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  1. Like
    sudopera reacted to Dan Wake in Is 8K too much?   
    in VR il looks that the goal is 32K. 16K per eye AMD wish that apparently
    so 8K is only like the "Hd Ready" of the VR. incredible.
  2. Like
    sudopera reacted to Andrew Reid in Is 8K too much?   
    I think only VR stands to benefit from 8K.
    Cinema doesn't need it.
    However, in 10 years we might all be strapped into our VR headsets for watching movies... Even at the cinema!
    I'm very impressed with how immersive VR is when done right. It is here to stay, unlike 3D.
    But watching 8K on a flat screen from a distance is pointless... Human eye just isn't up to it.
  3. Like
    sudopera reacted to Oliver Daniel in Pro camcorders? They're pointless creatively.   
    Andrew, I'm with you on this as I'm having a similarly "off" experience shooting on my FS5. 
    It has everything I need in a very versatile package and shoots some great stuff for me, but.....
    I much, much prefer shooting on small mirrorless, certainly at a creativity angle. I do t own a GH5, but on yesterday's FS5/Inferno heavy pop music video shoot - I held the BYS guys GH5 w/ Speedbooster Ultra and my Sigma 18-35mm. It felt really cool, very exciting in fact. 
    Today I got some pickups shots, and ditched the FS5 in favour of the A6500. The 4K XAVC-S (minus RS), is just fantastic. It felt very good.
    The bigger cameras are there for covering all bells and whistles, and being a reliable workhorse. To get creative with them, you need a team around the camera to pull off the shots (grip / lights etc) as they are much more stationary. 
    The FS5 / Inferno covers this heavy production need, but for smaller projects, it wouldn't be my first choice.
    In the pro world, clients do get very excited about seeing the Kit being used, and do feel more value is being attained by a bigger camera, even if that bigger camera is actually shit. 
    I've had weird thoughts about selling it all and just going GH5, as this method is just fun. At the same time, I could sacrifice the "expectation" I've built by selling up, or it could be a case of finding a new lease of life by using what I find most fun and enjoyable (small powerful mirrorless). 
    I guess you could relate to that? 
  4. Like
    sudopera reacted to Andrew Reid in Pro camcorders? They're pointless creatively.   
    Work tools are boring. I've always found mirrorless cameras way more fun to actually shoot with.
    In his day job John Brawley has an Alexa. Why on earth would he shoot 'for fun' creatively, with an Olympus E-M1 II? But he does.
    There are a lot of talented DPs who shoot with DSLRs and mirrorless cameras once they down their RED and Arri cameras at the end of the day.
    Yet I find in the mid-range market for video pros (wedding videographers for example) there's an aspirational value attached to the higher-end pro cameras, that is stupid and pointless. Aspirations should be creative.
    Owning a Sony FS5 or Canon C500 doesn't make you more creative, it makes you more efficient at work by a slight bit, and you appear more professional because of the big nobs and bells & whistles. Sadly, it doesn't necessarily make for "better" work because I have yet to see a clear distinction between work shot on mirrorless cameras and on stuff like the C300.
    In fact often the small camera stuff looks better and more inspired. The legendary Anthony Dod Mantle is known for his rough and ready work with digital, but when he went Canon C-series on Oliver Stone's recent series of Putin interviews, the look they achieved was slap dash and lazy to my eye... Could have been so much better. He used DSLRs as well on this shoot (between 2015-2017) and those shots actually came out more interesting!
    Too many pro videographers seem to dream of cameras like an Alexa and RED, why shows to me how important the professional label and look is to people, but creatively, they are no better and actually worse than the small cameras.
    I hated shooting with my Sony FS5. A fiddly pain in the ass, for my music video work in Berlin, it needed an OIS lens and rig for handheld - limiting the choice of looks from the lens. With a GH5 you can put any lens on there and it is instantly stable for handheld work, with a tiny form factor that gets out of the way.
    The FS5's image was worse than an A7S II but double the price. Aside from high frame rates it didn't offer anything creatively over a DSLR or mirrorless camera and now I have 120fps full frame on two of my small cameras along with 240fps 1080p on the pocket RX100 IV - So why bother getting a more expensive camera if it doesn't power you along creatively as much as the cheaper stuff!?
