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His sarcasm was handed to you on a plate and you still didn't get it?!

A quick test I did the other day, I love the files that the X-T3 produces, even if my Macbook Pro is not very happy about h265 and 4K 60p...

No you do not get 1.8x in 60p either. You will have to shoot full frame for 60p, and use the digital IS to crop-in to 1.2x and approx. 1.4x. That latter mode may get your Sigma 18-35mm F1.8 into service in 60p but beware the softness and artefacts from DIS. EF-S lens users are completely out of luck for 60p. As soon as one is detected, it locks the camera to 1.8x crop mode, 30p max. You cannot disable the 1.8x crop mode with one attached. IN SUMMARY: Full frame lens: FF 1080/60/50p and 1.6x crop stills. 1.8x crop 4K and 1080p up to 30p EF APS-C lens (Sigma): As above EF-S lens (Canon): 1.8x crop 1080/30p max and 4K/24/25/30p 1.8x crop In no mode can you actually record 1.6x crop video. The 1.6x crop mode is ONLY for 12MP stills. There is also a "Movie cropping mode" in the menus, but that is 1.8x as well. It is either: Full frame 1080p 60p / 1.2x crop DIS / 1.4x crop DIS+ 4K 1.8x crop 30p max 1080p 1.8x crop 30p max

@kye That'll certainly do it; swap the VLog to LogC transform for GHa LogC in Mirekti's case. Big HLG to VLog update incoming.

Blackmagic pocket cinema camera 4k test (lowlight) with Panasonic 12-35 f.2.8 first gen (4K DCI Raw Lossless iso 1250 f2.8) shot with only one photography guide light + soft box

No zebra's and a histogram that disappears after you press record?? Did not see anyone else mentioning this up untill now. Canon crippled the camera just enough to make it clear their c-line is for video. Kai also again mentions RS and shows it, better watch quickly before he ninja-edits it out again.

Better than most $10k follow focus. I can't believe it. This and DJI killing it with drones and stabilizers - it's a whole new era.

I just created the first video of hopefully more about how to create a Good Travel Video. All based on my experiences and past, but wanted to see if you guys/gals had any thoughts around things that you would want to see and if you are even interested at all??

Nikon Z7 just got a lot better

First weekend with the Canon EOS R

Ok. My second go. I forgot to look at the resolution of the large file. I guess I assumed it would have been scaled down. The horizontal resolution of 5212 is exactly the same as a M9 or M9-P, and there arent any other 18 megapixel full frame cameras i dont think. And the 18 megapixel apsc canons only have a horizontal resolution of 5184 so they are out. So the lens was produced in 1957 if its the M9 and 1955 if its the M9-P. I first thought it was 35mm but now I do think its 50mm. So 50mm summicron seems correct. It would have to be the 5cm screw mount colapsible summicron if it was 1955 so it is more likely An M9 with rigid 50mm Summicron as already guessed. So that was a nice run around the houses for no reason on my part. At least I got the exercise I guess. I presume it is wide open as the depth of field is shallow. If so, its certainly sharp enough wide open. I supose thats what this shows.

Sony will NOT give us anything like the X-T3. They will protect their FS lineup. And colors... colors... colors. They will not be the equal of the Fuji or Canon. Although, by all means Sony... prove me wrong and I will gladly add another α camera to my collection. Not holding my breath though. Perhaps they can add some filters to match the film emulations that Fuji has? But maybe take it one step further... Instant Blockbuster, Micheal Bay Mode, Spielberg setting?

I'd also go for the M9. If so, the lens is 61 years old, i.e. was produced in around 1957. A rigid 50mm Summicron?

Not soft to me but not high in contrast. I THINK there is a seagull in one of those shots? I had a Biotar 58 f2 not too dissimilar to that (18 blades and single coated on mine).

