Andrew Reid

I find Panasonic are leading the entire field when it comes to actually seeing the image you are shooting. The brightest and best screens. The biggest EVFs. (Well, apart from the S5)

If you want to continue to eat, consider the Pentax 645D and stick to CCD stills! https://www.mpb.com/en-uk/used-equipment/used-photo-and-video/used-digital-medium-format-cameras/pentax-645d/sku-1129519/

MPB have it cheaper! https://www.mpb.com/en-uk/used-equipment/used-photo-and-video/used-digital-medium-format-cameras/used-hasselblad-medium-format-cameras/hasselblad-h6d-100c/sku-1213921/ Put the wallet away and stand back from the screen 🙂

Currently used for just £20k! https://www.wexphotovideo.com/hasselblad-h6d-100c-medium-format-digital-camera-used-1779458/

I wouldn't be surprised if C70 and Komodo had a very similar Canon sensor.

I'm waiting 10 years for it to come down to £2k like my Hassy H3D II with Kodak CCD sensor larger than GFX 100 🙂

Sensibly Sony have included a 10bit 4:2:0 option as well as 10bit 4:2:2 for 4K at all frame rates on the A7S III. So it should be much easier to edit. Will be interesting to see what the image quality difference is like.

M1 has hardware acceleration in FCPX for H.265 10bit 422

Are you using Premiere? It is the same on the M1. They don't even play at half res from the internal 3000MB/s SSD I don't even think the Canon 10bit 4:2:2 H.265 is hardware accelerated in Premiere on Intel. But Fuji 10bit 4:2:0 H.265 is.

There's something about the GH2 and Samsung NX1 that they got right, and it makes me want to just pick one up again and shoot. The instantaneous of it and the quirky charm. No fuss. Fuji's ergonomics feel like they are in a straight jacket and the controls feel brittle.

New blog post: https://www.eoshd.com/news/fuji-gf-32-64mm-f4-thoughts-on-a-powerhouse-of-a-lens/

Outgunned and outnumbered.

Oh dear!

The oversampling doesn't mean anything. In both the 24p and 60p it is the same and looks sub-sampled with some aliasing visible. The 10bit 422 is a pain to edit. The 120fps HD isn't unique, that has been around since the Sony A99 II several years ago. The IBIS is no better performing than the competition. Actually DPAF is no longer even top dog. The newest Sony AF systems are better. I don't mind 20MP. I do like the C-LOG 10bit image quality on the whole it nails the rendering of a shot with perfect colour and white balance. It's a good sensor and that is why it is frustrating to have the other issues and strange crippling but I no longer expect anything different when it comes to such an unethical company in my opinion I know what you mean, I am not gelling a whole lot with many cameras at all at the moment, all a lot of room for improvement really. The manufacturers need to step it up.

The great thing is you can just stick it on Aperture priority and Auto ISO, and concentrate on getting the shot perfectly with pristine image quality, no noise to speak of. Try doing that on the A7S III or EOS R6!

Yeah don't get me wrong I think it's fantastic and very rare to have such clean 12,800 and 25,600 results. The other way you can get around the noisy S-LOG 3 results between 3200 and 10,000 is to simply change to a Cine gamma mode instead or use a flat profile like EOSHD Pro LOG. It is just that if you want maximum dynamic range at these commonly used ISOs in S-LOG 3 then other cameras like Panasonic S1H will give you much cleaner results from a higher resolution sensor and 6K.

Speaking purely from a personal perspective why I don't use an external recorder (either Ninja, or anything else): - A second complex interface to operate, on top of the one already on the camera distracts me from the shoot - The bulky ergonomics makes handheld shooting a chore at double the weight, unless you go all the way and turn it into a shoulder mounted ENG camera - No weather sealing on the recorder, and big brick of a battery on the back rather than it being internal and discrete - I absolutely can't stand HDMI as an interface. It's so flakey and unreliable. Easy to damage too - I like packing away a single unit, I don't like having to dismantle something between takes on-location. If you're only shooting studio work then ok, then external recorder is better suited - Having to babysit not one but two batteries - one in the camera, one in the recorder. - What is the point anyway when image quality is so good with internal codecs these days? Even 8bit. You don't really always need to shoot 10bit and if 8bit is easier to edit then that's ok with me. One of my favourite cinematic images of all times is 8bit (Canon 1D C). - Placement on the rig is never quite ok - I don't like a big screen hanging off the hotshoe, it is unbalanced. I don't really like it hanging off a bit arm from a cage either. - What is the point of a small mirrorless camera if it isn't small any more? May as well get a C200 or something. For years Atomos and the manufacturers haven't addressed any of the above. I like them from a technology standpoint. They have some very talented engineers. Their UI is well designed, albeit somewhere I don't want to have to go when I'm trying to get some fleeting moment run & gun style. I think if you're concerned about Canon's issues, you've every right to be. The dilemma at the moment is that everything on the market has some sort of drawback so it is time to choose your poison. - Canon. Do you go with a company that seems to be unable to stop lying to its own customers, in my view - ethically a concern, but one that makes cameras that often nail color and skin tones, with the best LOG profile and obviously they are market leading for a reason but I haven't quite been able to understand why - Sony. Do you go with the best autofocus, best sensors, but still quite humdrum boring to use bodies that don't inspire you to pick them up and whose results are often a bit wonky to say the least in the overall look department? - Fuji. Do you pick APS-C or really up the ante and go full on in at £6000 with 4K medium format? Their APS-C cameras are the best on the market but they are still crop sensor. Also the X-H2 seems to have gone down a toilet somewhere never to reappear, so there's that. The X-T4 is no S1H. - Panasonic. Do you forgo autofocus? - Olympus. Do you forgo the entire existence of the company? Pick your poison!

Are you the resident Atomos salesman or something?

Yep, you're 100% correct about that I was doing it myself in Premiere.

Was that Resolve 15? Thanks for trying it out. Just out of interest is your S1 set to 64-1023 or 64-940 for 10bit in the Luminance Level camera menu?

It is enforceable because both Apple and Sony already tried!

Picture of me shitting my pants and looking shocked?! Speaking of muddy brown... A7S III is very good at that!! ISO 10,000: ----- EOS R6 (Canon LOG) at 12,800: Even though the noise gets better at 12,800 on the A7S III once you switch circuits, the colour information is still completely thin.

Yeah clearly something going on there. Wonder if 1D X III will get C-RAW Lite and C-LOG3 as well.

How are they getting around the RED patents I wonder?