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Looking back I owe everyone a big thank-you for using the forum and taking an interest in the blog, it is amazing what it has turned into with so little effort on my part I think this place must be the only website on the entire internet without adverts. Long may it continue like that. Got a GX9 arriving tomorrow... about time I did a review of something cheap with the big shift to high-end stuff. Let me know what you'd like to see in the review of it.

As someone less than politely pointed out on the other thread, I appear to have been a bit of a lazy arse in the almost 12 months since I tripped over and found the Cinelike d thing. You may recall it happened because I was researching making a hardware controller and after several iterations, here it finally is. And yes, it does look rather like a calculator doesn't it? The different iterations (including an Android app at one point!) have been in pursuit of making something small, standalone, self powered, fast connecting, push buttons and with an integrated screen at a lowish cost and, well, here we are. Here is the finished spec and features : Compatible with all Panasonic Lumix cameras that can be controlled by wifi Integrated USB rechargeable battery Full colour screen 20 keys with 3 bank switch keys giving 60 direct switch operations of functions Control of Aperture, ISO, Shutter Speed, White Balance, Colour Profile, Contrast, Saturation, Sharpness and Noise Reduction. Automatic unlocking of Cinelike D and Cinelike V on GX80/85, LX10/15 and TZ10 Control of manual focus in fine and coarse steps Control of One Shot AF Control of Record Stop/Start Store and Recall 8 focus points 4 selectable transition speeds between focus points Store and Recall 8 setup presets (each consisting of Aperture, ISO, Shutter Speed, White Balance, Colour Profile, Contrast, Saturation, Sharpness and Noise Reduction) Presets are stored in non-volatile memory so are available in any session. Boot time to camera connection and control under 2 seconds. Wifi control range tested to 20m. Optional accessories : Interface module to support Nintendo Nunchuck controller for manual focus control (native lenses and adapted lenses with smart adapters) and zoom (integrated lens cameras and power zoom lenses only) Wireless interface module to sync remote record and stop on supported Tascam, Zoom and SoundDevices audio recorders. The controller fits a regular cheap cellphone to threaded adapter holder so as well as being used handheld it can be mounted to anything you have a need for with the right attachment so could be on a cage or a gimbal or whatever. I'm going to be doing some more testing of it in anger in the next couple of weeks and I'll put up a video of it in action then. So, I have been a bit less lazy than first imagined By the by, the controller has both wifi and bluetooth so it begs the question would anyone be interested in a version of it for the Pocket 4K ??

The video was shot with a single GH5 (with a little A6500 in there) in 10 hours, edited, graded and effects done in 4 days (by me). The new album (last I heard) was at No.7 in the official UK chart. I'm a big fan of what Panasonic has done with this camera. That said, the shining star of this video is the band.

My dear erstwhile member can you please stop attacking John Brawley now. I have long since given up on camera forum arguments so might not be completely up on who is right and who is wrong-evil / killed-a-kitten, but can we tone it down a bit. It's JB! We could be learning so much and having such interesting cameras talks with a film industry guy and I am sure one of the only people with a Blackmagic Pocket 2 prototype yet instead a handful of you are just bitching. It's pointless. Even if you disagree with him on certain matters, hold your tongue a bit for the benefit of the rest of us who are interested in what he has to tell.

Hey Everyone, Here’s a bunch of stuff I’ve shot, graded and edited for music videos between 2012-2018. The shots in the reel not done by me are the drone shots. For you camera nerds, I used...... Sony FS700, FS5, FS7, F55, A7SII, A6500. Panasonic GH3, GH5. DJI X3, X5R.

Shot on the GH5 in 3 days. A concept trailer done having a zero budget for our upcoming first feature film. I really like what I can squeeze out of the internal 10 bit V-Log footage. DR, lowlight and colors are really good. Everything was shot with sharpening and nr set to -5 and a Tiffen Black Pro Mist filter applied in front of the lens (12-35mm 2.8 V1, 20mm 1.7, 42.5mm 1.7) to make it smoother. Colorgrading done in Davinci Resolve. Drone shots by the DJI Mavic (the internal sharpening is hideous tbh...).

So as I've hinted more than a few times in the other thread, the discovery of the Cinelike D and other bits and pieces for the GX80 etc was actually a bit of a happy accident while I was trying to do understand the Panasonic wifi stuff for something else. And here is that something else. Well at least a prototype of it but it is fully functioning and will just be finessed a bit more. Basically, its a wireless hardware remote for the G series cameras that operates over wifi and can currently control record start/stop, shutter speed as well as aperture and focus if you're using a native lens, including a single shot AF switch. For the non-Cinelike D cameras that can now be hacked to have Cinelike D there is also a dedicated button to toggle it on and off so you don't need to mess about with browsers and computers or smartphones anymore. Focus and aperture control are done on a joystick and everything else is switches. I'll be putting a layer switch on so that it can be toggled back and forth to a different control mode for ISO, WB and other stuff. As this is the prototype it is nowhere near the finished piece and it will be reduced in form factor to just be about the size of the control board. Power is by any USB source so there are billions of options. There is a lot more finessing and feature enhancement to go on with regard to the focus control (and yes, I know exactly what you'll all want it to do !) but the hard part is done now. It does support the display of the values on a screen and I'll be sorting some options out for that. The purpose of this gadget is primarily for use with a gimbal but it can also be really useful on a tripod bar for anyone shooting live event stuff. For cameras with inbuilt lenses I'm going to add a zoom mode on the joystick. A very quick very rough demo so you can see it in action. Any lag you might see between me operating the controller and the camera video is just a sync issue between me throwing the two recordings on very quickly

