buggz

I was also curious about the lag on HDMI cables, on both ILCs and TVs (especially as compared to SDI). It appears the lag is not due to the HDMI cable (or standard). It's due to the processing Before the feed. Which probably means, that if camera makers don't colour the output to the HDMI, and if the hardware linking the HDMI is sufficient enough, there really shouldn't be much of lag (not noticeable enough). 
I wish Panasonic would look into this for the next ILC (GH6?), as should all other ILC makers. 

Still waiting on a sale for the GF110 f2....

Solution:
Abolish Facebook.

Z-CAM with ProRes RAW is in many way more useful on that camera, because you need to add the screen anyway, and it doesn't have a standard or widely supported internal RAW codec, so you may as well use the Ninja with it if you want to shoot RAW.
The 5.8K will be on the more expensive larger sensor models and I think 4K on the M43 Z-CAM E2.
I'll do a blog post about it in due course. Would help if they could keep me informed so I can prepare one. I'm not a psychic

It isn't neccesarily the sensor size thing with HDMI...
I still love and use my GH5 and always shoot in HLG anamorphic open gate mode.
Can't do that via HDMI either, NOR can you even view an output.

In my opinion the camera industry could learn a lot from the open source community.
Having so many exclusive patents and licenses really hurts the entire industry.
Every single company would benefit from an open source compressed RAW codec.
I think it is also what keeps us from better integration of the external solutions as well. We are never going to progress from a HDMI cables, because as soon as an external recorder connects more directly with a camera body, it probably counts as internal recording and thus violates the RED patent.
It stops more modular designs.
I would love to know what ideas and products RED's patent has killed off and whether this actually makes RED money in the long term.
I don't think it does.
Fair play to Mr Nattress. His work deserves long-term, rich reward.
But come on. It's time to push forward together as one industry.

The fact that this beautifully designed and engineered camera doesn’t overheat thanks to it’s clever use of a heatsink puts many other manufacturers to shame. They should thus take notice and pay their respects to this simple yet extremely elegant solution. It makes me even want to buy a Sigma fp just to support the company, even though I don’t really need the camera.

Metabones recently announced the long-awaited Canon EF mount Speed Booster Ultra for Fuji X, which will be one of the must-have accessories for X-T4 owners. This will have support for phase-detect AF and incorporates Caldwell Optics advanced 5-element ultra-high index tantalum optics. The Caldwell Optics focal reducer remains the best you can get. In this 
New blog post:
https://www.eoshd.com/news/the-big-eoshd-interview-metabones-lens-adapters/

So the X-T4 has DIS as well. DIS has been around since the NX1 in quite an effective form, but it actually tends to impact on the image more than IBIS in terms of the artificial look and warping. The only thing that needs updating with IBIS on the X-T4 is the addition of some kind of artificial intelligence that recognises human camera work and tells the system not to fight against it. As it stands, the IBIS will occasionally prevent smooth intentional pans and tilts. So in that case, you can turn it off and use a tripod or an OIS lens. A lot of people's results are impacted from having IS Mode Boost enabled as well, and expecting a virtual gimbal. Actually, the boost mode is meant for completely locked down shots, not movement.
The autofocus is very reliable indeed in my experience so far. A big step forward from the X-T3. I noticed plenty of occasions testing it vs the 1D X Mark III where it actually outperformed it. The 1D X Mark III would actually miss.
The real choice when the R5 comes out will be the R5 or A7S III?
I think Sony is waiting to top it in a big way.
By then there may also be a GH6 and X-H2.
So let's not put all our camera potatoes in one Canon shaped basket.

