Drew Allegre

Hey Everyone, 
Here’s a bunch of stuff I’ve shot, graded and edited for music videos between 2012-2018. 
The shots in the reel not done by me are the drone shots. 
 
For you camera nerds, I used......
Sony FS700, FS5, FS7, F55, A7SII, A6500.
Panasonic GH3, GH5. 
DJI X3, X5R. 
 

Like this one with @webrunner5 ** reacting to @Andrew Reid suggesting he might shut the forum ?
 
 
 
 
** You know I mean that affectionately @webrunner5  

RedShark is making a bold claim about Canon:

"Manufacturers are not trying to annoy you on purpose"
https://www.redsharknews.com/production/item/5772-manufacturers-are-not-trying-to-annoy-you-on-purpose

Mr. Reid, I don't know you and I won't pretend to understand what you are going through, so please do not take this statement the wrong way. However, when you say you are 'feeling really quite down', do you think that your current mental wellbeing is served by continuing to have this discussion? By arguing (no matter how justified) with people on these forums, your blog and Facebook page (all three of which you seem to hold very dear and personal, something which I understand).
In my opinion you absolutely did the right thing by locking up this thread temporarily, and my advice to you would be to do it again. Why revel in this energy-consuming discussion? I get that you're dissapointed and feel sleighted by Blackmagic's decision no to hand you the camera for early review, something only exacerbated by the fact that the event was in your own home-time. That must have honestly felt like shit. Nonetheless, scratching the wound left by this event (by returning to the discussion over and over again on these forums) might feel satisfying in the short-term, but it is absolutely not conducive to it healing. I suspect you are not gaining any longterm insight or satisfaction by having this discussion in this manner, and even worse, you might be worsening you're already crummy mood because you are now infecting this website with a discussion that 1) will make it harder to take back anything you say in anger because it is now done in a very public way, and 2) taints your very personal project with a negativity that you probably don't want in your life. Finally, in your anger you might end up taking actions or saying things that will end up doing damage to this project (eoshd.com) which you obviously hold so dear to you.
My advice (but hey, who am I) to you would be to give yourself a break - delete the blogpost you made, lock this thread and go for a walk/watch a movie/have a nice dinner with friends. Seriously do anything else for a while instead of having this situation drag you down. When you come back, delete this entire tangent and have this thread be about the Pocket 4K again. If you find Blackmagic's answer to your emails not satisfactory in the future, just don't cover them anymore if it makes you feel better. I just don't believe it is conducive to your wellbeing by dragging the argument into the public (and very ill-informed) sphere.
Hope that all makes sense. Thank you for your passion and thanks for hosting this site.

If I'm running a somewhat legit production... a small fiddly hybrid camera is the wrong tool for the job. I need a camera that's up to the task. A robust camera taking robust footage. A sensor in a box. With a bunch of ports to connect industry type power, monitors, XLRs, rosettes for extended grips with triggers and whatnot. Not too mention all the external factors such as lighting, audio and stuff, probably hiring a bunch of crew. Renting all the gear, including a solid camera and fancy lenses.
Now... if you're a one man's band operator... you can't be arsed with all of that... not to mention the costs. That would be the wrong approach for the job. So here things focus more on the camera's capability and approachability for a single operator. I don't see either how these two necessarily threaten eachother. Canon's just being a scared little biatch... or maybe they are so high on power they enjoy to just spit in the little guys' face and find them begging for more.

They are acting from a maket dominating position in the best interests of their investors. 

Aha... And so the great Canon cycle of 'hope over experience' begins again....

I don't see any apologies. I just see people that accept reality for what it is and how they will deal with it. I still don't understand why this is happening.
Why is this entire forum up in flames over a bunch of newly announced, awesome, in their own ways, cameras?
Why do we as a group choose to use the occasion for constant wining, competing, measure penises, attack and ridicule those who dont think exactly like us?
Why aren't we discussing what these new things will add to this community?
Why does everyone go to bash in the thread of their least favorite instead of having a pleasant conversation in the thread about the one that is their favorite? 
Positive posts seems to always end up in a thread about other stuff, just as flame instead of where it belongs.
3 new major announcements within a week or so + more to come = The most negative atmosphere ever on a camera forum = Psychotic
I remember when NAB, Photokina, etc made forums a fun place.

