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Damn.

Sure, here you go - these are the raw conversions (last is the default V35 look-up for reference) LogC Soft Main Linear Varicam

Here are the cinema cameras we use all the time from Feature films to run n gun documentaries. I have shot with Epic and Alexa in hot, dusty outback Australia as well as sleet and snow and have not had issues. Pic1. Red Epic has two large holes with fans on the top. Pic2. Alexa mini has it's large holes/fans on the side and back Pic3. Sony F5 has it's large holes/fans on the top Pic4. Last picture is what we do when it starts to rain A Large plastic bag looks very low tech, but given that these cameras can all be rigged so differently depending on shoot requirements, t's by far the most versatile way and gets the job done.

It was a great occasion to enjoy some of Photokina with Dave Altizer. This video was an experiment in many ways, to plant a seed for more EOSHD YouTube content. I hope you enjoy the start of EOSHD TV - let's see how this goes in the future when I rope more unlucky people in front of the camera and come up with more content (the channel won't just be interviews). We talk about a range of camera-nerd stuff in the video, not least of all that's on the table in front of us. The Fuji X-T3, the Hasselblad X1D and Fuji GFX 50S medium format cameras, along with the other interesting finds at the show. Warning: contains controversial opinions!!

Not bad.

His findings goes against nearly all other ones I saw. The general consensus is that the AF works as good or as bad as the lens you are using. I mean if you are using a fast lens it will be about as fast as it is on Fmount. I mean it might be a fraction slower, but I can live with that kind of tracking everyday. In fact there are shot I would never have been able to do like in this video manually like subject moving toward me and same time zooming at 70-200 FF at 2.8.

There are no embarrassing questions - especially this one where there isn't an easy answer. In terms of the basic premise that underlies everything, that one is easy... give people something valuable. I watch Casey because he's entertaining, and also has a strong personal philosophy that makes me question my own. This is worth my time. Peter McKinnon is also entertaining, and sometimes I learn something from him. I watch Caleb Pike because I learn things. I watch Wedding Film School and Kraig Adams because I learn things, plus they're entertaining. I watch Juan Melara because I learn a crazy amount from every video he makes, even though his videos aren't particularly entertaining. I watch Aliens Guide because it's funny as hell. I love watching documentaries because I learn things about how the world works, I love watching foreign films because they give me an insight into other cultures or other periods in history. Work out what you're selling, then get out there and find people that want that thing. Gary Vaynerchuck says that people struggling to start a business should vlog because their journey to try and create something is actually more valuable than their business (because most businesses fail). He's worth a look on YT if you haven't heard of him - super opinionated and hugely "go go go" motivational guy, but he doesn't mince words and he knows his shit, plus he's built a $100M social media marketing company so he knows a thing or two about how to succeed. Ignore viral anything and all the clickbait BS - give something valuable to people and get out and tell people about it and you'll be fine. but don't expect it to happen quickly.

This might help some people on a budget. https://***URL not allowed***/zeiss-contax-cine-tune-up-guide/ .

Thanks again Andrew. Was a blast! Next time we will both have proper microphones!

No, I’d have a comparison based on how I would use the setup. If I had a C200 or 1DXii with the 24-70mm f/2.8, I’d use it wide open. If I had an X-T3 and 23mm f/2, I’d use it wide open and if I had a GH5s with the 12-35mm f/2.8, I’d use it wide open. Sensor size fairness is for kindergartners, I only care about how I would use the camera/lens in a real world scenario.

Here is a quick shootout of the Fuji X-T3, Canon 1DXMk2, Canon C200 and Panasonic GH5S. Granted FCPX refused to not blowout some of the footage of camera B. It's displayed correctly in some of the head to head comparisons. I think it might have been caused by a software bug in FCPX. In any case all four cameras were filming in base ISO in controlled lighting. Opinions welcomed.