Just for information, not showing off, hopefully someone will find it useful?
My brief run through of my old lenses on my GXF 50R, like discovering old lost treasure.
I have tried my manual Mamiya 645 lenses on my GFX 50R via Mirex Tilt/Shift EF/M645 adapter, then another adapter for EF/GFX.
Yes, a round about way, but it seems to works okay.  I may get a simpler adapter in the future?
- 120/4 macro works great.
- 35/3.5 N works great.  The 35/3.5 N focuses pretty dang close.
- 80/1.9 N works great.
- 55/2.8 N works great.
- 145/4 Soft Focus works great.
Quick test of Contax Yashica Ziess lens with a Canon EOS-EF adapter.via the TechArt Pro EF-GFX adapter, 
- 35/1.4 CYZ - very slight soft vignette,
this lens is also amazing close focus on the 50R.
I see this one is going to be another rediscovered treasure gem.
Sure to be used often.
- 35-70/3.4 Macro CYZ - Starts vignetting anything lower than 50mm.
Progresses to total tunnel vision super hard at 35mm.
However in macro mode, NO vignette, amazing, also amazing close focus in macro mode.
- 100/2 CYZ - non macro model - imperceptible vignette, if any?
M mount lenses:
- Voigtlander Heliar 75mm f/1.8
works good, just some slight vignetting and dark corners that should be easily corrected.
- Voigtlander Nokton Classic 40mm f/1.4 SC
hard vignette in the corners, not much soft vignette, still usable.
- Canon RF 50mm/0.95 converted to M mount, forgot the vignette.
Via Fotodiox Minolta (SR/MC/MD) mount adapter.
A quick test shows all my lenses are vignetting almost exactly the same.
That's kinda strange, but cool, I'll take it!
Not too bad, but definitely visible.
- MC W Rokkor-X 28/2
- Zoom 35-70/3.5
- MD Rokkor-X 45/2
- MC Rokkor-PF 58/1.4
- MC Rokkor-PG 58/1.2
- MC Rokkor-PF 85/1.7
- MC Tele Rokkor-PF 100/2
- Minolta MC W Rokkor-HH 35/1.8 in Minolta SR mount, it vignettes the same as rest, slight, but noticeable.I
I have two more adapted to Canon EOS-EF mount.
28/2
85/1.7
The Minolta EOS-EF mounted lenses seem to vignette slightly less than the native Minolta SR mount via Forodiox GFX adapter.
Oh, and the Minolta 28/2 is super close focusing, I had forgotten about this.
All of these works great.
Canon FD/FL mounts, Fotodiox FD/GFX adapter...
- FL 55/1.2 - heavier vignette than the Minoltas, which were slight but noticeable,
still should be easily corrected.
- FD 85/2.8 SF - slight vignette, similar to the Minoltas, maybe a touch more?
- FD 500/4.5L - similar to the vignette of the FL 55 above. 
 - Konica Hexanon 57/1.2
Using the GFX - LM adapter, then an LM - AR adapter.
It seems to vignette more than the Minoltas, similar to the Canon FD 55/1.2
Canon EOS/EF AF lenses via Techart adapter.
- 50mm/1.0 AF works, I have forgotten what the vignette was ..
- 200mm/1.8 AF works, very slight vignette, I have forgotten?
- Contax N 85/1.4 converted to EOS/EF mount, via Techart adapter, AF did *NOT* work, but manual focus works, can't remember vignette.
 
 - Faithfully submitted, Douglas C. Niedermeyer...
 
 

 

Hi Andrew,
If you couldn't tell I'm an old stills shooter.
I have soo many different systems, it's crazy, I don't sell or trade, I just keep buying, shrug.
Anywho I really need to revisit these, as I haven't used my GFX50R in several months now.
Earlier this year,  got a great deal on a super low shot count Mamiya DM33 digital back and plate for my Mamiya RZ67.
Been really diggin' that setup.
Then I figured, I already have these M645 lenses, might as well get an M645 body to go with the digital back and lenses, no?
So I have been using my Phase One DF+ and Mamiya DM33 digital back for several months now.
Oh, and I got into video for my niece and family events, for me starting with the Panasonic GH4.
My niece now uses that body, as I got the GH5 when released, and still use it today.
I really have enjoyed learning all of the video stuff.
Especially from helpful people here on EOSHD, I have learned a LOT, and still learning.
Thanks to everyone here!

