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I sat down with my friend Dave Maze for a podcast recently. We talk about the origin of EOSHD 10 years ago, and the start of the DSLR video revolution, my filmmaking adventure in Berlin, recent controversies and edgy camera opinions. Big thanks to Dave for taking the time to let me ramble and for listing to my waffling! https://www.eoshd.com/news/eoshd-on-the-golden-hour-podcast-with-dave-maze-in-depth-interview/

Three days to go. The RAW shooting Sigma fp with the Baveyes 645 medium format speed booster is a little powerhouse. Particularly when you can now add ToF autofocus to that manual Mamiya 35mm lens.

I can think of a couple of YouTubers that could be that third guest and you'd could probably then sell the PPV rights to Showtime.

Not to self promote but I think this is an underrated video on the quality standpoint. For whatever reason it didn't get many views for us. The Inspire 2/Zenmuse X7 with the 50mm lens combo is just...crazy. The parralax creates a look that's closing in on full size helicopter stuff. This was for a company to see how Inspire 2 footage upscales to 8K using AI for both resolution and framerates.

I found the Arri film matrix numbers, and used the Matrix drx printer code to inject them into DaVinci. I'm not sure what to make of it.. it is a lot more saturated for sure. Here are the numbers and the lut/powergrade: 1.271103 -0.284279 0.013176 -0.127165 1.436429 -0.309264 -0.129927 -0.510286 1.640214 Arri Film Matrix Download It lives! The Sony a7s III conversion is now complete as well.

Is amazing. I love it. Never going back to RED unless I’m forced to by a client. Just thought I would share. The IQ is pristine, colors are great and it’s just a breeze to use. Will post a few stills here in a day or two.

In most settings outside of studios and other insider gigs, the more complicated the rig *looks* the better. It’s an external way to project a sense of mastery to your client, and if you deliver as promised, then the equipment helps make the price easier to justify **in the mind of the person paying the bill.** That’s good business. And if the work looks too easy and uncomplicated on the surface, then no amount of verbal explanation to the uninitiated will get them over that hurdle. Complicated looking equipment also tends to cut down on stupid questions from those who don’t know better.

Shot on the S1 with a 1/8 black pro mist (side interview shot is GH5) and some 16mm grain added in. Heavily graded but if you have a bit of color grading knowledge then the S5/S1/S1H is a big step up from GH5 (not to mention low light capabilities). I think the v-log on the S series has a more organic quality than any of Sony, Canon's, Fuji's current offerings (less sharpening). Just bought the S5 as a 2nd camera so look forward to testing that out.

@Emanuel I had heard that it was to use the GH5S sensor. If so, there is a reasonable chance that the color will be the same. If not, then it could be measured. I didn't know about the Osmo, but it is something that could be explored. There were some cool experiments I wanted to mess around with, so a deep dive may be warranted there next. @HockeyFan12 Very cool, I haven't read that one yet. I did notice S1 moire on saturated fabrics, and in that moment felt the value of the S1H. Here are the S1 fabrics compared to the Alexa: S1 Alexa

Some nice highlights.

4K high framerates and auto-focus aside, the S1H objectively delivers a better image on the whole. A7SIII still suffers from substandard color fidelity and baked in noise reduction that wrecks detail. The way i look at it is that the S1H excels at the minimum specs that i consider essential, while the A7SIII excels at some specialty operations, but doesn't meet important specs I consider essential. I was hopeful that the A7SIII would surpass the S1H but there are base operations that have to be met before I can get excited about 4k 120p (which is overkill for most situations, anyway. I find b-

Whatever works in your region. For me its this camera and the day rate soars!(in LA)

In terms of visual post effects that can effect the image. "Sharpen & Soften" effect in Resolve and a slight drop in exposure.

We are shooting a car commercial and then a tutorial that’s like “How to Land a Major Car Commercial” or something. Will be using Cooke SF Anamorphics and shooting out in the elements. It’s a fantasy car commercial plot, so lots of cinematic lighting. Unfortunately we have to wait for it to snow so it might be a month before we film. Outside of that I’ve been using it on a project that I can’t share yet, which is a bummer as I wanted to post something fairly soon after getting it. And no, I don’t own Zeiss anamorphics, lol. That was a direct order from Panasonic as they weren’t

Yeah, the CinelikeD hack came out of me developing a couple of prototype controllers for Panasonic cameras before there was a pivot to the BM cameras. The PBC, and by extension the AFX, are actually built on that original foundation so if Panasonic introduce BLE control capabilities then its all there ready to go but using WiFi for control is not ideal (more in terms of power/heat with the cameras than the controller) so I'd prefer to avoid it.

From today's shooting with the Panasonic S1H (V-Log, NR -1) Rokinon 50mm T1.5 at T1.5 Black Satin 2 Filter 55M Organic Lut (part of Advanced Deluxe Set) Looks thick enough to me. Key is having a camera without nasty processing - especially sharpening and strong NR but having great tonality, at least 10 bit and also good color science instead

I think at this point you are focusing too much on things at the pixel peeping level that won't matter to most people. 60FPS is pretty much the new standard and will probably look identical between the S1H, S5, and GH5 as well as most others that shoot 4K 60FPS when all else is equal (DR. Color Science, etc). I have always considered the high frame rate stuff where it does it in camera to be a bit of an exotic workaround that will never yield the same results as doing it the traditional way by increasing the framerate in the file. Also, are you planning on using the new body 100% for vid

Really enjoyed this, from the nostalgic storytimes at the beginning, through the gear talk, to the little grilling Dave gave you. It felt candid and effortless, and it left me entertained. Thanks. I’d sub to your podcasts.

