blondini

Thanks Panasonic for finding 4 dudes for your promo video. I guess girls don't know how to use cameras.

Thanks Panasonic for finding 4 dudes for your promo video. I guess girls don't know how to use cameras.

Thanks Panasonic for finding 4 dudes for your promo video. I guess girls don't know how to use cameras.

Thanks Panasonic for finding 4 dudes for your promo video. I guess girls don't know how to use cameras.

Thanks Panasonic for finding 4 dudes for your promo video. I guess girls don't know how to use cameras.

Thanks Panasonic for finding 4 dudes for your promo video. I guess girls don't know how to use cameras.

Thanks Panasonic for finding 4 dudes for your promo video. I guess girls don't know how to use cameras.

I also want to like this new generation of Sony cameras. Ever since magic lantern blew the lid off canon DSLRs by enabling RAW, I've been expecting an HD/2K camera to come along that offers similar quality in proper shape at a decent price. Instead its all 4K smoke and mirrors, delivered with flaky, pain in the ass codecs.

I remember having an argument a few years ago late in a bar about how film would never be suplanted by digital. I said: just look at Once Upon a Time in Anatolia if you don't believe me. The next day I checked and discovered it was shot on the F35. 
 

Now that I've had over a years use of 4k 8 bit 4:2:0, I find very little benefit to overall image quality compared with true 1080p. Images seem to be getting more and more digital, artificial, brittle. Lacking in soul. Even TV's are set by default to take out the magic with those horrible "True Motion" settings. 
Point is, what on earth happened to 1080p? The camera companies can't be finished with it yet. 4k is still very much an infant, screaming at customers for market share. 
Canon and Nikon have the most "pleasing" images, but progress in video features is slow. Oh well. 
If Nikon had released: 
- 2.5k compressed raw video and 10 bit ProRes, full readout.
- 120fps HD on an 8 second buffer (decent bitrate).
- Articulating LCD. 
- Peaking, zebras, log (standard video stuff)
..... it would be very very very very popular. Probably. Likely. I'd get one. 

These days working with ML raw is a breeze. Reqired CF cards are much cheaper than a year ago. I have 5d3 and love working with raw. I have bought 2 sandisks 128gb 160mb/s and they NEVER gave me dropped frames. Never unexpected recording stop. NEVER. It is very reliable. 128gb last for about 25min 24/25p 1080p.
My workflow now is:
-put CF card to the reader - 2 seconds
-use  an app called MLVFS which "mounts" the files from the card and makes them virtual CDNGs - 128gb take maybe about 30 seconds
-open resolve 12 and import files - 30 seconds
Color correct, cut, do everything and export  - there is NO need for any conversions at all.
Thats it. There is some nice app, all-in-one solutions in the making right now  - called MLVProducer.
On shoot i had 4 CF cards and nextodi 2730 with 2TB HDD onboard. Archiving 128gb takes about 25min. Then i can take HDD out, plug it to the PC via sata cable and work straight from it. Memory is getting cheaper very fast. Instead of investing 2-3 thousands $ into new camera (and cry about 8bit etc) i rather buy 8 new sandisk cards for 1300$ and have 200 minutes available without a need of copying it on set.

I remember having an argument a few years ago late in a bar about how film would never be suplanted by digital. I said: just look at Once Upon a Time in Anatolia if you don't believe me. The next day I checked and discovered it was shot on the F35. 
 

Not true. You can shot slowmo in raw with the Markiii, not with Markii. Here's a video i made with my 5Diii

I also want to like this new generation of Sony cameras. Ever since magic lantern blew the lid off canon DSLRs by enabling RAW, I've been expecting an HD/2K camera to come along that offers similar quality in proper shape at a decent price. Instead its all 4K smoke and mirrors, delivered with flaky, pain in the ass codecs.

I also want to like this new generation of Sony cameras. Ever since magic lantern blew the lid off canon DSLRs by enabling RAW, I've been expecting an HD/2K camera to come along that offers similar quality in proper shape at a decent price. Instead its all 4K smoke and mirrors, delivered with flaky, pain in the ass codecs.

I also want to like this new generation of Sony cameras. Ever since magic lantern blew the lid off canon DSLRs by enabling RAW, I've been expecting an HD/2K camera to come along that offers similar quality in proper shape at a decent price. Instead its all 4K smoke and mirrors, delivered with flaky, pain in the ass codecs.

I read this with one really long sigh... Well, in my head, doing that for real would probably be dangerous.
it was just so predictable, I mean I didn't want it to be true, the Sony spec sheet was, as usual, amazing; I can't remember a camera of theirs that hasn't made me eventually hate it because of bugs though.
all this progress and I'm still using a bloody C100. It works, grades easy in hi-dr mode (sort of semi log) and the footage flies on a laptop. I actually WANT to find something even better... But I don't like too many compromises 
 I hope one day Sony do bring us a camera that he no bugs, a great or even passable codec and has their usual lower-than-Canon price points, but until then... I Gotta keep using what works...
so sad

This crippling of cameras capabilities on purpose is getting really ridiculous and insulting.
We know how much of a scam it really is since the 2009 mark II is 14 bit raw capable thanks to magic lantern,
- The gh2 capable of much higher quality compressions thanks to the hack.
- The sony F5 internal 4k capability with a simple line change edit in the config text file.
I'm under the impression we have come to a point in camera technology where the entry line cameras are fully capable of producing at least 4:2:2 color, possibly at 10bit depth and definitively with higher quality compressions. Problem is with this level of image quality the enormous price jump of the high end cameras would be hard to justify even with raw formats. They just have to mess up the cheaper ones somehow.
Since blackmagic strategy is to offer the most features at the best price to compete with the market, and they don't have such a crowded product line to have to apply this product segmentation garbage I believe they are a good comparison:
Ursa mini $4,995                               Sony fs5 $5,599.00
ProRes XQ 4:4:4  - 250 MB/s              XAVC Long 4:2:0  - 100Mb/s with macro blocking nightmare
It's 2016, you pay 5'600usd for macroblocked 4:2:0 8 bit. Come on now.

