hansel

If I pinned 7 threads would you and Webrunner comment on every single one 10 times a day?
At this rate going to need a flood control not sticky posts!

No, I wouldn't.

Hi Andrew - some thoughts for your consideration..
A few observations.
I'm registered with a number of the other forums and chat sites (Facebook, Discord, etc) and they're either dead or are full of one-line posts where almost no real discussion can take place.  Having a forum means that nuance and complex topics can be discussed - this seems to be one of the most active camera forums around so I'd suggest keeping it as a forum.  It's the only place that has kept my attention about cameras.
I don't think that cameras or video are in decline - quite the opposite, however it's changing.  Looking at your recent pinned threads was very illuminating - there are more and more cameras and as they get better over time there is less and less reason to upgrade.  This means that there will be less and less people who all own the same camera.  I think it used to make sense to organise all discussions by camera model but that seems to be less and less useful.
I think there are two types of topics now:
1) what should I buy / should I buy camera X? (purchase advice), and, 
2) wow - video is hard - now I have my camera WTF do I do with it? (accessories advice / technique / etc)
In the (few) years I've been around my impression is that the brand you have built for yourself and the blog is 'call it how you see it' and in alignment with this the forums are a bit more like that too (as compared with other PR-centric or PC-centric approaches).  
The site is also a rare home to discussions that are more reminiscent of cinematography rather than technology (for example, discussions of c-mount lenses, classic cameras like early Pan models and BM models, etc).  Yes, there are more than a few people who can't see past the specifications, but many who prefer the image of a 2K Alexa with vintage primes over an 8K camera with a low-distortion zoom.   
Some suggestions.
I suggest a strategy of playing to your strengths and harnessing your interests.  What I mean by this is:
Embrace the 'call it how you see it' approach, and just write more content.
You have written about cameras, the industry, lenses, and various other topics, and I think this is still useful and desirable content.  You've lamented not getting review models because you didn't kowtow to brands PR departments, but I don't think this is a barrier - when the NDA expires and we see a dozen 'reviews' of a product why not watch them and then share your thoughts?  With a bit of careful attention to the footage posted and reading between the lines on who says what, quite a lot can be deduced and I'm sure that your audience would be keen to hear your thoughts instead of having to watch all the videos / articles about it.
I'd also encourage you to share your thoughts not just on the products but also what they mean too.  If your impression is that something is yet another soul-less spec chasing camera with mediocre colour science in a system with no practical lenses then that's something people would like to hear.  If the opposite is true, they'd like to hear that too.
  You seem to love smartphones and they're definitely eating the market from the bottom-up, so embrace that.  I suggest you include those on the forums too.  The cameras in them are almost overlapping with the sensor sizes and dynamic range of good S16 cameras, so why not just treat them like any other camera and discuss them here too.  While most of us won't have the latest android whatever-it-is model of phone, most of us don't have the R5C or Komodo either, and yet they're still popular subjects to discuss, so I don't think that phones are really any different.
  Talk about the industry.  Talk about technique.  Talk about accessories.  Talk about camera-related lens-related cinema-related broadcast-related streaming-related editing-related audio-related post-production-related everything, whatever interests you.  The audience for this stuff must be absolutely enormous when there are millions and millions of people who live-stream or run a YT channel or simply want to get more from the camera in their phone.  If your audience is everyone that's interested in recording their own video, then your audience has probably multiplied in size by a million since you started this site.
  In terms of the forum, I suggest this:
Collapse all the sub-forums into the main forum (we all know that sub-forums are where threads go to die) so just let the forum flow - it will keep it looking busy but not unmanageable and will focus all the attention on it.  
The only sub-forum should be the one for hot-topics like the politics thread you recently created.  This will allow you to direct any discussions that get a little heated into that sub-forum and will 'cool off' those topics which is potentially required so that will work in your favour.
  Create a new forum post for every new blog post.  I don't look at the sites main page but whenever you post a thread about an article I see it and normally go read it so I can understand peoples replies in context.  I'm not sure what your stats say about how much traffic the forums drive to the blog posts? Fundamentally, more people are doing video than ever before, but honesty and experience (without a vested interest) is rarer than ever, so there is more demand than ever before for your insights.  I suggest playing to your strengths and just up your output.
Hope that's useful 🙂

