get the most practical set up and it feels like a lot can be customized in terms of buttons. So I'm pretty sure that I could get used to after a couple of weeks toying around. Now that being said, it doesn't compare in any way with the pleasure of holding the Z6. There are so many buttons in the back, and to me it feels like those big buttons on top of the Fuji that give the "vintage look" could also turn out to be useless and maybe in the way of better ergonomics. I don't know how much this participates in the Fuji identity, but to me it's more of a waste. Again, I'm not a "Fuji" shooter, just a filmmaker with a Fuji camera in his hands I love how they have 2 different modes for stills / movies. I would think that this is now a norm in 2020 but kudos to Fuji to bring that to their camera, feels like they really listen to their user base. Autofocus : I need more to get around all the AF settings but so far in terms of Face/eye tracking to me the AF lacks a lot behind Sony, AND Nikon (Nikon made a great job at improving the AF in the past months. I used it a lot during interviews and it was flawless in eye Af). Now that being said, the AF in stills, is incredibly snap and fast. But I don't think I could trust it for a documentary yet where I would have to run around a subject. I would trust Nikon AF, it's not as good as Sony or Canon, but I feel confident enough. Probably because it never "hunts" even when it loses its subject, it doesn't. So far I felt that the XT4 could hunt in eye tracking and actually even lose focus when the box for the eye was correctly placed ! So I need to dig more into this, but it feels strange. Again the box would lock the eye, but still focus on something else... I give the camera the benefit of the doubt because I haven't played around enough with all the settings yet, and also I feel like Fuji could bring an update on the AF firmware wise. Video modes : what is there to say ? Internal 4k 10bit with F-log AND assist (Rec 709 lut) with no crop, 60p with a very small crop, 240fps in Full HD. However I haven't been able to find the 120fps mode, so I don't know if you have to make a special setting or what not... Dynamic Range : That was one of my primary concern, and I feel like it's actually great. However the different picture profiles for video are IMHO way too contrasty and make everything looks like it was shot on a cheap smartphone (highlights are completely burnt etc). I'm going to film everything in Flog probably, and just apply a standard lut after wise. Skin tones : Now that is something so important for filmmaker. I love how the Z6 has this very smooth skin tones. A bit too magenta, I keep dialing in some more green tones (especially when using Filmconvert). But skin tones feel very silky-smooth with the Z6 while still retaining some details. I'm not sure how much I love the skin tones from the XT4 in F-log, I would need a bit more time, but just the fact that its 10bit gives you more leeway for grading. For now I'd say that it lacks a bit of saturation. I have this feeling that many videos I have seen with the XT3/XT4 have very pale skin tones and lack a bit of contrast and texture. Now again that is more of an intuition so far. I have a strong feeling that if correctly graded this camera can deliver. I can't wait to experiment with my clients to see how this goes (hopefully well !). Stills : I haven't play much with still but the AF seemed very responsive, very fast, trustworthy. And you can tweak the Burt modes a lot. Battery life : seems really good ! I heard the XT3 had a weakness in this area, I can say that I wouldn't be afraid of using just one battery for a short interview job. But of course you always need at least two. They should have included a charger for the battery. That feels cheap. My Z6 had one. IBIS : It's REALLY, REALLY GOOD. 90% of the time. And then sometimes it does something a bit weird. I would say, don't take IBIS for granted, rather lear how it works and use it to your advantage. It was never designed to replace a gimbal. However I could definitely see myself going around filming in the city without a tripod And that is really COOL ! Flip screen : don't like it. I'd rather have the classic tilt camera. I couldn't see why Vloggers would need such a powerhouse camera to film themselves, not judging it's really just a thought. Fuji : you guys should dedicate the camera to "power users". Don't try to go in all the different directions. I'm only speaking for myself but I'm not a big fan of filming while looking outside of the axis of my camera. I don't want to look on the side it bring my balance off. I don't know if the floppy screen is something people have been asking ? But to me it's a downside. I don't know how you guys feel about it. Overall : So far it's a great first impression. It's really funny to see a vintage looking camera actually performing like a monster. 10 bit 4K 60p F-log + assist almost no crop... That is insane. I'm not a big fan of the handling of this brick, but I can't see why I couldn't find a sleeve, handle to make it more to my taste. I also read that this is already improved since XT3, so keep up the improvements Fuji Also I love how this camera eats my 128GB Sandisk 95Mb/s with 4K @ 400mbps. That is really cool. If Nikon comes up with a Z6 Mark 2 10bit 4K internal, will I keep my Fuji ? I honestly don't know, probably not. But the camera market is not about "what if", but "what is". So for now I'm very, very happy that I can be a hybrid shooter with IBIS, and 4K 10bit 1,5x crop factor. That's it for me sorry for making this way too long ^^
  22. 5 points
    Andrew Reid

