Andrew Reid

Are you pouring red wine on yours? Except 90% of the weight of the camera bag will be the EF lenses. Replacing 80D with a M5 body hardly makes any difference, especially as the 80D is not a particularly heavy camera to start with. It's not a 1D X! It's not so much the lack of 4K, it's the moire that's the problem and how electronic the image looks. Bang goes the renderless timeline and you have to re-render quite a bit when changing effects, trimming clip, re-timing, etc. Olympus E-M1 II performance 5 axis IBIS is where it's at for handheld stabilisation. That's true, good point. It is going in the right direction, I'll give you that. Now if they can move the memory card slot from the battery compartment to the side, that would be another good step towards a more serious mirrorless camera.

That's a very good summary and all true. The A6500 is almost simultaneously the best and worse camera of its kind. After the A6300 obsolescence came so rapidly I am very reluctant to spend 1700 euros on the A6500. The pricing is over the top and the only new feature I value is the 5 axis IBIS, as the touch screen and AF still work so unreliably compared to Canon. On the other hand, not much else can touch the overall features and specs for the price, not even the X-T2 as it lacks internal LOG recording, full 6K Super 35mm sensor readout and 5 axis IBIS.

I kept tempting myself with the thought of an EOS M5, like an 80D in mirrorless form, Dual Pixel AF, maybe one day RAW with Magic Lantern, but as it stands right now it's nothing more than a PowerShot camera, for stills only.

I enjoyed this one - Bought the Saramonic due to Daniel's video in fact. The Sigma 30mm F1.4 looks good too and could be nice with anamorphic. Still not sure the A6500 is for me though... prefer A7S II. Shall I review it?

Cinema EOS cameras don't need C-LOG as they already have Canon LOG. The LUTs in the C-LOG pack do work with Canon LOG on the Cinema EOS cameras as well. I tested them fully with official Canon LOG on my 1D C.

EOSHD Pro Color is a highly optimised in-camera profile for your Sony camera, to deliver straight-out-of-camera Canon-like colour. Dump the default settings and fix a host of colour issues. These colour correction settings are easy to apply and fundamentally change the image processor’s approach to color and white balance, lending an artists’s eye to the camera and the way it handles ambience and colour separation. Advantages include: Truer, deeper reds Greater separation of green hues for more natural looking foliage and landscapes Greater separation of blue hues for better skies and better cool tones under warm lights Skintones, faces and people given a more flattering treatment Smoother and more film-like roll off to highlights and shadows Reduced colour clipping (for example prevents a blue object turning turquoise or green in bright light) A more realistic and cinematic image, without the crayola-8bit feel of Sony’s default settings Confidence on a shoot you have expertly set colour with no unpleasant surprises This thread is moderated daily. Some rules apply. This is place to: Post your shots Give your feedback based on what camera you're using Share thoughts with other users Be nice to one-another Not a place to: Troll EOSHD Reveal the details of the EOSHD Pro Color profiles Promote your own rival settings or other competitors Fair warning, posts falling into the second category will be deleted and repeat offenders will be banned.

Amazingly fast sensor. Bodes well for 120fps 4K on the GH5 if the processor can handle it.

I am slowly getting round to finishing my mammoth XC10 review.... expect it this week!

I tested at ISO 6400 and the noise was indeed better than the GH4, of finer grain and less of it.

They are too bright at close viewing distances to make for a comfortable computer monitor, and if you turn the brightness all the way down, contrast goes to hell. Also, TVs have a habit of electronic meddling on a per pixel basis, some might even have processing you can't turn off.

I am going to watch the Herzog masterclass. Finally someone worth learning from.

To prevent the loss from debayering you really need a sensor... with no debayering. A Foveon design sensor.

It always feels like their reviews are a greater service to Johnnie's ties with Sony than to their readers. Johnnie goes to Japan. Johnnie gets into feedback session. Johnnie gets a loan camera. Johnnie is the oracle to consult if Sony want advice. Johnnie is holding camera and looking serious in every review shot. Johnnie is documentary filmmaker. Johnnie with his bumbag on being PRO. Johnnie writing boring piece of shit review that looks like it took 12 minutes, that didn't tell me anything whatsoever that I didn't already know, that nevertheless everyone reads as it turns up on SonyAlphaRumors due to special friendship between two hacks. That's more like it.

What's causing the heavy macro blocking in the sky and general soft compressed look?

To compensate from the resolution loss from debayering you would need to oversample from 8K to 4K perfectly like the F65. Anyone got a spare $300,000?

It has 'something'. No matter what the politics. There's Trump's gold elevator. And there's California's new age videos. The US really is different to the rest of the world.

I now watch this video at the start of every day to put me in a calm, meditative state.

Standard Panasonic picture profiles are not designed to turn into 'flat mode' and if you dial down contrast this might give the appearance of more dynamic range (as the lows get a lift) but actually it does nothing to increase the dynamic range of the final graded material. You're just crushing the blacks back down again in post and reducing the tonality of the image in-camera, less colour information due to less contrast in an 8bit image.

Why explain further if you can use your eyes. Cary is right.

Well since the E-M1 II already oversamples from 5K and is very very close indeed to the A6300's 4K the answer is yes. GH5 will have a flood of high detail. I long since stopped caring about the sharpness of 4K though. More sharpness is the last thing we need. 10bit, dynamic range, colour, less aliasing, less moire, less rolling shutter are all more important when it comes to 4K, which already has too much detail according to most of the cinema audience reaction to it being projected.

Looks like you've found the reference image Sony's engineers used for skintones. Maybe Magic Lantern can hack the pizza and reverse engineer the cheese to make it look more appetising? Then Sony can take delivery from the pizza boy and start all over again.

I am impressed with how little rolling shutter it seems to have in 4K. A much better option than a Sony A6500 for handheld shooting, I think.

Interesting the 5DS and 5DIV are on there. ML isn't The 5DS actually shoots quite nice 1080p. It will be a contender if they end up porting ML RAW to it.

He has $100k and he thinks my C-LOG profile is too expensive at $15. And then he expects help from my forum.

I think he should spend it on a green and yellow spinach & mozzarella. Tomatoes probably too magenta for him.