Never been the huge fan of external monitors or HDMI cables that everyone else seems to be
Well I have changed my mind.
It's a U-turn bigger than any Boris-led government is capable of.
It's hypocrisy of the highest order.
But it just feels so much better balanced on a larger, heavier camera than it does on a small mirrorless camera. The cage is excellent as well (SmallRig). Very generous to charge £120 for a cage that fits a $10,000 camera. LockCircle would have changed $20,000.
If only they would route the video feed up through the smart hot-shoe like they do for the EVF.
Cable is ZILR, by an ex-Atomos Brooke-Benton Smith.
Monitor mount is also SmallRig. That bit was £35.
It's a pity the camera wasn't £35.
But this is a 5 year investment for me... Can't see there being much like this coming out!
Now to test the ProRes....

Going beyond full frame with Fuji GFX cameras has many perks. However one of the drawbacks of medium format used to be the amount of money you would have to spend on the lenses - and the size of them, and the slow apertures. With the development of mirrorless medium format cameras with a mechanical focal plane shutter that's all changed. I had no money left for lenses anyway, after I bought my Fuji GFX 100! So I set myself a challenge. What is the CHEAPEST lens I could use for great images on medium format?
Here I used my Fuji GFX 50R to shoot the photos you see below, but the same look applies to the GFX 100 in 4K as well.
https://www.eoshd.com/lens/best-50mm-lens-for-fuji-gfx-100/

Just for information, not showing off, hopefully someone will find it useful?
My brief run through of my old lenses on my GXF 50R, like discovering old lost treasure.
I have tried my manual Mamiya 645 lenses on my GFX 50R via Mirex Tilt/Shift EF/M645 adapter, then another adapter for EF/GFX.
Yes, a round about way, but it seems to works okay.  I may get a simpler adapter in the future?
- 120/4 macro works great.
- 35/3.5 N works great.  The 35/3.5 N focuses pretty dang close.
- 80/1.9 N works great.
- 55/2.8 N works great.
- 145/4 Soft Focus works great.
Quick test of Contax Yashica Ziess lens with a Canon EOS-EF adapter.via the TechArt Pro EF-GFX adapter, 
- 35/1.4 CYZ - very slight soft vignette,
this lens is also amazing close focus on the 50R.
I see this one is going to be another rediscovered treasure gem.
Sure to be used often.
- 35-70/3.4 Macro CYZ - Starts vignetting anything lower than 50mm.
Progresses to total tunnel vision super hard at 35mm.
However in macro mode, NO vignette, amazing, also amazing close focus in macro mode.
- 100/2 CYZ - non macro model - imperceptible vignette, if any?
M mount lenses:
- Voigtlander Heliar 75mm f/1.8
works good, just some slight vignetting and dark corners that should be easily corrected.
- Voigtlander Nokton Classic 40mm f/1.4 SC
hard vignette in the corners, not much soft vignette, still usable.
- Canon RF 50mm/0.95 converted to M mount, forgot the vignette.
Via Fotodiox Minolta (SR/MC/MD) mount adapter.
A quick test shows all my lenses are vignetting almost exactly the same.
That's kinda strange, but cool, I'll take it!
Not too bad, but definitely visible.
- MC W Rokkor-X 28/2
- Zoom 35-70/3.5
- MD Rokkor-X 45/2
- MC Rokkor-PF 58/1.4
- MC Rokkor-PG 58/1.2
- MC Rokkor-PF 85/1.7
- MC Tele Rokkor-PF 100/2
- Minolta MC W Rokkor-HH 35/1.8 in Minolta SR mount, it vignettes the same as rest, slight, but noticeable.I
I have two more adapted to Canon EOS-EF mount.
28/2
85/1.7
The Minolta EOS-EF mounted lenses seem to vignette slightly less than the native Minolta SR mount via Forodiox GFX adapter.
Oh, and the Minolta 28/2 is super close focusing, I had forgotten about this.
All of these works great.
Canon FD/FL mounts, Fotodiox FD/GFX adapter...
- FL 55/1.2 - heavier vignette than the Minoltas, which were slight but noticeable,
still should be easily corrected.
- FD 85/2.8 SF - slight vignette, similar to the Minoltas, maybe a touch more?
- FD 500/4.5L - similar to the vignette of the FL 55 above. 
 - Konica Hexanon 57/1.2
Using the GFX - LM adapter, then an LM - AR adapter.
It seems to vignette more than the Minoltas, similar to the Canon FD 55/1.2
Canon EOS/EF AF lenses via Techart adapter.
- 50mm/1.0 AF works, I have forgotten what the vignette was ..
- 200mm/1.8 AF works, very slight vignette, I have forgotten?
- Contax N 85/1.4 converted to EOS/EF mount, via Techart adapter, AF did *NOT* work, but manual focus works, can't remember vignette.
 