    These pro cameras aren't cheap... Sometimes I got lucky and I bought a Canon C500 for a very good price used, but do you know how many times I have felt compelled to take it out and use it for artistic work? Zero times.
    Kendy Ty is another example of a pro who downs his workhorse RED and shoots with a DSLR... The camera gets out of the way to such an extent he can shoot short films in public and direct the actors at the same time as being the main cinematographer. His work sticks in the mind as some of the most creative and spontaneous I've seen and there's not a C200 in sight... zero need for one!
    I think pros have by-and-large completely forgotten and lost the spirit of the DSLR movement back from 2010-2012 as they sought efficiency. XLRs, built in NDs, yadda yadda. Blackmagic as well, when they ditched the small cameras and went all-out URSA on us. Canon too... Oh wait, they never got it in the first place, and they invented it!
    Cameras should not just be about making money. That's how an art-form gets boring. That's how it dies.
    They are not just about doing a job.
    They're about creatively enabling artists and they're about democratising the art form so that price doesn't act as a road block to new talent.
    Of course Canon only care about profit, they are not interested in that.
    The Olympus E-M1 II's stabilisation isn't seen on any of the pro cinema cameras. It's unique. It offers something creatively to the result that a bigger, more complex shooting rig simply does not.
    On the audio side, so important creatively, small mirrorless cameras used to have limitations and some still do - but with XLR boxes with phantom power that fit in a hot-shoe, you can't really complain. Audio is not a big limiting factor on the Panasonic GH5.
    I still know that pros have their professional reasons for going Cinema EOS or Sony FS or RED or even Arri... Workflows, codecs, ergonomics, power, performance, looking-the-part... I'm not denying their reasons for one second, it would be so naive to suggest they drop the workhorse cameras and use a mirrorless camera for paid work.
    But the creative side of the small cameras is what matters to me and I think it is being overlooked as specs in the $6000-$10,000 pro market hot up.
    Sure, you can shoot all day on a big battery to a small broadcast ready codec with the C200, very practical... But can you put a 1970's Super 16 lens on there? Can you increase the character of your images by a factor of 10? Does it have an anamorphic mode? Nope.
    If I ever buy a C200... Shoot me. It's over.
  5. Like
    sudopera reacted to Andrew Reid in £150 Arriflex lenses on the GH5   
    The GH5 has the chunkiest 10bit files I've ever seen for $2000. Some of the lenses are even more of a bargain.
    Read the full article
  6. Like
    sudopera reacted to fuzzynormal in The other issue with the C200   
    It is an issue for me.  Im part of a documentarian team that shoots, with my wife, an A and a B.  
    As such, I'm frequently looking to rent or buy camera pairs and lenses.  
    Typically, for our own self-financed films, I'll purchase the gear on deferred credit --and then re-sell the stuff 4 or 5 months down the road when everything is shot and in the can.
    The depreciation between the purchase and resell is what I consider my "rent" fees.  Gear comes and goes this way and the cost of having the stuff while the work is happening is very reasonable.
    Cheaper and more flexible than actually renting.
    For instance, we bought another GH5 recently simply to pair with the initial one (purchased for another gig) and now we'll be using those GH5 cameras for the summer.
    Id love a bigger budget, eventually, to possibly employ this strategy for higher end cams such as the Canon C's, but the low overhead of the hybrid gear is effective for doing this sort of stuff on the cheap. 
    Also, I like shooting doc video on a photo camera.  I think it offers a certain comfort among subjects/people. It does often seem that they aren't indimidated by that as much as they are with "big" or "real" gear. 
  7. Like
    sudopera reacted to jax_rox in The wraps are off! Panasonic EVA1 compact cinema camera announced with Super 35 5.7K sensor and Dual Native ISO   
    This camera takes SDXC, and let's get real for a minute: raw is wholly unnecessary for 98% of the camera's target market. 
    The Varicam LT may be 'only' a few thousand more - but Starr factoring P2 cards and the price jumps drastically. And since when does the LT do raw internally..? 
    The FS7 doesn't even have a proper EVF. Stick a loupe on the LCD and voila - you've got the same solution as the FS7. 
    You know the URSA Mini also doesn't come with an EVF? And really, the 'back of the body' EVFs on the C series and FS5 are next to useless.
