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I feel like there is a crowd for these videos here. Apologies for the shameless self promotion though.

EOSHD testing finds Canon EOS R5 overheating to be fake, with artificial timers deployed to lock out video mode. In this test, we will probe my Canon EOS R5’s actual internal temperature in Celsius, as reported by the firmware. This week CDA-TEK and I are developing an Android app for the Canon EOS R5, which connects to the camera via the Canon API... Please read the rest of the article on the blog carefully before commenting below

I'm here if you need to talk.

Seems people like pairing their S1H with Leica-R lenses... and I'm one of them! I'm shooting a short doc on my brother about his comic book, "I Am Not Okay With This", as it's currently being adapted into a series for Netflix. This will be the second time he's had a comic book adapted into a series. The first was "The End of the F*cking World" which did well, however, he told me that people would see him signing copies of the original comic at cons, and accuse him of "ripping off the show". So this time, i wanted to help raise his profile a bit when "I Am Not Okay With This" is released, and it gives me something to flex my creative muscles on. Anyway, some sample stills... Panasonic S1H, Leica Summicron-R 35mm, 50mm, & 90mm. Not a final grade -- just wanted to get some images out.

Hello to everyone on the forum! A Merry Christmas from me! I hope you're looking forward to having a good break over the holidays and are ready to welcome in 2022. Talking of holidays - I have been having a break from EOSHD for a few months. I went and sat on a hill and finally had time to reflect on my work which is this blog and the community around it. The last video had a lot of support, it's made me really appreciate what I have in a more positive light. I'm mega appreciative of the people who took the time to say how EOSHD has helped them over the years and that they want it to continue. So that's what we'll do! EOSHD is back. Read the full blog post here

Hey guys, late last year I bought a P6K to work alongside the Alexa I normally shoot with. The goal was to have smaller, lighter camera that would live on a gimbal or could be used in situations where a full size Alexa wouldn't work. Knowing that both cameras would need to intercut seamlessly, I set about profiling the P6K using the same process I had previously used to profile the Alexa sensor and various negative film stocks. This process generates approximately 14,000 data points per camera. I then took the visual form of this data into Resolve and created a PowerGrade that accurately matches the P6K to the Alexa. After several requests, I've now packaged up the PowerGrade and added it to my store. You can check it out here: https://juanmelara.com.au/products/bmpcc-6k-to-alexa-powergrade-and-luts The PowerGrade At the heart of a PowerGrade is a custom 3x3 matrix that aligns the P6K's colours with the Alexa's. Because this is done through a matrix in linear space, the result is actually closer to a technical transform. The benefits this brings over a LUT is that it's non destructive, there's no danger of clipping or clamping data. And if you really wanted to, you could fully reverse the transform with zero loss in quality. This is because it doesn't break Resolve's 32bit float space like LUTs do. Probably one of the best features of a PowerGrade is that is fully editable and customisable. But since editing a 3x3 matrix isn't the easiest thing in the world, I've also included a Hue vs Hue/Hue vs Sat curve approximation of the matrix which is far easier to customise. And because it's a PowerGrade you can see exactly what is being done by each node, which means that I'm not able to hide snake oil like you can with a LUT. The LUTs Speaking of LUTs, knowing that a lot of people actually prefer to work with LUTs, I also created a LUT version. It's the exact same transform but in LUT form. One of the biggest limitations with most LUTs is that they clip any information that exceeds the top of the waveform, so basically any value above 1.0. This is a big issue with BMPCC footage as enabling Highlight Recovery or working with any ISO above 400 pushes valuable information above 1.0, where it is permanently clipped. With this BMPCC specific requirement in mind, I developed the LUTs to accept and work with values exceeding 1.0. So no matter if you enable Highlight Recovery or push the ISO to 6400, the LUT is able access and process all the information extending above 1.0. Anyway, check it out and let me know if you have any questions or comments. I'm keen to get feedback from any users to see what can be improved or expanded on. Comparisons Here are a few comparison images shot with the P6K mounted on the Alexa's top handle. The Alexa was using a Zeiss Milvus 35mm, the P6K was using a Zeiss Milvus 25mm, then cropped in post to match the FOV. The Alexa images are untouched, the P6K images feature minor exposure adjustments only. Check the store link for more images.

Looking at recent posts objectively, it is always the same users who end a perfectly good discussion on this forum with toxic bullshit. I am coming after you. It is a cull. It isn't about politics. It's about values! To protect a community I love... I have no choice. To be clear, it is none of my business which way you vote. What matters is behaviour, character, values. If you've been a good contributor here and kind to people you get to stay. If not, then you are going to be asked to leave and I will pursue people who return under a different name. This is purely because there are now far too many posts being trashed and too much arguing driven by people with the wrong values which I despise. I am going to use this week to draw up a list of people who strongly align themselves with Trump's politics of America First. And I will be getting rid of the lot of you. Yes you can say it's a political purge but I prefer to think of it as purely about values and about protecting users who DO contribute positively to the forum. If these idiots are allowed to get away with bringing Trump idolising bullshit into this community then all our work will be for nothing and Russia with their fake-user farms will have won too, because I am 99% sure at least a few of the idiots are completely made-up shill users whose role is to divide us politically and weaken our online communities. At a time when we must pull together as a camera-community, as filmmaking industry, even as a country, indeed as a world - to get through tough economic times ahead - dumb arguments which ignore factual data are a waste of time. What has happened to the world in recent weeks is stressful enough and I personally do not need to hear from certain people in every thread. I will not be providing a platform for Red cap wearing idiots who haven't contributed a single shot or image to this forum. I get that EOSHD has a big US readership, in fact the US contribution to my site is the largest in the world and I want to keep as many of you as possible and not lose any friends who just happen to disagree with me on politics. But if you are going to be a shill for Trump's politics or somebody who is a complete shit-stirrer and troll, then I will no longer be turning a blind eye to it and the cull starts now... Have fun on your way out.

