Papiskokuji

Thanks for the reply. Actually, the EF-FX1 is a simple adapter, not the speedbooster one. I contacted Viltrox, they just told me to update the firmware. Basically I tried every firmware. The only one kind of working is the latest one. In the Fuji X-T3 menu, stabilization setting is greyed out (you can normally chose if IS is always on or just when you take the picture).

So, so far, IS isn't supported by the Viltrox EF-FX1 adapter. Good to know... Do you get the stablization working with the fringer ?

I just bought the rode wireless go. At first I was so thrilled with that purchase. So easy to set up, built-in mic could be useful, tiny package... But then I tried different mics with the transmitter and they almost all had severe hissing issues !

I tried a few lav mic (on the cheap side I must say). And also tried the Rode videomic pro just to test it out... Also lots of hissing noise... It could make the rode wireless go unusable. It's funny how little reviews talk about what I consider an absolute deal breaker for that kind of product ! (only Caleb Pike on dozens of reviews)

So far I had better result with a cheap movo mic ( some kind of rode videomicro) and a lav mic that was battery powered. Maybe you can get better results with the sennheiser lav mic but then why not purchasing the whole sennheiser kit. I just saw the CVP sale, that was some great bargain !

I ordered another lav mic, not too expansive. If it has hissing noise issue, I'll sadly send my rode wireless go back and maybe purchase the sennheiser kit (which looks more pro to me).

Did you have similar hissing experience with your rode ? Do you have lav mic that works well with the rode (not too expansive) ?

Hello everyone !

I just received my EF-FX1 Viltrox adapter and updated it to the latest firmware. Unfortunately, the image stabilization seems to work only a few seconds after you change the aperture value or you half press the shutter button (much like an IS would work in photography). I can't get to be activated constantly. Do some of you guys have the adapter ? Is there a trick or a known firmware version that works ? Currently, the IS is unusable for video work. I won't keep the adapter if I can't fix this problem. Is the Fringer better in that respect ?

Thank you !

EDIT : I have a Fuji X-T3

46 minutes ago, Andrew Reid said:

Unless Panasonic's Headquarters is all of a sudden Studio 111 in Hamburg then you're wrong.

And although both places begin with an H, Hamburg is not Hawaii. It's a 2 hour train ride from Berlin where I am visiting my girlfriend.

The original plan was to go to L.A which would have pissed you off even more. But I chose to spend time with my girlfriend instead.

For me this was like visiting a camera shop, and I don't do that unless the camera is worth a visit.

If those specs are disappointing in your world you must be an insufferable fucking brat. Disappointing compared to what? Did a RED 8K handout land on your doorstep or something? Did your $4k go towards a stolen Alexa off the back of a van?

Some people have been reading EOSHD for longer than 5 minutes and actually realise how far I've gone out of my way to keep the PR influence over this blog as low as possible, and I'll point you to all those adverts I don't have.... Anywhere.

No sponsors, no paid ads, no content paid for and no shoots 'embellished' with Hawaiian scenery or Canon topless models.

But yeah, I'll take your word for it... The image is spectacular but the specs disappointing. The 5m dot EVF and 5 axis IBIS are top notch but the specs still disappointing. The tilting screen is a great evolution but still your disappointment overwhelms you. Maybe you are better off using that "real cinema camera instead", you know, the one with the "proper ergonomics", that shoots 6K full frame for $4000, with a built in ND, a 5 million dot EVF and IBIS.

?

Let's try to keep it constructive. I didn't mean to attack you and I've been reading your blog for years... Well first off, I don't give a shit about 6K, but full frame 60p 4k would have been nice (actually I don't care much about full frame filmmaking, it's just the crop in 60p that is unpractical in the field, don't you think ? Remember EOS R). And to me, all cameras are already where I want them to be. I'm happy with my BMPCC4K, my Fuji XT3, my canon 5D mk III ML RAW... but if I had to buy something new, it would have to make a real difference, something very innovative, especially at 4000$. I'd be glad to have a variable ND like the one in the FS5 and FS7 mkII or RAW or PRORES just like you ask so many times in your blogs for instance... Good AF for gimbal work would also be a plus. That's it.

I'd genuinely like to hear you about the crop in 60p and also the HFR crippled with the S1, or not.

Specwise it's a bit disappointing. I'm sure the image out of it is spectacular (like most of the cameras nowadays), the tilting screen is a great evolution, the evf and IBIS are topnotch : sure it's a great camera. But when I read Andrew's article, I can't help remembering his rant about those biased youtubers under Canon's influence, because they were flown under the sun of Hawai, etc.