Can I leave a suggestion then? : ) More power to the footage subforum... :- )

ticoraw can support non-bayer CFA sensors too (X-trans too?) unlike prores raw
compression ratios offered @12bit are 6:1 and 12:1.
Intopix has nothing to lose unlike RED, rather they will gain more if they expand their services to all other camera companies.
My prediction is the days of ATOMOS and RED willl be over soon. Cinema cameras will be less enthusiastic and more hybrid versions will pop up from every camera company. RED trying auto-focus, and partnering with canon for RF mount seems like they understood they are losing their checkpoint (compressed raw codec).
i feel there are 2 bottlenecks for a camera to be more cinema /video oriented -
1)Electronic nd filter- the patent of forza silicon which has expired recently. 
2) Compressed raw codec- novel compression techniques like jpeg-xs tico raw are circumventing around RED's patents.
seems like clear path for the future for hybrid photo- cinema cameras.
If brands like Kinefinity, blackmagic, Zcam don't focus on auto-focus, an already shrinking camera market can hit them hard.
 
 
 

if u wanna actually do this, you need a great script which ppl LOVE, something brilliant, and you need to determine a budget if u wanna produce it asap
what's your projected budget?
and you want to write a BOOK first? a NOVEL? sure, but this'll take a while and you may lose a lot of your [long] novel when you get to boil it down to a screenplay... 
I don't write anything without a budget. am I writing a $100 mil film or a $1 mil film? there's a big difference!
and you're going to crowdfund the budget? tell me more

the reason for footage not to be seen is that it is in a section. I have been pointing that out several times for a good reason.
Footage on the main board has been widly discussed and learned from, regarding many aesthetic, dramaturgy related, lens nerdy, lighting aspects and anything you can think about. Wild, lifely, fun discussions.
So, put the footage in the main board in a way that it referrs to technical and aesthetical points of cinematography and cinema in general. Unfortunately we dont have much footage from ourselves there, nor projects, we can discuss.
The footage section has always been dried out. The footage on the main board has always been discussed lifely and with lotta enjoyment.
It´s not apparent. I seems apparent to you. If it was, I think I would have chosen a different approach. Something like, it is not easy to take criticism within colloborations when it is ones own passion project. Further I think, nothing would be doomed just by lack of criticism. It is necessary on getting the project forward on a general scale rather then shifting too much time towards online communication.
I think Andrews project is challenging. It is all in his hands and the team. Directing and doing cinematography as one person has plus and costs. Doing proof of concept is always cool. Doing testing is great fun and helpful, lighting, lenses, movements, locations... Finding the right crew, the right size as many people means also higher costs and communicational workload...
Also, making the project attractive for collaborators, and the communication around it, is an important part of the project.
Enjoy and lemme know if I can contribute @Andrew Reid
cheers, Marty

Lets not be too hasty.
I think this idea probably warrants a ten page thread of attrition about what codec you are going to use before you put pen to paper.

Yeah, and if you lift them 5 stops you get green lines for free! Sorry, couldn’t resist! 😆

Dear Andrew,
been lurking a bit recently again no  conversation from my side though. My event shooting is dead so no work besides shooting for my brand.
No idea if you are back in Berlin but I regularly go up to the Polish Baltic sea for some surfing in frigid waters so if you need a change of scenery for shooting let me know.
In the end it comes down to having fun, being inspired shooting things ( no matter with what gear ).
Dude do it!!! We all appreciate it.
 
 
Adding to that. Since I shoot with (old) nikon glass and I like that stuff also happy to see Nikon not losing it completely....

Hello to everyone on the forum!
A Merry Christmas from me!
I hope you're looking forward to having a good break over the holidays and are ready to welcome in 2022. Talking of holidays - I have been having a break from EOSHD for a few months. I went and sat on a hill and finally had time to reflect on my work which is this blog and the community around it. The last video had a lot of support, it's made me really appreciate what I have in a more positive light. I'm mega appreciative of the people who took the time to say how EOSHD has helped them over the years and that they want it to continue.
So that's what we'll do! EOSHD is back.
Read the full blog post here

I want Z9 technology in Z6 mark 3 and DPR forum traffic in EOSHD 2022 😉
Happy Christmas. 

