Andrew - EOSHD

A lot of cards yeild very weird benchmark results for write speeds. I find some V60 and even V90 cards get fragmented and lose 50% of their performance, making for laggy start/stop in 400Mbit/s ALL-I, slower buffering of stills and premature recording end sometimes too. This is one of the more weirder benchmarks https://alikgriffin.com/best-memory-cards-panasonic-gh5/ Then another test might be totally different (depends if video related or stills) https://www.cameramemoryspeed.com/panasonic-gh5/fastest-sd-cards/ So take all stuff like this with heavy pinch of salt. I'd recommend buying a range of cards and sending back the ones that don't perform after 1-2 weeks of intensive testing. Only then can you be sure you're getting value for money and reliability. I found the chart at the bottom of this article quite useful though. It also tests sustained random write speeds not just sequential. https://havecamerawilltravel.com/photographer/fastest-sd-cards/

I can only guess most Sony shooters don't shoot much JPEG. The problem for us video shooters is our colour and white balance are baked in... yes even in S-LOG to some degree. And that is a pain enough to grade, so if I want immediate impact and the complete image, wonderful skintones etc. from a Sony, I have to spend hours experimenting with 100's of combinations of settings in the creative styles, picture profiles, and white balance menus. I don't mind, if Pro Color is the result. But don't you find it slightly ridiculous that Sony with all their billions can't get it right after 8 years of trying? And they change the damn colour science with almost every camera, there is ZERO consistency. They are also very inconsistent between different kinds of subject. And by the way let's not get too excited about Sony's sales. It is still a dramatically shrinking camera market overall, it's just Sony now has a greater slice of the smaller pie compared to 10 years ago. Every Sony shooter should pick up an old full frame 24 megapixel A900 for $400 and see how much better things were in the Sony-Minolta days of 2008

Rare set available on eBay... A snip at £70,000 https://www.ebay.co.uk/itm/Arri-Zeiss-Super-Speed-MK3-T1-3-PL-Mount-Lens-Set-of-5-Lenses/274130508235?hash=item3fd37399cb:g:C30AAOSw7bZd6qN-

An interesting watch from Media Division: Zeiss Super Speeds vs Contax Zeiss Literally hours and hours poured into a video like this. The total opposite of the Northrups.

Is that Mt Fuji?

The great thing is, Speed Booster GH5S outperforms the 6K EF Pocket in low light as well. Unless you can get one of Luca's rather nice Magic Boosters. Who's for a GH5/GH5S Shooter's Guide?

Well, since I am getting back into my GH5 / GH5S, I'll be doing my own tests but it's not looking good for the Blackmagic. Is 10bit LOG at 400Mbit ALL-I all most of us ever need? What is the point of sacrificing so many features, battery life, and so much ergonomic niceness for a Pocket 4K?

I think the Pentax K1 and K5 are superb stills cameras. Ergonomics tip top. Good IBIS It's amazing though that in 2020 Pentax still hasn't entered the 4K game!!

Good to see such loyalty round here. So many Panasonic users ? Maybe I should concentrate on more GH5 coverage. I have been more focussed on the full frame cameras since a few years ago now. GH5S and GH5 deserve more articles.

It is 2020, a year which marks 10 years of EOSHD this month! Those 10 years have flown by. I'm wondering how the filmmaking landscape for gear has changed since the GH2 days. What are you shooting with now?

Yes that would make sense as well. HDMI only has limited bandwidth. I don't know why they aren't using USB C instead. I guess somebody should ask that question with Atomos in fact.

Why sell us 1 adapter when they can sell us 3 I think that probably went through their heads. Hopefully AF is going to actually be reliable on the Fringer EF. I feel the Z6 has it in it to do it... somewhere... Just needs the right firmware

They probably do need to go the pixel-binning route, due to the increased bitrate of 12bit A sensor typically has a slower rolling shutter scan, the higher the bit-depth. It could be that the 6K full pixel readout is done in a lower bit-depth mode such as 10bit on chip. Interesting findings, but would like to see a real-world test between Flat, My Z-LOG internal, N-LOG external and ProRes RAW Atomos have not sent me a Ninja V to try it out on yet.

