Leon Postma

Well, quick test, very unscientific one, but here we go:

6.2k 30p, Long Gop 10bit 4:2:2 360mbps. Camera on Boost mode, filming a TV screen with a movie playing to give a harder time for the codec (if you test in a static shot, in theory the encoding work could be pretty minimal in a long gop).  Face detect running too, getting faces on the tv screen.

Temperature set on the menus to "High", back LCD in open position.

Extreme Pro V30 200 Mbps card. Room temperature, 24 deg celsius, 70% humidity.

First overheating warning (yellow) appeared around the 25 minutes mark. The red warning appeared very soon after, around 29 minutes. But the camera never shutdown, ran for 45 minutes until the 128gb card was full.

Camera hot to touch, much than usual, but not close to cause a burn. With an infrared thermometer (not a very precise one) marked around 38 degrees on the back, where the fan could attach. The bottom plate was hotter, arounf 42 degrees, but you can hold the camera on the bottom without disconfort. The grip was hot too, around 40 degrees - removed the battery and card right after, battery hot but no so much, card was hotter.

Was expecting worse, since the red warning appeared so soon. Since the battery was a source of heat, probably feeding energy with a PD charger could extend the run times (and probably mandatory if you want continuous takes bigger than this, albeit the battery just dropped one bar).

Will do the same test in a hotter day under the sun (probably some months from now, it's winter here). Guess that yeah , a shutdown is a possibility under hot sun.

Hi all. 
I have serviced and modified three of these lenses (not the 210mm version) and they are indeed very sharp and contrasty but only after servicing and realigning all anamorphic elements. Great lenses and quite rare. Fantastic build quality. 
Im pretty sure they cover FF. 
 

Did you watch it?  Is it a good interview?
There's heaps of content on Joker around online - I think they did a bunch of it as PR.
Here's an interview of The Joker colourist Jill Bogdanowicz by Cullen Kelly who is a professional colourist:
I highly recommend Cullens YT channel BTW.  He's a real working pro and the more of his videos I watch the more embarrassed I get for the other YouTubers that pretend to be colourists.

For Magic Lantern - either EOS M, 650/700D are rock solid  with the recent “Crop Mood”’firmware - HDMI out functioning without problems as well if you want to slap on a monitor. 

For Magic Lantern - either EOS M, 650/700D are rock solid  with the recent “Crop Mood”’firmware - HDMI out functioning without problems as well if you want to slap on a monitor. 

Are you perhaps thinking of the thread where we posted our submissions to the EOSHD $200 camera challenge? or the thread with the results?
Submission thread:
Voting / results / discussion thread:
I love that my butchered GoPro is the thumbnail of that thread!  Not sure if everyone else would see the same shot, but I'm pretty sure that the camera gods would be happy knowing it died trying to be converted to a D-mount camera.

....and in todays episode of "the camera YT echo-chamber doesn't know shit about the real world", here's a real-world and very high-end studio shooting VFX background plates with a gazillion BGH1 units, or arrays of GH5S paired with 12-35mm f2.8 zooms.
Their website indicates they've worked on Joker, Stranger Things, Mission Impossible, and dozens of other high-end productions.
The thumbnail appears to show 17 BGH1 units:
One shot from the Stranger Things rig detailed on their website shows "our standard nine camera array" is 9 x GH5S units - 5 at the back (with two facing sideways) and 3 on the front:

To all those who suggest that the size/weight advantage from MFT is gone, their page says "The rig was still able to fly as luggage and efficiently attach to a rental car, all while being street legal."  How much does a 24-70mm F2.8 weigh again? If you can't remember then the short answer is more than double the MFT equivalent.  In the video he talks about how each BGH1 + lens is about 1lb, and keeping the weight down allows them to rig the car up in such a way that keeps them from needing increased permitting and things like escort cars (which for 360 cameras appear in the shot).
So, the GH5S (2018) and BGH1 (2020 - 3 years old), which aren't FF, don't shoot RAW, don't have IBIS, and have been completely forgotten by the entire camera YT echo-chamber, are being actively used on some of the biggest and most VFX heavy films being made in Hollywood.
They also just casually mention in the video (11:35 if you don't believe me) they've been involved in over 2000 productions, and that "these cameras are able to match perfectly with all your A-cameras".

Hey friends, now with the latest built from Bilal and Dannes achievements before let´s get some Raw magic started. Thanks to our friend @ZEEK the latter are well reported, the former has been posted about here by our friend @QuickHitRecord The challenge would be up to us to make up. So what are your suggestions, what kinda challenge could that be? I think there are plenty Magic Lantern lovers and Canon owners. I got a EOS M for 75EU about a year ago and a 5D2 for 150. Still, I have not filmed anything with it yet. I feel pumped to try out my EOS M though with the latest built from Bilal, since even Danne seemed to like it.
Some 50D cats here? Put some dirty fungus M42 Meyer Goerlitz on your cam and give us that Keny Ty look but not in filthy 420 8bit but in gorgeous RAW glory! 5D3 queens and kings? Mercer, you go! Some keywords for our magic fun tour: experimental, 3min narrative, video essay with photographic beauty, cinema verité exitement, locked shots parade..camer
So all camera cats with the love for the some Raw image magic, let´s get our and your jazz on with magic lantern! 🙂

It is time for a good old fashioned EOSHD article. Everything you’ve seen so far on YouTube is meaningless - yes it is.
Check out a new novelty on the web... with my WRITTEN BLOG POST!
https://www.eoshd.com/news/is-n-raw-real-raw-nikon-z9-under-the-spotlight-at-eoshd
 

Looks like they've got a press event on January 4th.