Now I read about Andrew at Panasonic's headquarters, and all I can read is praise about the camera, not even a single remark/critic about anything, eventhough there should be a few, in my humble opinion. I fully understand that when you are invited somewhere, treated well, etc. You don't want to be rude and say bad things about the product you had the chance to shoot with before everybody, even more so when it's a good camera like the S1H seems to be.

But come on, no word on NO Full Frame 4K 60p (what would you have said if it had been Sony), codec and bitrate very good but not revolutionary (especially for the added resolution of 6K), no ND, no PDAF (why not, but suddenly AF is not important, it varies from camera to camera...?). I can't even tell the difference with the S1 (I'll have to check it) but the fact you can have manual controls in HFR. I understand your rants, it's good sometimes, it might even be productive if heard by the brands. What I don't like is that it's so variable and relative. You should make an article about Panasonic crippling the S1 not allowing manual controls in HFR. It's as puzzling as canon not giving 24p...

And finally, the price. It's very very expansive. A very few people will be able to afford it. 4 000$ is in the realm of a real cinema camera with proper ergonomics, ND filters... That's why I think, you could ask for a bit more from this camera. The Fuji X-T3 has almost the same offering, (in aps-c) with crops between framerates a lot more manageable. The codec's bitrates are even better. There's no IBIS, EVF and build quality not as good, but the price difference is huge. Well that's only my take on it

26 minutes ago, BTM_Pix said:

Union Berlin are currently 3-0 down at home to RB Leipzig and Chelsea are leading 1-0 at home to Leicester City.

And Reims - Strasbourg gave us a boring 0 - 0, like pretty much all ligue 1 matches

2 hours ago, Andrew Reid said:

It's a numbers game, yes, but still braindead. I am just not sold.

85" utterly dominates a normal room. It's an omnipresent black mirror. 65" is my limit. Most people's limit is 55". Bigger number not always better.

There is barely any 8K content at the moment worth watching. Most TV is still 1080p. There is no big amazing image quality difference between 8K content at 85" and 4K content at 85" when you are watching at normal viewing distances. I've seen the same Samsung 85" you did. Nobody watches TV from 1-2ft away from an 85" screen.

When it comes down to the real world all these numbers are meaningless.

For displays, motion cadence matters more and nobody talks about it. For going large, projectors are more cinematic than large TVs. Colour, HDR, 10bit, contrast, matter more than resolution on an LCD panel for the living room. Resolution matters most on a desktop monitor with close viewing distance, not in the living room.

Whole industry shift to 8K is flawed and will end like 3D did.

Agreed, and still if you disable the motion flow thingy of your tv (as we all should do), the resolution in motion of every panel, no matter their definition, is usually 300 lines. Whereas CRT TV's have such a pleasing motion reproduction ! I tried a few years ago a "high resolution" (like only 720p) CRT screen, with VGA signal... omg, even 5d mkII looked so so beautiful on it. It's like watching something with a projector, it enhance the image. The motion is ten times better than on a LED/OLED TV, it's "organic", not digital.

They need to do progress with the black frame insertion, which to me is the best technology for motion reproduction. It emulates CRT's, sort of.

Contrast is also one of the most important aspect to a great image. I must admit the blacks on an OLED panel are breathtaking. Having those true blacks are so much more crucial than HDR or 4K / 8K. A video on a 1080p calibrated oled panel with enough bitrate will crush the same video in 4k HDR on a LED panel. If OLED had no burning, I would buy one immediately.

OLED contrast in SDR crushes LED contrast in HDR. (I'm not convinced by HDR yet... They sell you HDR, meaning more contrast, on TV's with less contrast than OLED)

Anyway back on resolution. Sure the more the better, but right now there's a problem of bitrate. For instance, 1080p TV in France, is around 5 mbps. It's ridiculous. If you don't have at the very least 20 mbps, you won't have an optimal image that does justice to your purchase. 5 mbps is good for news, for every day tv, but not for films, for sports, well it negates the fact of having the best tv with the best resolution. Just imagine for 4K. You'd need 80mpbs, and right now, no country does that. So until there's not a way bigger bandwith for TV, the only times you'll get the best image out of your TV set is when you plug it directly to your PC and play a video you shot with your brand new BMPCC6K and exported in PRORES  Or you can buy a 4K blu ray (I litterally know no one who owns a 4K blu ray, and almost no one with HD blu rays for that matter ! And I work in the cinema industry with crazy cinema lovers).

