Andrew - EOSHD

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?

Easier said than done! People are dependant on Facebook as they have planted themselves smack in the middle of our most important social connections, even between members of the same household!

Here's an example of the issue.

These YouTuber's switch cameras faster than I change my underpants. It took him 2 weeks to go C300 Mark III -> A7S III And now A1!

12,800 is too high for a native ISO. You will be shooting at base 640 boosted to 3200 or 6400 most of the time in dim light or indoors. Therefore the A7S III has a problem especially in S-LOG 3. The files look a bit shit. They are noisier than the EOS R6 and Panasonic S5!

Being principled is a thankless job and Roger is in a very privileged position so he is able to do what the fuck he likes. For normal people principals have a huge cost. Yet it is always much healthier to act on principal, and let true feelings come out. Principled people are actually quite rare and as soon as money or business is on the line, principals go out of the window. It is why the world is in such a mess and why horrible people like Philip Bloom have Sony sponsorship even after all we know. I think back to the Canon shenanigans of last summer and the lies which were told about it - I noticed that so very many people criticised me and unfollowed me over it, but very FEW people later thanked me when Canon released a firmware update to u-turn on their prior decisions. Nobody thanked Magic Lantern either or the people in China who made the various discoveries that showed up Canon for that they tried to do. If we want to encourage principled stands as a culture or a country we need to reward it. Instead our culture is doing the opposite, it is rewarding the unprincipled people who lie, or try to cover up the truth.

They both look identical to me.

What is the bitrate and file size in 8K C-RAW Lite?

Attila's work is fantastic. Please do check it out!

Half nutty bloke down the pub. Half heroic legend. Most people would have just taken the money and run. I don't think he really needs to!

What happened to the top LCD?!

New blog post: https://www.eoshd.com/news/why-did-canon-remove-eos-r-features-on-the-more-expensive-eos-r6

Big difference, big step back.

Anyone tried it yet - Looking for some feedback!

Here in UK and Europe online you have by law 14-days to return it if you change your mind. Which is good as it stops Canon absolutely ripping people off with exactly these kinds of unexpected trickery. Retailer I bought it from has been very helpful.

This is that moment, when I realise I've been looking at crushed blacks on my Fuji cameras ever since the X-T3 on my Intel MacBook Pro. Also a big thanks to Colorizer / @Attila Bakosfor donating the LUT for BT.601 to BT.709 conversion.

Here is an example I shot on the Fuji X-T4 in 10bit H.265. This is the clipped version: This is fixed by the instructions in the guide and the LUT

Ah yes I forgot to mention this - the 10bit 422 files are a complete nightmare. I have an M1 Mac and it's fine in FCPX. In everything else they seem to not even get hardware acceleration. The 4K is pretty mushy anyway, looks more line skipped in 60p than it does oversampled. The dynamic range and rolling shutter in 4K/24p 8bit is very poor. Indeed the rolling shutter is very bad in all modes apart from 4K/50/60 This camera could have been a contender.