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Showing content with the highest reputation since 04/26/2020 in Posts

  1. 9 points
  2. 9 points
  3. 8 points
    ...and posting no links to work or a reel. Does your first name happen to be Ebrahim?
  4. 7 points
    Hi all, This short vlog may be of interest as it's just a little chat about the dreaded Gear Acquisition Syndrome, and shot on S1H All natural light, VLOG 10-bit 4K 25fps full frame, I used a Tiffen Black Promist 1/4 and some stos of ND, Lens is the L mount Panasonic 50mm 1.4 Lighting is a window and a large silver reflector
  5. 7 points

    Lenses - Sticky Topic

    A few stills from a shoot last night all on the Pocket 4K XL and CZ 35mm 2.8.
  6. 7 points
    Just throwing this out there... So the plan is - I will be putting some future blog posts out in Mattias Burling style, with the voice over, the artistic shots and camera gear reviews in video form. I really like this format and Mattias did it brilliantly. The other thought is around some kind of live streaming and online camera 'festivals' with a good atmosphere and lots of guests. Like CineGear but online. I'm open to advice and what you guys want from EOSHD on YouTube. It is actually going ahead this time in a big way and won't be a one off podcast or interview. Suggestions welcome and ideas even more so
  7. 7 points
  8. 6 points
    Attila Bakos

    Colorizer 3D LUT smoother

    Just finished a new tool, it does what the title says. It's in beta, bugs are possible. [CLICK HERE] Fuji just released the Bleach Bypass LUT, which has some weird transitions, so I'll use it as a demonstration. This is the stress test image I'll use: See what happens when you apply the Bleach Bypass LUT: Now I use my tool in "box" mode with 1 iterations to create a new LUT: This is "box" mode with 5 iterations: More details on the site.
  9. 6 points
    What you haven't heard? Canon Egypt gave the green-light for the R5 dentist undergrad beta test program! 🎬 🎬 🎬
  10. 6 points

    Sigma Fp x Canon Dream Lens 50mm F0.95

    Desperate for any excuse to actually use my fP again, I've just gone outside to shoot this very quick, non-scientific and, indeed, slightly not focused on the ColorChecker test to show you the different profiles. I actually quite like the Portrait one as a flatter profile myself. STANDARD VIDID NEUTRAL PORTRAIT LANDSCAPE CINE TEAL&ORANGE SUNSET RED FOVEON CLASSIC GREEN FOVEON CLASSIC BLUE FOVEON CLASSIC YELLOW MONO
  11. 6 points
    What a bunch of nonsense. You think you know me but you don't know shit. I'm probably one of the most brand agnostic persons around here. While I have my preferences when it comes to camera companies for various subjective reasons, I started photography on Nikon equipment and still shoot film with them. Did a lot of work on the D750. I was one of the first here to go all-in the Fuji hybrid revolution with XT2. My favorite camera is my Leica M9P. I've owned the A7S2 and I also currently own a Sony FS7, my professional workhorse. Finally I won't hesitate to rent a RED/ARRI or whatever if budget/crew allows it. Oh and I won't even go into lens manufacturers. So you see trying to pigeonhole me as a Canon fanboy is pretty ridiculous. Its not cuz I enjoy a particular camera, that I hate others. I stand by my word about EOS R. As flawed as it may seem, for my personal usage its a great hybrid. Laugh all you want.. IDGAF. I work within camera systems. The body is only one element.. That said, I never stated EOS R was perfect or better than any other camera. I only defended it against attacks of those that thought it was a useless POS. Most of whom never even picked one up. And that's one thing I don't understand in these forums is people talking shit about gear they have never touched or have any intention of using. That to me is true fanboyism. Cuz see you're attacking me for a camera I appreciate. It's so stupid man. Doesn't make me a Fanboy. It does however make you look like a Hater.
  12. 6 points
    Colour is subjective (I actually prefer Panasonic colour science since EVA, S1 etc), the rest of these you're just guessing, IBIS and DR of the S1, SH1 are going to be hard to beat. Hope you're right as progress benefits all of us but your Canon love in and trashing of the BM Pocket is a little OTT
  13. 5 points
    Andrew Reid