So yeah... 4K is dead, etc. We're not there yet, not one bit. And my prediction is people with 4K TV will go on and watch movies, netflix... on tv with a weak bitrate and won't give a shit as they more interested in the story and don't care for image quality like we do. But of course, they'll have a 4K or 8K TV, cause there's no 1080p TV anymore, and also because the guy in the store told them 4K is better.

On 8/5/2019 at 9:00 PM, PannySVHS said:

Hallo friends,

here is my contribution. I hope you like my final film. Looking forward to the great pleasure of exchanging experiences and technical odditities and tricks once Andrew gives the signal for releasing info next week. Thank you for your beautiful films, discussion and the awesome spirit. Thanks Andrew and everyone for inspiring us to film something personal. Here is my labour of love, shot last week and edited over night until just now cheers!

 

Thank you very much!

I'm in love with the colors, the softness, the grain, the blooming highlights and the chromatic aberration. Is this straight out of the camera ? Did you do some post on it ? Anyway, I can't wait to know which camera you shot it with ! And the composition and edit are equally nice ! Well done !

17 minutes ago, BTM_Pix said:

Yes you can.

The adapters have an optical element.

As above 

Oh yes, those ones  I forgot about them. But they reduce the light transmission and have a "crop factor". They are reversed speedboosters. But technically you can, you're right

2 minutes ago, Kisaha said:

Can you do FD from EF?

No, you can't :/

I wonder which sensor they use for this camera. Never heard of a 24MP dual iso apsc sensor. Maybe androidlad can enlighten us ? Have we encountered this sensor before ?

I’m also not interested in 6K, but the EF mount and the apsc sensor size... I think an OLPF and internal NDs could have make me do the move. I’m tired of adapters and speedboosters. There’s no good m43 zoom with fast aperture and real manual focus ring (and IS)...

Actually I just want an ursa micro...

2 hours ago, Nikkor said:

I actually have a Phase One, have you tried one? Canikons are user friendly, and ok quality wise but they don't compare to a digital medium format camera.

I tried a Phaser One and a Hasselblad many times (I'm a commercial director, not a photographer btw). I never said medium format cameras were bad, I was just talking about you saying Canon and Nikon DSLR are shit and not professional. Every photograph I like from great street photographers or even landscape/travel photography are almost never shot with a medium format camera. And yet I have been moved by them, they received prizes, I find them beautiful, colorwise... So yeah, your remark about medium format is the best and the rest is shit is irrelevant to me. Provocation can be fun sometimes (ask webrunner5) though.

And when I look at medium format photos on flickr, I'm not stunned. It depends on the photographer (always the same...)

3 hours ago, Nikkor said:

Try a real pro camera like a phase one or a hasselblad, it will make you Laugh when you come back to a crappy canikonfushitsony

What a pendantic remark ! I know maybe more than a hundred pro photographers, only maybe five, ten at most, use a Hasselblad medium format camera. It's in fashion (and really part of it is mostly for show off reasons, they "NEED" the most expansive gear) and packshots. All the other ones have Canon and Nikon cameras. And a very small part (artist photographer amongst them) use Sony bodys. I bet you couldn't tell them apart in a blind test... If you feel limited by the current Canon, Nikon, etc. bodies in your photography, then you might look elsewhere for improving your art

Andrew, your test isn't fair. As the other forumer said, there's one photo shot with soft light in the shade and the other one with direct sunlight and green reflection from the grass. I totally agree with you about Canon (and Nikon, and even fuji) having better colors straight out of the camera than Sony, but the gap isn't as wide as those photos want it to be.

And now with presets in lightroom, you can easily turn any camera into anything. And applying it to series of photos takes one clic. I wasn't liking my RX100 V photos because of the colors. I purchased VSCO presets to try them out, and I was stunned at the results. With just a bit of fiddling, and a few clicks, my RX100 turned into a fuji camera ! With a classic chrome esthetic. And the latest sony cameras have tremendously improved their color science. But again, I prefer Canon jpegs. No actually I prefer Fuji jpegs :P

I'm not that impressed with the S1 yet, considering you can get beautiful images out of any camera those days... I think the colors still have an orange tint (all panasonic seem to have that since the gh4, even though it got better with time).

The video of the woman dancing, I find it awful (sorry). And the Island video, is kind of nice (not jaw dropping), but drone+Island rarely give you bad results. I'm sure it's a good camera, with nice ergonomics. The image might have more to it thanks to its good codec, but I can't tell from youtube or vimeo. There was one video of the S1 of a man walking in a small town in the moutains that was nice. But again the colors weren't exactly to my taste.

