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Is amazing. I love it. Never going back to RED unless I’m forced to by a client. Just thought I would share. The IQ is pristine, colors are great and it’s just a breeze to use. Will post a few stills here in a day or two.

I sat down with my friend Dave Maze for a podcast recently. We talk about the origin of EOSHD 10 years ago, and the start of the DSLR video revolution, my filmmaking adventure in Berlin, recent controversies and edgy camera opinions. Big thanks to Dave for taking the time to let me ramble and for listing to my waffling! https://www.eoshd.com/news/eoshd-on-the-golden-hour-podcast-with-dave-maze-in-depth-interview/

For anyone looking to have this functionality (and a bit more) without having to buy a specific new gimbal (or any gimbal for that matter), our AFX module launches a week on Monday. I'm absolutely not going to give the game away before then and say that it also supports manual lenses. Absolutely not going to spoil that surprise.

Got the A7SIII as wanted a small body that could do 4k120 10bit with high calibre AF tracking for gimbal work, and more. Coming from the EVA1 and GH5. No footage yet to show. Haven’t used it on a job yet but I’ve took it for a casual spin in the park. Is the hype real? Not sure yet. Need more time. Some observations: 1. The body is very very light. The buttons are nice to press. The screen is a little thin. The menu button is in the wrong place. The grip is far better than before. It’s much bigger. 2. The EVF is insane. Never seen an EVF that clear and sharp,

Three days to go. The RAW shooting Sigma fp with the Baveyes 645 medium format speed booster is a little powerhouse. Particularly when you can now add ToF autofocus to that manual Mamiya 35mm lens.

Forum news. You can now switch between dark and light theme. I prefer the dark one, especially on a bright modern high contrast IPS or OLED screen. Much easier on the eye and photos / videos really pop now on the darker backdrop. Enjoy! (The button to switch between dark and light Theme is at the bottom of the page)

I think the light and amount of contrast of the scene makes a huge difference to the image thickness. When you have a good amount of contrast in your scene with areas of shadow and bright highlights, and your object is well exposed then you can bring the blacks down were they belong and help with the perceived thickness (and also reduce the perceived grain/noise). Were I notice the main difference with cameras that produce thicker images like the digital Bolex is with skin tones and also foliage/leaves/trees etc. Whether it's the tonality/colour gamut/saturation/shadow saturation or all of

In regards to Raw vs Log formats, while its nice to have a the ability to change color temp and ISO in RedRaw, etc. The Kodak Cineon system, a 10 bit RGB 4:4:4 Log format was the gold standard for over 20 years when scanning film for digital processing in VFX and later for Digital Intermediates. https://en.wikipedia.org/wiki/Cineon Every post house on the planet worth its salt should be comfortable delivering professional results using a 10 bit log "digital negative". It wasn't until the rise of HD video acquisition over the last 10 years that raw became a thing. And the early rea

It is interesting that the top three spots on Andrew's list of the most popular cameras on EOSHD are all M43 cameras. Yet every day we have new posts bemoaning the impending death of the format. And here we are posting on a GH6 "rumors" thread that is 27 pages long and has been active for over a year. It really feels like the death of M43 if it comes, will be due to a self fulfilling prophecy in the minds of its users and not based in any rational assessment of its adoption or the interest of its userbase. If Panasonic does decide to abandon a market that they lead and tr

In my opinion tonality trumps dynamic range. You can have very high dynamic range but if the tonality and colour is lacking you get the 'thin' digital low-bit-depth look. A lot of smartphones have it in their HDR modes. Some of the old CCD sensors produce lovely "thick" files but don't have anywhere near 12 stops dynamic range, not even 11 stops. And yeah, Digital Bolex was a good example. You can compare it to the claimed '15 stops' Sony S-LOG and it looks much deeper, more exotic, thicker, more filmic, more organic, despite having noisy shadows and clipped highlights.