    Best camera designs

    To really love a camera it must be a comfortable, fast sportscar, not a mundane commuting experience. Here's what I've grown to like the most, from the past year of camera releases which I've owned and shot with. NEW BLOG POST!
  23. 5 points
    before i found this forum my inclinations where left to right, large format, medium format, 35mm format , super 35, micro four thirds 😉
  24. 5 points


    Γεια σου πατριώτη! Nice footage! You're not supposed to decompress anything on a fake anamorphic recording though. It's still square pixels. So when you shoot with Magic Lantern, you should not tell it that it's anamorphic recording, but rather normal recording. Then it will appear correctly when editing. Here is mine from today (Canon M50, Helios 44-2, Viltrox Speedbooster, Vid-Atlantic anamorphic aperture filter). I also have a modded Helios 44-2 (that doesn't require the Vid-Atlantic filter to get anamorphic bokeh) in the mail, coming soon:
  25. 4 points

    Video is difficult

    I think it would be usefull to separate the several areas of filmaking and not generalize. I did a few weddings during one summer and I hated it. People are unconfortable around cameras and just want to enjoy the wedding. As for photography, people have an instant gratification and can later post the pictures on social media, so the attittude is different towards photographers. For commercials you have to deal with the client. Most of the times you have to compromise or do what your client wants, even when you know it's shit. There's less chance of creating "your" own commercial, as you're getting paid for a specific purpose. My stuff is low budget, so the hability to do something great is more difficult. What I've gotten from it is that I don't mind to get a little less money for more time. It's less stressfull and more enjoyable. But it's not always possible. For corporate, my experience is that I had less people watching over my shoulder but people rely a lot on interviews. There's a formula that the client wants and that's it. Normal people don't do so well on camera under pressure. So It's always a huge amount of time for people to be able to speak full sentences for the camera. I think I would behave the same way. And then you deal with terrible lighting and ugly ass interiors. I watch this forum for a while now and it's mostly about gear talk. That's great but it's only a small part of the conversation. Some people work on the industry and some don't. There's a lot of cynicism towards the industry and some is valid. My recommendation is for people to lose the gear addiction and think of a theme that they would like to explore. In photography or video. Some ideas don't need a lot of money. Just time and dedication.
  26. 4 points

    Video is difficult

    Yeah if there was a clearer path to education I'd definitely take it. From what I have seen film schools are often kind of a joke. At least that is my opinion after having worked with multiple students from these schools. I will also say everyone of these students have been very talented people. I just don't think the schools have taught them much. I learned more on my own from simply making my own films, working with other people, reading books, and articles/youtube. I did take the time to actually buy books on lighting, cinematography, and sound early on though. I feel like reading is unheard of these days unless its an online article haha. Interestingly I've found that a lot of online information especially mainstream stuff is really poor. It seems to often be written or produced by people who know very little about the actual subject but rather are just good at marketing themselves. Most filmmaking stuff on youtube is so basic and generic. Most experienced people are busy actually working and have no time for YouTube. So rather we get these wannabe filmmakers who are really just youtubers and there experience doesn't really go beyond that. There are exceptions to this of course. As to the "just do it" attitude I think its complicated. A lot of it comes from YouTube guru's, motivators and entrepreneurs. The big thing with YouTube is you just need to convince people you are an expert so they will buy your classes. I just saw a youtube ad the other day and it was a 15 year old kid talking about marketing! The kid was wearing braces haha. He was saying how he learned from the best and wants to tell you what to do with your money. It was completely ridiculous. At least someone like Tai Lopez took the time to get a lambo and huge Cali house to convince people he was a finance genius. Its the idea that to achieve something you just need to jump into it and fail until you succeed. There is of course truth to that but people take it to the extreme. Claiming to be something you are not professionally is fraudulent. I have worked wedding jobs being the sole videographer with very little experience. I feel bad as I often did a not so great job(at least in my opinion). That said my employers never told me I did anything wrong and continued to hire me. They also hired me in the first place despite my inexperience so I blame it on them and actually have since quit working with them. They did give me the opportunity to learn by failing and I think I am decent at doing weddings now. That said I'd much rather have learned under someone's wing rather than the way I went through it. A big thing now is these wedding companies that contract videographers to shoot their weddings. They claim to have award winning weddings(whatever that means?), yet they don't actually have a specific group of videographers. They contract random people from all over the place so the product they deliver has no consistency. Maybe some of their weddings are shot by an industry professional but others are shot by someone who's doing it for the first time. Their means of vetting who they hire is also a joke.
  27. 4 points