The Cameras In this corner, we have the Sony F3--episodic TV and corporate/commercial workhorse, best known for its use on season 1 of Key and Peele and the feature film Safety Not Guaranteed. Super 35 2.4K sensor that downscales to 1080p in-camera. 10-bit output up to 4:4:4 RGB. In this corner, the Sony A7 III--a modern hit, barely out and already one of the most popular mirrorless cameras around. Full frame 24 megapixel sensor that downscales to 4K from both the full sensor and from the APS-C crop. 8-bit 4:20 internally, with the option for 4:2:2 externally. The Test I generally light my work, so I thought I'd test with a scenario I often face: talking head interviews. One big soft key, a soft backlight, something splashing the background, maybe a practical. Now, this is a hella lazy, sloppy lighting execution--the backlight is a little too far around, background splash not nearly strong or interesting enough, and there's a huge bit of blank wall amidst the clutter--but it does contain some useful information. More on that after the camera notes. Just keep in mind that it was a rush job and try not to be too critical. Each camera used the same Leica R 35mm Summicron set to f/5.6. This was to keep color, contrast, and sharpness consistent, as not all my Rs match perfectly and I wanted any differences in the image to be down to the cameras. I did not adjust the tripod distance, instead opting to let precise frame matching go in favor of minimizing inconsistencies. I'll do another test that keeps framing identical. Since I unfortunately couldn't get ahold of a color chart for this test, I have a few various colored objects in the scene to act as references. The sweater is a deep forest green, the hat is a pale pinkish-red, the UHaul logo is a distinct orange, and the furniture blanket is a nice primary blue. They don't line up with anything specific on a vectorscope, but I find the subtle differences in how these colors, along with my skin tone, are rendered is quite telling. Yes, that is me in the video. I am not a model, or really comfortable on camera at all. My being in the hot seat was PURELY a matter of desperation, as my roommate was busy and I didn't have another day free to do the test. So you'll have to deal with my pale, blotchy face and greasy hair this time. The F3 has two sets of clips: one taken internally in XDCAM, one externally in ProRes HQ (10-bit 4:2:2). I don't have access to a 4K recorder, so the A7III files were all recorded internally to the SD card. If you have any other questions on my methodology please feel free to ask. Even with the studio conditions, it's very possible that something was overlooked. What to Watch For Personally, these are the elements I found most interesting. -The colors of the various objects listed above, as well as their relative brightness. The A7, for example, makes the blue moving blanket much brighter. -The big patch of blank wall behind me is a great place to watch for midtone noise, compression artifacts, and banding. -The black portion of the moving blanket, back right corner by the boxes, and the shadow by my left ear under the hair are good spots to look at shadow noise/compression. -Obviously, the face is there for skin tone reference. I'm pretty pale, and exposed a stop above key to keep noise down, as I generally do in a real interview. This pushed my skintones into the flattest part of the LOG curve, smoothing them out a bit, but in this scenario that's not entirely undesirable. Just something to keep in mind. Additionally, my eyes are a pretty deep shade of blue, with some green flecks. The cameras and color profiles render them with mixed levels of success. -My hair, beard, and eyes are all good places to look at for fine detail rendering, noise, and moire/aliasing. -The lightbulb and background splash were an attempt to look at highlight roll-off, but upon review it doesn't seem all that useful. The next test will use a stronger light doing a better scrape for DR/gradient, as well as a bulb with a filament to see how each camera renders hot highlight detail. The Footage These clips are straight out of camera/recorder, with no grading or edits. I could've at least trimmed them for brevity/convenience, but I...didn't want to. So. Sorry. You'll find them at this link: https://drive.google.com/open?id=159ig4Dq7emsxIE6GWpwj8H9SX73XMSQU Feel free to download them and play around. I can show you my grading results, but I find nothing helps more than massaging footage yourself. Here are the settings for each clip: F3 1. 1080p Cine1 F35Like ISO400 172.8* shutter f/5.6 (I don't know if F3 internal profiles suck or I just suck WITH them, but getting a good SOOC result with it still eludes me. Think I'll try the AbelCine stuff next.) 2. 1080p SLog1 SGamut ISO 800 172.8* shutter f/5.6 (ISO 800 is native in SLog, which is why it jumps here. Everything is otherwise identical.) 3. 1080p SLog1 SGamut ISO 1600 172.8* shutter f/5.6 (An attempt to test overexposure. In retrospect, I should've opened up to f/4 instead, but this still shows clipping behavior when cranking up ISO for exposure.) 4. 1080p SLog1 SGamut ISO 6400 172.8* shutter f/16 (High ISO noise test. The levels themselves are pretty good, so this is more a test of how much penalty you pay for cranking ISO to get by with smaller fixtures inside.) A7III 1. 4K Cine4 SGamut3.cine ISO 400 1/50 f/5.6 Full Frame (with +15 or so saturation. My favorite out of camera profile so far.) 2. 1080p Cine4 SGamut3.cine ISO 400 1/50 f/5.6 Full Frame 3. 4K SLog2 SGamut3.cine ISO 800 1/50 f/5.6 Full Frame (I prefer SLog2 to 3 for banding and skin tones. Like F3, 800 is native for SLog) 4. 1080p SLog2 SGamut3.cine ISO 800 1/50 f/5.6 Full Frame 5. 4K SLog2 SGamut3.cine ISO 1600 1/50 f/5.6 Full Frame 6. 4K SLog2 SGamut3.cine ISO 800 1/50 f/5.6 Crop Mode 7. 1080p SLog2 SGamut3.cine ISO 800 1/50 f/5.6 Crop Mode 8. 4K SLog2 SGamut3.cine ISO 6400 1/50 f/5.6 Crop Mode 9. 4K SLog2 SGamut3.cine ISO 6400 1/50 f/5.6 Full Frame Again, I'm happy to clarify any questions on my methodology. This was mainly to give me a nice broad spread of information on how my most used settings compare for quality. Conclusions I'm more curious what you guys think, so I won't say too much right away. My main take-away is that the F3 is nowhere near obsolete yet...in fact, it's my preferred camera for noise, color, skintones, gradation, and overall look. The A7 has the obvious advantages of full frame, strong internal recording, size/weight, and IBIS. Next, I want to see how each camera does with fluorescent, LED, and daylight skintones, as well as mixed color temps, motion, compression/bitrate issues, DR, and resolution/detail. If you have any suggestions for future tests, or anything you'd like to specifically see compared, just let me know and I'll do my best to throw it in. Thanks, and hope you enjoy!