Wow, no love for IBIS today? I couldn't go back to a non-IBIS camera. I shoot lots of B roll of people who've never been on camera before and will be gone away in a minute, doing things. IBIS means I can shoot handheld and get three different steady shots from different angles while directing the person(s) in the same amount of time it would take me to get one shot on a tripod. I don't use it as a substitute for a dolly, slider or gimbal. I still remember my horror at the shaky jello of my first handheld shots on the 5D Mk 2!

...and a few days later, I'm keeping it after all. In fact, a pair of them are going to be my main workhorses as I intended. I have been trying to find a workaround and not just a 'kidding myself' fix, but something genuine. I looked at both the HC-X1500 camcorder and the bridge camera (for my static manual and occasional but important AF needs) but just know that based on my current 1" sensor Sony camcorder, the footage is going to be shite. And it's still contrast detect, so nah. Back on to the stage comes a used XT3 body and I already have a Fringer and 17-50mm f2.8 Sigm

1. Some people just don't like the obvious artificial limiting/crippling of tech... they'd like real competition and better products 2. Some people actually LIKE the boomer-protectionism of the 1980's technology markets. I.e. hacks can just say "I own X or Y expensive camera! You HAVE to hire me now!" 3. Some people like to pretend that there is something "Magical" about $5000 or $15000 cameras that will give them better results over something like a Blackmagic P4K or capable DSLR. There isn't.

Of course I would love to have everything the world has, thrown into the C70, but I am trying to be realistic. Yes, I would love it to have raw, and e-ND, and full XLRs, and SDI, and ProRes, and Braw, and other things, but then it wouldn't be the C70, and it wouldn't cost 5000$, or whatever it costs. I have the P4K, I have never shot braw, and that camera has NO AF while the C70 may have the best AF at the price point, less audio options, terrible battery life, no ergonomics whatsoever, less I/O, a smaller sensor ofcourse, no ND - which is like number one priority for video cameras.

There is an R5/R6 user experience thread so I figured it was safe to start a Panasonic S5 user experience thread. I've only shot with it for a few hours, mostly setting up (and learning) the menus and I know there are already endless YouTube reviews, but I thought I'd share my thoughts on my experience so far; completely unbiased, unsponsored and as someone who will use this camera for everything from music videos to weddings and if all goes well I might even use it for photo shoots. Since there is so much that I like about this camera I've decided to just put my dislikes first becaus

I can think of a couple of YouTubers that could be that third guest and you'd could probably then sell the PPV rights to Showtime.

Not to self promote but I think this is an underrated video on the quality standpoint. For whatever reason it didn't get many views for us. The Inspire 2/Zenmuse X7 with the 50mm lens combo is just...crazy. The parralax creates a look that's closing in on full size helicopter stuff. This was for a company to see how Inspire 2 footage upscales to 8K using AI for both resolution and framerates.

An example of continuous AF on a handheld Pocket4K with Panasonic/Leica 12-60mm.

Just bought a S1 and a 24-105mm lens for very VERY cheap, goodbye nikon.

Some nice highlights.

I haven't tried the 24/25/30p so can't comment, theoretically it should give less heat than 4KHQ Well here is my thought on the R5 after the race day 1. AF The most reliable method for me is the Zone AF, tracking AF on cars can get lost when I also do the panning or when the car is down to certain area on screen or if there is a lot of cars which can block the view. Expand AF can get OoF once the car goes past and I have to use manual to get back in focus quickly otherwise it is really really slow to get back to focus. (with telephoto lens), There is still occasional

I use my GH5s more than the GH5. IBIS is one of those tools that can be overrated in its importance. I found it made me lazy with my shots as I relied too much on it. Its no longer a deal breaker for me in choosing a camera.

Hey guys! I’m about to interview our very own @Andrew Reidon my podcast Golden Hour! Reply with any questions you have for him and I’ll try to get them in the show!

Doctor, doctor. Help me, I'm crazy. Doctor: What is it Andrew? Divorce? Famine? Starvation? War? Ah it's just Canon. Doctor: Ah. Ok. They keep cripple hammering things. Doctor: Next patient!