You will always get compromised image quality and ergonomics from a jack of all trades, master of none camera. I wouldn't shoot a movie on a mirrorless camera and I certainly would shoot wedding photos on an Arri Alexa. I used to get upset about the poor quality of video implementation for DSLRs and mirrorless cameras before I realized that you can only get so much quality out of a tiny body with no active cooling. When I first got my C200, I did a side by side with my buddies A7SII and it was night and day how much higher quality the C200 RAW footage was in terms of detail, dynamic range, and post grading robustness.  The mirrorless form factor simply can't accommodate the hardware required to get a commercial and cinema-grade image. Furthermore, the sensor in a hybrid needs to balance stills and video performance which always negatively affects the video quality. 

The problem with these ultrafast lenses is that the T-stop tends to be significantly lower than the F stop....

We all know the outcome.... Each camera will have pros and cons... None will check every box. Some people will buy whichever checks the most of their particular boxes. Some will stick with what they have and hope that the next release is the one to tempt them to spend. Rinse and repeat ad infinitum. 
 

I make a good living and was ready to hand B&H my CC# for one + the 35 1.8 and the 28-70 F/2.  I told myself I would not if the crop was worse that 1.4-1.5 in UHD.  Canon shot themselves in the foot again.
Canon is like the EX you broke up with a couple years ago - she comes back around every so often - you have a good one night fling and romanticize about the past.  Go out to dinner, talk about the 5d3 raw back in 2013, hop into bed.  Then the next day you hear she's still doing drugs - hasn't changed at all.    There's a reason you two broke up.
I wanted to be wrong here - haven't been excited about a camera for a while - I hate the Sony colors and overheating, hate Panasonic's shitty AF, etc.
Yes, but are you 100% sure it's UHD out and not just 1080p out?  I don't recall any Canon bodies doing UHD HDMI out.

That's actually not true, maybe it is sometimes, but is it mainly dependent on the optical design itself. Oh, and the glass looks a bit fancier both on the specs sheet and in real life... I am sure Sigma could make even better f/2 ART prime lenses for instance, but people would just say 'meh, too expensive but not faster'.
Generally speaking, you can design a much higher resolving lens (especially in the corners) with lower geometric distortion and far less aberrations by opting to use a slower aperture (the increase going into extreme F-stops is actually monumental). The vignetting might be more significant, but that can be corrected. This is exactly why they went with f/1.8 Z primes instead of faster. Other casing point is the Leica 50/2 APO, which still sets the benchmark (although all the rest they made is not far off in absolute terms).
It will be interesting to see what the 58mm f0.95 can do.
I have to say, while the 35mm f/1.8 looks very sharp, I don't find the rendering anything special in these early samples. Only seen thumbnails from the 50mm f/1.8 so far.

Go to DXOMark website and look at T stop ratings for f1.2 and f1.4 lenses and be amazed at the marketing mumbo jumbo. Also, what good is light if it is almost completely OOF? Lens designs have matured to the point that most high end primes are excellent wide open. No more stopping down that f1.2 lens to get decent sharpness etc.

Check out my post in this thread 
 

https://nikonrumors.com/2018/08/21/breaking-the-first-leaked-press-photo-of-the-nikon-z6-and-z7-mirrorless-cameras.aspx/
 

 
First pics of the new cameras Z6 and Z7

Fuji film simulation in 10bit. Yes please.
I bet the AF will be pretty handy as well.
Still enjoying X-H1.
Personally I would be tempted to wait for the update to that rather than X-T3 though.

Hey Phil,
I think I kind of figured it out how to make the HDR profile footages look normal.
(I am just an amateur, so I am not confident if this is the fix for the problem.)
When you open your HDR footages you have to make a totally separate Library. And modify the setting of that Library to Wide Gamut HDR.
Once done. Make a new project with "Wide Gamut HDR Rec 2020 HLG" as your color space.
When you import your HDR footages, it will show as correct exposure. But regular footages look little under exposed...
Below video helped,
AND please let me know if there is a better solution or my work around is incorrect.
Thank you.

Noct primes coming..

This shouldn't be happening in FCPX, with Show HDR as Raw Values selected. I am going to look into what is going on. Maybe Apple have done an update, and there is now another setting which needs changing... Stay tuned!
In the meantime, a quick fix is that this will ONLY happen with the HDR V4. If you try the other V4 profiles, they doesn't use Hybrid LOG Gamma so it won't be an issue. And it is fine in other NLEs like Resolve.
You might try transcoding to ProRes as well. That will remove the HDR metadata... Or possibly try deleting or moving the XML files in the XAVC-S folder?