Tomorrow me Fringer EF-NZ adapter arrives from Amazon UK. Going to give it a good test with my EF glass. Previously.... Techart E-mount adapter for Nikon showed a lot of promise, however I grew to dislike it. Patchy reliability, little in the way of firmware updates or support, emails to Techart ignored, and performance / compatibility not bullet proof enough. The adapter promised to be stackable, with EF to E mount adapters, and Techart's own Leica M autofocus racking adapter too, but in the end didn't stack with anything and still doesn't. I ended up taping up the contacts and using it as a dumb adapter, with a C-mount to E-mount adapter on there making Super 35mm video possible with c-mount lenses longer than 50mm. Lovely jubbley. So I'd approach the Techart EF -> Z mount adapter with caution and try the Fringer version instead. I have the Fringer EF autofocus adapter for Fuji X mount and it is by far and away the fastest and most reliable for AF. Kipon not bad either but the Fringer beats it for AF. https://www.fringeradapter.com/canon-ef-to-nikon-z Looks good on the Z6 And here is the Techart on the Z50 but doesn't tell us anything about AF - there is no racking or subject tracking in the video just locked down focus The Techart adapter is much cheaper than the Fringer but there is probably a reason for that https://techartpro.com/?product=techart-canon-ef-nikon-z-autofocus-adapter-tzc-01

I suppose FS7 is alright. Did Venice colour science ever make it to the FS5 Mark II?

Ah didn't realise it was parfocal as well. Not bad for £200. I might try and fine the Zeiss but none on UK eBay at the moment, mostly seem to be in Japan. This is where I get my old lenses from when I'm in Berlin: https://www.shphoto.de/catalogsearch/result/?cat=0&q=anamorphot Highly recommended I'll see if they have any in.

The older the Sony, the better the skintones. F35 = CCD beauty Alpha A900 = Minolta goodness F3 = Looks great from this test And then came the NEX VG900. It was all downhill from 2012 on!!

Shooting with the new Sigma 45mm F2.8 for L-mount, I realised the same thing I did when I first shot anamorphic at F5.6. Beautiful rendering matters, not just wide open, but at slower apertures. This doesn't get enough attention! Sometimes I want to see that background, and not have it completely creamed out, but neither do I want to give up the '3D' look or beautiful out of focus rendering and fall-off. What is the best rendering lens at F4? I doubt you'll find answer on Google. Let's test.

The laptop screen is just an example, I am talking about shooting in a room with mixed light sources. Sony can't handle it. It is total shit. 8 years of fucking it up and still nobody fired.

To suggest Leica is putting a red dot on a Panasonic body may be right when it comes to the LX100 or lower-end, but the Leica SL / SL2 is a completely different thing. It may use the same sensor as the S1R and it may be a technical collaboration with Panasonic lending a few chips and programmers, but that really is where the similarity ends. S1R doesn't shoot 10bit or 5K for a start! And even if you consider it just a higher-end version of the S1R that is not even such a bad thing.

Try the old Canon 28-70mm F2.8 EF, it's parfocal and can be had for as little as £250 Best kept secret of the EF lenses this one is.

I am very interested in the new L mount Sigma lenses, that's the newly designed 24-70mm F2.8 in the Japanese video. Will definitely try and pick up one of those when it's available in the UK!

It's all a bit garish.

I think if Deakins was let down by his Alexa and dreadful skin tones, he'd consider it a big waste of time. And I think that way about Sony's cameras. A big waste of time. I can spend hours dialling in the right settings which look great for one subject, but awful for another. A7R IV is a camera that does well for landscapes, but naff for human subjects... And if you dial it in for skintones, suddenly you have problems elsewhere, or it lacks impact. The white balance system seems to use the sensor, it doesn't handle mixed light. If anyone can figure out how to stop it from making a 3200k lit interior look like Donald Trump's face when there is a 6500k laptop screen occupying 1/100th of the shot, please write the answer below.

$180 for 50,000 views This cow is sponsored to the hind legs. Does he declare it on the videos? If not, it's breaking the law.