Exellent tripod work. I noticed a zoom in the middle of the video- great operating skills with that Tokina! Makes me want to use my own Tokina more! Holy, this looks massive. Convinced now, seriously! I mean, how could this camera not give a fantastic image. It'ś BM after all now now even with great low light capabilities. Great time to get a BMCC in MFT mount for little money!

The on going saga is still on going..... now they want me to come over and do it for them. :-/ Seriously? And what point should I just charge them for post production services. (I didn't charge for the Tentacles btw, just threw it in as a bonus) Why can't they just sync it up the old fashioned away by hand?? (or with PluralEyes) Well nope, they can't even figure out how to do that! Seriously.... It is always nice to dream! Anyway, the BMMCC made some very nice refinements over the BMPCC which means if I saw a Micro for US$500 (welllllll.... prior to the BMPCC4K coming out that is) then I'd have snapped it up: 1) longer battery life 2) bigger HDMI port 3) 60fps slow motion 4) timecode And more! Any one of those could be a big reason for a person to prefer the Micro over the Pocket, and together, they make for a very compelling case!

I'd like to get a hold of a Fuji - I wonder if they'll be bringing IBIS into the mix

Wow the original BMPCC is just crazy good. I am amazed every time I see someone with skill on the output. Well done. And Wow that little girl is scary good also LoL. She is really in tune with the music. Great choreography. That plugin looks like Adobe only.. Not happening for me. I do Resolve only as of late. Cheap ass I know, but.. LoL.