    Video is difficult

    Yes, video is very hard. The difference between, for instance, wedding video and photography is almost ridicilous. I have seen photographers literally just burst firing away at the wedding cake whilst moving the camera. One of those 30 pics should be alright, not? And if not, you just crop and enhance the 30 MP 14-bit raw image until it looks good, with a bunch of downloaded Lightroom presets. Also, the shooting is done on auto iso, auto focus, auto shutter speed, etc. The difference couldnt be greater. No audio, no capturing complete stories or scenes, no camera movement, no keeping the focus, no 'shit people might move in front of my camera soon', just recompose and burst away. And yet they earn the same or more. And girls drool over them. The last one was a joke. But not really. But then, lets talk about actual film making. I just finished my first feature film script. Jesus christ, i have a lot of respect for writers now. What a task, to do it properly. And it's never finished. There is always room for improvement. Of course I wrote something that needs a big production budget and a lot of visual effects... Impossible to pull of without major funding or a production company. But then, i will probably not be given the chance to direct. Difficult. But working on proper film productions is the only way forward. No more messing around with cheap and soap like short films. Or test video's. Cat video's. Travel video's. They were interesting when i started out, but also because camera's were just getting better and content was interesting just because it was shot with a certain camera. Those days are over. Every modern camera looks good. Its a done deal. Also, there a literally millions and millions of video's online now who do the same thing. Everyone seems to do the same. Billions of GB's of test video's, flowers with shallow dof, their girlfriend in slowmo in the park, their last holiday with a cheese voice over to make it look like there is a narrative, city shots without meaning, etc. I cannot look at it anymore. It's the 'easy' version of film making. You point your expensive big sensor camera at random stuff and expect that people will want to watch your 'film'. There is no story, no narrative. Also not when you add a voice over in post. Or music you ripped from another youtube video. Yes i am very harsh. Also on myself. I want to make real films. I am talented, but i'm not sure i have enough of it. And i will ever make the high end narrative stuff that i appreciate from selective other people. And... If i will ever fully enjoy it. Because film making is indeed hard. Long, exhausting days on the set. The stress. The constant 'will this even work'. But, when you finally do create something which has story, performance and production value and it all comes together and actually does work, it is the most beatiful form of art that exists. When you blow the audience or your clients away, in retrospect it was all worth it. Or was it?
  28. 4 points
    1/4000 would be typical in mid-day sun. I'll shoot some video tomorrow and apply the trial plug-in. See what happens. Usually have a bunch of ravens flying around....filming that should provide a decent stress test.
  29. 4 points
    A lot of us can’t help it! It’s a human tendency to want the next best thing and never be happy with what we have. To be honest I had a itch to pull out my wallet and replace my GH5S...XT-4? S1H?... Then this global pandemic hit and quarantine happened. We also decided to move and sell our house so I naturally grabbed my camera and documented it. To be honest the more I was creative with my camera the more I enjoyed using it to create something. The image with V-LogL is quite fantastic. I decided to use Buttery LUTs in an attempt to just shoot and focus my attention on exposure and white balance and not mess around too much in post (Some screenshots below). We don't think about the specs of our hammer when we use it, we think about what we are making with it. So that's the mentality I'm going remind myself to use. Some other conclusions: I am 100% convinced I prefer glidecam/shoulder strap stabilization and locked-off tripod shots over a gimbal (so I'm selling my dusty Weebill S).
  30. 4 points