ok so in the spirit of eoshd togetherness I have decided to share this video to see what u guys think. maybe it will inspire zach ☺️ let me explain: i made this short at the end of last year, but I never completed the edit/fx/etc 100%. Got busy with other stuff, and I was working up my gumption to come back to it with a fresh eye. then my iMac broke, and I have a new ‘puter on the way, but I’m anticipating the nightmare of opening resolve and Siri saying ERROR: NO MEDIA FOUND, because my files, ALTHOUGH BACKED UP, are super disorganized, there might be a few things missing, but at the very least it’ll be a big pain in the ass to relink everything to get going on this again aannnyyyway I always feel bad for posting literally zero videos but numerous dog pics and I was like Screw it, its not perfect, but here ya go. this is not the best file, its the one I had in icloud, there could be a better render, etc etc, and its getting murdered by youtube compression, but my first reaction watching it after not messing with it for a few months was…. …Hey~! Its not too bad! ☺️ not bad for a first film i made all by myself! imagine if I had a crew, a budget… ? so, if youd like to see, pls check it out, and if you have any helpful feedback that involves changing/adding things, that’s great, but I do NOT have access to the actors/locations any more and there is almost no chance of me shooting additional footage, so as long as suggestions don’t involve me spending any more money on this project, I’m all in ? at best, I think this is a cool example of what one person can do with a 5d3 in 2019 with no budget, crew, or resources whatsoever... as indie as it gets lolol

I like the pictures. A lot. This camera will probably replace the micro cinema camera for me as it’s not much bigger and is much easier to work with. I didn’t feel as strongly about the 4K production camera / Ursa because they were limited, principally by dynamic range. I have a deep affection for the 4.6K sensor and have shot nearly daily withnit since before it was launched. I know it very well. This pocket camera will integrate and sit very nicely alongside the 4.6K. It’s already a closer match than the micro for me without having really tested it in an A/B scenario. I was a little worried about it having less DR Than the 4.6K but I think the other clips show some great examples of what this sensor can do. “Nature” was incredibly tricky material to shoot as anyone who’s been in that situation before would know and it was unfair to see it being derided. Those that did so only reveal their own inadequate understanding of what those shots reveal. I can think of a million other scenarios I would have rather done but these sequences were specifically produced to illuminate what the camera can do in specific situations. What im almost more excited about is the unification that Gen 4 brings. As I mentioned earlier, it’s pretty much the same people at BMD that brought you the first camera working on this camera. They’ve learned a lot (and so have I) and I think Gen 4 is really strong. I wish this and extended video would get rolled out wide already as I think half the issue I see with users of BMD products is a lack of knowledge in grading. Now BMD do have perhaps the greatest colour correction tool on the market BUT they don’t make it easy to get to a great result without a little arcane knowledge. Even I often run into issues when working by myself and I see extended video being a great step in addressing that shortcoming. There’s no point in talking about how great you can make images shot RAW if you don’t know how to do it and can’t easily or intuitively find a way to do so. With regards to the 4k Pocket. Its a genuine low light contender. I was really impressed at what a useable picture it produces with little lighting. I’m laughing at those that said it’s overlit. I mean a 500w chimera dimmed to almost nothing so the background lighting would still show though the tinted hotel windows is very very low light, much lower levels than the idiots demanding I walk out on the street and light by sodium were demanding. Again, I laugh when I see comments about how noisy ISO3200 is but I’m guessing those users aren’t aware how much image processing their cameras are doing at high ISOs. BMD allow you as the user to choose your poison. A very very underrated feature. And like colour correction it’s almost too powerful because users haven’t been instructed to change their expectations, nor how to add noise reduction or sharpening so they can season to taste. The best testbfootage will be friends users so the sooner they ship the cameras the better. Hopefully Gen 4 means there will be less hysteria about its performance and a few will realise there’s no point comparing it to a GHx or a Sony and learn to get the most from what it is good at. JB

OK So for anyone wanting to try this, I have made a really simple method to do it. I have tested this numerous times on my GX80 and it has lived to tell the tale but obviously do this at your own risk. All that this process does is fool the camera into thinking its talking to the smartphone app and then the commands it sends are exactly what the smartphone app sends. Or would do if the smartphone app thought it was talking to a camera equipped with Cinelike D ! So as such it is only getting sent what the Panasonic app would be sending to it so there are no hacky or sneaky debug things getting sent to it. Again, though, proceed at your own risk. Although I would say, if you’ve tried that region switching hack on YouTube with the 10 million key press combos during power up then you’re already brave enough to try this! Bear in mind that my unit is a GX80 and the firmware is version 1.0 If you have a GX85 or have got a different firmware then I just don’t know because obviously I haven’t got any other devices to test it on. Here we go then…. Follow these instructions exactly and you should have Cinelike D on your GX80/85 You will need a laptop or a phone with a browser, the camera and to download the simple html file attached. 1) Switch on camera and turn on wifi as though you were connecting the app and you should see the waiting screen on the camera 2) Load the Deploy Cinelike D.html file into your browser 3) Select ‘Handshake’ 4) You should see the browser page change and it confirm that its connected to a GX80 5) Hit the back key on the browser 6) Select ‘Connect’ 7) You should see the browser page change to say ‘ok’ and the camera give you an ‘Under Remote Control’ message 8) Wait until the camera screen shows you a live view 9) Hit the back key on the browser 10) Select ‘Deploy’ 11) You should see the browser page change to say ‘ok’ and the camera should NOT now be displaying the Photo Style you had selected (i.e. Standard, Vivid etc) 12) Cinelike D is now active on the camera 13) If you go into the menu on the camera and select Photo Style you will see that it is blank and you can’t navigate to other Photo Styles such as Standard etc. 14) To restore the Photo Styles hit the back button on the browser and select ‘Restore’ and the camera will display the Standard photo style and you should then be able to go into Photo Styles and change them. 15) Repeat 9-14 to switch between them to your hearts content! So, like other settings, the Cinelike D profile will persist when you switch the camera off so if you want to use the other Photo Styles again then you MUST go this process again to re-enable them. However, if you would like to switch between them without using this method again (and who wouldn’t) here is a neat way round it. When you’ve done Step 12 and got Cinelike D on, set all your other parameters (4K24p etc) as you’d like them and save these into C1 of the custom settings. Then go to Step 14 and use the ‘Restore’ to get your standard Photo Styles back, set all your other parameters (4K24p etc) as you’d like them and then save these into C2 of the custom settings. Now when you switch the camera on, you simply choose C1 to have Cinelike D or C2 for the standard Photo Styles and forget about using any nonsense about using browsers and wifi connections! In couple of weeks I’m hoping to show you how you can do stuff like this and some other useful bits and pieces from a little hardware gadget that will work on the Panasonic cameras but have fun with this in the meantime. DEPLOY CINELIKE D.html