I'm looking into possibly bringing EC to the P4K; in that case, I'll be able to do just that. The two with EC will have identical color (under daylight or tungsten), because at the core is a measured LogC color science conversion (in contrast with a look). Additionally, I may do conversions to go between the P4K and the GH5, to make them interchangeable.

MOST authors wallow in obscurity. MOST authors work 9-5 jobs, and then eat a cold sandwich for dinner, then go out and work a 6-10 job, and then maybe find a few hours on the weekend to write some stuff. Maybe someday some of it will get published in a way that they might make a few dollars. Most likely it will end up in some literature magazine or some literary competition where the author HAS TO PAY to have the work published. Is that a business model you want to follow??? Financially successful authors know ahead of time who they are writing for if they hope to get published. They may not have analyzed it in terms of demographics at a granular level, but they will have at least a good idea that they are writing for "kids who like magic" or "moms who like yoga and feel guilty about having a c section instead of vaginal birth" or some good idea of who their work is for. You can create work about stuff that YOU love but if you want other people to notice it, then you have to make sure it gets in front of their eyeballs. What does that mean??? Do you mean you want to create something and have it become popular with no effort on your part to promote it at all??? You can always just do what you like to do and hope you get lucky and maybe someone who is an influencer will start promoting your work because they think it is the dog's bollocks. Maybe it will happen. But it should be unique AND in demand content. I don't even think quality has to be paramount. Look at starbucks; they sell fake artisan coffee to people who think that they have good taste in coffee.

I upscale my BMPCC videos to 4K with a plugin Instant 4K. It looks much better on YouTube. Camera: BMPCC Lens: Tokina AT-X Pro 28-70 f/2.8 (Angenieux design), Metabones SB XL 0.64x Filters: B+W UV-IR Cut, Tiffen Black Pro-Mist 1/4 RAW, FilmConvert (Ilford Delta 400) Light: 3*150W Dedolight DLHM4-300

I don't know.So many young people iI know just seem to be depressed as hell. Wasn't that way when I was young. And it is because Nothing is easy today unless you are just lucky as heck. I know you can make yourself lucky but man, it is pretty unpredictable now, and that is what is bad. I heard something I think is crazy is that by 2030 40% of the people in the USA will be self employed! Hell that vast majority of people are not made to lead, most normally are followers. And that is the way it Should be. You can't have too many chiefs and not enough Indians as they say. If that is true God help 50 % of them. They will be worse off than before. Bankrupt and depressed even more. Running a business is nerve racking, you are never relaxed, have time for nothing, family or friends way to live. It is a FULL time job 7 days a week. Yeah that ought to all work out well LoL. I hope like heck that is not true. It will be Really ugly.

Haha, You should be a motivational speaker. It’s both negative and inspiring at the same time.

If you set the power source in the camera settings correctly, the camera will offer flicker free shutter angle/speeds when you tap the shutter speed/angle icon from the HUD. It's okay to shoot 60/25 or 60/24.

Pretty good summary from B&H about fast glass. https://www.bhphotovideo.com/explora/amp/photography/buying-guide/the-fastest-glass-money-can-buy

Thanks for sharing this! Talk about becoming the dominate player in the market. Great job Blackmagic on democratizing video production. I've often though that Blackmagic wanted to be like Apple, but it now occurs to me that Blackmagic did what Apple could never do: win on price as well as functionality. Seems to me that Grant Petty is a Steve Jobs in a market where there is no Bill Gates. Keep it coming Mr. Petty! Your vision is now being adopted by other market dominators. You deserve to be called a genius. If you are anything like your public persona, you are down to earth and the right leader for this revolution.

Really other than the new PK4, none of the new FF cameras, and the Fuji have added Anything to talk about over what a GH5 has had 2 years ago. And most of them have a Hell of a lot less features. And now you can buy a used GH5 cheaper than any of the new cameras, even the PF4. Interesting. We really haven't gained crap other than some pretty nice options on the PK4, Raw in particular, the the C port, and the mini XLR is nice also. Oh and the menus are damn nice also on the screen. Other than the Fuji X-T3 for photos I don't see hardly Any edge for film making on the Canon, or Nikon, Fuji offerings over the GH5, GH5s.

