Andrew - EOSHD

  Hmm why no AX100 coverage. Well the AX100 is a camcorder and this is a DSLR blog. I've had my hands on a GH4 and I've not had my hands on an AX100. It isn't available to buy yet and it doesn't excite me as much as the GH4. It has a fixed zoom lens, with a spec that's a step backwards from the constant F2.8 aperture lens on the RX10. There's better stuff out there dude!

Based on a pre-production model Since the GH1 I have been shooting with Panasonic's mirrorless system for video. Without this series of affordable cameras my early work as a cinematographer and filmmaker simply wouldn't be the same. The GH4 marks a much needed major leap for the line, the first to shoot 4K to an efficient internal codec AND output 10bit 4:2:2 1080p over HDMI to an affordable external recorder like the Atomos Ninja! On a visit to Panasonic I got to see the camera, see 4K sample footage and give my feedback. Here's an account of what I saw... Read the full article here

  Yes. Which makes for a unique bokeh. Wonder if they patented it? Haven't seen it on any other lens.

Poor photographers, they have so few cameras to choose from :)

Take the humble anamorphic lens. The look appears in your content. You take the look away, the content and mood changes.   For me there's no need to have a wall between content and equipment, they're all up there on the screen together.

If you want cinema or filmic then stay away from AF. The AX100 also has a fixed lens with slow aperture and a relatively small sensor. That won't help it look cinematic though I'm sure it's capable of some nice results. With the GH cameras you just need the right glass and bam - cinematic image, providing the nut behind the camera is also cinematic :)

  Bullshit. I have seen for my own eyes putting more powerful equipment in the hands of aspiring filmmakers does inspire them, does improve their cinematography and does allow them to get noticed. This community wouldn't even exist if it wasn't for the gear.   You won't know any of my work if it wasn't for this platform, which is based on the gear.   Let's knock this content is king nonsense ON THE HEAD permanently from now on. OK?

  The GX7 isn't aimed at the video crowd, the GH3 is!   If I were Panasonic I'd send a supply of sensors in Olympus's direction for a supply of IBIS in the other direction. That would cut Sony's seeming monopoly on sensor supply too.

  The codec is a bit too weak to go flat, I just set it to Vivid for rich tonality and used the GH3-Vivid preset in Film Convert. Not received wisdom but I did several tests with the picture profiles and that was the one that gave the nicest results.

  Really, all of it? Because I shot the last sequences on a 5D Mark III in raw :)

Check EOSHD 5am GMT Friday 7th

Nice to see you here Stefan. I've changed the article to be more specific and yes Anthony was the DP on Slumdog. He was quite an early adopter of digital, lots of pioneering work! Love it. Maybe Canon should re-phrase their PR text to make it clearer what your role on Slumdog was as well, as B-camera operator and supervisor of the SI-2K http://www.canon-europe.com/About_Us/Press_Centre/Press_Releases/Consumer_News/News/Berlinale_Talents_2014.aspx   Yes would indeed like to meet for a chat. Did you ever find a Blackmagic to have a go at grading it?   Cheers!

A noble cause but Blackmagic have already done the same thing... with digital.

How much time into prep? Zero. It was a spontaneous thing really.

One turnip for effort, silver for performance :)

Select ProRes 444 in your Premiere timeline settings and don't edit in native H.264.   Export in ProRes 422 Proxy.   Simples :)

  Why does 'content' always get reduced down to 'story'. I've seen a lot of great stuff that has absolutely no story whatsoever!   I see this also in marketing and in the workshops, it's always a focus on story telling.   Story telling like a children's book :)

  I actually consider gear to be part of the content. It's the camera and lens that helps shape the look and mood of the content. And without the 5 axis stabiliser this video wouldn't have had the same spontaneous content, it would have been more staged.

The E-M1 is a real surprise for a video. For this review I decided to set myself a challenge with a musician friend, where we'd shoot a music video 'Dogme 95' style. Entirely handheld with the Olympus 5 axis stabliser Very basic lights (iPhone torch and a flame) Maximum of 2 shooting days In the process I learned a lot about what makes the E-M1 such an effective camera for filmmakers. Read the full article here

Added the G6!

  Updated the article into leagues of 10, take a look. RX10 has a nice clean image, but the codec is a bit muddy and the sensor is quite small. The full frame look and interchangeable lenses make for a more cinematic end result on the 5D, whilst the RX10's look is largely determined by the lens it comes with.

When you have to start explaining each position on the list it's not a chart anymore.   Yeah GH3 should be ahead of GM1 but it isn't... because it's purely an image quality chart - ergonomics and features aren't really factored in it.   Again the image from the D5200 and D5300 is so similar they are grouped on the chart. Once you start charting cameras on features you end up with 'not an image quality chart' but something a LOT more complicated.

  C100 internal quality is better than FS100 internal but not by a huge margin. Both similar codec, AVCHD at 24Mbit. C100 just gives that bit more detail and is cleaner with less aliasing around bright highlights.

  Yeah of course you can. Now good luck making 100 charts to go with it :)

  Pretty much a NEX 5N with a worse form factor for a lot more money, so I've never used one, therefore I wouldn't know where to place it on the chart. Pretty close to the bottom I'd say.