Andrew Reid

I think anyone can submit? Nikon probably curates the top ones based on social media reach. Honestly though it's not great. It isn't in the same league as a Panasonic Real Time LUT. All the processing seems to be in 8bit. I'll release what I've been working on soon but only when it can be made to look absolutely 100% right unlike the shitty shot above with its two green tones.

Motion cadence for me, is matching the target frame rate with the sensor and shutter speed-sensor interplay. It is also about rolling shutter vs global shutter as that plays into the look of motion. The less distortion or jello the better. I wish people would SHOW things again. Where are all the tests on the a9 III with global shutter showing what it's like in video mode at 24p vs the a1 II? I miss the Vimeo days of being able to compare with meaningful shots rather than the standard YouTube guff of a candle for low light, ridiculous whip pans for rolling shutter that nobody ever does in proper cinema, a model staring blankly at the camera for skin tones and a crazy underexposed shot with the shadows lifted until everything looks flat and dirty with no tonality - yeah that's a dynamic range test, sure. The best motion cadence I've ever shot was on the Digital Bolex with the CCD sensor. I think some of the faster sensor readouts are losing something important. They all look like 60p in their 24p modes. For 60p and 120p motion cadence has less meaning. Since there's no motion blur subtleties that need taking care of.

It's really deeply unpopular. You're right 4 year old a7 IV hardware doesn't help the marketing appeal even though I rate the image as one of the best ever. So we can chalk up the reasons as follows: 1. Filmmakers want FX3 instead 2. a7 IV old hardware cropped 4K60 / higher rolling shutter 3. Missing newer features - no open gate, anamorphic, 6K, 7K, no internal raw codec 4. Photographers will all go a7v or a7rv instead for similar price Hybrid cameras are now a crowded market so if you really want best of both worlds, I reckon they are going Nikon Zr, Canon C50, Sony a1 or some of the popular used cameras like a Z8 or even plain old a7 IV. Canon R6 III going to make it even tougher for FX2. This is great as used price will plummet and it could be under £1500 before long like our much maligned S1H

Laying the ground for a full on war with South America, to seize their oil and natural resources. He can then have a war in full flow by time the elections come round again.

The Nikon samples seem to mirror my experience with Flexicolor. Tones mash together, it's tough to get it looking right on the more extreme kind of looks to say the least.

Has anyone tried the latest "recipes" https://imagingcloud.nikon.com/recipe/release?bookId=01HXDGH38PHJ0KZJHF2N7M8VMC They use Flexicolor so Z6 III, Zf, Z8 CineBias by RED CineBias-T - Cool Atmosphere by RED CineBias-C - Crisp Teal Contrast by RED CineBias-CC - Noir Vibes by RED CineBias WC - Grit & Glow by RED CineBias-TC - Green Edge Experimental by RED CineBiasOffset by RED CineBias Achromic by RED CineBias BleachBypass by RED I am curious as to what the fuck Green Edge is

The Alexa Mini in that video looks much better than the Zr in rec.709 The LOG modes are just a wide gamut colour space. Nearly all cameras look the same in rec 2020.

This is what the French all thought when Hitler turned up at the border. You're right about the small battles though... Not worth it is it? The big ones on the other hand... It has to be approved by shareholders, they've only decided at board level (at both Netflix and Warner) that they want the buyout to go ahead. Only the hostile takeover by Ellison will get the regulator seal of approval, stamped with the famous United States bald eagle emblem. What is it with the Eagle and these nazi countries?

Had a bit of time with the Sony FX2 today along with a Canon C50, same sensor as EOS R6 III but no IBIS or EVF, and it takes forever to switch photo / video mode. The FX2's viewfinder was chunkier than expected, it's massive and crisp, and articulated. I love it. The screen is so-so. The a7v has less rolling shutter, better screen and screen tilt method. But I do like the FX2, it's the only modern small CINEMA CAMERA that has the full photography feature-set. I just wish they'd put the a7v architecture in there, new sensor... I was told that apparently the Sony a7c II uses a different sensor to the a7 IV, it's tweaked, but didn't sell - so Sony had loads left over and hence needed a way to use them so FX2 was born. Sounds like a typical sales rep story to me so take that with a pinch of salt but it did come originally from a Sony employee. I am happy with the FX2's image, it's enough for me for just Cinema 24p. There's no denying the C50 and R6 III have a specs advantage with the 7K RAW but I just think it's complete overkill. Where is our footage being seen? IMAX screen? Phone more like, laptop if you're lucky. I'm not suggesting to go back to 1080p... lol. I just think 4K H.265 is fine. A lot of people are asking "who is FX2 for"? Well I guess it's for weird people like me who has always valued the hybrid convergence of stills and cinema. There's a nimbleness to it. No faffing, no huge weight, just as capable at photography.... It's the polar opposite of a Blackmagic Pyxis or Ursa. Yet the "it ain't selling" problem is really concerning... It's as if the market has gone a bit batty. All the stills people are buying the a7r V instead and all the video people hanker after an FX3. So the FX2 sat in-between the two suffers from that dreaded "middle" failure because people are unable to snap out of their binary thinking. In a way, the Nikon Zr because it doesn't have a mechanical shutter or EVF, and is lower resolution, in not pretending to be also a really good stills camera has made it appeal more for video. Also Nikon are undercutting Sony pretty deep on price at the moment. So not hard to see why that will further pummel the FX2's sales. Sony need to be careful. Their customer service is poor, the reliability is iffy (the firmware update problems in particular) and their pricing strategy is becoming Canon-like. At the same time meanwhile, Canon are putting top-level specs in a 6 series enthusiast body and getting aggressive on price with the R8, and Nikon is putting RED codecs in things that cost $2k... So in sales terms they may have peaked and might see a downturn. But I for one will be picking up a lovely FX2 if it ever drops below $2000 used.