    Video is difficult

    So many times I wish I were a photographer instead You can get a beautiful shot with a camera that looks the same whether moving or still... But movement always has to justify itself. If the frame floats or moves with IBIS, shot dead. Mood gone. It's such a fine art. Camera movement is such a fussy thing. It's like colour - There's no point it being there unless the movement is beautiful or has meaning. Otherwise, may as well be still - or black and white. With a photo you can just make a pretty shot and it's job done. It's about timing, framing. With video you have to sustain all that's nice and has meaning for 10x longer. Sometimes 1000x longer. With photos there's the one-man nature of it... with video, you have to rely on others a lot more - actors, writers, and so on. And that's before you've even started the shoot Sometimes I hate video. And think I'd be better off with a Fuji GFX 50R, just enjoying myself. Just one man and his camera. With video, you often have to lug around rigs, tripods and monitors. To anybody who sustains their filmmaking over the years at a high level I salute you. It must be incredibly stressful!
  14. 5 points

    Fuji X-T4

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

    Enjoying the Panasonic S1 again

    What a gem this camera is. I always get distracted by what else is coming out - GFX 100, SL2, X-T4, and the list goes on. But when I look at my footage shot in Asia and Berlin on the GH2, I realised how effective locked down shots are with manual focus. Back when we had to use a tripod... Even the slightest shake is a distraction. There was no racking or AF during a shot either, that just ruined things. This was before follow focuses were common on mirrorless cameras... and the AF, well, it was useful for AF-S to lock off a subject and then you'd record and keep it there. I continue to come back to the S1 because it is the spiritual successor to the GH2. It's not expensive (well, compared to an S1H or cine camera) so it's aimed at the same people. It's relatively small, smaller than an C200 or FS5 for example which are the smallest popular cine cameras. It has a very good battery and huge EVF. The IBIS is tip top. The image in V-LOG, 10bit 150Mbit astounding, yet the file sizes remain much smaller than 400Mbit ALL-I. The 4K 10bit image quality difference to the S1H hardly exists. The ability to load a LUT onto the live-view display and shoot with your favourite one - what other mirrorless camera does that for £1500?! It is amazing in low light, it's full frame, and you can leave the tripod at home. I would take either over the X-T4 as it stands, good though that is. Now the GFX 100 is marvellous... but it's £8k even used! The SL2 would be wonderful if it actually shot 4K without the battery error, so that ruins that. The Sony A7 III is fine, but the image just doesn't hold a candle to the S1. So putting autofocus to one side and just shooting nice stuff the classic way... there is no better tool than the S1. If you want to use manual lenses with IBIS and shoot 4K 10bit LOG, the S1 is the best camera out there, especially for the price. Although the Sigma Fp doesn't have the same amount of features or an EVF, or yet a LOG profile, I rate that highly as well. Will do a round up of all the current cameras soon on EOSHD.
  17. 5 points
    Hiya! Another extensive post coming from me - brace yourselves! Long story short: I tried to minimize my 35mm eqv. setup and see what potential drawbacks would this bring. Left side: newly acquired Newyi 25/1.8 CCTV C-mount lens bought for astonishing 23$. Right side: Zhongyi Lens Turbo II + Nikkor 35/1.8 G (officialy it's a DX lens [meant for Nikon APS-C cameras], but it happens to cover FF quite nicely). Goliath vs David: Operation-wise, it's difficult to pick a clear winner. Newyi, being a CCTV lens, is so tiny that it's rather tricky to wield, even with my small fingers. Aperture ring is stepless and smooth, whereas focus ring is a bit stiff near infinity. Can't say a bad word about focus throw or focus zones overlaying one another - those are all good and allow to precisely nail the focus. Nikkor, on the other hand, isn't the most intuitive lens and is rather quirky to operate manually. There are no focus marks and the focus ring has little steps that can be felt while fine tuning. There is no aperture ring and the only way I can affect the aperture is via an AI - EOS adapter with built-in aperture lever. Having said that, Nikkor simply feels better in my hands. It may be bigger, heavier and not meant for manual use, but it is what it is. Newyi is advertised as a f/1.8 lens, yet it doesn't gather as much light as it really should. The same scene, shot in the same conditions, required a shutter speed of 1/60 when I used Newyi wide open, compared to a shutter speed of 1/105 when I used Nikkor (via dumb adapter, not a speedbooster). Speedboosted Nikkor gave me a reading of 1/160. That's a 2/3 EV of difference, which makes Newyi rather a T/2.2 (if not less) lens, not a T/1.8 one. Speedboosted Nikkor is almost a T/1.4 beast. Field of view between those two is almost identical. Nikkor has some serious barrel distortion, but it's due to it being a DX lens. Sharpness and contrast: Wide open Newyi is not only tack sharp in the center, beating the Nikkor easily, but also free of any noticeable aberrations/fringing. Unfortunately, it's less contrasty and introduces some ugly beige/red tint to the shadows. Some 100% crops. Those are my thoughts after owning the Newyi for 3 hours. I really wanted it to replace its bigger competitor, but to me contrast, color rendering and ability to gather more light is more important than sharpness and portability. Nonetheless, the fairy tale has a happy ending and Newyi managed to find a new host - Sony NEX-5. I hope my sister enjoys it, lol. Here is a photo taken with it on a NEX-5: And a 100% crop:
  18. 5 points
    Not sure whether this forum here is the right place for this video...
  19. 5 points