In terms of visual post effects that can effect the image. "Sharpen & Soften" effect in Resolve and a slight drop in exposure.

I found the Arri film matrix numbers, and used the Matrix drx printer code to inject them into DaVinci. I'm not sure what to make of it.. it is a lot more saturated for sure. Here are the numbers and the lut/powergrade: 1.271103 -0.284279 0.013176 -0.127165 1.436429 -0.309264 -0.129927 -0.510286 1.640214 Arri Film Matrix Download It lives! The Sony a7s III conversion is now complete as well.

Already hinted at (heavily !) in another thread but the AFX focus control functionality is now a lot more universal than just the Pocket 4K/6K cinema cameras. For Pocket 4K/6K owners who want to use manual lenses as well as electronic ones there is a Hybrid mode to control the lens with the motor whilst still being able to control ISO,WB etc over BLE as usual. Supports both Nucleus N and M motors so you can use it with small lenses and large cinema ones. Pre-orders start on 26th. October. Price €199 for existing PBC owners and €275 otherwise. Nucleus M motor re

Thank you. Well..... They were going to be supported eventually. Maybe we've managed to put "eventually" into the microwave.... Something like that would be nice wouldn't it....

10 years just about EVERYBODY on the planet that can afford a phone will have the same motion picture IQ power we currently have. Best to question "what exactly do I bring to the table when offering video production services?" If your answer is "the camera" you need to start getting really paranoid. Most clients are not going to fret about DXO scores. If that's where your attention lies (and there's nothing really wrong with that) I hope you're aspiring to a much higher echelon of production than I am! I'm pretty close to retirement so my day in the sun with all this stuff is comin

I don't know what's going on here but it's not like they have a cinema line to protect... Panasonic could have that excuse, but don't use it and just have the somewhat iffy AF issue. Canon are full of controversy. Sony have been criticised by only having 12mp for the A7S3 but it looks like when the A74 arrives, now that Sony have improved ergos, menus and colour, they are just going to walk over the whole lot. And I am no Sony fan but the electronics giant is stomping on the more established camera companies. It's like they all want to commit financial suicide and clos

IBIS is not a substitute for a properly shoulder-mounted camera. It tunes out micro-jitters, but it doesn't help you when you're trying to shoot handheld with longer lenses because the lack of inertia causes the frame to swing around when you're trying to move. Also, digital stabilization is a machine interpreting human input. It always looks artificial to me somehow, ever on high-end gimbals and stabilizers. When you have a properly shoulder-mounted camera, you can press it into your shoulder and into the side of your head, which creates far more stability. I've been shooting with a Cano

Canon may be pumping out cameras and lenses at an insane rate and will continue to do so. And Sony even more. And Nikon ups their game next week. And Fuji next year and...on and on and on it goes. Simple bottom line is what do YOU need and what has anyone else got to offer that your current set up is not offering? By the sounds of it, you are looking at the cost of an S5 vs the cost the of a C70, albeit switching the roles of your cameras around a bit. Then let's say you get the C70 and S1H became your B cam, you'd tell yourself it would make more sense to swap the S1H for a Can

1980s Kodak test image from linked article

Surely you meant HOURS not days? Otherwise CAD$3800 is waaaaaaaaaaaaaay undercharging!

I don't think you should be banned, but I hope that you really did learn a lesson. You're not a bad person, just insecure. We all seek validation to some extent, but don't try and create it artificially. In doing so you not only lied to us, but more importantly you lied to yourself. Have some pride, man.

Well I just took my S5 out on a proper full day's video job! I think it went quite well and will post up the result once I've edited the job. Takes a bit of used to with the familiarity of the controls etc and just the ergonomics/muscle memory coming from Fuji XT3 but looked good on the back of the camera. So far, so good...