I really enjoyed doing this. Cheers Dave... We should do another one some day, and bring a third guest on.

No it's the 12 Pro Max that has the most improved camera and 5 axis IBIS The 12 Pro and standard 12 are just very incremental improvements with small sensors.

Couldn't you just use epoxy for make it with with the Z axis stabiliser?

Logically, you'd think they'd put the R5 internals in the C70 style body, whack on an EVF and even double the price if they wanted to and serve up a powerhouse that still undercuts the Sony FX9 by 20%. Then you wake up and remember who's logic it is that we're dealing with.

Amazing work

Incredible interview @Andrew Reid!! Thank you for coming on!

Taken aback by the patina in your voice. Several octaves lower than expected too.

If you don't care about: timecode, unlimited record times, a more substantial build, slightly more usable screen configuration, top LCD, better EVF (I never use it for video anyway), then I would get the S5. I don't notice a huge difference between 400 and 150 10-bit recording, so you should be fine there. Can always get 6k or ProRes Raw (soon) or All-I ProRes recording with an external recorder.

I’m *cough* intrigued to see what it is you are *cough* offering whenever that time comes @BTM_Pix

I think the light and amount of contrast of the scene makes a huge difference to the image thickness. When you have a good amount of contrast in your scene with areas of shadow and bright highlights, and your object is well exposed then you can bring the blacks down were they belong and help with the perceived thickness (and also reduce the perceived grain/noise). Were I notice the main difference with cameras that produce thicker images like the digital Bolex is with skin tones and also foliage/leaves/trees etc. Whether it's the tonality/colour gamut/saturation/shadow saturation or all of

35mm Schneider Cine-Xenon Trees and windows.

https://bit.ly/30Zj0VS

Without spending longer the five seconds looking into it, I see it is extremely small, I wouldn't be surprised if that micro size results in quality compromises?

But it is time for a S1Hmk2/S1V!

It's unclear if the FS7 sensor is a stripped down version of the F5 sensor or an updated version of the FS700's, but either way it doesn't offer any unique look or capabilities.

Well saw some footage of the R5 and the S1H yesterday side by side, and the R6 colors were much better. The S1H skintones were really red, dynamic range is important but nice colour is more important. And I have a S5 on preorder. If canon bumps out an firmware update to fix the problems with the R6, I might cancel my pre-order and get the R6 instead.

Photoshops new AI features:

Good listen.

Finally get hands on the c70 at local Canon event. The lighter setup is definitely welcomed over c200, AF wise I think it is just slightly better, not as sticky as the R5 I use. The digital IS can turn on by itself so good for lens without IS.

I own the S1H and the S5. and there are a a whole lot more issues than you think! The 8-bit stuff is only 4:2:0, and it's still H.264, not H.265. The same issue exist for the S1H, but we don't care because we don't have time limits. The 1080p VFR stuff is completely wrecked. The 100Mbps 1080p MOV files have been replaced with 28 Mbps MP4 trash. The timecode feature is a complete waste. If you can jam sync it, or get a jam from it, what the hell is the point? The only thing between the S5 and the S1H that is the same is 4K 4:2:2 150Mbps IPB in 24p and 30p everything el

Nice interview @Dave Maze and @Andrew Reid!

I might go wild in the country with this myself when it comes out.

I'm not a gimbal person, but it's certainly interesting in regard to the future and what is still to come. As a Panasonic user, I'm more interested in the AF side of things

Have only skimmed the thread and the details on this gimbal so far but, my main question: If you're already all rigged up holding a gimbal in your hand and with a gear motor attached to your lens: Why would you not just use a wheel on the gimbal to manually pull focus? Remember the whole point is you're almost certainly already holding it all in your hand. Follow focus add-on motors on the last gen (Ronin S/SC, Weebill S, Moza Aircross 2) all offer totally usable follow focus already. Why even invite the uncertainty of an autofocus system... These gimbals look awesome t

Can you put a gopro on a separate gimbal and mount the whole thing on the car? I just don't understand how a camera mounted on the hood of a car won't be affected by vibration from the engine, and more importantly, by wind buffeting.

Twice the price then? I'd be happy with something between €100 and €150 as less as possible. Is it doable?

How much more will such additional module be?

Yes, I think the glow helps a lot to soften those highlights and make them dreamier rather than sharp and pointy and make it more 3D in this instance where the highlights are in the extreme background (like you said, almost like mist between subject and background). I agree, the relation between the subject and the other colors is critical and you can't really change that with different sensors or color correction. That's why I say it's mainly about what's in the scene. Furthermore, if your objects in frame don't have subtle variation you can't really add that in. The soft diffuse light c

In the same vein, this might be a useful resource for you. https://film-grab.com

Just bought a S1 and a 24-105mm lens for very VERY cheap, goodbye nikon.

The URSA Mini Pro is so much better in numerous ways, not least having built in NDs, and better QC. Although personally, the FS7 is very close in pricing to a UMP, and you'd get far more work to pay off the FS7 than if you got a UMP, so I'd recommend a secondhand FS7 instead.

Do you know how many movies and dramas are shot in Korea every year? You mentioned two korean directors every redditor wanks off to. I just spoke to a Korean Producer who has a studio film in the korean theaters right now a couple of weeks ago about shooting long scenes with af lenses to keep track of the actors. I personally know dp's who have used sony and canon cameras the past year on all types of shoots using af. Why are there so many people on this site who think they know everything about what everyone is doing? And why are you interrogating me? But I'll play along. No, I don't mea