    But sure, feel free to denigrate a camera based on the cost of wholly unnecessary accessories
  8. Like
    sudopera reacted to TheRenaissanceMan in The wraps are off! Panasonic EVA1 compact cinema camera announced with Super 35 5.7K sensor and Dual Native ISO   
    Believe it or not, that amazing Varicam 35 reel that blew us all away a few years ago was shot on the same 10-bit AVC-Ultra codec.
  9. Like
    sudopera reacted to Oliver Daniel in The Canon C200 is here and its a bomb!   
    Yep, this camera is a production workhorse... it's not designed for mirrorless camera street shooters, Vloggers, shoestring budget filmmaking.... 
    As an FS5 owner with all the bells and whistles - I have 4k 100fps and 2k 200fps in ProRes or CDNG. Spoilt really. 
    This C200 does peak my interest though. 
    In my limited time with the rather boring C300 - it was an absolute pleasure to use that camera. 
    The C300 II seems like a big misfire as seems like it needs to be heavily discounted. 
    The C200 has some great features the FS5 doesn't:  
    Dual Pixel AF. Superior Colour. Internal RAW. 4k 50/60p internal. Easier to grade Log.  No need for bulky external recorder. Better focusing / peaking (going off previous C-series cameras).  Those features are very, very worthy and actually very surprising. A big deal. 
    However, there are a few reasons why I'd currently be in no rush to replace my FS5 with this: 
    Critical reasons
    No broadcast "middle" codec until early 2018.  B camera for gimbals, 2nd camera etc for smooth matching. The 5D mk IV isn't exactly worthwhile whereas Sony has a gazillion options with tons of features.  100/120fps mode uncertain.  Moderate reasons
    Would lose 4k 100fps and 200/240fps modes.  Regular ND instead of electronic ND.  No Speedbooster.  Less lens adaptability.   
    Good stuff at last by Canon though!
  10. Like
    sudopera reacted to BTM_Pix in Would You Perhaps Be Interested In A Different GX80/85 Colour Profile???   
    Yes, you just have to modify the html file so that when you hit 'Deploy' it takes you to B&H Website where you can then buy a GH5
  11. Like
    sudopera reacted to Zak Forsman in Modified Lenses / Accessories that produce unique flares & bokeh   
    I modded a set of Conax Zeiss lenses myself. Wasn't without its challenges as this was my first time tackling something like this, but 100% worth it. The set includes 28/2, 35/1.4, 50/1.4, 85/1.4, 135/2. Mods include:
    1. seamless focus gears from Helicopter Sean
    2. bolt on Canon mounts from Leitax
    3. knurled step-up rings to 82mm from Breakthrough
    4. 82mm push-on lens caps from Kaiser, Canon brand rear caps
    5. and most importantly, I custom-made 2x fixed aperture cut from a .4mm thin sheet of stainless steel

    After sourcing all the lenses from ebay (all are mint or near-mint condition AEG or AEJ), I opened up each one and took measurements for the aperture discs. designed them in adobe illustrator (making alternates that were smaller, and smaller still). When I received the aperture discs I auditioned the different sizes, selected the one i was happiest with, and finally mounted them inside with a semi-permanent adhesive so i can remove them later if i want to re-sell the lenses.
    Haven't been able to shoot with them too much yet (busy at work). But I did take the 50mm pictured above for a spin. See below.

    Surprisingly, I've taken some flack when i mentioned this project in various facebook groups because these lenses are highly regarded (and pricey). I don't know, maybe they see me as either incredibly stupid, or reckless... maybe I'm both. But I can definitely say I'm also completely happy with the results. 
  12. Like
    sudopera reacted to Cinegain in How important is a social media "presence"?   
    I have a friend that used to never want to have anything to do with social media. Then again, he also paid for everything cash, because who knows who's keeping track of the digital traces you leave behind. Now that he has started his own business, he's all about social media and without embracing it he probably would never have seen the growth he has now. Unfortunately you're better of being an attention whore than keeping faith you will catch your break eventually. Your content might be king, but if it doesn't reach the eyeballs of someone recognizing your talent because you're hoping they will bump into it magically, opposed to actively promoting your material... then maybe there's something to it after all. Of course, being true to yourself is a noble thing... so if you can manage to get by without selling your soul then by all means stay sane! In the end of it, it's all a matter of perspective... there's 2 things in particular you mention... 'popularity is the only thing that matters' & 'making films I'm proud of'. Which is the more important one? Of course you can do something in between... like just showing some natural excitement for what you're doing by sharing little bits and pieces, keeping people in the loop... rather than just having to come across forced and spammy.