I've been using 5D3 Magic Lantern RAW for a few years now and it's my personal gold standard for image quality as I'm very familiar with it, can predict the results I'll get in various situations and have developed my own look that I like using in post. I do a lot of documentary and corporate stuff and wanted to do more handheld, so I got the GH5 for its IBIS, 10bit V-Log, 4K and general ease of use. Although the GH5's colour is an improvement on its predecessors, the 5D3 is nicer looking to me. So I wanted to see if I could tweak the GH5's VLog colour to be more similar to the colour I get from Magic Lantern Cinelog-C, processed via Adobe Camera Raw (other debayering workflows will give different results). I shot a chart with both cameras, extracted the squares and put them side by side in Resolve. V-Log on the left, ML on the right: I used Hue v Hue and Hue v Sat to line up the signal on the vectorscope: Here you can see the effect of this correction.This is accurately white balanced V-Log (default colour) with a curve and saturation added: And here's the same shot with the colour correction applied: Skin goes from green-ish to pink-ish. Reds become more saturated, blues are pulled back. Foliage separates out into varying shades of yellow to green to blue-sh green, rather than being one big block of pure green. So next, I wanted to test this by comparing the same shots to Magic Lantern RAW. Would this correction really turn my GH5 into a handheld and more usable version of my 5D3? I stuck the GH5 on top of the 5D3. I shot the 5D3 at 3520 x 1320 (the maximum resolution I can get that's both continuous and at a sensible aspect ratio) - this has a crop factor of 1.63x. ISO was 100, and aperture at f5.6 on the Canon 24-105. The GH5 was 10 bit V-Log, Cinema 4K, ISO 400, aperture f4 (roughly equivalent) on the Leica 12-60. I used shutter speed to control exposure, so motion blur is different between shots. It seems like the GH5 has around 0.66 stops more info in the highlights at the same exposure as the 5D, so I shot it one stop over to maximise DR. First I corrected the 5D shots to the way I wanted them to look. Then I tried to get the GH5 to match. It's not a perfect match by any means, there are individual hues that tend to go awry a little, especially in the first shot. But for me the exercise is a success: the GH5 footage looks more like Canon Magic Lantern than it would straight out of the camera. And I would be happy to intercut the two, or to use the GH5 in situations that are more suited to its features. The take home message is that V-Log has a lot of grading potential - you're not necessarily stuck with Panasonic's colours on this camera. A nice surprise for me was how much detail is in the 3.5K 5D files compared to Cinema 4K GH5, especially when sharpened. However, it's not very practical to shoot in its high resolution modes at the moment, due to the slow refresh rate of the LCD preview. If you want to check out the files yourself, here are a series of matched pairs of 5D DNGs, and GH5 V-Log TIFFS. FOLDER: https://drive.google.com/open?id=0B1exEpCRAfgFdi1FZ3hma09YZms ALL FILES ZIPPED: https://drive.google.com/open?id=0BwzsbjMgrAwzTFJZby0xSTV6VmM

Pleased to announce that my Pocket4K app for Android is now complete and is with beta testers so barring any calamties will be available from the Play store on the 21st of December. Here is a screen shot with a quick run through of the features from top to bottom : Across the top we have the controls for Aperture, ISO and shutter angle. Next up we have the colour temperature and tint controls, the preset white balance selectors, the Auto White Balance button and, of course, the Record button. Beneath that we have the 8 snapshot memories which you can use to store and instantly recall 8 different custom settings of ISO, Aperture, Shutter Angle and White Balance. To store the preset you long press on the memory slot that you want to use and to recall it just short press. Haptic feedback is given to indicate that the preset has been written and the currently loaded preset is denoted in orange (M1 in the shot above). Presets are stored in non volatile memory so are always available in any session. Next is the focus controller, which is operated using the slider and/or the fine tune buttons. A long press of the button moves instantly to closest focus and infinity respectively. The AF button in ths row activates the single shot auto focus. To accompany the focus controls, you then have 6 memory slots (A to F) to store focus points and you can switch instantly between them by simply pressing the required one. In addition, next to these are the controls for A-B-A focus transition and the speed control. Again, all focus points are stored in non volatile memory for use in any session. Finally we have the controls for applicable MFT power zoom lenses with the same interface as the focus controls (including long press for instant minimum/maximum zoom) and 4 non volatile memory positions for later recall. There is another function that it can do that I'll let you know about closer to release date and I will put up a little demo video of it in action late next week.