I think people see politics these days as a form of show-biz entertainment soap opera drama, what a surprise they are going to get when the frogmen smash their door in next.

A bit of a stretch to go from developing an Alice in Wonderland app to accusing Tim Cook of being a pedo.

Providing a five-year social media history to border agents may become a pre-condition to entry as part of the rise of fascism in America. https://www.bbc.com/news/articles/c1dz0g2ykpeo

I don’t agree that that it needs normal people in their millions to rise up, it needs the elites to turn on Trump… Military leaders, CEOs, celebrities. World leaders. Instead, 99% of them they have licked his ass and appeased him

I'm still waiting to hear from the big names about it... Guess we'll have a long wait for that. I think they're probably more tied up about being bought by a streamer, than they are about being bought by a fascist.

"The old world is dying, the new world struggles to be born, now is the time for monsters" - Antonio Gramsci, Italy 1930s

My opinion on the buyout of Hollywood by an oligarchy mafia. https://www.eoshd.com/opinion/warner-bros-risk-talent-exodus-over-trump-ellison-deal-who-will-follow-christopher-nolan-and-jump-ship-next/

Says a man from Spain 😉

Vimeo is in the process of deleting ALL my videos, due to their new policy of deleting their entire library of content for ALL non-current users without an active Pro paid subscription. Also, about 90% of my Vimeo was nurfed by the copyright music shambles, where Vimeo did the 3-strikes thing and they delete your entire account. So to avoid that, back in the day, I just decided to make these videos private, and unlisted. I have not got round to putting it all on YouTube yet, but perhaps I should?

I had a play with the Nikon Zr today and quite liked it, it's a capable, good value for money Sigma-Fp style camera with very good autofocus and finally a screen with which you can see what is in focus and what isn't. Well done Japan for going large after 25 years of 3.0 inches. It's the sort of camera that would be very exciting back in the day of the DSLR video revolution to say the least... Nowadays though, I find other stuff more exciting. Also the screen tilting mechanism sucks... I'd far rather they'd drop the YouTube vlog-style swivel screens on a camera like this and have a standard tilt screen that is ON AXIS with the fucking lens, and with it being so large it really feels unbalanced stuck out at the side and blocking the ports. In a way the Zr feels like a Blackmagic Pocket Cinema Camera 6K but done well. But it doesn't feel very high-end, even if the image is. Also I miss the EVF and think the Z6 Mark III is even more bang for buck. So yeah, doesn't set my hair on fire but it's going to be a very decent buy for a lot of people.

Canon does do better skintones but it applies to the 8bit JPEG engine and rec.709 Standard video recording mode, it doesn't apply to LOG because the look of skintones come from the post processing side i.e. LUT. I am amazed people don't know this haha

I'm talking about LOG video, it really does depend on the user more than the camera how the colours come out, especially as the modern range of gear now have a similar high level of codecs. So the Z-LOG = S-LOG = F-LOG they're all very much the same sort of thing. Whenever you see this LOG footage on YouTube, it's been graded by the user, either with a LUT or with their own grading skills in Resolve. Yet all the comments are like this... WOW the camera has great colour science, blah blah blah. And i's the same with RAW... All the sensors are now at a high level, similar dynamic range and so on. If anything they are now too good and are moving AWAY from the look of film. As for colour science... If you shoot JPEG or rec.709 video, then what the camera is doing matters far more. But in LOG they are all using a very similar wide colour gamut, and similar LOG curve, similar white balance, it is only the 8bit side that still has a big variation between Film Simulations, Photo Styles and Creative Looks. So just bear in mind next time you see footage on YouTube that the LUT is doing 99.99% of the colour you're seeing not the camera.

Wonder what the BOM cost is on that... $300?

It is true that the Sony name now demands a premium, more so than ever before – because E-mount is the best mount. Pure and simple. It's like the Canon EF days all over again! And in most places Sony is selling the same amount of mirrorless kit (if not even more) than Canon so they don't need to do a bait and switch with their pricing any more. Full article on the blog... https://www.eoshd.com/news/sony-a7v-negative-online-discourse-why-sony-are-the-new-canon/

They all look the same these cameras to me.

The comments say Nikon has such great colours, but with LOG footage the colours are up to the user not the camera.