Yes, this is a big claim.
Allow me to explain how I came to this conclusion, and prove it to you.
First off, the evidence.  This is a video containing 5 compositions that were each shot with either 2K, 2K (and processed in post), or 4K.
It should be easy to tell the difference - so see if you can tell!
Not so obvious is it....
In the video I encourage you to download the video and pixel peep, please do.  
I have pixel peeped the shots directly on the timeline in Resolve, in the output file I uploaded and the YouTube file I downloaded.  It took me zooming in to 200% and finding the place in the video with the finest details, to be able to see the differences, and I know which is which!
Now, the details, to show that the test is valid.
I shot each scene with the GH5 and 42.5mm Voigtlander (stopped down several stops) in either:
4K 422 10-bit ALL-I 400Mbps mode 2K 422 10-bit ALL-I 200Mbps mode (with Resolves Super Scale) 2K 422 10-bit ALL-I 200Mbps mode (with no processing) I exported the timeline to an RGB Uncompressed 10-bit file (65GB - 6,500Mbps!!) and compressed that file using ffmpeg to a 4K 10-bit 422 IPB 225Mbps h265 file, which was then uploaded.  I tried uploading an 10-bit 422 ALL-I file but YT only interpreted that as 1080p.
YouTube then compressed that 225Mbps file to the pathetic 10.42Mbps file you see if you watch the above YT video in 4K.
As far as I can tell, there's nothing I could have done differently to get a higher quality result out of YouTube.
But what about other platforms or delivery methods?
This is just YT.  If you pay for Vimeo, or deliver via any other mechanism that has a higher bitrate than YT this thread should make you feel better about that!
But 4K is useful for things like cropping in post!
Yes, and this test doesn't apply to doing that.  I've tested how much you can upscale an image without it being visible in another thread / test (spoiler, it's something like 150%) but let's leave that aside for now.
But YouTube supports 6K and 8K and ......
Sure, and when people start watching YouTube with their 6K and 8K TVs then they'll start to benefit from that.  Until then, they're getting the 10Mbps file above.
Are you saying that a 4K camera is not required?
There are advantages to having a >1080p sensor.  Downscaled video is much nicer, and there are times when shooting in 4K or higher can have advantages.....
So, when IS it useful to shoot in >1080p?
Lots of times:
Cropping (significantly) in post Overcapture for things like stabilisation If your cameras 1080p isn't that great (which is most cameras TBH) etc. I have nothing against 4K or higher resolutions except that I think most people are making their life harder than it should be thinking that they're somehow getting better results when for many people it simply doesn't matter if they shoot in 4K or not.  This was me.  I fell for the hype, and have gradually been doing tests like this to actually see for myself what is true and what matters - rather than just believing the marketing hype from the camera industry.
Ultimately, the lesson here is that what matters is that you publish in 4K, not that you shoot in it.
Let the questions and comments (and flame wars from resolution fanboys and fangirls) begin...

Ah, beautiful video. The art of making the seemingly ordinary visible as something extraordinarily beautiful. The unprentious rhythm, the photographic gestalt. Well, fantastic. Thanks for going the extra mile! Schloss Charlottenburg! Some shots are breathtaking!

"The forgotten art of sticking it on a tripod" - BTM_Pix

Tripod eh?
You radical bastard 😉 

I'd like to welcome Kazuto Yamaki, CEO of Sigma and the product manager of the Sigma Fp and Cinema lenses, Takuma Wakamatsu to the pages of EOSHD for this long interview!
I have recently been shooting with anamorphic with my Sigma Fp - the video you can see above is shot with the Rapido Technologies FVD-16A focus module housing a tiny Bolex Moller 8/19 anamorphic. I have more on this soon, as well as how ProRes RAW performs on the Sigma Fp attached to Atomos Ninja V.
Ever since the Sigma embarked on the high quality ART lenses the company's factory has output higher and higher quality products, even industry leading lenses in fact. Now the Sigma Fp marks their entry into filmmaking cameras too with internal 4K RAW recording, external ProRes RAW and even BRAW - as well as being the smallest interchangeable lens full frame camera available on the market.
Read the full interview:
https://www.eoshd.com/news/the-eoshd-interview-kazuto-yamaki-ceo-of-sigma-and-takuma-wakamatsu-sigma-fp-product-manager/

I regularly shoot surfing at about 1500mm equivalent (s35 + 500mm + 2x). A good tripod makes all the difference.
The hardest part is pulling focus on a moving object using photo lenses that have an increasingly tiny throw as you move towards infinity.

