austinchimp

Beautiful work. Can I also ask what sharpening you did and how you exported it? Some of the shots are so sharp and crisp, particularly of the woman near the fire at the end. Looks fantastic.
I always struggle to get crisp exports, even when the original footage has very high fidelity. I feel like h264 footage comes out much worse on Vimeo/YT compared to footage recorded in raw or prores for some reason.

I love getting out and doing this. I have so many bits and pieces from over the years that don’t have a rhyme or reason. I think it’s super important to the creative part of your mind, to keep up on the craft for the love of the crafts sake. Otherwise it gets stale really fast. People do this with music all of the time, pick up your instrument and just play. We need to remember to do it with video too.

You'd be better off buying that lens, which is 90% of the look of that video. Global shutter probably helps too, but I bet you could get a similar look from the Zcam E2, A7SIII, S1H etc if you had the same glass.

Just watched this and thought it was really interesting - I haven't seen this mentioned before anywhere.
I've played with editing to music and was never sure if I should put an edit on the nearest frame before or after the beat, but never thought about moving the edit point deliberately away from the audio queue.
It was an interesting aesthetic, even through YT compression.
What did you see?

According to L-mount rumors ther will be some  new affordable lenses as well in the next weeks. It's the biggest problem of this L mount alliance. Affordable lenses. Let's hope they'll come asap, i'm really ready for those 24, 50 and 85 primes 🙏🏽

If this is cheaper than the s1 then they really should add a firmware upgrade to the s1 to give it all the recording options like 4k animorphic 24p. 
4k 60fps 10bit 420. 
And have VLOG be free.
 
The Panasonic s1 isnt that old and as someone who literally went all in on an s1 last week specifically for video this announcement is kinda worrying me.. will the s1 suffer a price drop? Did I just get ripped off? Or depending on the new cameras price, will the s1 get an update to match specs? 
 
This is my first time using panasonic as I've switched over from sony so I'm not too sure how they handle these things as a company. 

On Friday, I received a message from the lead developer at Magic Lantern. An interesting theory was being put forward by one of their open source contributors, which he believed could defeat the so-called overheat timer on the Canon EOS R5.
Initially I was skeptical as to whether it would work! Mainly because the initial real-world tests on my own EOS R5 did not reset the timer.
But then, a break-through.
Magic Lantern just became Magic Screw!
Read the full blog post here:
https://www.eoshd.com/news/canon-eos-r5-so-called-overheat-timer-defeated-by-a-single-screw-in-battery-door/

I can't remember if I already posted this, but we shot this with mostly S1. Couldn't believe the quality of the image. Truly amazing.
 

MFT is a great format indeed. When I mean dismiss any of them, I meant to ignore either of both actually. You can surely skip one of those if you have the other one, of course : ) But this camera series is a dream come true, my fav acquisition system ever designed, produced and delivered to my book : -)
Mainly shot on P6K, here's a trailer of a feature film co-produced by me currently @ post production:
 

That's a lot of testing but do you want to know what I do? I have a GH5 also, I shoot nearly everything in 8bit 4:2:0 LongGOP 4K 60FPS and deliver every project in 1080P with a 16MB/s or 8MB/s bitrate and not one paying customer has complained about the video quality. I used to go through the same hand wringing over quality until I realized I'm not creating Hollywood blockbusters, my footage is going to be totally trashed by YT compression, and my clients will never notice the difference; they care about the content and have no idea where the quality could have been better.
I also have a C200 and have never shot a single project in RAW...everything is 4:2:0 LongGOP and my clients love it. For both cameras I avoid WDR scenarios whenever possible, I perfectly white balance the scene, and I shoot CLOG3 with the C200 and CinelikeD with the GH5.  Sure 10bit and RAW give you more latitude in post....but in most situations I have found that highlight rolloff and white balance are the two things that will make your footage fall apart in post if you are shooting 8bit. If you can get those right in camera you won't have any problems in post.
 
If I ever get a big time paying commercial gig in the 5 figure+ range then sure, I'll switch the C200 over to RAW and happily invoice the client for the extra storage and post processing time required or I might even go and rent something even fancier, but until then there is no way I am wasting my storage space, time, or equipment to improve quality that is impossible for the average viewer to see especially when 90% of them will view the footage on a tiny cell phone screen.
 

Many years ago, when footballers were still earning only a bit more than the average working man, they used to have their wages further reduced in the summer period when no games were played.
One of the finest players of that era, Tom Finney, told a great story about his colleague Tommy Docherty trying to get a better pay deal for himself.
"Tommy came down from Celtic, and had a fairly good season with us. In those days we used to line up in the corridor before going in to the manager to find out our terms for the following year. I went in to see Bill Scott, the manager, and he said I'd be on the same terms as the year before, £12 a week during the season, and £10 a week in the summer, which was known as 12-and-10. Tommy went in after me, and was told he'd be on 12-and-eight. `I'm not signing,' he said. `I've just found out that Finney's on 12-and-10.' The manager couldn't believe it. `But Finney's a far better player than you,' he said. `Not in the bloody summer he's not,' Tommy said."
I've been reminded of that story again by numerous comments I've been reading about the S1-H and its AF system.
Yes, the R5 and A7Siii might have much better AF systems than the S1-H but not when the camera has overheated they haven't.
 

Use case for Alexa = on set with a crew,  use case for an SLR = 1 person, running and gunning. 

Lame AF is showstopper for Alexa then too.