I'm running into the same issue. When I imported the files into premiere I noticed the highlights were blown out. I checked again in the back screen of the camera and it looks completely different. If I look at the scopes in Premiere and I uncheck the clamp signal box I see that there's information over the 255 values. As a matter of fact, if you mess with the curves you can recover those highlights and make the image look similar to what you see in the back of the camera. 
I'm guessing all of this has a lot to do with the color space. In pp1 this happens to me, in pp2, the video files look the same on the camera and the computer. PP1 color mode is sgamut3.cine whereas pp2's is rec 709 which is supposed to be a standard. 
If this settings are supposed to give you a Canon look straight out of the camera with no need to grade, why does this need to be so complicated? Is this an error that I'm getting cause my premiere is not up to date? Is this the correct functioning? There's nothing in the pdf about this issue, so I'm hoping Andrew Reid will throw some light for the ones that are experiencing problems like these. 
 
By the way, I used FCPX and got the same result, so it's not premiere. And interestingly enough, if I select NO PP (PP off) I also run into the issue, I'll have to check the xml file and see the colour space that the camera chooses by default. 
 
Also, I tried to import both the mp4 and .xml files into premiere, cause I thought it might be helpful but premiere won't import the xml files, it throws an error. 

Frustrating that this issue is so prevalent, and yet there isn't one solution anywhere on the entire forum? 
You would expect someone to acknowledge that there is an issue: "we're working on it" or "this is what you do to fix it"

Hi,
Thought i would share a short film, that i have worked on for some time, as the technical side of the production might interest someone here
You can see the film here. http://www.ekkofilm.dk/shortlist/film/nem-dating/
There are no subtitles, but the synopsis is this:
A young high school student gets an after hours job, to pay for a trip around the world with his girlfriend. The job is as a promoter for an online dating site, where he writes to girls there, to keep them as subscribers of the site. One day he realises, that one of the girls are someone close to him, and he tries to make things okay again.
The film was shot over a week, and we mainly used the GH5. The camera is awesome and i loved the stabilization function, although it sometimes gave us trouble. 
We where mostly shooting with a Sigma 30mm 1.4 for canon and a focal reducer, and as this is an aps-c lens, it vignettede on the GH5. That is not so much of a problem, but when the camera was on a shoulder-mount also, it would counteract the internal image stabilizer, and the vignette would "bounce" around. So we found out to either use the camera handheld og turn the is of. Also we could use the ex teleconverter function, this lessened the vignette somewhat. We also used a canon 24-70 L 2.8 lens, and when using this, there where no problems with the bounching vignette, as it is a full frame lens.
For lightning we mainly used Yongnuo led light and some Aputures. They worked great, but the aputures are imo a lot better for color reproduction. 
For sound, we had a Røde ntg1 connected to a Tascam 60d. It was okay, but the ntg1 has a lot of hiss, and really needs to be close to the talent or have a stronger preamp.
On the tascam, don't use the highest gain option, it's really noisy.
I picked the Gh5 over an ursa mini pro for the film, as i could set it up more quickly, the battery would last longer and we didn't have to carry so much gear, which was important, as for the most time the crew constisted of myself on camera and directing, a sound-recordist and a gaffer/lightning guy. 
In the editing fase, we had to tweak the colors a lot, especially skin tones took a lot of time to get right, as they where a bit read of camera. But, as we filmed in v-log 10 bit, it was not a problem. I have also shot 8 bit footage with the camera, and the image falls apart when doing any grading in v-log, and i dont like the other profiles. I have read some people cant see the difference between 10 og 8 bit, and neither can i. But when you grade them, there is a huge difference, i would not use buy the gh5 if it did not have v-log and 10bit.
In low light i was also supprised how good the image looked, but i am not so afraid of noise. The camera is great in low light, as long as you have a small amount of light on the subject, like a bedside lamp or something. If there is no light, the camera dont look good, but i dont like those kind of images anyway.
I have attached some images also, but check the film out, as the stills don't do the footage justice.
 
 

Oh and by the way, he kept referring to it by a name.
Think about one of their current cameras that has traditional styling and replace one of the letters.
Not the second one.

a7III + Vivitar 19-35 @ 35/4.5, no filters used, 5000 ISO, handheld.
S-Log2, S-Gamut3.cine
Colored using Geoff's GFilm correction LUT + simple adjustments.
https://www.youtube.com/watch?v=dUBaOrFtrYU