Stuck at home like many, so I made my daughter the actor and my wife the grip and script supervisor What have you all been up to during these strange times?

"Pocket 4K footage is precisely transformed to match the color science of the Arri Alexa, without compromise. This is achieved without artifacts, while introducing a smooth, organic rolloff." For the better part of the last year, I've been working to map the color of P4K BMDFilm to match my Alexa's LogC, as measured under sunlight and halogen. To do this, I wrote an interpolation program in C++ that can accept an enormous amount of data (~40k samples per camera), and interpolate smooth internal contours, or 'waves' between them. Exposure compensation conversions were made with the same interpolation engine (transforms replicating sensor color response with variant exposure). Another significant element of the project was to recreate Arri's Rec709 to maintain the entirety of recorded LogC gamut, in a film-derived envelope (for the display variations). This was particularly difficult, as the correct RGB primary behavior needed to be exactly replicated within contiguous 709, but smoothly diverge to HDR-like handling of far gamut (where Arri's Rec709 ends). This new envelope (EC Gen.4) is particularly impressive, and I may release it for the Arri, as it is significantly preferable to normal Arri Rec709. P4Ka PDF Emotive Color

So i said i'd post some stills, these are basically ungraded. This frame is in a sequence with car lights, i like the tonality of this very subdued moment. Shot 12bit to manage shadow tonality. From a different point above. All shot on a 50mm M Summicron probably wide open. I think i hit the saturation slider here in Resolve. But this had car rolling over camera. It's a 21mm CV lens and i see some CA aberrations from the lens that i would deal with in post. But i'd never let a car run over a Red! shot on an 85mm APO off a monopod. Nice tonality again and it's day light from windows with some small panel lights bouncing and filling in A reverse of the above. Some fun shots. I think the true benefit of something like the fp is the speed at which you can see something and grab it. Using it just with an SSD plugged in and manual M lenses gives a more spontaneous feel. Now most of the film will be shot on Red, in controlled conditions with a crew and that's the right approach for multiple dialogue scenes and careful blocking. But the fp has it's place and i may hand it too someone and just say grab stuff. cheers Paul

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.

Well, its been a while and its changed quite a bit.... But this is your official 7 day countdown for pre-orders opening on 12/12/19. As the festive season is approaching then in true advent calendar style, open this thread every day for more stuff. PBC Tease 1.mp4

AFX is the long overdue focus control expansion option for our PBC system for BM Pocket4K/6K cameras. With AFX and its included handheld remote you can control manual focus of MFT/EF lenses but also operate our newly created Single and Continuous AF modes for the camera. These new AF-S/C modes are made possible by the AFX’s integral ToF sensor which constantly measures object distance from the camera. As well as allowing you to control focus using the thumbstick and AF-S/C switching, the handheld remote also enables you to map any of the camera controls such as ISO/Aperture/WB etc to five of its hardware switches as well as being able to toggle Record Start/Stop from one of its two finger trigger buttons. All communication between the AFX, the handheld controller, the PBC and the camera are performed wirelessly and, as with the PBC, the AFX runs from its own internal battery or USB. The AFX will be priced at €199 (plus the cost of the PBC for new adopters) and pre-orders begin next month. Here are some basic examples of the AFX in manual focus, Single and Continuous AF modes. In AF-S mode, current focus is held until you press the trigger button so is equivalent to half shutter press/Back Focus Button on a regular (D)SLR or mirrorless. More to follow as the pre-order date approaches.

Yep, it's not EOSHD that's the problem it's me! I need to get my enthusiasm back. It's been a tough time. Thanks for the comments guys, it is helping me figure things out a lot.

Here are some frame grabs from my first feature length film Bad Decisions. I started on the GH4, then shot some scenes on the GH5. I will finish this next year with the S5 and S1H if COVID-19 doesn't turn into COVID-20. 😬 I'm probably going to go straight to Amazon Prime. My budget thus far has been $10K and I have another $3K or so for the last two scenes. As so many of you know, no ifs, ands or buts about it; filmmaking is fucking hard! This is probably why this is my last one. I've been discouraged so many times that I had pretty much decided to delete the whole film and just quit altogether. But looking at these grabs, and knowing that I lit that, I blocked that, I wrote that, I shot that and I directed that gives me the courage to complete what I've started. It would be nice if I break even, but even if I don't, I can say that "Hey, I did that!" And boy I didn't do that alone! I had so much help from friends, family and complete strangers that it's too much to even count! They were angels, there just when I needed them, and for not a moment longer, There was one scene, that I was shooting straight guerrilla style. I needed to shoot on three city blocks at night, and I had to light it, and there was a gun scene that kinda made me nervous for the safety of the cast and crew. We have no permit process in my city, so I went to the police department, and explained what I was doing that night, and they were like "Ok". As soon as it got dark around cast and crew call time was at 6pm. We went to the neighbors houses and let them know what we were doing. We started blocking, and laying down markers for lights tripods and actors. It got dark at 9pm, and we started shooting. We were shooting in moving cars, had special effects, and every scene was lit. We even faked a window getting shot out. We wrapped that scene at 5am the next day, right before the sun came up. Do you know for the entire time we were shooting, not a single car drove up any block visible? It's like we rented 100 homes, paid everyone to stay inside and blocked off the area for a 1/4 mile radius! God was most definitely on my side that day, and it was one of the best scenes in the entire film!