Yeah, I can understand that. At the moment I'm using it without a SB so I'm only getting the middle quarter of the image, which doesn't have the crazy parts of the bokeh. But, if you don't go wide open and just use it to soften the background a bit for some depth then it looks quite nice. I think people see a fast lens and think they have to use it wide open or somehow it won't have been worth it or something. A fast lens should be used to make the right images for the project, not to show off the lens. Watching too many equipment tests on YT makes you forget that equipment can be used with subtlety and care, rather than being bludgeoned to death with stress-tests of every feature regardless of the aesthetic implications.

Yeah, I would buy an X5S tomorrow if I could use it with some form of an Osmo handle. And I would probably get an Inspire drone by Christmas to fly it. The X7 is gorgeous and I’d love to have the S35 look but until someone makes adapters for their new mount, I can’t see myself shelling out a grand for a prime lens I can only use with one system.

How are you finding the Sigma? It depends really. It's trading speed for flexibility. TBH I came up with the F2 limit because I just didn't think I'd be able to get the shots I wanted with anything slower, but 1.7 isn't that far off and I was being generous including all those 1.7 lenses in my list. Basically what I'm looking for is to be able to get depth in a shot due to background defocus, but without having to make every shot a macro shot. If you look carefully at the gallery that @BTM_Pix posted earlier for the 28mm F2 you will notice that the only shots with any background defocus at all are those with a subject very close to the lens. I'm not looking for much defocus, just enough so that the eye gets the "that part is further away" signal and makes the mental image of the scene have some depth. I can make bokeh with my phone if I put something 10cm away from the lens, but if I want to do it with a mid-shot of someone in a public place at 35mm I will need a lot more than F2. Most of the time with a wide lens you want to get everything in focus, but if you're treating 35mm like a portrait lens (and cropping in to ~50mm FOV) then I want to be able to have a shot that is about a person in a generic environment without having all the signs and people in the background also featured (ie, have it blurred) as well as have a shot where they are in a specific environment by stopping down (ie, not blurred). lol! I had a teacher for year 11 English class that took a rather unorthodox approach to education. Before a test he would teach us how to pass it, but the rest of the time he would tell us stories from his life, philosophy, and various other things. He would let people zone out, doodle, as long as we didn't talk. There was one kid who obviously had a difficult home life who was always tired, so after a few discussions with the kid to ensure he was legit, the teacher arranged for him to be able to sleep in the next room for the class. Anyway, he was a fan of hifi equipment and was always buying some bargain in a second-hand shop and then having to smuggle things home so his wife wouldn't find out. I'm not sure how much of what he said was true, how much was exaggerated and how much was just story-telling, but we heard about turntables under the jumper and his walking into the house stooped over and the old "I'm ok, I just twinged by back, I'll be fine, I'll just go lie down for a bit" as he rushed through the house. We also heard about a technique that I have actually used in the past about how to get a large subwoofer into the house. The idea is that you buy it, and store it at a mates house. Find somewhere in the house you want the subwoofer to be installed and work out how it would be useful as a table. Find (or make) a table the same dimensions but make it ugly, and then install it where you want the subwoofer to go. Wait for the wife to find it and freak out. Explain how proud you are and how useful it is, fight for it to stay there, and as a compromise put a tablecloth / sheet over it to hide it all the way down to the floor, and make sure you put stuff on it, like a plant or whatever, so it's useful. Wait a few weeks. When the wife is out, swap the table for the subwoofer, but don't connect it. Wait a few weeks. When the wife is out, hook it up and adjust it so it's good, but don't have it that loud. Use it when the wife is out. After a few more weeks, use it while the wife is out but let her hear it when she returns. When she notices it (if) then explain that you've had it for ages, it's been there for months, you thought you told her but she must have forgotten, it's really useful, she didn't seem to care that much before and why is it a problem now, etc etc... If only I had dozens more stories like that, I could start my own YT channel!