  13. Like
    sudopera reacted to IronFilm in Canon C200 and Panasonic rival camera to fight it out at CineGear Expo   
    I would not mind at all if Panasonic releases it with a MFT sensor, *if* that means the camera can hit a very low price point such as say US$3.5K??

    Who wouldn't want a GH5 with built in NDs, SDI out, TC, and XLR for US$3.5K!
  14. Like
    sudopera reacted to Cinegain in Dear Andrew...   
    Not sure where you're going with that? Are you leaving EOSHD because you feel like you've outgrown it or something? Or was it just the point of saying 'thanks' for allowing the guidance of your journey to your present day situation?
    So, I take it everyone is welcome here whether you own a cellphone or a RED. But... there's a lot of people that could use some help figuring all this shit out when starting out. And there's just too many places that are too pro, too serious and couldn't care less about n3wbz. I feel like here, there's no judgement, whether you're using a Sony F35, URSA Mini, GH5 or T2i/550D... it's all good, it's about getting the basics right and being able to deliver convincing content and there's more to that than an expensive camera. Think the crowd here is mix of professionals and enthusiasts that aren't quick to judge and are supportive of eachother. Positive vibes. There's too few places like that around on the good ol' interw3bz. Anyways. There's continuously going to be people starting out and not that quick to drop $3k+ on a camera and of course the core that gets more experience and higher end equipment as time goes on. That just allows for more interesting insights and knowledge to be spread around here, so personally I don't see the DSLR community going anywhere... if by that you mean the users of consumer & prosumer DSLR and mirrorless cameras that want to practice their art and be executing their talent as cinematographer or filmmaker. And isn't an URSA Mini a mirrorless camera at the end of the day either? And one more accessible than an ARRI?
    Seems there are a lot of 'coffee and <insert interest>' events popping up everywhere. I feel like maybe this is a 'coffee and filmmaking' hangout, where you can just talk about whatever is on your mind filmmaking related (or occassionally even otherwise) amongst people with similar interests.
  15. Like
    sudopera reacted to TheRenaissanceMan in Improving GH5 colour - comparison with 5D3 RAW   
    But converting the files to something your NLE can read takes some extra time, as well as factoring in the extra storage costs of RAW files. 

    A horse apiece in my opinion, and the GH5 offers a lot ergonomically/feature set-wise (IBIS, HFR, 4K, uncompressed HDMI out, XLR-capable, no playback issues, etc) that makes it a more practical option for many shooters. 

    The GH5 10-bit files offer enough latitude for color correction that there's no reason you couldn't get great results with a minute in Resolve and/or some of the excellent LUTs available, imo. Plus 4K is nice to have in the tool belt when clients want it. YMMV
  16. Like
    sudopera reacted to Andrew Reid in New EOSHD front-page template, faster loading and full width articles   
    EOSHD is not an odd case, nearly all the major sites are named after cameras:
    DVXUser - Panasonic DVX100
    Cinema5D - Canon 5D Mark II
    REDUser - RED
    This isn't really how it works with most people, as they come from a Google search and click the article because it's relevant to them - i.e. Sony or Panasonic posts. So it is immediately apparent both the blog and forum cover non-Canon gear.
    Times change and Canon might bounce back and start dominating. So changing to align with current Sony/Panasonic trends may be a waste of time as brands have to live forever.
    Reidvision wouldn't be so bad but it says nothing about 'cameras'
    I like short and snappy!
    Thanks for the feedback though I do see where you're coming from
    Most important thing for me is the site works well, looks clean, no shitty advertising, thriving community forum, great content, strong personal opinions, not in bed with PR industry.