This thread details the teardown process, modifications made and some important findings: http://c.tieba.baidu.com/p/6848700307?pn=1 He replaced the two thermal pads that did not fully cover the CPU with a dollop of thermal paste and noticed significantly better and more even heat dissipation. Most important finding: despite the temperature drop and improved heat dissipation, 8K/4K HQ still cut off at 20min mark, suggesting a firmware limit is also in place.

I'd prefer if they released a dedicated cinema camera instead. It's easy to forget that Fuji has over a half century of experience making motion picture stocks. They were Kodak's main competition. Their Vivida daylight stocks were gorgeous. Deep rich colors and solid velvety blacks with warm lovely skin tones. Sadly, they no longer produce film stock, but bringing that look and feel to a digital cinema camera would be an amazing coda to that legacy. I also think that Fuji's ergonomic sense work translate very well to a video camera. They have a charming analog feel to all their cameras, which is something that is sorely missing from most low cost video cameras today.

In light of the recent arguments on EOSHD I thought it'd be cool to think about how awesome it is to be a filmmaker/videographer in 2019 going into 2020. We don't have to settle for crappy 8 bit anymore on anything less than $5000, we even have multiple cameras that shoot compressed raw and/or ProRes for less than $2.5K! We have lenses from 3rd party makers that not only don't suck but are better in some cases. Wireless monitoring and follow focuses are affordable now!? What!? Our options for post are incredible, too - We have Final Cut and Resolve that are rock solid and Adobe... Adobe sometimes doesn't crash now! ? Frame.io and Vimeo review help make working remotely way less frustrating We get to bash Canon while shooting on Fuji/Sony/Nikon/Blackmagic instead of bashing them because we have no other choice And on top of that all we have places like here where we get to talk about it all and get help and share our sometimes very strong opinions ? I hope you guys see my sarcasm where I sprinkled it in. I encourage you to go ahead and post what you're grateful for:

I remember @Emanuel raising the possibility of using Micro Four Thirds glass on Fuji cameras. Well I asked RAF Camera to make a prototype for EOSHD and here it is. So in past year I have been experimenting with a lot of M43 glass on the Super 35mm sensor of the Fuji X series cameras. We see beyond the usual 2x crop image circle! Here's what I found: - X-T4 has a Micro Four Thirds 2x crop mode in the menus. So you can use anything on that, basically. - The adapter doesn't have any electronics capabilities (maybe later?) so I have only been trying manual focus lenses - Voigtlander super fast F0.95 primes look lovely on a Fuji! - Some M43 lenses even cover the entire Super 35mm sensor - X-H1 is 1.7x crop in 4K so that works well, as it is closer to the 1.86x crop of the GH2 or multi-aspect sensor Panasonic bodies - The affordable Meike cinema lenses work brilliantly as these are all Super 35mm lenses just different mounts (they come in Fuji X-mount versions and Micro Four Thirds, with same optics for both) - SLR Magic stuff very tasty with it especially on the X-T4 in 2x crop mode - Focus to infinity is fine (sometimes slightly over even) So I am wondering, how much interest would there be in an EOSHD branded adapter for Fuji X cameras, that enables you to use Micro Four Thirds glass? This is the only adapter in the world of this type. I have been wondering how many of you have both Micro Four Thirds mount glass and Fuji cameras, maybe you switched but didn't sell all your GH5 lenses? Maybe you are just curious to turn your X-T4 into a GH6? Or interested to discover the unique images made from one of your exotic Micro Four Thirds mount lens on an X-H2S? Also rather than buy separate lenses for Fuji and Panasonic you can use one set on both systems (as in Meike 25mm T2.2 for instance!) If there is enough interest in the adapter I'll put RAF on notice and finally start that Indiegogo up!

some stills from a new short i dp’d. Still ungraded, some still need to be cropped a bit.

Another year over and what a shit one it was, to be quite frank about it. We all deserve a bit of peace and happiness at Christmas after this, to get our spirits up so that's my hope for all of you - have a good one, and cheers for your EOSHD-ing all year through thick and thin, keep the passion and let's keep our heads above water! And I hope all your front rooms look as great as this...

I am indeed! I meant to thank bloggers (including Andrew specifically) for bringing the issue of overheating up so much. The pressure about the timer nonsense forced Canon to change the way the camera monitors temperatures, which is the reason the mod works at all.

I'd like to hear from Tilta as well as Canon. If my fridge doesn't cool the camera externally what does their fan do differently? Canon said officially: "Use an external fan to dissipate heat" Well I used an external fridge to dissipate heat and it made no fucking difference.

Let's get this thing started then. Here's my entry. All hand held and in natural light (except for one shot, no points for guessing which one) Filmed in less than an hour, paid for by a beaming little face when the finished project was ready to watch.

We shot this over a few days in Canada on the Panasonic S1 and Mavic pro 2. Honestly I can't be happier with the S1. Having shot on the A7iii and the A7sii for the past years the S1 is quite an advance in image quality. There is so much latitude in post and the dynamic range is really great in comparison.