I have the SteadXP (DSLR version) and it is impressive for sure. Seems like it was unfortunate timing for the company since during the time they announced and raised their funds from kickstarter , and started actually shipping the product - many cameras were appearing onto the market with improved internal stabilisation support....not to mention the shit tone of affordable gimbals available now. SteadXP works great for cameras that do not have IBIS, yet can shoot higher than HD resolution - so that the inevitable post cropping of the software will not impact to drastically on the final image quality. The SteadXP software is surprisingly featured and efficient at processing footage and has a hidden bonus option of being able to export prores output on a windows pc. SteadXP blows away any consumer grade post-stabilisation software, as it will never exhibit the same warped artefacts from being confused by trying to correct the visual input only, but instead it applies a corrected distortion mesh from the accelerometer data...much more accurate. It could be considered a slight PITA to setup these days, but I still have my SteadXP to hand for if I need to mount or use in a vehicle, where my Ronin-s is not practical or has to have a small enough footprint to fit somewhere hidden or confined. Higher shutter speeds are a must (as with every optical-flow based post-stabilisation software)..but post motion blur can easily be reintroduced with the SteadXP software or later on using RSMB plugin or similar. No big deal. They are going pretty cheap on Ebay right now...but if you buy one make sure the seller includes login registration details to activate the software. Very short sighted idea that SteadXP had that owners might one day want to sell on to another user. But I suspect it could be a condition of having the prores licence. Looking at the footage of the most recent GoPro model, it appears that GoPro have either collaborated with the SteadXP guys to endorse the Gopro SteadXP add-on tech - and miniaturised it within the camera body...or GoPro have straight up copied the idea from them. The stabilised results look identical to what the SteadXP can do to the earlier GoPro models when using the SteadXP add-on pack.

Due to a couple of old DMCA claims against my Vimeo account from 2016 and older, they are terminating my account if another one is made. As these are quite common and often made in error, I no longer consider Vimeo a secure place for my channel and EOSHD embeds. I am looking for alternative pay-monthly video hosting sites to replace Vimeo. Must have no ads obviously! Support for smooth 4K playback and original file downloads. Any suggestions? Is there a way to pay for a YouTube account upgrade for my videos on there, so that the user experience is better for viewers regardless of what YouTube account they have? No ads is a must.

We wonder why Canon continue to sell more cameras than Sony and Panasonic? Read the full article

Thats because most people that own this camera use it as a stills camera and are not videographers, with no clue what they are doing on the video side - but yet - they still decide to upload shitty test footage on youtube. Also, a lot of people are using film simulations with auto white balance, default settings, NO log profile, with incorrect shutter speed settings, no ND filters, and no idea how to color grade. Add that all up and you will get underwhelming results. Don't let this forum fool you, the majority of people that still by this are long time Fuji photographers who aren't videographers. We are a still a small percentage. Use LOG with NR and Sharpening and -4 and then throw the Eterna LUT on and tweak it from there and you will see beautiful amazing/cinematic results not seen in many of the mirroless cameras.

@mercer Has anyone given you the 1080p tests you were looking for a while ago? If all goes to plan, my camera arrives tomorrow, so I'll happily share some OG files. RAW, ProRes, Film, Video, Extended, 24/25/30/50/60/120 you name it. I'm also going to take it for a walk on Wednesday (hopefully) so will share a bunch of footage and audio samples then too. If anyone else would like something specific - apart from water testing - let me know and I'll do my best.

Yeah I saw that on the BBC iPlayer the other day. Was surprisingly tough questioning - he clearly knows his cameras!! I honestly hadn't expected it from a BBC tech journalist, but he was giving the Canon guy exactly the kind of hard-time I would have done!!

Would be interesting to see the pocket 4K in here since someone on this thread claims the OG pocket has better dynamic range. I forget who it was.

Kai very positive review of the z7

I was watching the BBC's tech show Click last night and it included a feature about Photokina. Look what happens when someone speaks to a manufacturer as a journalist rather than an affiliate link peddler and look how fucking shocked and wrong footed the guy from Canon is by it !! (its at 4:07 if it doesn't auto start there)

The cinema5D Camera Lab is Back – Dynamic Range Tests • 22 Oct 2018 https://***URL not allowed***/the-cinema5d-camera-lab-is-back-dynamic-range-tests/

Thanks for the link.