What a shame. Who are these "deep state" BMD insiders that are here pushing an agenda ? Myself and Hook. Who else ? What do you guys think, there's a plot and conspiracy ? You guys don't wat these contributions I guess ? I'm here because I've been a member here for years and I'm on many camera forums and this is just another one I like to read and contribute to where I can. I want to know where all the clowns that were saying on this thread that the world was going to end because BMD didn't have any footage out yet and that definitely meant something was very wrong and the shipping date would be missed. All I've seen so far is that a planned marketing campaign by BMD that has gone off the way they intended. They commissioned some actual filmmakers (not bloggers or camera reviewers) that make certain types of film (natural history, action sports, nature) to make some films and then they released them and the camera originals. Then they gave some cameras, complete with some boxes as if they were new to some secondary users, and whilst having them also under NDA, got them to shoot some test footage and allowed some of them to release that footage. Again. Not reviewers. Not bloggers. About a thousand reviewers and camera jockeys have done a bunch of made up comparisons and VLOGS based on existing footage. (hey I love seeing my footage being butchered by grading nerds) Think about it. No blogger or reviewer ANYWHERE has gotten a functioning camera to shoot with as far as I can tell. Because that's not what BMD want to do with their marketing of this camera. This isjust marketing 101. They need people using the cameras in the many difference specific sectors of the market will use the camera. Camera reviews aren't part of that plan. (though it hasn't stopped people doing it based on existing footage) Until it's shipping, it's their choice to give it to whomever they want. I'm tired of this entitled bullshit. I recently left a few facebook groups I was on for this camera, and I'm doing the same here. Frankly it's juvenile and I don't need the agro I sure hate explaining what should be obvious. There's no slight. BMD have a marketing department and they have a plan and it doesn't involve forums, bloggers or camera reviewers. That's not a snub, that's just them marketing the product in the way that they see fit. JB

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.

Hey, finally done with the trailer to our debut feature film at 55Media shot almost entirely on the Panasonic GH5 (some shots on the GoPro6 and P4P) in just 12 days. Our best work yet. Movie is still going through post-production. Production company: 55Media Director/Writer: Uche Aguh Director of Photography: Dennis Schmitz (me) Assistant Director: Ukairo U. Ukairo. Starring: Jarius Drew Sowells, Kayode Akinyemi, Vincent Ramirez, Thiree Pinnock, Julian Horton, Obum Nwankwo and J Shawn Durham as 'Daddy G' Editing done in Premiere. Colorgrading done in Davinci Resolve. Dealing with the usual quirks of this camera, but results are still great. More information: www.imdb.com/title/tt7928156 www.55media.net

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

Time of Flight / LiDAR continuous autofocus is really quite remarkable technology. There are rumours Panasonic will implement it on future cameras like the GH6. Don’t you wish the current autofocus-challenged cameras like the Blackmagic Pocket Cinema Camera 4K or GH5 could have amazingly smooth Dual Pixel AF-like performance? Well, you could soon be in luck. Time of Flight Autofocus is a reality and I’ve seen it working. With this prototype add-on, a Time of Flight sensor sits in the hotshoe and talks wirelessly to the Pocket 4K. The autofocus motors in the Micro Four Thirds lens are commandeered based on real-time depth sensing information from the LiDAR beam. I met up with CDA-TEK’s Ian (BTM_Pix on the forum) this week in Manchester to take a look at what he’s been working on. Read the full article

Andrew, the comments about grading weren’t intended for you specifically. Read the post. I was talking in generalities about recent facebook groups I’d left and a similar entitled tone here. It was not a personal attack but you chose to take it that way. Cmon, I shoot these shots for BMD for exactly this purpose. To be downloaded and graded. If I was truly precious about it I wouldn’t do it again and again would I ? You’re throwing a tantrum, publicly, because you dind’t get an invite to a BMD event that is seems like few even knew about. Somehow you think that’s got something to do with me so you went and wrote a post about me. A really lovely piece too. I’ve said it already a thousand times. I don’t work for them. I don’t have that much to do with them day to day. Last contact I had with anyone at BMD was weeks ago. It’s not my job to make sure YOU get some attention from them. That’s on you to make that case. And by the way, this kind of childish unprofessional behaviour is exactly the kind of reason any company would think twice about working with you. Instead, you launch a highly personal assasination blog post as well as numerous personal attacks because I dared to try and explain that to you in a way that you thought wasn’t deferential enough ? You don’t do this for free. You sell something. I don’t but you actually do. Having traffic come to this site means you have a greater chance of selling something. You sell LUT’s and you sell guides and you use the traffic here to do so. So don’t pretend all this free traffic is somehow a favour to BMD and free publicity. I didn’t even see the post you made about the BMD footage till your personal attack on me, but I noticed when I read your BMD post you’re mixing in a bunch of references to LUT’s you’re trying to flog. How about this... Delete every single post of mine. All the IP that I’ve posted and shared on this forum? All those posts where I’ve shared my knowledge and experience. Go ahead and put your money where your mouth is. JB

Make it 40... to me this camera doesn’t even exist. Eventually we’ll have footage from John Brawley or Frank Glencairn or Noam Kroll and the footage will look amazing. More people will love it but a few will find something wrong with it... Eventually card info will be released, and more people will complain. Eventually AF tests will show up comparing this camera to the PDAF of the a6500 and more people will complain. Eventually low light tests will show up comparing this camera with the GH5s or the a7sii and more people will complain. At the end, when it’s released, a bunch of people will complain because they hate that they have to use an IR Cut filter and they will complain that they only get 45-60 minutes of battery life and that they wish it had IBIS... And eventually the usual suspects will be the only people that have the camera and the footage will be absolutely gorgeous. The End.

