Andrew - EOSHD

Yes. The idea is not to keep updating it. How often do Arri change their colour science? Once you get it working, once you get it looking beautiful, there is no need to keep tweaking it. Sony had it right in 2008 then fucked it up and tweaked it for past 8 years to the point where it's only 10% better than the fuck up. Honestly head should roll, but just like they doggedly stick to the same broken menu system, it seems they stand by their failures in people management too. My reading of the situation, is that most people are attracted to Sony by the high-specs. I am sure they have more enthusiast usage than pro for stills. I think most stills pros are on Canon / Nikon / Leica. If you buy a stills camera for the high specs you are not going to care about JPEG very much. You are going to care about the raw files, and have ample skill in Lightroom to do what you like to the colour and dynamic range. In video, it's a different story and you are at the mercy of the image processor to a much higher degree. It has to be right. I have had lovely results from Sony's cameras because they at least afford us a great control over the picture profiles, gamma modes, colour gamuts, etc. and enable us to mix up the settings to patch over any shortcomings in the default ones... of which there are legion. But it is still the case that my 1D C beats it every time for skintones and teal / orange shooting where you want to maintain a nice emphasis on warm and cool tones in a single frame. The auto white balance is also far better. I will do a comparison between the 1D C, Leica SL2 and Sony A7 III soon which proves there is a big difference in the ways the cameras handle colour and WB. The good thing like I said above is that Sony is not shy about giving us a lot of settings to play with. When you have the Minolta colour science to compare with (Sony A900), a Leica SL2 and a 1D C, or even an Alexa, you have the best industry reference for colour science in the world to act as a guide. This is what makes EOSHD Pro Color possible, so thank you Sony for allowing us all those complex options to diddle with while I compare. On the other hand if you are a non-technical shooter with a great eye and a job to do, but no time to diddle around and not a high level of nerd ability and nerd patience, are you going to have a spare 100's of hours to test settings or even the benchmark cameras to compare to? I don't think so. You just want the damn camera to deliver out of the box effortlessly like your last one did. If I were the latter, I would not let a Sony mirrorless camera within a yard of my shoot. It would be Leica SL2, Fuji GFX, or Canon 1D X III all day long.

It's not just the hours put in to videos like this, it's the effort and skill. I love it when someone at the top of their game gives something back to the community and builds a channel with this kind of quality. It is much easier to just talk in front of a slideshow like the Northrups then have a jolly expenses paid trip to Hawaii.

I had to snap that up. Good find mate Now I am waiting for my Fp to arrive. Sent the previous one back, and bought it for £1650 inc. 45mm F2.8. Yes, it may be an import. But if it breaks I can fly out, get it repaired in Japan, have a holiday, and still be £100 up vs the ridiculous UK price Hopefully we will see some juicy firmware updates soon including Sigma-LOG Or they might just call it V-LOG and nick it from Panasonic

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!