That's exactly right, that's what @Wild Ranger does often. That said, Main/Soft are almost always the best way to go, in my opinion (for Arri color), over the LogC route

You've got GHa, which includes the 'LogC' variation. This is different from color management in that it is a measured conversion that specifically matches the end result of GH5 color sci to the end result of Alexa color sci, capturing sensor and WB+light source results (just like the HLG to VLog). This is a lot more accurate in terms of color and rolloff. The subsequent film conversion, which would have been made to an Alexa end result, will be a lot more accurate as a result. LogC, in itself, is ideal for film conversions, because they have kept it rigorously defined since the camera's initial release, and companies tend to put their best efforts into supporting Arri, while other cameras are unsupported or roughly so. For example, Panasonic's VLog implementation shifts with each camera.

Ultimate upside down twisted Canon trolling.

Out of likes. Wow that is some thick looking footage. Can't complain about that.

Heh, I would roll with an Aputure A.Lav plugged straight into my BMPCC for my YouTube vlogs! Although I've since switched to using my Panasonic G6 a little more often instead and it seems to have somewhat slightly better audio than the BMPCC (certainly better the Nikon D5200, is one reason I stopped using it, the other being it was just so big and heavy for one handed usage with my arm full stretched out for extended lengths of time. While the G6 + SLR Magic 8mm is a wonderfully compact and lightweight set up) If it is unpaid personal work then often my lazy/pragmatic side will take over! Thus why for my YT vlog I'm quite happy going straight to camera. (Vs if it is paid professional work, then of course I'll go hard to deliver the best possible for the client)

That mini scenes advice I try to remember. Good one!

Thanks! Yeah, I got a Fotga m42 to m43 adapter. Like this one: https://www.ebay.com/itm/M42-Lens-to-Micro-4-3-M4-3-Adapter-EP1-EP3-EPL1-EPL2-EPL3-G1-GF1-GH1-M42-M43/251677877818?hash=item3a992ba63a:rk:1:pf:0 It's "dumb" and so doesn't have electrical contacts, and also doesn't have a glass element in it, so it crops into the lens making it seem longer. Ie, a 50mm lens on the GH5 with that adapter would be the same as a 100mm lens on a FF camera. I've got another one on order that has a focal reducer in it so we'll see how that works when it arrives.

LOL, I should have started a new thread "spot the seagull" I'm new to vintage glass and what effects it has, and definitely don't know the right words to describe what I see, but I know I like the look. "Not soft but not high in contrast" seems like a perfect way to describe it! My 28mm F2.8 with the front coating worn off is both soft and severely lacking in contrast but I'm glad I bought it anyway. Apart from not costing much, it's given me a data-point about what effect that has, and also gave me some feedback about how soft and flar-ey is too much, both for me and my wife. But also, I can play with the post-processing and adding blur or Glow type effects to match the look from sharper lenses, which means I learn more about image processing, what I like, and how to deconstruct things I see online, etc.

The best way to think about these things is in terms of colour spaces. If you film in HLG then apply a LUT that is expecting HLG then the LUT will work as designed. If you film in HLG and apply a LUT that is expecting VLog then it will not work as designed and the picture will go all strange. You can use the Colour Space Transform or Input settings to change colour spaces if you like. For example, you could film in HLG, transform to VLog using the GHa Pre LUT from @Sage, then apply a Colour Space Transform to go from VLog to LogC, then apply a film emulation LUT that is expecting LogC footage and the results will be fine (I've done exactly that). I highly recommend Juan Melaras YT channel to understand how pros use Resolve - it's completely different to all the other YT colourists. He's the only YouTuber that I've watched the videos over and over again, studying them to understand what he's doing and how it all works. https://www.youtube.com/channel/UCqi6295cdFJI9VUPzIN4NXQ

How does the nikkor noct compare to that lens?

First clue. Combined age of camera body + lens is 70 years old.

I thought Luke said he never used CineLight on a PC?

The butterling and cognitive disonance, very interesting, he should have his own thread and keep his divagations confined in there. @Andrew Reid Is the review coming? Or should we look elswhere?