THIS!!! You either have the wrong content, or you are getting your content in front of the wrong eyeballs. Seriously??? Your not willing to shell out $100 a year on marketing / advertising??? I am not saying that email marketing is the BEST thing for you. But you need to familiarize yourself with the various marketing / advertising / outreach options and try and figure out which one is going to most effectively reach your target audience. And you had BETTER have a good idea of your target audience. Otherwise, if you don't have some understanding of your target audience, then you are just digging yourself a whole. Oh, and mail chimp has a free plan as well with up to 2,000 subscribers. That might not seem like many, but it will take you a LONG TIME to reach 2,000 subscribers to an email list.

Yes he makes a very lot of good points in that video. We sort of take it for granted. But the GH5, GH5s are one hell of a good film making tool for the money.

Yes, I have written 3 horror features... 2 supernatural horror and 1 horror/comedy. I’m also in the process of writing 2 others for sale and 2 that I may end up making.

G85 lowlight is much better than original GH5.

Yep, I agree with IronFilm. It's great that the Tentacle can send TC to an audio channel for DSLR's but it's just easier having timecode where it's suppose to be and two usable channels for audio. Saves many phone calls and frustration from editors.

I hope you keep making videos. This was great! I love the analysis and your opinions, but I also love the humor. You and Dave both rock! Keep kicking ass, Andrew!

Yes, of course great things can be shot with a cheap camera. I'm certainly NOT arguing against that. But with a cheap camera then: 1) there are more of those cameras out in the wild, thus you see more of everything with them 2) "cheap" people tend to buy them, which often means (just a correlation though) cheap in production values or skills. Which leads to poor resulting videos, even if the camera itself is capable of much more I feel like Panasonic "fixed" many things of the G7 when the G85 came out: 1) weather sealing / better build 2) live HDMI out 3) IBIS

Out of likes. Yeah to me it is just about the least effort other than the lenses they could have done. If it had IBIS and no crop, or say a 1.3 crop well sure, but what a let down for Canon shooters. And $2,299.00 to boot. At the least bring out the high end one at the same time, and not some goofy 4000 plus dollar thing. They just seem clueless to me. This puts them pretty much dead last on all the new stuff that has come out.

I wouldnt be that optimistic about F mount lens via the FTZ adapter because the lens dont have the built in stepper motors needed for cdaf. To quote Thom Hogan. In the continuous autofocus modes the Z7 isn’t a D850. Or even a D7500. This is particularly true with lenses on the FTZ adapter, which forces the camera to always use phase detect. In my initial opinion, the Z7 is substantively behind where the Sony A7Rm3 is for continuous autofocus sequences of objects moving towards you (even at a diagonal). My guess is that F mount users will have to eventually switch over to S lenses if they want to take advantage of the Z mounts dual cdaf/pdaf focusing system for 'fast' and 'accurate' focusing.

@Mattias Burling it’s going to turn into “this camera doesn’t check all of the boxes, but I had an exclusive interview with XYZ manager and he/she said that this great feature is coming in the A7iii Xtra! So buy this camera now cause it’s awesome, and then upgrade to the next one too!!!! You’ll have two great cameras!”

You forgot IBIS, sort of a biggy for video. Anamorphic for a real Cine look helps also. But yeah the Fuji is damn tempting no doubt. An amazing leap for them.

Yeah I got to admit he has gotten sort of Fruity as of late. Not nearly as big of fan as I was years ago, not that I even had any desire to meet him even then LoL. But I do admire his drive. He is a make shit happen person. And that is the only types that are going to survive, and make good money on YT down the road. The secret is out all over the world. Just think how little you would have to get to be sort of doing damn well in say the Congo in Africa for subscribers. 250k of them and you hit the jackpot. Several Patreon subs on top of that and you are Golden.

Had a pleasant walk today. A couple of screen grabs. S-Log2, S-Gamut3.cine + Resolve. FE50/1.8

I got the X-T3 as a hybrid. I don’t consider the GH5S a hybrid. It’s too video centric while having inadequate resolution for stills.

