Andrew Reid

He doesn't need to prove himself! He has an opinion and that's that. It's not a photo competition. The skin tones are pretty dreadful in my opinion as well, but it's not ideal light.

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Are people not entitled to their opinions any more, unless they are magazine published? That would be a bit harsh!

The problem I am having with the Sony AWB is under incandescent light and also when there is a mix of artificial light. I'll show you what I mean... Just digging out the file. Here is how AWB Priority = White is supposed to look And here is AWB Priority Ambient, doing it's job to keep the ambient shade of warm retro light bulbs... But AWB Priority = White is very useful, as it maintains a Leica-like neutral white, allowing you to tweak the temperature in post. It is as useful for S-LOG as it is for Creative Styles. S-LOG has some WB baked in too, so that neutral look is important. Here is AWB Priority = White gone wild... It has done a piss stain balance. It is not a nice ambient amber or white. It is neither. Here is how it should look: And it did get there. Just took a lot of coaxing. The reliability needs fixing.

Sony... For People Who Don't Care.

And you consider that a good skintones test?

I do but I have 30+ memory cards lying around and don't know which they're on! Will post them if I come across em tomorrow

Another thing I have noticed is multi-metering doesn't work during a recording if you shoot movies from a stills mode. So the metering mode changes from the default stills one, when you hit the record button, to something like center or full screen average - usually changing the exposure along with it. Bonkers.

https://ymcinema.com/2020/01/16/the-cameras-behind-oscar-2020-film-made-a-comeback-and-red-enters-the-list/?fbclid=IwAR2lAXUko0GOvqLPBPYrba9Or8PEoUEfFVA55xE68wUY5YUOFKREAVoxIRM Great article Arri still king of the ultra high end, so no surprises there - but the variations in Arri (and the lenses) are the interesting thing! And 50:50 split digital / film in 2020. Film making a bit of a come back.

100% get it I have a rare prototype of this lens, serial number 0000009 or something I seem to remember. Prototype or not, it is one of my best. Very cinematic lens.

If only there were a USB version which would override the camera's own system. A lot of chat at DPReview about AWB on Sonys https://***URL removed***/forums/thread/4246574 Their solution... Shoot raw ?

Seems to get good reviews https://www.amazon.co.uk/ExpoDisc-Neutral-Portrait-Balance-Filter/dp/B00GUQJZCW/ref=sr_1_3?keywords=expodisc&qid=1579208829&sr=8-3 "A must for colour blind photographers!" Or colour blind cameras for that matter!

Ah yes I do remember it Gotta be worth a try hasn't it?! Maybe I can bundle these with Pro Color ? When Sony bought Minolta the bought years of film colour science. After the A900 they trashed it all and still 10 years later, it's bollocks If any normal people put in a performance like this in our jobs - breaking something then not fixing it for a decade, would we still have a job to go to afterwards? Sony manager's must have a lot of faith in their colour science department.

The mirrorlesscomparison results don't seem to relate to my experience of the X-H1 in real world. I find the IBIS to be Olympus - level locked-down goodness.

Auto WB priority set to white should give white tones to white surfaces (like a white wall) under warm interior incandescent lighting. For me it usually gives yellowish-green. Does anyone have a work-around? I have resorted to using the custom presets (1-3) instead. These seem to capture true white, whereas the AWB system is all over the shop. Sometimes it will get it right, but you could be stuck with yellow or orange for 10 seconds before it changes. Maybe certain metering settings crap it up, I don't know. What I do know is that Sony has the worst automatic white balance system on the market.

Olympus Four Thirds 14-35mm F2.0 is a very good lens. They had the skills to make it a long time ago. Would like to see a 14-50mm F1.8 from Panasonic when GH6 comes out. Really push the boat out

GH5S sensor is oversized vs normal Micro Four Thirds sensors... So it's already not far off Super 35 The GIF above shows the difference well between normal M43 and S35, which is already not that huge. Lens pins are the limit though, rather than mount diameter. They can't be shifted.

Nice chart samples. We could do with a RAW still (from photo mode) to compare it with though.

Your nightmare is my reality.

If Blackmagic can license from Apple their codec for a $1000 Pocket camera... Why can't Panasonic license it on a $3999 S1H? The S1H is tarnished by the H.264 label on the box. We need both options. ProRes is forever associated with filmmaking, it is a proper editing codec. H.264 is a flexible but CPU intensive codec, and I'm grateful for it when I need smaller file sizes but it should never have become the one and only Default option in mirrorless cameras like the A7S, GH5 or S1H. As for Raw, to delegate such an important feature to exclusive Atomos hardware is a complete joke. It's like Canon delegating out autofocus to a start-up who provide it through specialist channels as a module. Would pro stills photographers put up with JPEG only? No. We have had a lot of patience as filmmakers with no RAW codec. Also RED should recognise that REDcode would be better off as an industry standard in all cameras and not an exclusive to their cameras only. I think they'd make a lot more profit if they did that and it'd be good for us as well, a win win. Thank you, trying out a few options which are more 'cinematic'... The current logo was done in a rush in 2011 after Canon asked me to change it or get sued. Changing just the forum avatar allows me to see how clear it is when viewed as a small icon. For the final design which logo works best for you guys out of these two? Candidate 1 Candidate 2

Maybe Cinema EOS should be renamed Video EOS then?

Embedded it for easier viewing (Just cut and paste vimeo url)

At least they got Tidying Up With Marie Kondo (Season One) https://ymcinema.com/2020/01/13/the-cameras-behind-43-best-netflix-original-tv-shows-of-2019/?fbclid=IwAR2y_Qf7aYSbLNz7L5Dj7CemB7oB528TUBFc77SI1amGl81UftSthduUT9o Are high-end shooters looking elsewhere in 2019? Looks like it. C300 II has been a flop? Looks like it. Will C500 II change things? Not without ProRes or a better raw codec. C700? Nah. RED and Arri just seem much more attractive at the moment for filmmakers...

S1H is full frame. Let's not forget the sensor size. Full frame cameras are more expensive for a reason. Low light also far better on the S1H. Lenses more affordable. You can put a nice Contax Zeiss or Canon FD prime on there. No Speed Booster. No expensive native glass or vintage c-mount lenses required. You need to add a proper battery, a screen visible in daylight and maybe an EVF, cage, etc. to Pocket 4K, so it's not even cheaper than a GH5S. I just bought a used GH5S for £1200 in good condition. But with Micro Four Thirds you need very expensive glass to make it look like an S1H with a £200 SLR lens from the 70's. S1H has IBIS of course I'd say it's worth the extra over both. Again I am not really seeing where the Pocket cameras are so much better as people claim. It's mostly hype.

A little bit better, but whoops where's my EVF and stills camera gone ?why bother? He has compared BMPCC 6K to S1H as well Original files for download are 12GB