Global shutter is the future I want. It's always nice to see progress in that area.

Come on Andrew... commenting on EVERYTHING except the Black Magic 4K Pocket? I hate to say it, but you are quickly becoming irrelevant. It's a massive bummer because I've been such a big fan of this site over the years.

Yeah sounds like the AF confirm chip is the problem... passive dumb adapter will do it but be careful it doesn't short the metal contacts on the Metabones. I have gaffer tape over some of mine, especially the silver non-painted ones which can brush right up against the contacts and short them out. For a moment I thought you meant the speed booster was causing lens attachment failed... It can do that some times as well... a wiggle sorts that out, if not attached to the GH5 mount quite solidly enough.

DPreview (Jordan Drake aside), Kai (without Lok), Tony & Chelsea, Fro etc.. are all general photography based channels. They don't really know/care about video stuff , beyond the basics.. The few video channels that exist are either biased to a system, or sponsored by camera stores / manufacturers (ie shills). Not many independant, cross platform reviewers out there..aside from Andrew. I thought his review of EOS R was rather balanced, was expecting him to just rip it to shreds honestly. But he gave it some credit where it was due. ..and indeed pointed out it's giant flaws for video, rightfully so. i wanna hear the good & the bad in a review. not just one side & not just the obvious stuff. RS is a serious issue. Bigger issue then the crop factor imo. I'm only using 4K on EOS R for locked tripod shots, but if it weren't the case.. it would be basically unusable. Anyways let's all take a deep breath, we're all in here with a common passion & these gear wars are getting out of hand..

@Sage Sure! here are Vlog stills.

Not giving Angry Photographer any more views. It’s not fair to call him Trump because he is not manipulative in that way. But I can’t stand how he uses his channel to pour out unfiltered affect. There is no editorial labour put in whatsoever, just long rant sessions that are constantly contradicting each other. It reminds me of going into a bar and hearing bitter old men ranting about whichever subject without a trace of criticality, just a means to vent ones own frustrations. The subject could be Muslims, the EU or, in his case, some camera. The subject is just a place to project and vent frustration. That such drivel is tolerated is why politics is like a South Park episode at the moment. Rant over

Hi everybody! here i wanna share some stills from a little "fiction/experimental" project I shot with some friends. All this are graded with GHa Log-C.

thats what we call *Rolling Shitter

Cheers Christoph. It comes down to people not realising their own strength. Chris and Jordan are entertaining and could have stayed on YouTube with their own completely independent channel and been as popular, but they chose to move to DPR so that's the game they must play now - go to all the events, shake hands with all the PR people, miss out Photokina because 'the boss says no'. Don't realise their own strength. All these YouTuber's chasing demo units and relationships with camera companies - they are falling over themselves to be slaves. Don't realise their own strength. Let's just remember... Kai can leave DigitalRev and maintain 700,000+ views on each video. Who needs a fucking boss? Who needs a camera company PR event? I like a free glass of champaign like the next man and sometimes these exclusive events are interesting... but when you look at it soberly in the cold light of day, the core business of this blog is the truth, it's not the business of drinking champaign. Why trade your core business for the odd party? Why trade real friends for fake ones at camera companies? Why?! Fair enough, do it for access, but then at least have the balls to write the truth about camera X and camera Y, otherwise, what do you need access for? What is the access doing for the reader? Is it buttering you up, so that you become a mere salesman to your readers whereas they previously saw you as a filmmaker? Not a wise trade is it? It's very common and unfortunately you can see the impact everywhere you look on the internet. Should be illegal. Yeah, well we'll see how far that impartiality gets him. He will never get another. Not seen the Northrup one, but the point is that the negative stuff gets softened if you're doing it from a swimming pool and you show photos of beautiful models and some amazing footage in the same breath. Was a normal review from Chris and Jordan with balanced good/bad points but people are beguiled by setting and content. All the glitz and gloss of shooting a review at a PR event gives the criticism no weight, no authority. It shouldn't even be allowed because it's subliminal advertising. Mark it as sponsored content, the whole thing.