After much work and many sleepless nights, I have almost finished my work and I think I have brought the lens NXL to the point of being sold to the public. I thought if the test this week will be positive to produce it with Canon EF mount dumb to which you can add a Nikon adapter with iris aperture control. At this stage it allows to mount all Nikon and Canon lenses, in the future I will continue to work to enable the electronic control of the lenses.

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.

Well, here we are then. The 3C app is now officially available from the Play store for Android devices. 3C enables you to remotely control and monitor the primary functions of your Blackmagic Design Pocket Cinema Camera 4K from an Android device using Bluetooth LE. Using 3C, you have access to the following camera functionality. Aperture ISO Shutter Angle White Balance Record Focus & Zoom (with compatible lenses) With 3C you can also store your own custom setting sets for exposure, focus and zoom parameters for later recall as well as automate transitions between stored focus points*. For ease of use, 3C uses a single screen touch interface to control all of this functionality and avoid the need for you to have to activate any sub-menus to change settings. 3C has a scalable user interface to enable you to remove focus and zoom controls from the screen should you not require them and wish to run the app on a small screen Android device. In addition, 3C can also be used as an interface hub to enable control of the camera from compatible Bluetooth gamepads. You can purchase 3C from the Play store here http://tinyurl.com/y5eyujeu You can read the PDF user guide here User Guide For 3C v1.1 by CDA-TEK Ltd .pdf You can use gamepads from iPega and 8Bitdo that support keyboard mode and examples of these are https://www.amazon.co.uk/dp/B00KA6OR7Q (iPega) and https://www.amazon.co.uk/dp/B017PAX036 (8Bitdo). 3C will also support wireless live viewing from the camera in a future update with additional hardware.

So as some already know, I recently purchased a 5D3 primarily to shoot Magic Lantern Raw. Well this week I started my first short film with it. It was definitely a learning experience but I really don't know of any camera where I would have achieved such pleasing images. I also purchased the Canon 24-70mm f/4 lens and I am consistently blown away by what a great lens it is and the OIS is so damn good, even at 70mm, that the majority of my short, thus far, has been shot handheld. With the recent 4K Raw developments, I figured I would post some pros and cons in case somebody else is looking to pick one up. Well the first pro is that shooting Raw could not be simpler with it. Set up Raw histogram with the overexposure hint and when it shows your color channels are starting to clip or the word "over" appears on the histogram, then just dial back your exposure a touch. Another pro is that there are a bunch of people on this forum still shooting with the 5D3 and everybody is helpful. If you have a problem about any aspect of the process or workflow, there are plenty of other ML shooters around here that go out of their way to answer even the stupidest of my questions... not nearly as daunting as the ML forum. Now a couple cons... you need a bunch of cards... or a computer and hard drive to offload your footage... 12 minutes on a 64GB cards gets filled quickly. Even with 3 cards, and trying to be conservative with my shots and shot ratios, I still ran out of space 3/4 of the way through my second day of shooting. Converting the footage is a bit tedious. The RawMagic route of converting the MLV files to CDNG is fairly fast but then you still have to process the footage through Resolve or After Effects before really seeing what you have. I really like the MLRawViewer program, but although you get to preview your footage, the conversion is slow and after I updated my Mac to Sierra, the version I have does not work with it, but I believe there is a newer version, so hopefully it will work then. I guess that's about it for now, so I'll leave you with a couple graded screen grabs, from a couple shots I briefly messed around with yesterday...

If you want to ban someone for pointing out real log is different to your flat profile (which is really good and useful, btw)... Then ban away.... I thought you liked honesty though?

I’ll admit it, I use camera forums a lot. Too much, probably. I use them to check out the latest cameras and lenses and lights and accessories. I waste about two hours a day on them. Time I could spend watching “the View.” When I started out shooting part-time in 2005, I got a DVX100 because a juggler who was a featured extra on a tv show called “Sons of Saddam” told me to. “Cause it does 24p.” I didn’t know what that meant, but I plunked down $3,000 - all the money I had in savings on this camera. The camera could have been a bust. But I did it because a juggler who played one of Saddam’s sons goons said so. That’s how easily influenced I am. Then I bought a HVX200, not even testing it first. “Cause it can do HD.” I bought the Redrock micro adapter because I watched the work of MacGreggor and some other DPs back then do stuff on a Gorilla 35 lens adapter that hadn’t even come out. I hadn’t even tried it first. Just sent in my credit card info. Rinse and repeat. All these periods of time I bought things just based on videos I saw shot on them. No tests - I didn’t understand tests. Just videos shot with them and the opinions of people I respected. I could look at screen grabs but just scroll down to their opinions. Well finally 11 years later, I am seeing what I was doing - buying based on people’s emotions. Based on the emotions of people whose work I liked. This is fine to do, but it’s not always the smartest thing to do. There are several, maybe twenty influential figures online in the cinematography world. David Mullen, Shane Hurlbut, John Brawley, Art Adams, Geoff Boyle, and of course Andrew Reid, come to mind as leaders who people follow and listen to. Even the opinions of the above people and the other influencers are, in the end, just their opinions. When someone says, “this to me screams filmic” or “this looks digital” - again, that’s all an opinion. If they say, “that grade is terrible” or “man you nailed the skin tones” - again, that’s all opinion. Even looking at test charts and camera tests, the results are subjective. Aesthetic is subjective. There are scientific tests, but they lead to opinions. This isn’t pure math - this is an art form. There is no such thing as filmic. Everything is digital. Film emulsions see the world differently, but they go through a digital intermediate. They become digital . And I think that’s probably about 99.9% of all films shot on celluloid. Maybe a few hipsters shoot film and use a steinbeck, but they still upload their results to vimeo, which converts this to a h.264 file. I have very strong opinions, and a lot of people have very strong opinions. That’s why we work in film. It’s an art form that is full of passionate people. But I also have low self-esteem. My whole nature of existence is based on others approval. I’m getting better at trusting my own self, but this is my basis. I think maybe most artists have low self-esteem or why would they want to share their art? Is it ego? Or the attempt for others to connect? Yes that’s part of it. But whether you want to admit it or not, we love when people love our work. We live off the feedback, or why would we check vimeo 5 times a day to see if someone commented? Why else would we have awards? Especially in an art field where awards are just based on opinions of a community who may or may not get your work? Something is beautiful if you think it is. You don’t need an oscar in cinematography to be happy with your lighting or camera movement or angle, or have your opinion mean anything less if you aren’t in the ASC. Everyone brings something unique to the art form. Everyone brings a new perspective that is needed, especially now, when everything feels pretty much the same.