    Fuji X-T4

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

    Fuji X-T4

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

    Fuji X-T4

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

    Best camera designs

    To really love a camera it must be a comfortable, fast sportscar, not a mundane commuting experience. Here's what I've grown to like the most, from the past year of camera releases which I've owned and shot with. NEW BLOG POST!
  23. 5 points
    https://www.engadget.com/raspberry-pi-12-megapixel-c-mount-camera-084145607.html It uses IMX477, a BSI & stacked 1/2.3" 12MP sensor. It's capable of full 12MP readout at 60fps with 10bit ADC, and 40fps with 12bit ADC. https://www.sony-semicon.co.jp/products/common/pdf/IMX477-AACK_Flyer.pdf
  24. 5 points


    Γεια σου πατριώτη! Nice footage! You're not supposed to decompress anything on a fake anamorphic recording though. It's still square pixels. So when you shoot with Magic Lantern, you should not tell it that it's anamorphic recording, but rather normal recording. Then it will appear correctly when editing. Here is mine from today (Canon M50, Helios 44-2, Viltrox Speedbooster, Vid-Atlantic anamorphic aperture filter). I also have a modded Helios 44-2 (that doesn't require the Vid-Atlantic filter to get anamorphic bokeh) in the mail, coming soon:
  25. 5 points
    1/2.3" is like a Pentax Q, and some people like @Mattias Burling can show off what that sensor can do pretty well. A small sensor doesn't mean a bad image. D-mount lenses have a character all of their own. I think we'll be seeing more sensor sizes, more modules, more mounts in future... And an exciting explosion in at-home camera building and image processing. If you combine something like Magic Lantern and Digital Bolex, with rapid prototyping for body designs and nice ergonomics - wooden grips, and so on, you have the recipe for a very usable DIY cine camera indeed!
  26. 5 points
    I shot a test with an Arri Alexa LF vs 65 to find out which one had better color reproduction. I filmed some dog poob, a real stress test to the sensor and the color science. Neither one of them made the poob look like it was a delicious strawberry. Then i did the same test again with my Olympus Pen EP2 and it gave me very similar results. I think the camera companies are just lazy and not doing their homework. I feel ripped now with my two Arris. The youtube test video hV2yvzYzix4 really shows the pain some testers like me were willing to go through, producing really challenging footage, so challenging to the eye.
  27. 5 points
    I am starting to think that as well. As @Super8 is ignoring my questions and completely missing the point
  28. 5 points
    For me, you buy what you need when you need it. For instance, I might buy something like this if I had a particular client on deck that would be put at ease seeing me run around with a "real" camera. (That's still a thing in the circles I'm in) Obviously, you need to know if you're served by playing this sort of game. I've rented camera gear just to impress clients, not for any particular production need. If I was in that situation again, heck, might as well buy a package like this for the same cost. Also, wouldn't be the last time I'd buy gear only to sell it again quickly. Which is kind of like renting, just with more flexibility. Once, a few years back for a client, I borrowed a bunch of unnecessary cinema rigging from a friend/colleague and buried my LUMIX camera under it. Looked cool, but was incredibly gratuitious. All that nonsense just to do a talking head interview. Whatever, the client enjoyed the spectacle. Afterwards I bought my buddy a nice 18 year single malt scotch for that one, which we shared. Win-win-win.
  29. 4 points
    1/4000 would be typical in mid-day sun. I'll shoot some video tomorrow and apply the trial plug-in. See what happens. Usually have a bunch of ravens flying around....filming that should provide a decent stress test.
  30. 4 points
    Andrew Reid