Matching different cylinders glass from different anamorphic scope is equivalent of a cylindrical Galilean telescope running backwards, finding a match with different systems that meet the afocal condition. Here are few prototypes I put together and some sample shots. I hope you like, thanks! .

New gear is great but if you have nothing to shoot what is the point? I think that sums up the sentiment we've all been through this past year and a half. It's been brutal for a lot of us independent pros. I sold a lot of cine gear and lost a lot of money in the process. Seriously considered leaving the industry as well. Fortunately for me, business has picked up again and that's really all it takes to get excited about shooting. Because for me its really all about shooting, gear is just means to an end. Too much gear can also be a buzzkill. I saw a great video the other day shot with just a G7 and a macro lens. I'm a strong believer in limitations spark creativity. Not just in filmmaking but all creative areas. Its a hard motto to live by these days within a gear-driven industry. Speaking of apple and tech GAS, I had to resist the urge for the third year in a row to get the "pro" model. My phone died so I did cop the iPhone 13 but went with the mini. Love the form factor and my phone will remain just that a phone. Photos & videos shot with it will remain on social media. No ProRes on smartphone for me, oh well. Also thinking about getting the iPad mini, it feels like a Moleskin notebook. I hate big tablets, might as well just use a notebook at that point (also just got the M1 MBA). Just waiting to see how the A15 compares to M1 as I would like to do some basic editing on it and need HEVC support. Anyways I'd be sad to see this place disappear. I haven't been around since the start but it's been an incredible resource and community, even with all the riffraff and drama. I think we all owe Andrew a big thanks no matter the outcome. I don't always agree with his views but at least he has a freaking opinion unlike 99% of the internet shills. As a primarily Canon shooter I also thank him for being so outspoken on the overheat-gate issue that got us solutions and even got Canon to somewhat address the situation. Who will have the clout & balls to do so if this independent voice disappears? Keep going Andrew, your doing the community/industry a great service by being vocal on matters that matter!

Maybe save that criticism for the Matti Haapoja's and Peter McKinnon's of YouTube and not the guy that does rather dry long form reviews and regularly criticizes the things you think he's trying to sell? I say this as a very vocal critic of the YouTube filmmaking bubble. I don't always agree with Gerald but it's ridiculous to act as though he's looking to maximize clicks and affiliate sales. His videos would be under 10 minutes and feature him pouring coffee (gotta get that pouring sound!), riding a one wheel around, and otherwise pretending to have a far more exciting life than he does, all while talking about how awesome x is and that you should definitely check those affiliate links down below! At least be fair if you're gonna criticize the guy.

It's hard to say it's gone wrong. It's so-called creative destruction. There's simply no need for a mass consumer camera market any more. Every home used to have a camera, be it a compact, a SLR, a Polaroid or whatever. No-one needs those any more because everybody (even the children) has a phone that will take better snaps with fewer skills, in a format that allows instant sharing.

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.

Stills from some past F3 projects, all with Leica R's and the 5" Video Assist. Such a remarkable camera: lovely to use, easy to grade, solid in low light, lots of dynamic range...for the money I paid, it's earned its keep 50 times over.

A few stills from a shoot last night all on the Pocket 4K XL and CZ 35mm 2.8.

I recently asked for book recommendations to learn about human vision and was given a link to a free PDF. It is incredible. I'm only a quarter of the way through, but I'm absolutely blown away. The human vision system looks like it was designed by committee and then re-imagined by Dali and Picasso, while on drugs. It is a wonder we can see anything at all! Did you know that the rods and cones (which detect light) are BEHIND a bunch of nerves and nerve cells and blood vessels, so the light has to go through a bunch of crap before you even sense it? The book is actually a mix of how the human vision system works and also what we have done with the tech to try and align to it, so it's a nice blend of biology and tech. It's also very readable and tries to be as non-technical as possible. This is a rare find compared to other books that are hugely tech heavy. Take the red pill with me... download it here: https://www.filmlight.ltd.uk/support/documents/colourbook/colourbook.php (download it by clicking on the box next to the file size).

It is time for a good old fashioned EOSHD article. Everything you’ve seen so far on YouTube is meaningless - yes it is. Check out a new novelty on the web... with my WRITTEN BLOG POST! https://www.eoshd.com/news/is-n-raw-real-raw-nikon-z9-under-the-spotlight-at-eoshd

Forum member @essbe mentioned this in another thread, but I think it deserves it's own topic. Magic Lantern developer theBilalFakhouri is showing compelling evidence that he has figured out how to implement full real-time preview in most raw recording modes across the EOS-M, 100D, 650D, and 700D. Live HDMI output is supported across all recording modes too. Many have found that these are the last two major usability hurdles for these cameras. He is trying to crowdfund £2,214 (about $2750 USD) for the 300 hours he's spent figuring this out before he releases it, and says that he will begin work on full real-time preview on the 5D iii after this campaign gets funded. As of this morning, he's about 2/3 of the way to his goal, but donations have slowed down significantly over the last 24 hours. If you'd like to pitch in, instructions on how to contribute are in the link above. I haven't used either of my ML-enabled cameras in about three years, but this feels like it could be the final chapter in ML history. I would love to see it succeed and keep some of these cameras out of landfill as well as to provide the next generation of broke filmmakers with a truly affordable 16mm/S16 raw camera.