This is a pretty good example of what happens in the real world. 6 years later...

Clarkson is someone who realised quite early on that you could talk about cars (or maybe cameras, or lenses) for a thousand years and not get the same coverage as the odd 'non PC' remark and so has built a career on this. The downside of this strategy is obvious. Most of us learn in the playground that if you wind people up all the time to get a reaction you get hit eventually.
I don't watch Top Gear because it isn't really a car show, the way Masterchef isn't really a food programme or X-factor isn't really a search for new original talent. They are TV shows, edited and stage managed to buggery.
I visit EOSHD because it is a proper camera/video and gear site with useful real world opinions about gear I might actually own and use. 
This particular instance sounds different and more like workplace bullying - there was no food available because the presenters had stayed in the pub for two hours and the hotel chef had gone home by the time they got back - but then I don't really know the facts and neither do you. All I know is that Clarkson has got where he is (for good and bad) by himself and doesn't really merit or need your support.

I shot on film for a few years when I started out. I've shot on a variety of video formats for quite a few years. I'd definitely choose to shoot celluloid if I could on my next film. I worked differently on film. It made me think differently about how to approach what I'm doing. I think shooting on digital has taught me heaps of bad habits, to be sloppy, and not value the moments I shoot. 
And that quote from Andrew Wondlan regarding Kodak Vision 2 could be equally applied the progress of HD/4K and the pursuit of more pixels and dynamic range. I don't give a ****. GH4 looks like garbage no matter how many pixels it has, and I have never felt my pulse quicken when I look at it. I remember the first time I saw 4K projected, at a test screening of King Kong in Auckland. it made me feel sick. I feared for the future because I doubted that a beautiful film would ever be made on 4K. Nothing has changed my mind. So yeah, cheer for the democracy of digital. But I'll shed a tear for the beautiful films that made me want to pick up camera in the first place.

I shot on film for a few years when I started out. I've shot on a variety of video formats for quite a few years. I'd definitely choose to shoot celluloid if I could on my next film. I worked differently on film. It made me think differently about how to approach what I'm doing. I think shooting on digital has taught me heaps of bad habits, to be sloppy, and not value the moments I shoot. 
And that quote from Andrew Wondlan regarding Kodak Vision 2 could be equally applied the progress of HD/4K and the pursuit of more pixels and dynamic range. I don't give a ****. GH4 looks like garbage no matter how many pixels it has, and I have never felt my pulse quicken when I look at it. I remember the first time I saw 4K projected, at a test screening of King Kong in Auckland. it made me feel sick. I feared for the future because I doubted that a beautiful film would ever be made on 4K. Nothing has changed my mind. So yeah, cheer for the democracy of digital. But I'll shed a tear for the beautiful films that made me want to pick up camera in the first place.

I shot on film for a few years when I started out. I've shot on a variety of video formats for quite a few years. I'd definitely choose to shoot celluloid if I could on my next film. I worked differently on film. It made me think differently about how to approach what I'm doing. I think shooting on digital has taught me heaps of bad habits, to be sloppy, and not value the moments I shoot. 
And that quote from Andrew Wondlan regarding Kodak Vision 2 could be equally applied the progress of HD/4K and the pursuit of more pixels and dynamic range. I don't give a ****. GH4 looks like garbage no matter how many pixels it has, and I have never felt my pulse quicken when I look at it. I remember the first time I saw 4K projected, at a test screening of King Kong in Auckland. it made me feel sick. I feared for the future because I doubted that a beautiful film would ever be made on 4K. Nothing has changed my mind. So yeah, cheer for the democracy of digital. But I'll shed a tear for the beautiful films that made me want to pick up camera in the first place.

I shot on film for a few years when I started out. I've shot on a variety of video formats for quite a few years. I'd definitely choose to shoot celluloid if I could on my next film. I worked differently on film. It made me think differently about how to approach what I'm doing. I think shooting on digital has taught me heaps of bad habits, to be sloppy, and not value the moments I shoot. 
And that quote from Andrew Wondlan regarding Kodak Vision 2 could be equally applied the progress of HD/4K and the pursuit of more pixels and dynamic range. I don't give a ****. GH4 looks like garbage no matter how many pixels it has, and I have never felt my pulse quicken when I look at it. I remember the first time I saw 4K projected, at a test screening of King Kong in Auckland. it made me feel sick. I feared for the future because I doubted that a beautiful film would ever be made on 4K. Nothing has changed my mind. So yeah, cheer for the democracy of digital. But I'll shed a tear for the beautiful films that made me want to pick up camera in the first place.