    Anamorphic on medium format

    Still very restricted here about how far we can go from home but managed to use some of our allotted exercise slot this evening to take a bit more footage with the FP/45mm/Anamorphot. And yes, that is a snake in the bottom left of the top picture. And yes, I did shit myself when I saw it.
  31. 4 points
  32. 4 points

    Anamorphic on medium format

    Ah...so maybe breaking it and covering it in barrel grease is the secret. I need to do a YouTube video about it immediately with a thumbnail of me holding it at arms length in front of the camera whilst doing an open mouthed shocked face
  33. 4 points
    Instructions unclear. Bought two more cameras using stimulus cheque.
  34. 4 points
    Well this stopped me buying something. So mission accomplished sir. I thank you.
  35. 4 points

    Tokina AT-X 60-120 2.8

    I was after a 2.8 manual focus mid range zoom for years when using Pentax DSLRs and just occasionally, I would see this lens on Ebay. I have had a lot of mid range manual focus film era zooms and most have not been great, two exceptions being the Tamron adaptall 70-210 3.5 (model 19b), a lovely lens but very big and heavy and Canon FD 80-200 f4 L (this one I never had until a lot more recently). When I DID see a 60-120 2.8 lens, they were very few and far between and all from Japan and usually very expensive or had fungus or other issues. More recently i have given up on old lenses unless I get them very very cheap from the charity shop I volunteer at or likewise at a pawn shop i haunt but have gotten rid of most of them in the last couple of years. I was looking for an AF portrait lens on Ebay for my A7s but kept going down and came across this old lens (around 40 to 50 years old). $150 Australian plus postage is an absolute bargain and when the lens was listed as near mint condition, well I put off paying the electricity bill to buy it It turned up today (two days early) and I fell in love at first sight and want to marry it after a minutes use! There are very few reviews of it around but most say it is very good though some say it is not sharp...Well I think it may well be the sharpest zoom i have ever had and its bokeh is to me, superb. It is not quite mint (though looks like it was made yesterday), One touch and the focus works very smoothly but the zoom action is a little stiff (better that than loose though). Minimum focus distance is a fraction longer than i would like but that is just nit picking. For video, I will only use it to record single musicians either seated or not moving far just for the odd song (on a tripod and zoomed to the focal length wanted and set). For stills it will be a wonderful portrait lens (all I need are victims) but it might be a while before i can use it properly unless i stop random people in the park. I am sure it will have downsides (maybe if a light source is in view though yet to try it) and I get a new flash in the next few days that i want to try it with. IF you can find one in even half decent condition, from what i have seen so far, I would say BUY it (or kill for it but check the prison will allow you to keep it with you first). Some lame first shots. Any errors are MINE, not the lenses. All at 2.8
  36. 4 points
    Leica haven't responded to anybody about it. Tons of users with the same issue https://www.l-camera-forum.com/topic/306288-4k-recording-with-low-battery/ It's disgraceful. I want a refund! Or a working camera. Whichever comes first.
  37. 4 points

    USB 3.2 ?

    I started with the unexpanded (1K of RAM) version of the ZX81. Of course, we were happy then, even though we were poor.
  38. 4 points
    A simple talking head setup - check! Only 1 bulb (out of 4) used and - okay, I admit it - it was a bit too bright to my liking in this scenario. Don't ignore inverse square law, lads and guys! The key light was ~ 50 cm away from me. f/1.4 , 1/160 s, ISO 1000, WB - 4000K BTS:
  39. 4 points
    First post after visiting and enjoying this site for quite a while. I'm mostly into writing and looking to produce on low budget so it's interesting to read how others are getting stuff done with readily available gear. Came across this short and thought it might be of interest. Two versions on Vimeo ( via cinematography on Reddit ) and Instagram. Enjoy 😀
  40. 4 points