Right now i'm shooting extensively with the X-T3 and the image is so good and easy to grade in flog. No artefacts, no nothing (just a small banding problem in the sky, but I think it is due to Resolve). It's very close to the bmpcc4K image without the aliasing and the moire. The codec is not easy to work with but it's a strong one. I had one small issue with fuji, the waxy skintones. And they seem to have disappeared. Anyway, back to the S1 !

I usually don’t like to say negative things on forums that are not constructive but this video of Gerald... « c’est chaud ! » ? as I would say in french. I have to agree with webrunner5 on this one. It’s ugly as shit. Even the artistic choice argument is barely acceptable here.

It’s a shame because it’s the first time he takes some risks to express his artistic/technical skills and I appreciate the effort.

Maybe it has to do with the fact it was his first time with the camera...

Boy, I have to say something nice now, I don’t want to turn into webrunner5

8 minutes ago, Andrew Reid said:

I filled it out and told them basically....

- ProRes

- Internal ND

- Simple ergonomics, not JVC/Sony camcorder nightmare buttons everywhere and shit menus

- Canon EF mount, with good AF if possible

- Super 35mm or Full frame

I told exactly the same and added great dynamic range and log profile with LUT display and good monitor for focus ! Form factor : either FS5 (for compactness) or FS7 (to go easily on the shoulder).

15 hours ago, newfoundmass said:

I used to be a regular viewer of Max but yeah, over the last two or so years he has done quite a few tiny things that made me question his credibility overall, particularly in his camera comparisons. 

The blatant dishonesty with the thumbnail kinda sums it up. 

I find this test to be very poor ! Testing skin tones in a forest with green reflexion everywhere, or in backlit situations... Nevertheless I think Max is being honest. I’m puzzled by the permanent suspicion toward people. Regarding his supposed Sony bias, he used to shoot with two gh5. He made a very positive review about the X-T3 and the blackmagic pocket 4K as well.

And he’s in his own right to shoot with Sony like many pros do. He won’t be switching cameras between every video and the workflow that comes with it. He settled on Sonys (which I’m not even sure). Caleb shoots on the GH5s, Matti on Canon... Everytime you say something nice about a camera, you are biased. I have every camera brand, I just did a review (mostly positive but fair) of the bmpcc4k and it didn’t miss. You always get the « he works for blackmagic » comment... If only. It’s ridiculous.

Max tests are always questionned. But I always come to the same conclusion with his sharpness, low light and autofocus tests. Sometimes his tests lack details but it’s almost impossible to cover it all.

I remember all the suspicion his gh5 vs a6500 AF test raised. It wad insane. People couldn’t accept the simple fact that the GH5 has a terrible autofocus and Sony PDAF is way ahead. Canon being the best.

Give the guy a break, his last video is not his best but his tests have been very useful for a lot of people and take a lot of time to do.

There are way worst youtubers out there !

Thanks ! The website is back on !

Hello !

Panasonic support website is down right now. Would someone have the latest firmware update file by any chance ? I have the GH5 for the weekend and I wanted to try the HLG profile.

Thank you !

19 minutes ago, The ghost of squig said:

Hehe, bring it on.

Actually it's the Pocket 4K and 5DMk3 that are about on par for noise at 3200 ISO, so far the X-T3 noise is very grain-like, and looks good to me up to 10,000 ISO with NR set to -4.

 

Oh yes ! My bad ! But I still think the pocket is a lot better than the 5D in low light

I’ll do a long post about the cameras as soon as I’m on a real computer ! Typing english on a french iPhone is a pain ?

2 hours ago, The ghost of squig said:

After a couple of days playing around with the 3, I can get them all to match up pretty well with Filmconvert and a bit of tweaking, sometimes I couldn't tell which was which. What made the P4K and X-T3 shine was my old Leica 35mm Summicron-r, it really helps take the 4K digital edge off, and adds some nice flare, not always welcome on run and gun doco work, but that's why I carry a mattebox. I've got a 1/8 Black Promist filter on order, it will be interesting to see how that works with the 18-55mm Fujinon.

What did surprise me is the X-T3 is cleaner and sharper than the P4K at high ISO, my Viltrox speed booster hasn't arrived yet, that extra stop of light and S35 crop should even things up a bit. At 3200 ISO the P4K looks to be on par with the 5DMk3 noise wise, albeit without the fixed pattern noise.
I'm shooting some stuff for a doco next week where the P4K will be on sticks shooting a 2 hour 12:1 Braw master, whilst I move around a dining table with the X-T3 shooting FHD on a monopod to get close ups.