    Anamorphic on medium format

    NEW BLOG POST https://www.eoshd.com/anamorphic/preview-of-coming-attractions-anamorphic-goes-medium-format-with-fuji-gfx-100-and-a-look-at-the-leica-sl2-5k-43-mode/
  31. 4 points
    And all turned to mush with its 55Mbps bitrate 😞
  32. 4 points
    Instructions unclear. Bought two more cameras using stimulus cheque.
  33. 4 points
    Well this stopped me buying something. So mission accomplished sir. I thank you.
  34. 4 points

    USB 3.2 ?

    I started with the unexpanded (1K of RAM) version of the ZX81. Of course, we were happy then, even though we were poor.
  35. 4 points
    A simple talking head setup - check! Only 1 bulb (out of 4) used and - okay, I admit it - it was a bit too bright to my liking in this scenario. Don't ignore inverse square law, lads and guys! The key light was ~ 50 cm away from me. f/1.4 , 1/160 s, ISO 1000, WB - 4000K BTS:
  36. 4 points
    Here’s my latest anamorphic adventure! Pro-tip for anyone who is considering an anamorphic rig on film: make sure your variable diopter has focus marks! Everything looked focused in the viewfinder, but it definitely wasn’t. Marks and a tape measure are your best friends.
  37. 4 points
    Well its a nice day here so I've set myself up on the balcony to do this al fresco and have gathered together the components that I need for my particular style of product development.
  38. 4 points
    Garbage is an interesting word for this camera. I’m glad I won’t have to read R-bashing for much longer. Before we all move on, and pick up an R Successor, I’d like to put this in the record. I’ve nothing better to do right now, so here’s the whole story of the R from someone who has used it every day since it first dropped 18 months ago. Firstly, fair point on this thread about the DR- on par with the C100 at best, maybe C200 (the non raw output). The crop never bothered me though - close enough to match the S35 cinecams - and there’s always the metabones as a fair fix. My problem with the R, like other R users on this thread, is the rolling shutter in 4K / crop mode (RS is fine in full frame), though I found this practically disappeared when using wider lenses like the Sigma 18-35. It’s there if you chuck it about. So I have to give a damn about camera movement, and I sometimes use a shoulder/chest pod handheld. Forget 50mm and above though yeah unless you’re on a gimbal or using some kind of rig. Flawed camera, it certainly is. The rolling shutter is my major gripe (my other gripe being no 60p in 4K - minor for me but a deal-breaker for many, I get it). This RS, which btw enhances some tilt-access warp in the electronic IS, so it’s a double-whammy, meant countless hours of experimentation and in the end meant building my own chest/shoulder pod for extreme handheld work and longer focal lengths. I’ve destroyed the RS but I wish I hadn’t had to do this, and I don’t always want to have to use this rig (even though it does improve every shoot). Bring on the IBIS. The 4K 60p. 10 bit internal. All hail R5/R6 - so long as there’s improved rolling shutter. Garbage though? In and of itself, and just going by specs, I won’t argue that it was a disappointment, especially for full frame shooters. I agree, it’s a flawed video camera. BUT, when you put the R in context - ie with lenses, next to other cameras -I’d argue it offers formidable value for doc shooters, solo operators and for all the indie filmmakers who want to use a Sigma 18-35 without a focus puller.... Because it’s the only mirrorless cam on the planet to offer perfect autofocus (yes, for me, it works PERFECTLY) with that Sigma 18-35, a lens so good that many cinematographers use its rehoused glass for its true 1.8 transmission, near parfocality, and smooth focusing with almost imperceptible breathing (well, at least on the R...) I may be wrong, but I think the only other cameras on Earth that pair this well with the Sigma 18-35 for autofocussing full 4K readout are the Canon cinecams: C200, C300 mkii, mkiii, C500 mkii... I’d say the R is in pretty good company. When you then add the R’s drop in ND filter (1.5-10 stops), it really gets interesting. I barely remove it when using the Sigma. How many of those cinecams have non-stepping ND (they step two stops, four etc) On the R you just adjust to any stop, wherever you want... all with the roll of a finger. The R also has decent electronic image stabilisation (if you know how to sidestep its limitations) which is missing from some of Canon’s ‘cinema cameras’. I’m aware the R doesn’t have native XLR inputs or pro time code functions etc. I know it’s not a cinema camera (but this didn’t stop me selling my C300 to use the R exclusively). It’s a consumer camera - with an image that punches WELL above its weight. The R’s 4K is a 1:1 readout (which you can also out at 10 bit). Its 1080 is downsampled from the same 4K readout