  17. Like
    sudopera reacted to Jimmy in "Dies Somnum" 6K Anamorphic GH5 vid   
    Beautiful... Panasonic made a great choice signing you up. That is exceptional
  18. Like
    sudopera reacted to ade towell in Panasonic Teases New Compact Cinema Camera   
    A well respected member at dvxuser wrote this earlier
    "Just got this info about the new camera. It will have a S35 sensor and 14 stops of dynamic range. 4k up to 60fps. 1080p up to 120fps. All the usual stuff like ND, SDI/HDMI out. The body is very light weight at about 1 kg. Media used will be SDXC cards with dual slot capacity.

    The camera pars can be broken down and the shape of the camera is a mix of C100 and FS5. As is the price in the league of a C100 mkII."
    Would be pretty amazing if true
  19. Like
    sudopera reacted to Fritz Pierre in Kinefinity Terra is now shipping!   
    I seriously considered the Kinemax...liked the image from that camera a lot...but found communication with both Beijing and Berlin a bit vague...not quite sure how else to put it....but if I was going to spend $10k on a camera, I was looking for more in terms of support and clear communication...I thought the image lovely though!
  20. Like
    sudopera reacted to Dave Maze in C100 mkiii   
    Yes. There was a leak. I am not saying anything and I didn't post this. I may or may not have heard something tonight at a party  
    It may or may not have been a reputable source but from what I was told it sounds like the perfect camera. We will see tomorrow 
  21. Like
    sudopera got a reaction from dahlfors in GH5 test footage - Post it here!   
    No offense meant to you personally, but the more people throw over the top teal & orange grade to everything, the more I f..king hate it. For me this video looks great in terms of image quality but its ruined with that grade.
  22. Like
    sudopera reacted to Stab in Panasonic GH5 - all is revealed!   
    Funny to see a 100 pages discussion from which is 80% about Autofocus. At the same time, hundreds of video's are posted but none of them contain any production value. 90% is just baby- / cat- / house- / foreground flowers in focus / neighberhood video's.
    Also telling is that nowadays many vloggers buying a GH5 for their work. It's funny and weird to see how the video market has changed from a majority of professional camera users, to 90% hobbyists, vloggers and rich people buying this cam to play with for a while before never touching it again.
    Sorry, but i can't help the feeling of feeling slightly bad for all these spoiled little brats. If you can't or won't produce anything of visual value with this camera, then please don't judge it for it's AF capabilities. I have never used AF for video nor while I ever, and I'm not saying nobody may not or shouldn't, I am just pointing out what a bunch of whiners film makers have become.
    We used to use gear which was highly impractical and inefficient and made the best out of it to satisfy our clients. Now we're shooting 4k in slow motion footage of our cat which moves away from us all the time or towards us, and complain that this stupid 2000 euro camera can't even hold the damn cat in focus.
    This is not a complaint about EOSHD, where the percentage of sensible professionals is still pretty high, but about all the stuff I've seen lately on Youtube, Facebook and forums about this AF-talk combined with their cat- and garden video's.
    As soon as I will finish some professional shoots with the GH5, I will report back here. Until then, I'm gonna leave the discussions up to you. Happy shooting.
  23. Like
    sudopera reacted to zetty in Panasonic GH5 - all is revealed!   
    I don't think Panasonic anticipated all this fuss about AF, so the settings and the manual aren't that well thought out.
    Frankly, neither did I. Can't believe the % of attention this camera is getting that's going into this. Personally, I don't give a rat's ass about AF even if it could be a nice extra. I rarely use gimbal and can live with deep DOF or keeping appropriate distance and just tapping on my phone attached to my arm when I need to refocus. Now, with IBIS (which is truly amazing) I'll use gimbal even less as I don't mind slight handheld look most of the time.
    FWIW, I think the Panasonic's excuse for not implementing PD focus because it degrades IQ is bullshit though. I reckon it was a commercial decision they had to make as clearly there is a limit of R&D that can go into a camera at this price.
  24. Like
    sudopera got a reaction from iamoui in GH5 test footage - Post it here!   
    No offense meant to you personally, but the more people throw over the top teal & orange grade to everything, the more I f..king hate it. For me this video looks great in terms of image quality but its ruined with that grade.
  25. Like
    sudopera got a reaction from jonpais in GH5 test footage - Post it here!   
    Couldn't agree more... I don't think that T&O grading techniques are bad in general, but IMO the magic is in the subtlety, not like in this case where colors and saturation are all over the place.
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