Using color space transform and the ARRI lut gets them to match contrast wise. The color still looks vastly different. I feel they look quite close after adjusting WB/tint around, but my color blind eyes aren't a great judge. 
I use 100 iso to see my highlights and then push from there between 400-800 to see what I have in the shadows. I used this method on the last feature I did and was happy with the results. 

640 iso does looks underexposed after changing the color space. However after boosting the exposure to match both cameras it actually seems similar to the Alexa in terms of noise performance. So in that sense it actually works out. I could have lit it bright and got a cleaner image but I wanted to see both cameras in a dim situation. The Sigma FP could have been cleaner if I bumped it up to 3200 iso but I wanted to see them at the same ISO. 
 

Have played a little with the files. Seems that the white balance and exposure was different. But once that has been set approx. the same the fp files look astonishing close the the ones from the Alexa.
For the Alexa I have just chosen the ARRI Rec709 LUT built into DaVinci.
For the fp settings were as follows:
RAW settings: 
Blackmagin Design + Blackmagic Design Film
CST: In: DaVinci Wide Gamut & Blackmagic Design Film => Out: Arri Wide Gamut 3 & Arri LogC3
LUT: Same built in ARRI Rec709 LUT
 

I could possibly borrow one. Would expose them at the same aperture? 

Incidentally, JJC also do a bundle kit with the same cable to provide a wireless solution for the FP for about €34 so it might be worth paying the extra €16 to get that facility as well.

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/

Like I said in the article, I have approached everybody I know who works for Canon, and one of them is Michael Bravin, ex-ARRI, so we are not talking about the regional chinless wonder junior sales reps but people who have clout, who could make a difference and who I assume to be ethical people willing to help.
Let me tell you...
I have got nowhere fast.
The same with Canon UK.
I believe they are probably just sticking their heads in the sand or probably don't even understand the depth of customer anger there is about this.
Or maybe we are a niche who don't make them the extra billions they are targeting so fuck us.
Just one of the reason's we've a right to be very angry.
Everybody who has spent $4000 on this camera (or even more in many regions) has a right to an honest explanation, and an apology, and most certainly a fix.
I do agree that maybe a less harder, pro-corporate position would make for a more harmonious relationship between EOSHD and Canon.
But I cannot sacrifice my principals - The right strategy at the moment is to simply carry on speaking the truth to bullshit, with factual evidence to back it up and as many deep technical discoveries as possible ideally with the help of Magic Lantern. We must pool our knowledge.
Then Japan can do what the like to be quite honest.
The ball has been in their court since day one and will continue to be.
If we don't like what they have done, the onus is on us to stop being nice little easily-led consumers and to spend our money elsewhere! Perhaps even in the high end smartphone camera market instead.

My brain cells are crying in agony reading some of these posts. Can't you just ban these people coming here to argue in bad faith just to obfuscate progress?

If we equate the R5 to the Dead Parrot sketch from Monty Python, then we're roughly at the " it's pining for the fjords" stage at this point.

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.
 

I’m excited - got my camera cage sorted and ready to go! 
 

Getting away from the personal, and from individuals we don't know, we should be talking about the general phenomena instead.
It's much more interesting.
Since when did people become so infatuated with brand ambassadors instead of filmmakers.
Peter McKinnon probably has more followers than Roger Deakins.
When I criticise a popular YouTuber it's treated like blasphemy.
We are living in a dystopia where Jesus is Kayne West, the Virgin Mary is Kim Kardashian and the religion is consumer goods.
So just as the wider general public are enthral to these lifestyles, camera nerds are to Peter McKinnon's "filmmaking"
😂

It is exactly this kind of attitude that normalizes and ultimately rewards the behaviour of these shills. By letting them get away with it. 
 
 

You don’t see them because Jared isn’t, from what I can tell, interested in educating peopling about photographic choice it has more to do about money and who pays the advertising dollars.
Jared made that video to make money and stir the controversy soup before he spat out another video about the topic. I mean its a full time job making content about the same damn shit Over and over again...because at the end of the day they are all scared a glitch in the YouTube master system will erase their controversy peddling business overnight.
I have no problem with them making videos and making money. It’s when they pander to their corporate overlords, in constant fear their mouths will be ripped from the marketing teet, with the pretense that they are “educating” their viewers. No, they are just advertising middlemen.

The topic is dishing out blatant disinformation, Wronzoff.  An influencer obfuscating information from the Canon mothership itself.  Calling this guy out is educational in itself. You are handed a new perspective by Andrew whether you like it or not. We need more of this - instead of chilling out which basically amounts to enabling bad actors and certainly does not move the needle in the right direction. 
 
I see unease with McKinnon who at least acknowledges the heating problems and clearly states up front he is a Canon ambassador. Such nuance or positioning is far less clear or basically absent with useful idiot Polin. Feel free to disagree - I don’t share your fatalism to which I reacted primarily  No offense I hope  
 
 

It is exactly this kind of attitude that normalizes and ultimately rewards the behaviour of these shills. By letting them get away with it.