Indeed, its the classic Quicktime Apple/Windows gamma conflict. Apple has discontinued support for Quicktime; VLC is an optimal player for its efficiency and simplicity. To test the handling of exported files by Vimeo/Youtube, upload the file, and choose 'Private' for the video's visibility as it uploads.

While a good camera, personally I’ll forget the Olympus and go with a more feature rich Z Cam E1. Don’t sleep in that little beast of a tool!

There is a Korean auteur called Hong Sang-soo. His most recent cinematic releases were done on the F3. I had the pleasure of seeing them on the big screen and the images were very good. I personally don't think the two compare if you are talking about cinematic imagery.

Lol at the BMD sub-forum getting renamed.

I disagree. I just used a Nikon d4 on a pro job and heard not one complaint from my client.

I think I found a better solution for cameras that don't have an audio input. It's compatible with all makes and models. If you're a preppper or protester it has multiple uses.

Aware of what? Was he convicted of a crime? We are getting into very dangerous territory when all that need happen is a woman claims abuse and everyone is expected to believe each and every word she says whilst totally ignoring comments from the opposing party. From what I can see, if something happened she should have filed charges and they both would have their day in court. Until then it is nothing more than a case of "he said, she said". I'm not defending PB... I don't have any unique information regarding this alleged incident. I'm just sick of this pitch fork mentality. I'm sure some will take exception to what I have written. To them... you can take a long walk off a short pier. I have personally known someone that was falsely accused. Thankfully, there was an investigation and exculpatory evidence proved beyond a shadow of a doubt that the supposed victim was full of $h!t. Really? Didn't someone once suggest something unsavory about you? Should we take their comment as fact without proof also? Glass houses my friend.

Perhaps. But that doesn’t give anyone on here the right to condemn him. Especially based on rumours less well evidenced than the specs of the A7S3. Focus on his abilities as a film maker and life will be happier for all. (superb review of Mavic 2 Pro on Bloom’s site)

Really nice looking piece. It should be noted that it really helps that every shot in this piece is either a sunset, silhouette, or some sort of low split light setting. The really great thing about the OG pocket camera is that you can get that cinematic look in the middle of the day, overcast, or even indoors. Watch this, shot with the pocket and 16mm film and you’ll see what I mean. Very vivid looking images. It will be interesting to see what people will create with th new pocket. Hope I can be proved wrong.

Watch this video and stop saying that Pocket4K is not сinematic. In the hands of the master with taste and good lenses, even the GH5 is beautiful. Otherwise, it is too early for you to have such a camera, learn to shoot first Shot on GH5 using Lomo anamorphic and spherical lenses (50mm roundfront and +1 +2 diopters in a few shots). Graded with FilmConvert using KD 5207 Vis3.

Shot extensively with the 18-55, 16-55, 50-140, 10-24, 23/1.4, 56/1.2 and 55-200 -- all on the XT2. I've also spent time in camera shops demo-ing just about every other X-mount lens available. The absolute worst AF of all my lenses was the 56, followed closely by the 23/1.4. In good light they're fine - slower and noisy compared to the LM lenses like the 16-55 and 50-140. But in dim light they hunt a lot and are really slow to lock. The 56 was useless at night, I just couldn't get it to lock onto anything. I bought it to use as a low light portrait lens and stopped carrying it because it was just so frustrating in use. Bokeh was gorgeous wide open, it has great rendering, but AF is a chore. My Sony 85/1.8 on the a7r2 and now the a73 is a pretty dramatic difference, much faster and very useable in low light conditions. The 23 wasn't as bad as the 56, its moving a lot less glass so that helps. They're both pretty bad for shooting video because of the noise and the hunting. I find the 10-24 to be better in low light, so I typically carry that instead of the 23. The 90 with the LM motors is significantly faster than my 23/56 combo, so are the f/2 primes. I really wish Fuji would update the older primes with newer focusing motors. Chris