I can tell already this post will be long and probably ramble a bit so I will apologize in advance 🙂. For me, purchasing the C70 was a years in the making decision because I do not make new camera purchases lightly. My goal with a camera body purchase is that it fits with minimal additional investment into my existing camera ecosystem, it will perform its purpose for at least 5 years, and it will handle my specific type of projects. Everything in this post is based on my own personal style of shooting, the types of projects that I get hired to do, and the gear that I already have. I am also posting this after owning the camera for less than 48hrs so my views may change over time. After using the camera on a single shoot, I thought about how I would describe it in a single word.....and quirky keeps coming to mind. I'll get to more on that later, but in comparison to my current favorite camera, the Panasonic S5 I would describe the S5 in a single word as frustrating. The S5 is so close to being perfect, yet the AF finally pushed me back to Canon. Since I have called it (and continue to call it) quirky, let start there. Here is my list of things that I just find strange about the camera: The Mount - the mount is without a doubt the strangest mixture of FF, crop sensor, RF, and EF that I've ever encountered. I bought the 0.71 Canon speed booster so that I can use my EF lenses but with it mounted I cannot use my EF-S lenses. For EF-S lenses I also need to buy the straight through adapter. I have no RF lenses and probably won't have any for years so EF and EF-S is it for me. I would like for the speedbooster to live on the camera so I bolted it on because I like the extra stability, but that means I can't use the Sigma EF-S at all unless I want to either leave the speedbooster unbolted or or fiddle with removing it while on set. Speedbooster - Yes, the speedbooster gives you a stop of light with EF glass, but the DOF remains the original DOF. Additionally, I saw some sample videos where the speedbooster decreases contrast and saturation in strongly backlit scenarios due to the extra glass elements, it also decreases the AF area for EF lenses. Not sure if this is also the case for EF-S lenses. It is great for providing a FF FOV, but it still falls into the quirky category for me. Storage - this one hit me before the camera ever arrived. I planned on buying 1TB SD cards due to the data rates but discovered that there is no such thing for V90 cards. In fact, the largest V90 cards I could find were 256GB which means now I have to worry about running out of space; something I haven't even thought about for years. Speaking of V90 cards, they are actually crazy expensive when compared to the typical V30 cards. So now I have a camera that can go up to Canon RAW yet no way to store the footage in the camera. I know I could use an external recorder, but I like the dual slot redundancy and the compactness of doing everything in body. Even V60 512GB SD cards are nowhere to be found. Such a strange problem to have in 2022. Lens IS + Digital IS - The C70 does not let you turn off lens IS and keep the digital IS on, no idea why but I discovered that during my brief testing. I wanted to test the difference in lens IS vs digital IS with the same lens but you can't have digital IS on and lens IS off. OK, so here for me is what I find is just bad about the camera so far. Once again, this is due to my own personal workflow and my shooting style, for bigger crews and different shooting environments this may or may not be something you care about at all. Firmware Bug - Yep, within 20min of turning it on I found what I believe is a firmware bug and I currently have a Canon CPS case open for it. I shoot a lot of content that goes on both YT (16:9) and IG (4:5), so instead of shooting vertical which would mean it would only work on social media, I shoot landscape and display 4:5 aspect ratio guides on screen so that I know what would fit perfectly on IG. My customers love this, I deliver them two versions of the video and both fit perfectly on their respective platforms. I set this up on the S5 and I checked before buying the C70 that it had the capability to configure custom aspect guides as well. So while setting up the C70 I went into the aspect guide menu > custom > and started inputting my guide ratio. What I found out is that there is a bug and you can only change the left side of the guide. So I can set up 2:1, or 4:1 but there is no way to change the 1 on the right side. I called CPS and they couldn't figure it out either, so they opened a case for me. Fortunately, I have been using the guides with the S5 for so long that I kind of know from memory how to frame 4:5 within 16:9 but it is very annoying to say the least for this not to work. Flip Screen Quality - This is a real thing, terrible quality, very flimsy and the worst physical part of the camera. I can only hope it does not break and if it does I hope it breaks when I don't have a job lined up and while it is still under warranty. I avoided flip screens for years because I thought they would be flimsy, my first camera with a flip screen was the GH5 and now in 2022 Canon found a way to confirm my worst fears about flimsy flip screens. By comparison the R6, S5, and GH5 all had great high quality flip screens. Stabilization - this is a big one and anyone who knows me knew this was coming and I know cinema cameras do not have IBIS, I knew the C70 did not have it before buying it, but it is still a downside in my book for this camera. It's one thing to not have it for cameras that are too big to hand hold, but when you market a cinema camera as being handheld and give it a DSLR form factor IBIS would be great. I will say that I never knew how good lens stabilization was until I shot with the C70, if you have a stabilized lens and turn off the Digital IS it is almost as stable as IBIS. When it comes to digital IS, I simply do not trust it and feel like it makes the footage jittery so I only use if I don't have a stabilized lens on the camera. Speaking of stabilized lenses, I discovered my favorite video lens (Sigma ART F1.4 50mm) does not have lens IS which makes the S5's IBIS even more impressive in my book. I had no idea that none of the 50mm EF lenses offer stabilization and neither does most Canon EF lenses. So now I am stuck with no IBIS, and only the Canon 24-105mm F4 and the Canon 24mm F2.8 for stabilized lenses options. Horizon Level - Yes I know no Canon cinema camera has this (I think the C500 does but not sure), but it is still really annoying to have to keep checking the edges of my screen and guides to try to keep the camera level. It is easy when it is on a tripod and there's plenty around to line up with, but when you are hand holding it is one more thing to try to guess at. I use the horizon level religiously with every other camera. I would think this might be able to be added via firmware, I'm guessing it has a gyro since it provides digital stabilization but not certain of this. Flip Screen Visibility - The flip screen looks great indoors but completely disappears outdoors, no possible way to see much more than an outline of what you are shooting even with a monitoring LUT enabled. This means an external monitor is almost required and for gimbal work you pretty much just have to hope you are pointed in the right direction. Indoors it is great. The Fan - I know, I know, it is required to keep it cool...but I live in FL (where everything overheats so the fan is even more important lol), but living in FL I also shoot a lot on beaches with the wind blowing and sand going everywhere. That fan is my worst nightmare in that scenario. I really don't know yet what I am going to do for those shoots, I may just use the S5 whenever a dusty or sandy environment like that is required. The Joystick - the joystick is nearly impossible to use. You can navigate left/right/up/down ok, but if you try to press it to select a menu item it typically jumps to a different screen, very hard to precisely press it. I started using the Set button in the thumbwheel instead to select menu options. It is not all bad, and I will say up front that I do not regret my purchase (not yet), so for me (so far) the good outweighs the bad: Internal ND Filters - those glorious internal