    Best camera designs

    Great post! I think design, UI, and ergonomics are an under-reported element to our work. As every NX1 will say, it is such an enjoyable camera to use. Not just the chunky grip and sensible button placement, but the straightforward, simple menus deserve a shoutout. As a general use photo camera nothing comes close. Though I haven't used them, I think the Z6/Z7 are noteworthy for actually including a locator pin hole on the bottom--so simple, but so helpful. On the other side, the Z Cam E2 has some unique design choices that stand out. Lack of a grip makes gimbal balancing easier, and the presence of two 1/4-20 threads makes it super stable. Unlike larger pro cameras, it's tiny and much more easily managed for a single person crew. Then there's the phenomenal Z Cam app: wired/wireless monitoring and control from an iPhone. I noticed that! Definitely a nice touch.
  41. 4 points
    Geoff CB

    Best camera designs

    For ergonomics nothing beats the NX1 for me. Also one of the reason's I've stuck with my Nikon gear over other options.
  42. 4 points
    Here’s my latest anamorphic adventure! Pro-tip for anyone who is considering an anamorphic rig on film: make sure your variable diopter has focus marks! Everything looked focused in the viewfinder, but it definitely wasn’t. Marks and a tape measure are your best friends.
  43. 4 points

    Fuji X-T4

    Got mine yesterday so haven't had the time to do a proper test but Fuji IBIS is still weird. Included some shots of it in a video. It's like the software locks on to something and then realizes the camera is still moving and compensates by moving the sensor with a quick jump. Contacted Fuji about this and they said it was the first time they heard about it, strange... Did test the overheating, 3 x 30 min 4k 50p h265 200mbps was not a problem in a 22 degree room.
  44. 4 points
    Well its a nice day here so I've set myself up on the balcony to do this al fresco and have gathered together the components that I need for my particular style of product development.
  45. 4 points
    Garbage is an interesting word for this camera. I’m glad I won’t have to read R-bashing for much longer. Before we all move on, and pick up an R Successor, I’d like to put this in the record. I’ve nothing better to do right now, so here’s the whole story of the R from someone who has used it every day since it first dropped 18 months ago. Firstly, fair point on this thread about the DR- on par with the C100 at best, maybe C200 (the non raw output). The crop never bothered me though - close enough to match the S35 cinecams - and there’s always the metabones as a fair fix. My problem with the R, like other R users on this thread, is the rolling shutter in 4K / crop mode (RS is fine in full frame), though I found this practically disappeared when using wider lenses like the Sigma 18-35. It’s there if you chuck it about. So I have to give a damn about camera movement, and I sometimes use a shoulder/chest pod handheld. Forget 50mm and above though yeah unless you’re on a gimbal or using some kind of rig. Flawed camera, it certainly is. The rolling shutter is my major gripe (my other gripe being no 60p in 4K - minor for me but a deal-breaker for many, I get it). This RS, which btw enhances some tilt-access warp in the electronic IS, so it’s a double-whammy, meant countless hours of experimentation and in the end meant building my own chest/shoulder pod for extreme handheld work and longer focal lengths. I’ve destroyed the RS but I wish I hadn’t had to do this, and I don’t always want to have to use this rig (even though it does improve every shoot). Bring on the IBIS. The 4K 60p. 10 bit internal. All hail R5/R6 - so long as there’s improved rolling shutter. Garbage though? In and of itself, and just going by specs, I won’t argue that it was a disappointment, especially for full frame shooters. I agree, it’s a flawed video camera. BUT, when you put the R in context - ie with lenses, next to other cameras -I’d argue it offers formidable value for doc shooters, solo operators and for all the indie filmmakers who want to use a Sigma 18-35 without a focus puller.... Because it’s the only mirrorless cam on the planet to offer perfect autofocus (yes, for me, it works PERFECTLY) with that Sigma 18-35, a lens so good that many cinematographers use its rehoused glass for its true 1.8 transmission, near parfocality, and smooth focusing with almost imperceptible breathing (well, at least on the R...) I may be wrong, but I think the only other cameras on Earth that pair this well with the Sigma 18-35 for autofocussing full 4K readout are the Canon cinecams: C200, C300 