Here it is! We recorded hdmi 8-bit 4:2:2 out of it and went to the odyssey skin tones overall are nice! and stabilization is amazing. The camera was interesting to use - especially considering that it's a 200 ASA camera and has moire and dynamic range challenges - sometimes this is interesting to have to maximize something with limitations. It's difficult, but I guess it disciplines you.

Wrote up a little guide for people new to this and looking to buy their first recorder. And is the way I see the world of low budget recorders is they're ranked like this (starting from worst/cheapest to best/expensive): Tascam DR22WL / Zoom H1 (I'd suggest skipping right over this tier of recorders! But hey, my first ever short film I did years ago was with a chinese shotgun running straight into a Zoom H1!! :-o Shocking but true... everyone starts somewhere!) Tascam DR60D mk2 (the DR60D mk1, before the mk2 came out, is what I myself started out using for no budget shorts as a budding location sound recordist) Tascam DR70D (the *minimum* I'd recommend for a location sound recordist, even if you're just a student / no budget guy. Although in desperate cases, you could scrape by with getting the DR60Dmk2, but doing the opposite and stretching for an F4 is very worthwhile. Certainly, I could travel back in time I'd just have gone straight for the Zoom F4 from the starts! *Except* the F4 didn't come out until a few years later... you live in a very lucky time with so many wonderful options to choose from!) or Tascam DR680 (these can be found at bargain prices secondhand, which is what I did before I then later on purchased a Zoom F4 once that came out & I spotted an F4 at a good price) Zoom F4 / Zoom F8 / Sound Devices MixPre6 (I skip right over the MixPre3, as the MixPre6 is very similar yet does so so much more at only a relatively small extra cost. Also I regard the three of F4/F8/MixPre6 as all on broadly the same level to each other, just varying slightly from each other in one area or another that ones might have a small lead over the other one. This is the tier where I'd see you're now reaching the semi-pro level) Sound Devices 633 / Zaxcom Maxx / Sanosax SX-R4+ (finally you have now got up to the "industry standard" when it comes to recorders people use for small shoots, especially when mixing from the bag. If you're doing this full time as your job or hiring someone who is, then likely this is what is being used. Either that or similar gear, or even something better above this) And if you considering ones priced above those last three.... you're surely doing this full time as a sound recordist and getting a healthy income from that, so why are you asking us here on Frugal Filmmaker? ha! :-P But yes, tonnes and tonnes more options exist at the higher end as well! Finally, if you're considering something in the budget range within what I just covered, but isn't one of those that I mentioned, then it probably is *not* a good idea to buy if you're intending to be a location sound recordist. Something else only might *maybe* make sense if you've got in mind some other purpose for it, such as perhaps you want to record a band in a studio (which has very different needs / constraints), or you're the rare exception which proves the rule, or you are getting lucky finding some amazingly priced deal which can make an otherwise bad purchase decision then make sense if "the price is right". For instance I didn't include the Roland R88, as I feel it is extremely poor value for money in 2017! However.... there was a time at the end of 2016 when the Roland R88 got a huge price drop because it was being discontinued. Even with that massive price drop, the Roland R88 probably still wasn't a smart purchase vs the Zoom F8, but the big drop in price at least made the R88 a somewhat competitive option worth mentioning in a round up of all the various choices. However, that sale is now long since ended, and the prices I see on eBay for a Roland R88 is even higher than what you used to be able to buy it new from B&H Photo! Clearly those eBay sellers are dreaming. Anyway, that was just one example which might have been applicable but isn't now, so I don't rule out the possibilities of something like that perhaps popping up again in the future especially if you very keenly look around for secondhand deals. But for over 95% of people reading this, that won't be applicable, and just stick to going with one of the main ones I mentioned earlier. http://ironfilm.co.nz/which-sound-recorder-to-buy-a-guide-to-various-indie-priced-sound-recorders-in-2017/

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.

We shot this as a two man crew over two weeks in Georgia. Was a whirlwind shoot driving up mountains to track down nomadic sheep herders and trying to get access to shoot in Orthodox churches and dance clubs. This is what we came up with.. would love to hear what everyone thinks.. we took a different direction on this piece than we normally do.