ND filters make me smile every time I press the button. I almost like them more than I like the sensor and image quality. Being able to dial in an exposure with the press of a few buttons is nothing short of awesome. Gimbal Balancing - I watched a ton of YT videos and bought counterweights and a clamp for my Ronin S because I didn't think it would balance otherwise. Well, it turns out that with my gimbal lens (Canon EF 24mm F2.8) it balances with no problems. The arms are at their outer limits, but it does balance properly. I was able to balance the Sigma EF 50mm as well but not properly and the motors had to engage just to keep the horizon level...not a good situation. Sensor - This one is a given, all of the spec charts and YT videos in the world can't compare to just shooting with the camera with your style of shooting. The sensor is more than sufficient for everything I need do and I tested right away a model backlit by direct sunlight and the image was good enough for me. It did wash out a bit but it wasn't as bad as I thought it would be. CODEC - Yesterday I shot mostly 30FPS and 60FPS and the XF-AVC codec was actually easier to edit than the H.265 footage coming out of my S5. I wasn't sure if I was going to be able to edit it and Davinci Resolve along with my editing setup handles it with no problem. Ironically the hardest footage to edit on my system is GoPro footage. Ecosystem - This one is important to me and since I have a lot of Canon glass and XLR audio equipment it was important that it fit into my existing ecosystem. I picked up a shotgun mini XLR mic for on camera work, a cage, a DTAP to C70 power cable, the speedbooster, v90 cards, and that was it. It fit perfectly into the rest of my gear. Integrated XLR Audio - Obviously this is great to have, no more finicky adapters to deal with. The mini-XLR jack isn't that big of a deal to me, my new on camera mic is mini-XLR, and I bought adapter cables for the rest of my equipment. Build Quality - I was actually expecting worse build quality than it has after seeing so many people complain about it. It's not great, it definitely is not as nice as my S5, GH5, C200, or 5DIV, but for what you get I think its not bad. The buttons feel a bit cheap when you press them but as long as they work I don't really care. Auto-Focus - having AF is just wonderful....ANY AF is better than NONE, and this will be the first video camera I have owned that I can somewhat handhold and have AF at the same time. I know everyone is saying it is not that good, but to me it is great. I just set it to large area AF and kept the box on the subject and it did the rest. I already know in lowlight it won't work well or with certain skin tones but the focus peaking is so good that I am actually looking forward to MF for those situations. Exposure Tools - Obviously there are a ton of them, I thought I had my setup all figured out but during the shoot I ended up just using the WFM because it was the only thing I could see in the sunlight and it worked well. Battery Life - The battery life is decent, 1.5hrs shows on the meter when I first turn on the camera. With the DTAP to C70 cable I can connect the camera to my VMOUNT battery which can probably power it for at least 4hrs. OTHER CAMERAS Before buying the C70, I did a lot of research and comparisons to other cameras that I felt could meet my needs, the list below is arranged from closest to furthest for how close they came to what I was looking for: Canon R5C - This was the number 1 contender, but for me there were too many compromises. No internal ND filters, adapter required for XLR audio (the adapter BTW that even further shortened the already terrible battery life), the weird USB PD power requirements, the terrible battery life, and no IBIS ruined this one for me. If it had IBIS or an eND filter system I probably would have picked it over the C70. Canon R3 - Interesting camera but no ND filters, would need the adapter for XLR audio (adding to the price), no video exposure tools, no good codecs, and cost a ton of money for that fast readout sensor that I would never need since I don't shoot sports. Canon R5 - No XLR inputs, no ND filters, no video tools, terrible codecs, and that horrible overheating issue that just won't go away after all the firmware updates eliminated this one from my list. Panasonic - All of their cameras have no useable AF, so as much as I love my S5 in every other way, there's no way I am buying another one unless their AF system changes. Sony - that's a whole different world for me and different ecosystem which doesn't interest me at all. Nikon - looked interesting but I know nothing about Nikon and feel like they are one foot from the grave (kind of like Panasonic for that matter). I am sure they make good cameras but I don't feel like learning their ecosystem, also I would have been paying for that sensor and XLR adapter similar to the R3. FIRST SHOOT EXPERIENCE My first shoot was almost comically bad. I got the camera late on Friday, went through all of the menus and watched YouTube C70 setup videos until 3AM, then got up and did my first paying shoot with it at 10AM. Also, the cage did not come on time so I really felt out of place hand holding it without a cage or side handles and nowhere to mount a top handle or mic. I thought I had figured everything out....I was going to use the Zebras at 45% to expose the skin tones, use digital IS for the 50mm, and use only lens IS with the 24-105mm. I set up my favorites menu with AF mode, Zebras on/off, and framerate. I also balanced it on the Ronin S with the 24mm F2.8. As soon as the shoot started I realized the zebras were impossible to see in the sunlight, I forgot to turn on digital IS when switching to the 50mm, and without the zebras I had no idea if I was exposing properly. So I switched to the WFM, gave up on the skin tones, and kept it in the middle of the WFM. After the shoot I checked out the handheld and gimbal footage and it wasn't as bad as I thought. I ended up throwing away much less shaky footage than a typical S5 shoot where I have to throw away out of focus footage. The subject for this shoot moved around quite a bit and my S5 keeper footage rate would have been way lower. I also ended up buying the Buttery C70 LUT pack to get the initial grade. Sound It Out Films did a great YT review on LUTS and the Buttery one looked like it had the best starting point for the Rec.709 grade. I do not like their creative LUTS though because they added them into the Rec.709 grade vs separating them so you can't use them for all of your footage from different cameras from a shoot. But their Rec.709 primary grade is the best looking to me. LEARNING EXPERIENCE I still really need to learn how to properly expose CLOG2 with the C70. I think I did OK on my first shoot, my false color LUT shows me that for the most part I was able to get the exposure where it needed to be, but I definitely need more experience with CLOG2. The totally confusing area for me is the AF, I watched tons of YT videos but the whole area AF with subject tracking turned on confuses me. When whole area AF is on and subject tracking is on, boxes are flying all over the screen, it seems to be tracking things even though I did not tap the screen so I am not sure if it is just showing me what it decides should be in focus or if it is actively tracking something. I also don't really understand the logic behind whole area AF, how it works and when it breaks so I need to test that feature a lot more. WRAP-UP For my needs the C70 is a great "quirky" camera that I think was worth it. I hope to get at least 5yrs of use out of it, but TBH with you my main concern now is how to get V90 cards big enough to store long form content. I don't see 256GB cards lasting through an 8hr day. I may actually test V30 cards at its lowest bitrate settings or even 2K @ 30FPS for long form talking head content. An annoying problem to have in 2022 and out of all of my problems with this camera, that's one I never saw coming. So far it definitely seems like it was worth it, but time will tell. I still don't think it can replace my S5, when I need to travel light, work in dusty environments, or I'm on a shoot with a budget that just isn't high enough to bring the C70, I will probably still use the S5.

