Andrew Reid

Have tested the HDMI now.   I'll update the review, and it ain't good news. There's no live HDMI output. Only in playback mode is the HDMI port active.   Seems like a clear market segmentation to get professional filmmakers to use the GH3 instead.   A little black mark on what is otherwise a stella achievement by Pana.   Go easy on them because remember we're talking about a $650 body here with a superb built in monitor, peaking, very good focus assists and zebra. Much less bulky than an external monitor set up.

  You are kidding me right? This is the least 'beta' camera in my entire collection. Ultra complete feature set for the price. No bugs.

  No headphone output on the G6.   HDR, timelapse mode, stop motion animation - yes. All there.   Standard 3.5mm mic input - yes.   Stills quality not quite as good as GH3 but close.   Low light is pretty good, very decent noise reduction and it can be dialled down to -5 if you want to do it in post instead.

      Yes crop mode is in, same as GH2. Great quality.   Same batteries as GH2, but life seems extended due to the newer processor and LCD panels being more efficient?

  The vignetted handheld parts are all 1080/50p MP4 conformed in post to slow-mo 25p. The locked off tripod shots are with the Olympus 75mm F1.8 mFT and are shot in AVCHD mode at 1080/24p.

Full review now up - http://www.eoshd.com/content/10824/panasonic-g6-review-the-gh2-redux

The G6 achieves a certain yin-and-yang. With the GH3 now occupying a higher position in the line, the G6 has moved up to occupy the position once taken by our much loved GH2. It shares the same sensor which of course was always pretty special for video, yet adds a lot of significant new features like 1080/60p, a faster processor, high resolution LCD and something the GH3 doesn't even have - focus peaking. Read the full article here

  Looking again some of the false colour on the raw shot are actually ACR debayer artefacts rather than moire, especially at the edges of the window frames.   The moire is there too of course, but for me the H.264 makes it look worse. Like a zebra.   BTW - here's some 60D moire (bottom shot). The top shot shows that a camera with moire has far more issues with wide angle shots than close up shots of people.  

For me the H.264 moire looks more distracting.   The pattern is so fine on the raw footage it blends into the brick work. You can do more in post and in the debayer to reduce it too.   On the H.264 it is a rainbow! Broad stripes across the building at the back. It would be even more noticeable if you hadn't turned the saturation and contrast so far down BTW.

Bought my G6 in the UK and it isn't PAL / NTSC switchable, but it does have 24p and 25p.   You can't get 60p on it. 50p and 50i.

Let me be brutally frank. I don't like what is going on in the DSLR community in 2013.   I don't like all the DSLR community celebrities or their marketing & their self-promo shizzle. I don't bow to Zacuto, don't love Eric Kessler like a brother and don't want to ever go to NAB. Is it OK to say this? Am I allowed?   I think this commercial exploitation of the indie filmmaking community by the Pro Video one, is wrong.   The inability to question leading figures, for fear of damaging your career or reputation, is wrong.   The inability to have an honest, open debate, without being smeared as an 'attacker' is wrong.   The inability to criticise a product or person constructively (or even humorously) is wrong.    Filmmakers and bloggers should not fear for their career or have any concerns whatsoever that having unpopular views will affect their ability to further their filmmaking.   Yet the rarified exclusive first class cabin of the pro video community at the head of our indie filmmaking jumbo is very small, and gossip spreads. I know filmmakers who have said something which rippled around in days, and before they know it, they're unpopular merely for speaking their mind and a few opportunities went begging as a result.   Remind me - who controls the indie filmmaking scene?   Is it the pro video community or is it the filmmakers?   I think it's very important to make the distinction.   I'd like to think it is the filmmakers, but right now I'm being proved wrong.   The nature of social media is all about figures and digits related to number of followers, number of likes - in summary, it is all about popularity metrics.   One in particular has has over 10x more followers on Twitter (nearly 70,000 in total) compared to celebrated British filmmaker Mike Figgis (6400 + Leaving Las Vegas). Ironically, Mike isn't very active in the pro video community, which has come to control the indie filmmaking one - because naturally he gets on with his own independent films most of the time.   That leaves very few filmmakers of note in the indie filmmaking community itself to serve as leader of it...   Alas into this void step the marketeers and self-promoting shooters from the Pro Video community who scratch the backs of camera & accessories companies in order to raise their profile or to get ahead in the business.   You may say it doesn't matter, but I've never seen Mike asked to be on a Vimeo judging panel, promote a rig with his signature on it, shoot a marketing video for Canon or be an ambassador for a camera. It's likely he doesn't want to, but I think it is a shame because it means we're not putting the right people on a pedestal.   The other reason for this problem I think, is that there seems to have opened up a very direct link between marketing and filmmaking, between celebrity and aspirational goals.   Bloom for example was one of the first on the Pro Video scene putting sample videos out there and showing us the virtues of the new cameras, beginning with the 5D Mark II and the GH1. The first GH1 clip I ever saw came from him. What happened next was very strange. A link formed between the image and the aspirational values it contains - and the person. People can seemingly not separate the aspirational values of the consumer product from the person using it.   This has also come about through an infusion of consumer cameras into the indie filmmaking community. In the past, cinema cameras were merely very obscure high end tools which couldn't be bought - they were thus separate from any personality cult or aspirational marketing.   Now people buy a camera and they are subliminally buying into the cult of personality too.   It's really worrying, because it has created a flock, a huge number of sheep and followers, whose idea of climbing a career ladder is to say 'yes, yes, yes' and 'I concur'.   These people unquestioningly bow to the leaders of the DSLR community like Laforet, Canon and Zacuto in much the same way people in communist countries are under a spell, controlled by their authoritarian leaders and administrators.   Those who don't want a group hug, are left eating alone at the school canteen, or worse held up as an example of a heretic, which can be quite career damaging especially if your filmmaking career could benefit so much from the exposure of a Vimeo staff pick or a bit of sponsorship from Zacuto.   All in all I think it is a worrying point we find ourselves in at the moment and the only tonic is to try our best to be objective and put the art of filmmaking itself ahead of the people and companies.   I guess there goes my filmmaker profile page on the Zacuto home page ;)