I inserted myself into the discussion last night when I probably shouldn’t have, but I do stand by my opinion that Andrew should have been invited to the Manchester event. I, for one, never felt that John Brawley was to blame for this and feel that most people on this site have been very thankful for his contributions, not just about info on the upcoming camera but his openness about the inner workings of a Hollywood set and his methods of shooting. But the disdain displayed to Andrew in this thread is mind boggling. I don’t always agree with him, but the man has wholeheartedly opened his craft and home to a countless amount of strangers for free. There is not one other site in the video community that is completely ad free and he rarely asks for a thank you. I can only imagine the cost it is to upkeep this site. I’d be a liar if I didn’t admit that I find him infuriating at times, but I would never question his devotion to his craft and his readers. With that being said, I feel JB’s reply to the events was unnecessarily rude. Perhaps there was a breakdown in communication as Andrew has already stated but for every person that felt Andrew could have handled the snub differently, they should equally admit that JB could have handled his response differently as well. BM was born on the backs of hobbyists and enthusiasts. We paid for the R&D of the Ursa Pro with every Pocket or Micro we bought. As much as we appreciate their inexpensive cinema cameras, they are only available because we decide to purchase them... it’s like a television show, it only exists at the behest of its viewers. But in the end, they are both artists and artists are passionate, honest and sensitive people... they must be to put themselves and their work out into the world for scrutiny.

Thanks Karim And Dan, yes webrunner is right. It's a cultish following around the Pocket camera. For example, I understand that Facebook targets each post to a subset of my followers on the EOSHD Facebook Page, depending on the subject. It's automatic, I don't have any control over it. But a lot of pitchforks came out for me today on Facebook which confused me because EOSHD supporters, followers and friends don't usually behave like that.... I know why this time was different, because Facebook had targeted a Blackmagic article at the Blackmagic hardcore fanatics and they didn't like what I had to say. As for typical BM roll out, yes it is. Trade shows have less meaning to everybody outside the bubble. Most customers don't want to be teased for half a year or even more before they can get the damn camera in their hands. Blackmagic should stop syncing their announcements to NAB and instead put the announcement out a week before they start shipping. The irony is, here I am feeling upset about being passed over for a camera in my hands... with a hardcore of Blackmagic users saying "what a crybaby EOSHD is" when at the last few camera launches, those very same people were moaning about not having a camera in their hands, because it's late or whatever. At the end of the day, I reflect on the course this thread just took and I regret it. I stand by my hurt over the camera and snub, but I regret what's happened. Take what you read from everyone on forums with a pinch of salt including even yourself whilst saying it! And including me. I am not myself on the internet sometimes, nobody is. The internet is a weird simulation which is causing issues in real society across the globe all the time. It's not real life, it's a machine-assisted facsimile of it. John Brawley and I would not have behaved the same in real life. The internet is an argument generator and a distorted mirror and I might indeed have to shortly go to the pub and have a stiff drink.

It sounds like you’re threatened by this camera so you’re making sure you point out any and all shortcomings you can. Isn’t sissy a bit emotional ? You’re reaching. Some people will be happy with 10bit 422 as their maximum image quality as long as they have a tilt able screen and autofocus. Most serious image makers know that 12bit raw and 10 bit ProRes for half the price trumps the MILC features you’re desperately trying to remind everyone your precious GH5s has. Mostly because “filmmakers” don’t tend to use those features anyway. I don’t use AF. But I shoot narrative drama. What I need isn’t what others need. For the majority, they will prefer the utility of the form factor, longer battery life, AF and IBIS on the GH5 and will find the bare minimum for serious work 400Mbps codec to be good enough. People who care about image fidelity will likely prefer what a Pocket 2 produces side by side and will also decide that they can work around the shortcomings that pertain to the way they work. The same way others will prefer to work around the shortcomings of a lower bit depth more compressed and sub sampled image because other features are important to them. On board batteries on an Alexa mini on my last show were lasting about 40 mins by the way. I guess you’re calling me a sissy. JB EDIT by the way, I don’t think it’s at all appropriate to use sissy, a word that means effeminate man or homosexual. Maybe you want to change that.

Shoot everything at 1080p. Don't shoot yourself in the foot with 4K. Although I do like shooting ceremonies at 4K for the post crop. Canon skin tones are the best. Even a used 70d would be better than Sony IMO. The C100 mk1 and 2 are the best cameras for weddings IMO. I've shot a few recently with C100 mk1 and my 1DC and it's super nice. Here's a teaser I did with 1DC/ C100 combo: You MUST MUST MUST remember that wedding films are CONSUMER PRODUCTS. DONT EVER FORGET THIS. THIS IS 6 years of experience and over 300 weddings shot of experience talking to you. These people aren't professional filmmakers. They aren't producers. They aren't film snobs. All they want is pretty shots of them on their big day. If you shot it all with a t2i and a 50mm 1.8 they would love it because it looks "cinematic". Don't get caught up with the gear when it comes to shooting weddings. That's the biggest waste of time and money. The couples simply don't give a shit. I hope you enjoy it. Weddings are a fantastic way to get lots of experience and become a ninja shooter

now only needs a sim card, we can easily dial phone numbers with these buttons, and talk with our client.

Minor update, still doing what Im doing, still digging and documenting what changes Im finding in the firmware, have started to explore with telnet and the camera. Its looking good. Have a few ideas on how it utilizes firmware updates but nothing solid yet. But I like how both stages are progressing. Although i wish I had more to show haha but dumping c isnt going to have a point! I should have a major update in a few days though!