No surprises here, but I'd say it's the Blackmagic Micro Cinema Camera. A modular cinema camera under $1000 brand new, uncompressed Cinema DNG RAW at 60p, and a beautiful image. The image doesn't look like that second generation iPhone or camcorder that Canon love to imitate when clipped either.. https://www.youtube.com/watch?v=bMb6CR781Kc With Resolve it superscales to 4K beautifully too. You don't actually want 4K, you just got trained by the camera brands that 1080 is bad because they compress the absolute living crap out of their images - no-one is rejecting the Alexa 1080p because it's not 4K! With great quality RAW images you can push and pull them in post and they keep on giving and this is pretty darn close to that... Plus it's the easiest camera to grade that I have ever seen. Great images just appear when you drop a LUT or CST onto them, rather than struggling for hours to get good colours.

I got the C70 last week as part of CVP’s first batch. Even though I have the A7SIII, I bought it because Canon obviously read a post on this forum about what my “perfect camera” looks like. So I just had to. I sold my EVA1. I put it in the deep end straight away on 2 professional shoots for fitness brands. The videos aren’t finished so can’t share any footage yet! My impressions: 1. Body design is fantastic. Lovely in the hand and a joy to operate. Feels cheaper than other C-series for sure but still premium. Well built and easy to use. Very light too! 2. The screen is flimsy and should be more robust. 3. The joystick is drunk. You want to go left, but it goes up etc. Not sure if this is a “getting used to it” kinda thing, but it’s unusually tricky to get the hang of. 4. Record button is also a bit stubborn. You have to press that thing very well to get it to record or stop. 5. Quick touch screen menu is amazing. There’s no need to reboot the camera to change frame rates and codec like I did on the EVA1. 6. DIS is decent! Doesn’t feel overly robotic like other IBIS systems. But there’s a slight crop. 7. DPAF with the Sigma 18-35mm is pretty good. My Sigma 50mm hunted quite a bit though. 8. It has no tracking like the A7S3, only for faces. Seems the face tracking is disabled in 4k100fps. 9. Footage in all modes is crisp and clean. Not overly sharp, but detailed. It looks a bit more organic than the A7S3, which is clinical without a Promist. Noticed the A7S3 is a bit more contrasty in SLOG3 than CLOG3. The C70 has an edge in the shadows. 10. You can use a V60 in 4k100fps but comes up with a warning that it won’t work. It does, but sometimes cuts off due to a full buffer. Not often though. I’d still get a V90. 11. H265 footage plays back better than the A7S3 on my 2025 iMac. Still a sludge though. 12. Footage can be easily matched to the A7S3. Took me about a minute. Amazing how much Sony have improved it. In conclusion, I had a good first experience and I’m looking forward to the next shoot. I currently prefer the A7S3 but it’s too early to decide that really. Both are great and can be used together very seamlessly due to the Sony’s improved colour and codecs.

