TrueIndigo

My take is that I'm basically at the onset of forced retirement.  
The gigs that were my level of production are basically gone, replaced by selfie vids.  And why not?  They work just as well as something a real estate agent would pay 2K for a decade ago.  If it looks "worse" than if I did it, big deal.  A former client's self-made vids do the job.
That segment of my career is over.  Obsolete.  Gotta get right with that whether I like it or not.  
So, move on to something else.  It's liberating in a way, but learning a craft to lose the craft kinda stinks.  Imagine being a blacksmith 100 years ago.
In the meantime, motion picture cameras are going to a niche market, so expect a lot of fewer choices in that market in the years to come.

Hello,
This is the official topic for all Colorizer products.
My main focus is bringing high-precision Fujifilm Film Simulation LUTs to multiple cameras.
The following formats are supported at the moment, click the links for videos and details:
Fujifilm X-T3/X-T4 F-Log
Sony S-Log2/S-Gamut3.cine
Panasonic V-Log L & HLG
I also sell ACES IDTs for cameras that are not natively supported by Davinci Resolve:
- Fujifilm F-Log/F-Gamut
- Nikon N-Log/BT.2020
- Sony S-Log2/S-Gamut3.cine
- Z Cam ZLog2
- GoPro Protune
These packs include a lot of 3D LUTs simulating the ACES Rec.709 look, so it can be valuable for Premiere users as well.
I also have Technical fixes for common color shift issues caused by bad interpretation of certain clips in Premiere. I strongly suggest you check this out if you're a Fujifilm user.
As a bonus I created a bunch of free online tools for creating and modifying 3D LUTs, so if you're into this kind of stuff, visit http://colorizer.net.
Thank you for your attention,
Attila

Yes he will be missed!
I liked his channel, very much no-nonsense and going about his business with the upmost care.
We've lost an artist and a friend.
Rest in peace David

Since the organic sensor has obviously failed to show up this time, it would be good if they did something extraordinary for sensor dynamic range (precisely because of the smaller sensor size and fast enough readout). For example, pushing the dual ISO technology to instead make two separate (tone mapped) pixel exposures within the same frame as a standout and unique MFT feature. 

Although I wish the BMMCC had a small monitor on the top like the Komodo, I still prefer it over the BMPCC. I usually shoot ProRes, but I like that it has the 3:1 compressed raw and the 60p. The miniature cinema camera form factor also looks kinda cool. My rig is almost complete...

I may eventually buy a BGH1 for a similar reason, especially with the new Tilta rig for it...

I'd lose the baseplate/rods and the top handle and throw a Ninja V on their for some ProRes Raw. This looks pretty good...
But I digress, I kinda like the infuriating form factor of the BMMCC.
 

Many years ago when I used to regularly read the photography magazines, I was reading an article about "Classic cameras" and was surprised to see my own camera (at the time I had two Pentax MX bodies) was included in the article! Having bought them new it made me feel quite old, especially when it said: "These cameras are still capable of serious work" -- I thought: well, I'm still seriously using mine anyway! With digital things get older much quicker, so it's just my 1970's lenses that still shine now. That's progress I suppose.

Yes, I was thinking of the older cameras which only shoot FHD as their native resolution. I remember years ago doing an UHD upscale of some FHD footage from the old Nikon D5200 which looked quite pastel and smooth with some careful noise reduction. I think that camera used a Toshiba sensor and had a nice cyan tint to it which I liked. Later I bought the D5500 to pair with it, but it was quite different from the earlier camera, looked more generic, more modern I suppose.

Yes, I was thinking of the older cameras which only shoot FHD as their native resolution. I remember years ago doing an UHD upscale of some FHD footage from the old Nikon D5200 which looked quite pastel and smooth with some careful noise reduction. I think that camera used a Toshiba sensor and had a nice cyan tint to it which I liked. Later I bought the D5500 to pair with it, but it was quite different from the earlier camera, looked more generic, more modern I suppose.

Merry Christmas everyone, hope you had a good one. Here's hoping for a better New Year -- all the best.