You misunderstood. This is genuinely a thread for shipping information. We have the other thread for general banter.

Almost covers the full sensor on Nikon 1 so will be fine on the smaller Pocket Camera sensor. Don't expect sharp corners though :) Also check out Julian's c-mount sticky thread in the main forum.

A more current auction. $9k http://www.ebay.co.uk/itm/Zeiss-8mm-T1-3-Ultra-16-Arri-PL-mount-/180918390524?pt=LH_DefaultDomain_0&hash=item2a1f938efc

Amazing bargain.   Seems not much demand for S16mm cinema glass from pros at the moment!

People of the world. Have you been able to locate a Pocket Cinema Camera or Blackmagic 4K Production Model? Has your dealer been weeping on your shoulder recently? Do you know something we don't?   :)   This is the place for all Blackmagic camera related shipping news.

The Lumix 14mm pancake is OK but a bit sterile and has quite a lot of distortion.   I have one, so if you'd like to see some more tests let me know. I haven't covered it much on EOSHD, because it's frankly a bit boring compared to the SLR Magic 12mm F1.6 or the Olympus 12mm F2.0 and you can get a good compact prime by going down the c-mount route.   It is however very good for the price. It's as cheap as chips!   Be aware that it won't be very wide on the pocket camera.   Better to go to the 20mm F1.7 pancake and a Switar 10mm F1.6. The Switar is the same price as the 14mm Lumix and the lovely older version 20mm pancake has come down on eBay since the new one has been released.   New one is smaller and lighter, very nice.   New 14-140mm is also impressively compact compared to the old version. Panasonic working hard on size / weight reduction of their lenses at the moment.

The macro and the roof top shots, very tense when spliced together for some reason. Very subliminal touch. I think the close ups make the drop feel larger, the roof higher, it's a very powerful technique you've got there! Can I steal it!? :)   Here's my interpretation - God comes across as a malevolent observer, the dark humour works well.

  But hey, no big deal right!

  Trying to stay calm in the face of bullshit like this is very difficult.

  Yes, silly customers! They believe what they're told! How stupid! Blackmagic announce a camera in April, say you will be getting it in July. Doesn't sound at all realistic to me!   None of this anger is at all justified.   Customers should never expect Blackmagic to deliver on any of their promises.   [End of sarcasm]

  Criticism is fine when it makes sense. Otherwise it's just annoying.   I don't know how many blogs or forums you run iamoui, but until you have that perspective you have no idea.

  Who says I am moderating?   I think your opinion is idiotic. That's the main thing.

I don't care how much money you are profoundly interesting from making from your PRO SHOOOOOTS with a camera, and that is the primary reason I have zero interest in whether you think Magic Lantern is reliable enough for such a money making excerise or not.   In truth, the software is reliable. I press a button and raw video comes out.   In truth, the workflow is not a nightmare. I drag and drop the files to an app, and ProRes and Cinema DNG happen.   Don't criticise what you don't understand, and if you do in fact understand it, show some.

  Your summary of my reportage is fucking shit. You've taken my points, simplified them, stupefied them and taken them out of context.   Speed Booster makes a soft crappy full frame H.264 feed redundant when you can put one on a Super 35mm 4K raw cinema camera. That's what I was saying.   The 5D3 was soft. Things change. Magic Lantern raw came out.   It is OK to dismiss something once, then accept it again when it is in dramatically improved form.   You're a fucking idiot.