So, as some of you may know, I've been "experimenting" with having little chats with different Panasonic cameras over WiFi and after whispering in the GX80s ear last night, I may have come up with something quite interesting. The first image is a grab from a GX80 using its Standard profile. The second image is a grab from a GX80 that is definitely not using the Standard profile.......

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?

Hey guys, I wanted to share with you an awesome and affordable monitor made by IKAN that can, with a tiny bit of work, be used as an EVF. The main reason I wanted an EVF + loupe for my Micro setup was to create a fourth-point of contact between my Micro and my body. With my right-hand on the ENG grip, left-hand on the len's focus-ring, chest-pad against my right-shoulder, having the IKAN + loupe pressed up against my right-eye added that extra piece of stability I have been looking for - not to mention being able to monitor and pull focus perfectly in bright daylight. For those interested, the monitor is called the IKAN VL35 and can be had for as little as $259USD: http://ikancorp.com/productdetail.php?id=1738 I rigged it together with an old ViewFinder that I used to use with my A7S and A7RII. Having sold those cameras, I decided to use it as a loupe for my IKAN VL35. It doesn't fit the VL35 perfectly (as it is designed for 3" monitors, and the VL35 is a 3.5" monitor), but it will do for now. However, the good news is IKAN recently told me that they will be releasing a loupe specifically designed for the VL35 - and given the affordability of the monitor itself, I'm sure the loupe will be priced very nicely. As for the quality of the monitor itself - all I can say is that it's great Very similar to the monitor on the BMPCC. I haven't conducted any scientific or methodical tests yet, such as running down the battery or precisely measuring colour and luminosity, but I have used it plenty in the real-world, and it has functioned flawlessly and beautifully. Highly recommended for those looking for a setup like this Anyway, here are some pictures for those that are interested

The small hole is actually to reduce the amount of material required, thus saving 0.23 cents/unit on manufacturing costs. It's the compromise they made in order to afford the 24p license.

It begins. Evaluating new cameras isn't my favorite thing, so I thought I'd share the pain. I've got a lot of work on ATM, so this will be an ongoing project. I might even end up making a youtube vid ?. I've been shooting with the 5DMk3 ML raw exclusively for many years, you can check out some of my recent work here: A few contenders have come along over the years like the A7s and BMMCC, but all have failed to measure up to the 5DMk3 with Magic Lantern raw. These jobs I did recently were particularly gruelling, up to 19 hour days, days on end, uncontrollable lighting, no recce, no crew, constantly on the move, a great stress test for any camera or operator. The weaknesses of the 5D have never been more apparent. With a slight lull in the storm, and some technical hurdles in upcoming work, I took the plunge and bought these two sought after bodies. Not being able to get a Pocket 4K for like 8 months allows a lot of time to pixel peep and contemplate the future. Pixel peeping is one thing, but you really don't know if it's for you until you test it for yourself, or wait for a crash test dummy like me to do the work for you. Very early impressions: I have to say that of the 2 cameras, I was more excited about the arrival of the Pocket 4K, at least until I remembered the lens adapters I ordered haven't arrived yet. I rummaged through one of my four film detritus drawers and found 5, yes 5 ? Nex adapters (remnants from a brief Sony affair) but not a single M4/3 adapter of course. So I unboxed the P4K, grabbed one of my Canon batteries, and fired up the little beast. The fan: super quiet, probably the quietest fan I've ever heard, a non issue. The firmware: 6.2.1, no CDNG for me. For those who haven't heard: BMD have put a new touchscreen in the latest cameras that only works with 6.2.1 firmware. I'm not really fussed, the Braw stuff I've seen looks really good, and the file sizes are amazing, 4K Braw files are smaller than 5DMk3 raw 1080p files. UHD 12:1 Braw files are roughly the same size as 1080p ProRes HQ files,and 200Mbit/s 1080p X-T3 HEVC files. I've had the X-T3 for a couple of days and I got an 18-55mm f/2.8-4 OIS lens with it. This lens is fantastic, creamy bokeh, and the OIS is amazing, I can get super steady shots at the long end handheld, I know I'm very late to the party with OIS, but wow. Can't wait to put an Iscorama anamorphic on this puppy, no 58-52mm step down rings in the detritus drawers either ?. Low light on the X-T3 is a mixed bag: up to 8000 ISO the noise is tolerable, film-like chroma grain, no fixed pattern noise, however: the X-T3 image falls apart in the shadows, that's a big minus. The other image related issue that comes to mind is: white balance. I had to go digging into the detritus drawer for a grey card! I mean srsly, what's the world coming to? I haven't used a grey card in years; I'm so accustomed to shooting raw I just don't even think about white balancing anymore. I haven't drawn any conclusions on custom white balancing yet other than it's absolutely necessary with the X-T3 ?. Ergonomics: the X-T3 is terrible in big hands, I rarely handhold a camera, rolling shutter micro jitters are a thing, but the OIS lens makes it doable. The Smallrig cage has a handgrip extension, so that may help. The P4K is much better in the hand. Stay tuned.

Nice piece. Oh and the cheque is in the post for this plug Mind you, I hope the notes he was taking were along the lines of "lets track this maverick down and license it" rather than "lets track this cheeky bastard down and sue him" !

Will be joining the YouTube party at some point.

We filmed Sammy the dog touring around Asheville, NC. Filming a dog is a crazy man's work. So difficult, but working with the cutest actor makes up for it haha... Let me know if you have any comments or questions!

Hallo NX World, the NX Booster it's coming soon! This is the Prototype Mark II. Marco do not worry, if I do not post my progress, is because I have a lot of work in my private life. Next week I start the test with Nx1 camera.