It's been overcast here, I'm waiting for the sun to come out so I can do some definitive dynamic range tests. The 5DMk3 still has the edge in terms of post manipulation, Braw doesn't have as much highlight control. 10bit HEVC and Braw are quite close in post.

The P4K and the X-T3 both lose saturation and detail in the shadows, the 5DMk3 does better there, but it's noisier in the shadows. I saw a test on the X-T3 vs the Nikon Z6, the Nikon did much better than the X-T3 in the shadows, if only Nikon would bring out an update with a good internal 10bit codec, with an XQD or CFexpress card, it could do internal raw ?.

Interesting read ! Even more so that I have the same set of cameras !

I share most of your thoughts although there’s a slight contradiction in what you say about the low light between the 5D and the XT3. You say at 3200 it’s the same between the two but the 5D has fixed pattern noise. So it’s not the same at all ? ! And I concur ! I love the 5D raw image quality but fixed pattern noise shows quite easily ! And the Fuji has also the edge in termes of dynamic range. That being said all three cameras have a wonderful image quality. They all have their pros and cons. In low light, the bmpcc4k is great ! Even without noise reduction. It’s enough for me. With noise reduction, I’d even say it performs better than the X-T3 thanks to its more robust codecs.

Maybe I’ll write a longer report about all those cameras so we can argue a bit more

46 minutes ago, Andrew Reid said:

I have been playing with the X-T30, and it's even more of a bargain than X-T3. However, it's so small and light that it doesn't work well with larger lenses.

The Fuji 18-55mm is a stunner on the X-T30 for documentary use though. It feels small enough to be balanced with the camera controls, and it's not always trying to escape forward and downwards from your grip. The OIS is amazing. The AF is amazing. It is even parfocal and you do not see it trying to refocus during a zoom. So you can do the odd zoom or even fast crash zoom and focus stays nailed on the subject the whole time.

The image has all the same qualities as the X-T3 and I can hardly tell difference between the 8bit and 10bit 4K.

Also the X-E3 does 4K, and although the detail and rolling shutter isn't up to the X-T30, it's even cheaper and I prefer the ergonomics. You don't get F-LOG but with Fuji film simulations, who needs to spend hours grading?!

Yes it is surprising how the 10bit RAW stands up. You only notice the difference in the very deepest shadows and a slightly harsher highlight roll off, but since both ends are usually junk on even a sensor as good as the 5D Mark III's, and I prefer a lot of nice colour and contrast from my raw files rather than the HDR-puke look, it doesn't matter... Better to have the smaller file sizes, although 14bit lossless compression also stands up well in Magic Lantern.

Still by one of the best non-4K cinematic images for the money which is competitive with Digital Bolex and Alexa for a film-like look.

You can tell the difference between 8 bit and 10 bit when shooting in Flog ! 10 bit 4K long gop at 200mb/s is as good as I want it to be ! No macroblocking, almost no banding. HLG is even cleaner ! If you shoot with film simulations, it matters a lot less...

Nice work, thank you !

I'll buy it as soon as I get my X-T3 back !

17 hours ago, deezid said:

Only a good OLPF is missing atm.

That's what I try to tell Blackmagic since their first camera. There's no logical reason not to put one (except for cutting costs). Some dslr don't have one because they have such a large amount of pixels it can mitigate any undesirable effects of not having one. I think I'm not the only one who would pay more to have one right off the bat. And you can always argue "why don't you just add one afterwards". I always do, but it can void the warranty, it is not designed by Blackmagic, it's not easily available, and so on... The battery life, the lack of OLPF and the red harsh clipping (I did a shoot in Prores, there was a red candle in a shot, ugly...) are the only three real weaknesses of the camera. Otherwise it is unbelievable, especially for the price !

First time I bring my BMPCC4K on a pro set ! I did prep last week and tomorrow we shoot some digital ads for a famous sushi chain. It's a low budget film so the production wanted to use TV's for monitoring. Unfortunately I discovered that the signal sent by Blackmagic can only be read by Pro displays such as my Atomos recorder. I don't know if it has to do with the 10 bit output but it's frustrating to have only the drawbacks of hdmi without its perks (being to be able to plug it to any monitor or tv). Someone here has plugged its blackmagic to a TV successfully ? Maybe HDR TVs can accept the signal, but regular pc monitor and tv's can't. I don't see what I could change in the output settings of the camera that could fix it. Any ideas ?