Yeah, this hack saved my life before because Resolve also just sets 24p as project standart which catches blue eyed, quickly aroused, emotional unstable people on the wrong foot, like me...
 
...
 

Yeah, this hack saved my life before because Resolve also just sets 24p as project standart which catches blue eyed, quickly aroused, emotional unstable people on the wrong foot, like me...
 
...
 

Hey kye,
thanks for the support! I will try to play around with timeline settings although I think they have advanced the whole fps thing with version 16, which is good!
I have gone the Handbreak way now which works. The problem I ran into was that I could not sync audio to video ( I probably could have by changing indivdual clip speed and so on but...) normally I just match the clap at the beginning and that works fine. Maybe for anyone that reads this later there is also clip attributes which lets you change fps for a clip by right clicking on it.
Yeah, from what I have tried once frame rate is set you can't change it and have to export in that frame rate.
I know, should not have happended. But three different cameras, people not knowing that they are contributing to my editing, and then, the heat of the moment, running around doing b-roll and someone grabs you to get a quick interview with some one.

I've worked with multiple frame rates in Resolve for a while now, so I'll see if I can help.
This is my understanding of how it works and how I use it.
I start with a Project at the same frame rate that I want the finished video to have, for me this is 25fps.  Then I create one (or more) timelines in that project, and they will default to the same frame rate.  In v16 (which I am using now) you can also change frame rates on timelines individually through Timeline Settings and there's a button that lets you customise them individually.
Then I just drag all the clips onto the timeline.  When you do this, Resolve puts them all on the timeline in real-time, ie, if you recorded in 50p and drag it to a 25p timeline the video will play in real-time.  If you exported that then the output video would have every second frame of the 50p clip.  If you want to slow the 50p down to 25p (and therefore play at 50% speed) then you can do that on the timeline through Clip Speed, as well as the various speed ramp type functions.  I believe you can also set the speed in the clip in the Media Pool and then when you add it to the timeline it goes in there at 50% normal speed, but that's not how I work.
In terms of sound, when you have a clip on the timeline that isn't at real-time then Resolve does a time-stretch on the audio automatically.  The effect is good but has its limits.
In terms of syncing sound I've never really tried to do it so can't comment on that part.  
The way that Resolve displays FPS all through this scenario is rubbish and completely confusing, so I ignore FPS on everything except the Project, Timeline, and Source Clip.  If I'm doing anything that involves all three of those not matching then I work in percentages.
When exporting you can just set the export settings to your target output frame rate and it should work.  I haven't tried to output a different frame rate than my Timeline so there might be issues there that I'm not aware of, but that's what's worked for me.
Hope this helps!
BTW: why did you film an interview in 50p?

who can help?
agree lol

Hey,
I am sure some one is smarter than me but I have a general failure of understanding how to handle multiple framerates in Resolve 15 (in the same project). The way they SET fps in the beginning is totally retarded, they should do this for timelines but not projects.
Here is the Setting:
Event shoot, different cameras, different framerate, several Interviews = audio sync-up cluster fuck. Export should be 25fps, How do you do this?
So I started an "interview bits" project that needs to be 50 otherwise the audio does not sync up. Matched the audio with the 50fps easy no trouble. Now I can only export in the same framerate. But I would also like to put b-roll (different fps) over it and so on...
I mean the main trouble I am having is that I would like my project setting to be 25fps and work with several timelines (different fps) to then bring together a fine piece of 25fps. It seems that my only two options are:
1.convert clips to same fps with Handbreak etc. beforehand and hope audio sync works later. or
2. to start three different projects 25fps, 50fps and 59,94fps export the respective clips an then try to muddle it up in the 25fps project, which seems bad practice imho....
How would you go about this? Any experience in this?
THANK YOU VERY MUCH!
 

To put digital content on your phone which otherwise could've been drag and dropped....?