Hallo dear friends,
I wish you all happy holidays! This is a music video from a winter short we did this summer, which I dped with a friend of mine.
A charming journey of roughed up singer Stella who is rushing through the city on Christmas eve, with Schmalz and Pathos of German Schlager music.
I wish you all a peaceful time. It is family and friends we find most comfort in. But also some campy fun and vintage lenses in these harsh times. Lens used with my S1 is a beautiful and cheap Unitor (Soligor, Hanimex) 35-70 2.5-3.5.  C300 performed with conventional Walimex lenses. Love from Germany. Stay save, dear friends! best, Marty
 

Here is a new series on EOSHD...
It's a podcast.
The aim is to put out long 1-2 hour conversations, in the style of Joe Rogen - touching on subjects others dare not, sort of. Oh and some camera nerd talk as well...
https://www.eoshd.com/news/the-eoshd-podcast-episode-1-british-filmmaker-jg-harding/
Hope you enjoy it, and thanks to JG for taking part in this episode.

Here are some frame grabs from my first feature length film Bad Decisions. I started on the GH4, then shot some scenes on the GH5. I will finish this next year with the S5 and S1H if COVID-19 doesn't turn into COVID-20. 😬 I'm probably going to go straight to Amazon Prime. My budget thus far has been $10K and I have another $3K or so for the last two scenes. 
As so many of you know, no ifs, ands or buts about it; filmmaking is fucking hard!  This is probably why this is my last one. I've been discouraged so many times that I had pretty much decided to delete the whole film and just quit altogether. But looking at these grabs, and knowing that I lit that, I blocked that, I wrote that, I shot that and I directed that gives me the courage to complete what I've started. It would be nice if I break even, but even if I don't, I can say that "Hey, I did that!" And boy I didn't do that alone! I had so much help from friends, family and complete strangers that it's too much to even count! They were angels, there just when I needed them, and for not a moment longer,
There was one scene, that I was shooting straight guerrilla style. I needed to shoot on three city blocks at night, and I had to light it, and there was a gun scene that kinda made me nervous for the safety of the cast and crew. We have no permit process in my city, so I went to the police department, and explained what I was doing that night, and they were like "Ok".
As soon as it got dark around cast and crew call time was at 6pm. We went to the neighbors houses and let them know what we were doing. We started blocking, and laying down markers for lights tripods and actors. It got dark at 9pm, and we started shooting. We were shooting in moving cars, had special effects, and every scene was lit. We even faked a window getting shot out. We wrapped that scene at 5am the next day, right before the sun came up.
Do you know for the entire time we were shooting, not a single car drove up any block visible? It's like we rented 100 homes, paid everyone to stay inside and blocked off the area for a 1/4 mile radius! God was most definitely on my side that day, and it was one of the best scenes in the entire film!

I sat down with my friend Dave Maze for a podcast recently. We talk about the origin of EOSHD 10 years ago, and the start of the DSLR video revolution, my filmmaking adventure in Berlin, recent controversies and edgy camera opinions.
Big thanks to Dave for taking the time to let me ramble and for listing to my waffling!
https://www.eoshd.com/news/eoshd-on-the-golden-hour-podcast-with-dave-maze-in-depth-interview/

Is amazing. I love it. Never going back to RED unless I’m forced to by a client.
Just thought I would share. The IQ is pristine, colors are great and it’s just a breeze to use. Will post a few stills here in a day or two.

...and a few days later, I'm keeping it after all.
In fact, a pair of them are going to be my main workhorses as I intended.
I have been trying to find a workaround and not just a 'kidding myself' fix, but something genuine.
I looked at both the HC-X1500 camcorder and the bridge camera (for my static manual and occasional but important AF needs) but just know that based on my current 1" sensor Sony camcorder, the footage is going to be shite. And it's still contrast detect, so nah.
Back on to the stage comes a used XT3 body and I already have a Fringer and 17-50mm f2.8 Sigma so for all my static manual focus needs, et voila and for the 1 minute or so on each job when I also need AF, et voila encore.
As I may have said before, I love this camera (the S5) in every way except the weird pulsing in AF mode but otherwise there is something just 'right' about it. That combo of size, weight, ergos, dials, buttons, operation and of course quality of both video and stills files.
Just need some projects to use the bugger on now...