mkii, mkiii, C500 mkii... I’d say the R is in pretty good company. When you then add the R’s drop in ND filter (1.5-10 stops), it really gets interesting. I barely remove it when using the Sigma. How many of those cinecams have non-stepping ND (they step two stops, four etc) On the R you just adjust to any stop, wherever you want... all with the roll of a finger. The R also has decent electronic image stabilisation (if you know how to sidestep its limitations) which is missing from some of Canon’s ‘cinema cameras’. I’m aware the R doesn’t have native XLR inputs or pro time code functions etc. I know it’s not a cinema camera (but this didn’t stop me selling my C300 to use the R exclusively). It’s a consumer camera - with an image that punches WELL above its weight. The R’s 4K is a 1:1 readout (which you can also out at 10 bit). Its 1080 is downsampled from the same 4K readout in crop mode. The R5 will not process its 4K the same way. It may be better, if Canon downsample 8K (it might not be better, especially its 1080), otherwise what kind of voodoo will the R5, and its purported 45 megapixel sensor, have to perform to offer better than 1:1 readout to cover the image circle of my Sigma 18-35? I hope Canon does it. Obviously, the R is not going to be any cinematographers first choice to shoot a movie, but for anyone else, especially doc shooters and solo operators, I’m hard pressed to think of a better value canon video camera. Its 4K image rivals the C200, even performs a decent imitation of the 1DC image. And it has a 5Dmkiv built into it. In a low-profile mirrorless body. With an RF lens mount. All this for as little as £1400 used (and falling...) The R was received poorly by all of us who were hoping it was gonna be the R6 and the anger STILL resounds. But the R6 is now coming, and soon the R Classic will be totally written off (if it hasn’t been already). If the next gen R cams can really deliver, I’ll probably trade in my R, and some kid can pick it up used and sacrifice it’s stunning images to the gods of YouTube compression - or maybe create something beautiful. Garbage? I’m afraid you’re probably right - the R will end up as garbage - but I don’t think it deserves to be. Despite how frustrating the camera can be, it’s also been amazing in many ways. Farewell to the garbage that time forgot. Or will the R Classic be resurrected in the RF era, the impending ‘Revolution’ love-in, suddenly touted as the ‘next-best’ option to the R Pros for those shooters that, in these uncertain times, will not be able to afford the insane price tags surely headed our way.
  46. 4 points
    Dude, its the shooters fault. You know you need an IR filter to avoid situations like this. Its like shooting wide open at 1.2 in the sun without an ND filter and then complaining in post see everything is overexposed. Not sure why this comes into play into a color discussion.
  47. 4 points
    Just popping in to say that I quite like Deep Impact. Coincidentally, this thread couldn't have been more destroyed if it had been hit by a giant comet either.
  48. 4 points
    @Django Check out this list https://pdnonline.com/gear/cameras/the-best-cameras-for-color-reproduction-ranked/ TBH I am really confused as the Fuji's are up at the top directly followed by Sony. How can they both be super color accurate while both being very different?
  49. 4 points
    We are here to share and learn...But lately i see just complete bullshit from fake users that claim their pro colorist with their science Post your work and talk.
  50. 4 points
    Don't worry about the R5 bashers. Haters gonna hate. Watch em come around in couple months.. CS is a tricky subject, there are a few dedicated threads about it here. Most of them don't end well lol.. Canon is known for their warm skin tones and Reds that pop. Clog is also pretty easy to grade. RAW 14-bit is glorious. Pleasing CS doesn't necessarily mean accurate colours though. Strangely you will often find Sony on top of color accuracy rankings. In the real world however, Sony are often last in the CS preferences. doesn't help their WB craps out as soon as mixed lighting comes in. That said I love Venice CS and shoot almost exclusively with the Venice LUT on my FS7. I haven't worked with recent BM cams but generally speaking the ProRes & RAW footage from them grades beautifully. My problem with BM is they can be unreliable cameras. Some Ursa Mini 4.6K had magenta cast issues for example. Very difficult to get rid of.
EOSHD C-LOG and Film Profiles for All Canon DSLRs
EOSHD Z-LOG for Nikon cameras
EOSHD Pro Color V4 HDR for Sony cameras
EOSHD Pro LOG for Sony cameras

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