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, ever. 3. Menu’s make sense, finally. Woo woo. 4. AF tracking is great. Feels like cheating. I’m not sure how I feel about it as part of the craft though. Feels less rewarding, if that makes sense? Lovely on a gimbal though. 5. Working on a screen this small makes me feel disjointed from the scene. Much less clarity than the EVF. Good I’ve got the Ninja V to test then! 6. Dynamic range is impressive. Very nice roll off. 7. There’s a “Shockless” WB. When you change it, it transitions smoothly while recording. Same with ISO and shutter speed. Nice! 8. How am I using ISO 100 in Slog3? Thought this was BANNED. 8. Rolling shutter looks gone. Ran off. Away. Thank the Lord. 9. Battery life - hmmm. Not Panasonic standards. 10. Tamron 70-180 seemed a bit drunk with close distance AF. 11. Image looks quite clinical. Used ProMist 1/4 - not judged it yet. Seems better. Will decide later. 12. Why is the skin tone in FCPX yellow looking when the skin is on the line in the vector scope? Not that the skin tones are bad (they are good off the line), just doesn’t make sense. Maybe I’m blind. 13. Colour is better. I’m not sure how much better yet. Definitely an improvement. I need to get this thing on a proper shoot. Got a triple music video shoot in Turkey coming up so I’m going to throw it in the deep end on that one. Overall, I’m impressed so far but I can’t help feel a slight bit of disappointment when Canon announced the C70, which is the camera I described some years back as the one I would love to have. Now it exists. Funny world.

I am absolutely not saying that someone who had an R5 could use a good old fashioned CR2032 battery eliminator in the camera then bring it out through the camera enabling them to provide a switchable power source to it to effectively remove/re-insert it without taking the camera apart each time they want to reset the recovery time. I'm absolutely not saying that. Someone else might say that. But, just to be clear, I'm not saying that at all, OK?

PRICE RED Helium Ranger + Monitor: $31,400 URSA Pro 12K + Accessories: $11,500 The new URSA Pro is 37% of the price of RED's comparable offering. SPECS RED Helium Ranger: 8K @ 60p (12:1 Compression) 4K @ 120p (Cropped Sensor) URSA Pro 12K: 12K @ 60p (5:1 Compression) 8K @ 110p (No Crop) ANALYSIS The new sensor technology that allows you to shoot at lower resolutions for higher framerates is arguably the most important aspect of this camera. That and...price. There's really no reason to be in a RED at this point in time. I guess if you hated money you would stick with them? I'm scrambling to find one area that RED would beat BM in and I can't think of one. It was always codec but we might just be there with the release of this new version of Blackmagics Color. Add in the full ecosystem compatibility with Resolve and the fact that it's almost 3x the price. Seriously, if Blackmagic wanted to make a dent on the high end I think they just blew it up. RED is going to have to innovate AND lower their prices (drastically) just to be competitive again. You will have outliers and people that stay loyal to the brand for whatever reason...but if you're unbiased and just looking to make the right purchase, I don't see how RED makes any sense. As of today at least. Seriously a crazy release and few days here. I don't know if I have ever pre-ordered>cancelled pre-order>pre-ordered new camera in a 48 hour window before.

A few more for the road. Damn does the F3 grade well.

1. Show us a picture of your current most used camera and lens EVA1 and Sigma 18-35mm. 2. Tell us a few facts about yourself! As a child, I was haunted by a ghost called Linford Pickle. 😂 I come from a family of artists and musicians. I was forced to go to church then realised it was all bollocks. My first ever video was called "Demon Boy". It was shite. I'm scared of baked beans and peas. I've starred in 2 televised music videos, once as the lead. I've got eczema and I hate it. I have 2 daughters. 3. What's your favourite music, favourite sport / team, other hobbies Manchester United - although I've got very disinterested in sport for the past few years. Music - As a teen was obsessed with Radiohead and Muse. Now I'll listen form anything from jazz to classical to synth-pop. Other hobbies - nothing. Filming and being a Dad takes up EVERYTHING. 4. What your hopes are for the future of EOSHD, what would you like me to cover - and the camera you are looking forward to most? Do more episodic video stuff. Do less on cameras and more on lighting! More interesting. Cover vintage lenses and weird shit that they do. Modified lenses. RED Komodo looks neat. Canon R5 and 6 I hope will live up to hype. 5. Tell me what you miss about your country and home town when you are not there Seeing people. Working with artists. My family. Having a pint and a laugh. Making shit. 6. The year you first started reading EOSHD I knew barely anything. Got a Canon 60d DSLR and started reading all this "complex" stuff people said like "10 bit 422". Read it over and over until I understood. Liked the way EOSHD focused on experimental stuff, cheap cameras and weird as fuck lenses. Think it was GH2 time.

Lol, you seriously believe this? The only country? You americans trully live in another world. Your president just had dinner with an infected minister from Brazil. Good luck.

Just a little end of the year lol for you guys. Have been cookin this one up for a while. I hope you guys get a laugh out of it. This is a parody of the Billie Eilish song “bad guy” except... this one is all about camera gear ?‍♂️ Let me know your thoughts! mostly shot on GH5 in 10bit on atomos ninja v. pickup shots in the garage were shot on EOS R in 4k internal. a few minor pickups on the EM1 mkii.