I agree and unless you absolutely need in camera 4K 60p or twin card slots, these cameras are still as good as the day they were launched. It’s not like anyone had a gun to their head to buy them or anything else. They will make superb used options for a lot of people also. I do think the Z line has been the most underestimated and over-criticised system of these last 2 years.

Frame grab from today's interview. Just made basic adjustments to balance the RGB parade, nothing else. WB needs a little tweaking and I feel like I never add enough contrast... Shot at 4k24p roughly 50mm and f/4 or 5.6, can't remember which one as it was getting brighter and my ND only went to 5-stops, so I had to stop down to prevent hotspots on the boats in the BG. Chris

Worked on a shoot with a Komodo today!

No need for ignorant bigotry. The notion that camera people got work in the 1980s by owning cameras couldn't be further from the truth. "Hiring for gear" didn't happen in a big way until digital cameras appeared, especially the over-hyped ones -- a lot of newbie kids got work from owning an early RED or Alexa. To this day, clueless producers still demand RED. Back in 1980's (and prior), the camera gear was almost always rented if it was a 16mm or 35mm shoot. Sure, there were a few who owned a Bolex or a CP-16 or 16S, or even an NPR with decent glass, but it was not c

I really only have one question and that is why did they name it after a Volvo? A used Volvo C70 is also cheaper and less good at video, but the Canon C70 is easier to park.

Wait for the Sony FX6 as well. Exactly! Heck, even the internal 10bit for some cameras is better than the same camera's raw output. (am looking at you Sony FS7!) The Canon C70 as an A Cam is aimed at low (perhaps mid) budget professional work (ultra low budget work uses mirrorless/DSLRs for their A Cam). They don't need or want raw in 95% of the shoots. Doesn't matter when Anamorphic AF lenses don't exist! They differentiate by being the best (or at least, thought of as that) when it comes to image quality. And by being incredibly good when it comes to

35mm Schneider Cine-Xenon Trees and windows.

In most settings outside of studios and other insider gigs, the more complicated the rig *looks* the better. It’s an external way to project a sense of mastery to your client, and if you deliver as promised, then the equipment helps make the price easier to justify **in the mind of the person paying the bill.** That’s good business. And if the work looks too easy and uncomplicated on the surface, then no amount of verbal explanation to the uninitiated will get them over that hurdle. Complicated looking equipment also tends to cut down on stupid questions from those who don’t know better.

In the same vein, this might be a useful resource for you. https://film-grab.com

Apologies, I was away for a bit. An update - first, my dad is out of the hospital and recovering from surgery. We are ostensibly through the worst of it. Second, I ended up rewriting the complete engine. All legacy code has been replaced, in order to make extreme saturation projection more accurate, as well as make some improvements along the way (for example, the engine now features a 1D function at core) Third, I've completed the S1/S1H/S5 conversion, as of yesterday. It is the most recent LogC (SUP 11.1.1) Fortunately the S series seems to have a better internal c

What good news! Really excited about : ) Best Panny AF performance ever to my eyes... WOW Need to check not under direct/key light now :- ) Wondering how AF will match or not under low light...

A Canon DSLR with ML is probably an excellent comparison image wise. Canon / ML setups are similar to film in that they both likely have: poor DR aesthetically pleasing but high levels of ISO noise nice colours low resolution no compression artefacts I shot quite a bit of ML RAW with my Canon 700D and the image was nice and very organic.

Hi, everybody. I'm the author of this modification. It is currently only available in China, and will be released in November with a self-assembly kit that you can install yourself. The installation isn't complicated. You just take off the screen and don't have to take the device apart. The whole process takes about 20 minutes. No parts are damaged and can be restored to factory state. For $249, it's available through paypal for two to three weeks of shipping and $30 to $40. I would declare a lower value of the item to reduce the tax. Contact me at [email protected]

I thought the same thing about the EOS R. Why do Canon's expensive mirrorless cameras feel like toys? Sony's A7 series does too, as well. But man, the Panasonic cameras are built SO NICE. Love their design, the way they look, feel, operate, and how they feel like professional tools.