I wish they'd allow the S1 to do Prores RAW.
On another note @Andrew Reid
A while back you suggested I buy a Lumix S1 over the URSA 4.6k, turns out you were right. Just got the S1 in the mail today and the image is absolutely incredible. 

I wonder if Sony will put S-Cinetone in the A7sIII/H or if they’ll just release a new version of the already weird colors, keeping the tradition of non consistency alive. This matters much more than 8K raw imho.

I agree about the body of the BM12K.   They need to stop messing around with the weird design looks and innovate the body so it appeals to RED users or anyone else.  If you spend 10K on a camera body in 2020 it should at least look as good what RED produces.  

I know Andrew isn't always a fan of people just posting Youtube links, but after a while it's nice to see some (what I would consider) cinematic samples of the camera coming out these days. Good to remember with the new Canon announcements that the ceiling for this cam remains incredibly high.
 
 
 

I keep getting more and impressed by the actual image this camera is producing. I was kind of preparing to be "meh'd" by the footage, but the video quality looks fantastic in the few videos I have seen. The color science seems great and it seems to have a slight sharpness reduction which to me is fantastic - I hate overly sharp digital footage - i'm guessing this is due to the aa filter, similar to the S1H. It just slightly takes the edge off. I have said it before and I will say it again, it looks very similar to my C200 footage.

as I said before, is the perfect camera for Stock Footage Shooters like you, this a great day indeed!!!!!

the only Clown I see is the one shooting stock footage, and happy about it!!!

Last comment, I’m not mad I just want to make a point:
Criticizing fellow creatives is rude, no matter what. I don’t care what you do for a living, it puts food on your table and provides for you and those you care about. 
 
Weddings? Great, pay them bills. It’s better than most 9 to 5s and requires a lot of skill.
YouTube shill? Fine, pay them bills. It’s on us, the consumer, to do our own research and make the right buying decisions. 
 
What I don’t like is when someone mocks someone else for the work they do. It shows a lack of big picture awareness. Especially in 2020 man, everyone is scrambling. 

I know Andrew isn't always a fan of people just posting Youtube links, but after a while it's nice to see some (what I would consider) cinematic samples of the camera coming out these days. Good to remember with the new Canon announcements that the ceiling for this cam remains incredibly high.
 
 
 

After plenty of testing and even more after filming half of a shortfilm with it last week, S1 is here to stay. Here is a sample of lighing test and giving my beautiful 35 to 70mm zoom a good testrun wide open. Awesome lens and fantastic image quality on the S1. Filmed in 2.5 to 3.5 at 800iso, all lit with tungsten and two tungsten flavour leds plus one kinoflo. Filmed in both, full width and apsc mode.
 

My test of 8bit DNG RAW straight to an sd card. I also conclude that having the full dynamic range of the sensor, no color subsampling, and no compression that DNG RAW provides may be a lot more important than 8 versus 10bits.
 

@Neumann Films a Reddit style AMA is a great idea for the forum. I'll do my best to answer what you guys asked above. We should do this with you Neumann some time too, and some camera companies. I have some interviews coming up on the blog. Sigma's CEO Kazuto Yamaki and the Sigma Fp product manager got a book-length of questions from me and are very kindly working on some answers! Fujifilm also in Japan. I think the camera companies are always shrouded in mystery so the more they talk to their users, the better. We can send our suggestions their way!
@Neumann Films
What art form interests you the most outside of film? Also...what is your favorite CURRENT local restaurant (no chains)?
Music. I like how you can choose to be a solo artist or be in a group. Filmmakers don't quite have the same luxury if we want to make really good stuff 🙂 We need actors, writers, at the very least an interesting model or subject to shoot. Musicians just pick up an instrument, and write music.
Also writing, I think that's fascinating as well. Whether it be fiction or writing down ideas, I think filmmakers who can do this well have a real advantage over the pack.
Favourite restaurant in Berlin is the Japanese BBQ "Ushido" and back home in the UK there's a great one in Manchester with a cocktail bar, called "Room".
@Itu
did you attend any film school? Which one?
Not really but went to university and made artistic video pieces, music videos and some short films (in the Mini DV era)!
@Video Hummus
having run EOSHD solo for so many years where you have routinely written about your frustrations over and over again about the same persistence and repeated short comings of every brands cameras, would you consider yourself a masochist? If not, what kind of mental health problem would you say you have?
Addicted to buying new cameras. It is interesting to follow the flow of technology and innovation but with the camera industry being so dominated by the Japanese, I feel it could benefit from more multi-cultural ideas and designers. It's becoming a bit like the Japanese car industry where all the different models are homogeneous.
Well done to Sigma for trying something different with the Fp!
@Mr. Freeze
1. What moment/film was your motivation to pick up a Camera to create films?
Koyaanisqatsi.
Never seen reality in such poetic form, and the synthesis with the Philip Glass score, just amazing. But what's inspiring is it's basically one cinematographer and a camera, long, long takes. Each one hypnotic. No actors, no big crew, no writers, just the music and images.
Hitchcock, now there is an inspiration too.
2. Being able to travel back in time, let´s say 1920-2000, what decade/year would you like to visit and film in?
I think late 70's, early 80's. The auteur era in the US. And 60's France.
I've heard many of the younger pros say Jurassic Park is the "classic" that inspired them to be a filmmaker. It's great fun, but popcorn fluff... How times, and people are changing.