in crop mode. The R5 will not process its 4K the same way. It may be better, if Canon downsample 8K (it might not be better, especially its 1080), otherwise what kind of voodoo will the R5, and its purported 45 megapixel sensor, have to perform to offer better than 1:1 readout to cover the image circle of my Sigma 18-35? I hope Canon does it. Obviously, the R is not going to be any cinematographers first choice to shoot a movie, but for anyone else, especially doc shooters and solo operators, I’m hard pressed to think of a better value canon video camera. Its 4K image rivals the C200, even performs a decent imitation of the 1DC image. And it has a 5Dmkiv built into it. In a low-profile mirrorless body. With an RF lens mount. All this for as little as £1400 used (and falling...) The R was received poorly by all of us who were hoping it was gonna be the R6 and the anger STILL resounds. But the R6 is now coming, and soon the R Classic will be totally written off (if it hasn’t been already). If the next gen R cams can really deliver, I’ll probably trade in my R, and some kid can pick it up used and sacrifice it’s stunning images to the gods of YouTube compression - or maybe create something beautiful. Garbage? I’m afraid you’re probably right - the R will end up as garbage - but I don’t think it deserves to be. Despite how frustrating the camera can be, it’s also been amazing in many ways. Farewell to the garbage that time forgot. Or will the R Classic be resurrected in the RF era, the impending ‘Revolution’ love-in, suddenly touted as the ‘next-best’ option to the R Pros for those shooters that, in these uncertain times, will not be able to afford the insane price tags surely headed our way.
  39. 4 points
    Dude, its the shooters fault. You know you need an IR filter to avoid situations like this. Its like shooting wide open at 1.2 in the sun without an ND filter and then complaining in post see everything is overexposed. Not sure why this comes into play into a color discussion.
  40. 4 points
    Just popping in to say that I quite like Deep Impact. Coincidentally, this thread couldn't have been more destroyed if it had been hit by a giant comet either.
  41. 4 points
    @Django Check out this list https://pdnonline.com/gear/cameras/the-best-cameras-for-color-reproduction-ranked/ TBH I am really confused as the Fuji's are up at the top directly followed by Sony. How can they both be super color accurate while both being very different?
  42. 4 points
    We are here to share and learn...But lately i see just complete bullshit from fake users that claim their pro colorist with their science Post your work and talk.
  43. 4 points
    Don't worry about the R5 bashers. Haters gonna hate. Watch em come around in couple months.. CS is a tricky subject, there are a few dedicated threads about it here. Most of them don't end well lol.. Canon is known for their warm skin tones and Reds that pop. Clog is also pretty easy to grade. RAW 14-bit is glorious. Pleasing CS doesn't necessarily mean accurate colours though. Strangely you will often find Sony on top of color accuracy rankings. In the real world however, Sony are often last in the CS preferences. doesn't help their WB craps out as soon as mixed lighting comes in. That said I love Venice CS and shoot almost exclusively with the Venice LUT on my FS7. I haven't worked with recent BM cams but generally speaking the ProRes & RAW footage from them grades beautifully. My problem with BM is they can be unreliable cameras. Some Ursa Mini 4.6K had magenta cast issues for example. Very difficult to get rid of.
  44. 4 points
    I just want a board sensor that covers 16mm and has dual pixel AF so I can hack my 16mm camera apart and replace the ground glass with a CMOS and have reliable AF on a film camera.
  45. 4 points
    lol you are as much of a Canon fanboy than the Sony fanboy you mention. Even when Canon ridiculously failed deeply with the EOS R your were saying here on EOSHD how great it was. What a joke. Personally I don’t understand at all fanboyism for a camera brand. Who cares if it’s Sony Canon or Nikon, I couldn’t care less about the name. I am bashing what’s wrong, and praising good stuff. When the 5D2 was out I was applauding. That’s why I bought it. When the EOS R was out I was laughing hard. Sony did an excellent job with the A7III when it was out. That’s why I bought it. The R5 looks absolutely fantastic and will most likely get it to replace my A7III.
  46. 4 points
    That is the Ursa Mini 4.6k, completely different sensor from the Pocket 6k. Its a little hard to take you seriously when you say the Sony Venice looks like its colors are painted on. You aren't just arguing against people online when you say that, you are saying the people who engineered it must have had no idea what they are doing as well as the productions that use it.
  47. 4 points