 - Faithfully submitted, Douglas C. Niedermeyer...
 
 

 

It's definately the lens design layout and sometimes the coatings too.

The Pro version (Gen 1) with the aperture ring.
I have not yet figured out how to transfer control of the aperture to the camera body jog dials instead though. To be honest I'd prefer it there than on an aperture ring that is too close to the body and has no markings or hard stops.
The other thing I like about the Sigma 17-70mm F2.8-4 is the overall rendering. It is pretty spectacular for such an affordable zoom. Really nice bokeh and focus roll off. Amazing resolution and contrast in the middle.
I have both the old and new versions of this lens... will see what the difference is.

With the Fringer EF-FX adapter this lens is a BARGAIN. I have the 16-55mm F2.8 Fuji X and 18-135mm. I wanted something faster than the 18-135 although to be fair that is a very good run & gun lens. I wanted something longer than the 16-55.
This fits the bill and the macro is amazing. AF is instant. Works perfectly in 4K too. It cost me about £250 used in mint condition.
Will add some samples frames from it soon.

If you are in Resolve, head over to Color tab, and Right Click on the area where stills are kept, choose Import Stills and select the file you downloaded. 
Then it's only a matter of applying it on your current grade, eg. using Middle Click on the selected still. 

NEW BLOG POST
https://www.eoshd.com/anamorphic/preview-of-coming-attractions-anamorphic-goes-medium-format-with-fuji-gfx-100-and-a-look-at-the-leica-sl2-5k-43-mode/

Just finished a new tool, it does what the title says. It's in beta, bugs are possible. [CLICK HERE]
Fuji just released the Bleach Bypass LUT, which has some weird transitions, so I'll use it as a demonstration.
This is the stress test image I'll use:

 
See what happens when you apply the Bleach Bypass LUT:

 
Now I use my tool in "box" mode with 1 iterations to create a new LUT:

 
This is "box" mode with 5 iterations:

 
More details on the site.

The phrase that we used to use when I was an IT Support Monkey was "percussive maintenance".

before i found this forum my inclinations where left to right, large format, medium format, 35mm format , super 35, micro four thirds 😉

A large and heavy "calibration instrument" is an R&D neccessity...

Desperate for any excuse to actually use my fP again, I've just gone outside to shoot this very quick, non-scientific and, indeed, slightly not focused on the ColorChecker test to show you the different profiles.
I actually quite like the Portrait one as a flatter profile myself.
STANDARD
VIDID
NEUTRAL
PORTRAIT
LANDSCAPE
CINE
TEAL&ORANGE
SUNSET RED
FOVEON CLASSIC GREEN
FOVEON CLASSIC BLUE
FOVEON CLASSIC YELLOW
MONO

Hi Andrew,
BTW, there is a Mitakon 85mm F1.2, and I think is available also in GFX mount.
Not much info about it, reviews, etc.
I always wanted to try one on my GFX 50R, never got to it....