Kaboom, it's arrived!
Sorry, no YouTube unboxing video or reading of spec list, just an initial impression whilst the battery is charging.
I've come from 8-9 years of Fuji as my main cameras with some dabbling in 1" Sony and M4/3 Panasonic but have otherwise never owned a full frame mirrorless before.
I had Nikon DSLR prior to Fuji for stills with a D7000 for filming...but things have moved on since 2010!
First of all, it feels superb in the hand. In terms of size for handling and my use, just about perfect.
Weight, perfect and I currently have the 20-60mm 'kit' lens attached I bought it with which will become my personal travel lens and my stills work wide angle.
Build quality. Well all my old gear has now been sold but I'd say it's all a step up from Fuji and I had no complaints about that, but the build and finish are superb and the way the dials click and operate etc.
Next up, some stills and video tests to get a feel for how it all works etc and that all important AF test..., but so far, it's all looking good!

Do you mean 10K as in a sensor 10,000 pixels wide?  I'm not surprised by 8K video but that's crazy!  That would make it, what, 75MP??
Or go cheap and use FF lenses..  I use an FD 70-210/4 with 2xTC on MFT to shoot my kids sports games.  Even the GH5 IBIS struggles with that - 840mm equivalent.  
Or here's the same optics on the Micro:

I haven't used this setup yet, but when the sun starts to come around where I can see it hit the horizon again, I might return to my sunset project and record some RAW video.  1209mm equivalent!!
At that focal length even the solid limestone wall I use as a tripod can't protect the image from people walking nearby.  The GH5 in action.

Thanks guys, it was the hardest news of my life. Fortunately, he's doing well, with almost no side effects despite two cycles of Folfirinox. Its a marathon, but an encouraging start

Hours and hours of diffraction.

As you can see, I'm managing to combine both at the moment.
I do have a couple of ideas about how to do something interesting regarding the multiple exposures but not necessarily conventional approaches....

A peek for you of the first shot from the GFX 100 shoot with @BTM_Pix
Edit is ongoing!
This isn't "perfectly" in focus but it'll give you an idea of the kind of creamy 10bit tones from this "medium format Alexa".
The dynamic range is extreme.
This was shot in classic chrome. I shot a lot of F-LOG and the files are deeper than Oscar Wilde.

I often look at the 4 or 5 cameras in my bag and think “this cost me far too much and they’re all the same”. Then I have a cup of tea and try to forget about it.
Yes it’s true, the full frame market is overcrowded and image quality differences between them are getting smaller. What about selling 3 or 4 of those cameras, I thought to myself… And consolidating them into one giant mad one.
So this happened…
https://www.eoshd.com/filmmaking/inspecting-the-fuji-gfx-100-and-having-a-cup-of-tea/
 

Sage, why does the 10-bit HLG profile use the reduced range of 64-940 - wouldn't the extra tones in the extremities be an advantage?

I think the GH5 is a sleeper camera, along with many others like the UMP, C100, etc.
These cameras are good enough quality so the images easily meet a professional standard, aren't fancy or odd enough to be bragged about, and aren't used on large productions that have interviews with the cinematographer.
People talk when someone shoots a feature film on an iPhone because the perception is it's not good enough.  People talk when someone shoots a project with a camera that is fancy or odd, or when the camera doesn't traditionally suit the project.  and if a film has a huge budget and wins awards then everyone gets interviewed and there are four paragraphs about the lens choices and the phrase 'colour science' gets mentioned.
But when someone shoots a documentary / ad / training course / low-budget series / short / or indy feature with a sensible and capable camera, there's no press about it.  That's the GH5, XT-3, UMP, C100, etc etc.  
I would be very curious to see what percentage of all edited content consumed is shot on these types of cameras.  I think it might be a quarter.  But that's the point - we'd never know, because it's not remarkable.  Therefore no remarks are made, and we don't hear about it.
These are the cameras of the people quietly working outside the limelight and delivering good quality content.