    Lenses - Sticky Topic

    The Tokina is the lens I always seem to go back to. I think this is my 3rd copy, I'll probably never let it go again. I paid much less than £200 each time. I sold the Sigma zooms because I rarely used them after my most recent copy. Mechanically it's a dream at its price point. The lens doesn't extend and the focus ring has hard stops. It would make a great cine-mod lens. It also has a short throw, good for handheld pulling. The zoom ring is quite stiff, you won't be zooming mid shot. It feels well built, it'll survive a few knocks. The AF system seems to be broken on every one of these I've used, but that usually means they sell at a cheaper price. Optically, it's not the sharpest lens in the world but also not noticeably soft even wide open on a SB. This is where I sort of miss the sigma zooms. It also doesn't focus very close (0.7m) 28mm on the lens really sings when filming people, really wish I could get a bit closer. The lens also isn't par focal, but its not far off, it only needs minor adjustments. Breathing is very well controlled. On the wide end, the lens distorts a touch more than a modern lens, but I quite how it falls off. The lens flares really change through the focal length, I always experiment with the zoom when there's flares. Around 35mm if one of my favourites, you get some cool thin red rings. The lens flares very easily, I like it for narrative stuff but always have some black wrap or gaff tape on hand for corporate shoots. It's such an all rounder zoom lens to have in the bag, just enough character for narrative work but can also clean up when it needs to.
  48. 4 points
    Geoff CB

    Lenses - Sticky Topic

    Best thing about that lens is how natural the falloff is and the lack of breathing. This is an older Test I did with it, jump to 4:12 to see samples and how "smooth" it is.
  49. 4 points

    DJI Mavic Air 2

    Mavic Air 2 confirmed to have 4K 60P @ 120Mbps video, also 1080/240P and 8K timelapse video.
  50. 4 points
    I just realized something else genius about their design: You can slide in 2x NP-F550 batteries underneath the camera (integrated in with the rails!), which means you can easily hot swap V-Lock batteries without needing to wait around for reboots! Killing wasted downtime.
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