Video Hummus

Actually, I believe having EIS done in-camera when the camera has a gyroscope and accelerometers allows those sensors data to inform the electronic stabilization. That’s the only reason HyperSmooth and Rock Steady do such a good job. I also think it’s somethingOlympus and Panasonic need to offer in their next cameras. Having sensor stabilized and then advanced sensor EIS on top can get you gimbal performance without the bulk. It is a fundamentally better method because it would be like having to guess the speed of your car without having an speedometer versus actually having a speedometer. Measuring will always be more precise than interpolating.

But she has done that in the past without burning entire cities and killing thousands of innocents in what was essential demolition porn with the C4 explosive buff Drogon suddenly received. My biggest gripe is how lazy and sloppy they have been with basic continuity, basic character arcs, and history EVEN INSIDE THEIR OWN SHOW. It’s almost like they forgot what they even wrote in Seasons 1-7. I have no problem with Dany slipping into madness and killing everyone. I do have problem with the utter lazy, sloppy, convenient writing they did to just get it done. This season was so in effective in getting me to actually care what happens to the characters (something they did so well in past seasons) that it just comes off as almost malicious ineptitude. Especially around the Night King, Jamie, Jon, Dany, the power of the Dragons, and Euron. Oh, Euron! Euron is perhaps the most weakly, misrepresented character to ever be created. He exists solely to save D&Ds lacks of skill in wiring something compelling, makes sense, and has emotional impact. ”Man, how do we write this to make sense and resonate with the audience.” ”I don’t know man” ”Lets just have Euron teleport in, go all OP, and then peace out cause it’s to hard for us to write something compelling”. ”Awesome Idea!” Hopefully their work becomes a lesson on NOT what to do in writing stories.

Holy hell it was. I only watched to marvel at the rolling train wreck the writers have accomplished. I don’t care about the ending because it’s vapid and stupid. The spectacle is how bad they messed up. It’s not the story.

This is nice to know. I’ve been using resolve more and more. I prefer this over the transform LUT.

Guess the drone market is slowing down. Why on earth would they want to get into the action camera market, especially with these rumored specs? Last GoPro I bought was a Hero 3 Black. Was never impressed with the footage. You seriously need to be jumping out of a airplane or doing a 360 degree backflip triple reverse spine bend on a rocket powered arm chair for the footage to look good. The hero 7 changed some of that.

I’m pretty sure Panasonic engineers have said HLG squeezes out a half stop more of dynamic range over V-LogL. I know HLG is not made to be a log capture profile but with something like the leeming lut that does a transform to Rec.709 you can have a solid base to work with and get some pretty impressive results out of HLG.

Wow, so I've finally caught up with the latest season. The show has completely lost its edge. The latest episode felt like a Marvel movie spin off written by first year film and art students. I remember the first 3 seasons as being mesmerizing, engaging television. You cared about the characters and kinda dreaded watching the next episode for fear of what could happen. The intrigue and the suspense was soooo soo good. We started to see the problem in season 7 but season 8 is complete garbage. They took an extra year to write this trash? This should be a text book example of how not to do a critically acclaimed book adaptation before the book series is done. After they left the pages of the books behind the show has plummeted in imagination and view experience. Season 8 gets a 5/10 from me and EP4 a 2/10 Lazy television award. Who was the night king again? Ah who cares. We only spent the last 7 SEASONS building a story about his looming threat and then...LOL! The details make this story special and engaging. Not just the marvel action scenes.

I’ll take 4K simply for the ability to re-frame, correct horizons, image stabilize, keyframe crops and zooms and panning motions in post any day of the week. Storage requirements for 4K aren’t terrible, especially if you have some kind of archive the only the best and delete the rest workflow. Hanging onto every scarp or footage indefinitely is wasteful.

Yeah, the P4K is a beast. Depends if you want ProRes and BRAW internal recording or need a weather sealed body and autofocus. I use continuous autofocus with the GH5S during certain situations with good results. I think if you don’t need weather sealing then the P4K is a better buy because it offers more features for the price. Panasonic needs to show the GH5S some love.

But...those are crop sensor cameras...it can't be true. I don't accept it. Full frame...

Probably not that different from the raw footage of filming from the matrix. A lot of green screens and bare bones shots in that that are filled in with VFX in post.

Seems like a stylistic choice mixed with a budget choice? The long dark and everything. Maybe practically it was to dark but thematically it did it’s job. if anything it raises the awareness of calibrating ones tv for the people who care enough to tackle the issue.

I consider the fixed 200 f2.8 even more of a specialized lens than the 50-200. I don’t have any hands on time with the 100-400 but I think that one only makes sense for people who enjoy shooting a lot of wildlife. Where I’ve been impressed with this lens is the excellent built in OIS. Fast autofocus in video. It’s supremely sharp through the range. But what really makes it worth the price tag is the aperture has a gentle curve to f4 on the long end only reaching it at 150mm. It can get away with being a pretty decent portrait lens at 50mm and f2.8 in a pinch. The bokeh is pleasing and not nervous at all (something the Olympus 40-150 has IMHO). Build quality is excellent. The lens hood is the only plastic that comes with it, which I don’t mind a bit. Less likely to bend or be dented in my bag. It has a very excellent telephoto range versus compact size. Really the only downside so far has been the price. If you don’t need it now, I’m sure the price will go down a bit more. It’s an excellent lens all around and a great telephoto for my GH5S with the OIS. I think it perfectly maxes out the balance of size, weight, aperture, and focal length that m43 gives us. Any bigger and it would be silly on m43. But don’t get be wrong, it’s still insanely compact for a 400mm FF equivalent. It slides in my cargo pants pocket. I’m looking forward to shooting some fly fishing this summer.

Yes, I agree. But a good ol’ fashion glidecam benefits from it too.

Uh, Canon/Nikon/Panasonic would rather make you buy a $5000+ cinema camera for the better codecs than to put it in a $2000 hybrid camera. It’s called up-selling. Why Panasonic doesn’t offer it in its GH5S, a heavily video centric camera, I’m not sure. My guess is lack of compute power/heat dissipation in that form factor. BMD is doing the right thing. Offering great options in lots of different form factors. The fact that the P4K has BRAW for $1500 is insane.

But is that really wide when shooting in 4K? That’s a 28-60. Close to a Tamron 27-75 E-Mount zoom lens. Eh, it works but it’s an EF-S lens. Which kinda narrows its appeal. Im not hating on the EOS R. The final image out of the camera can be quite good. I’m just saying Canon could have and should have done better. We’re spoiled. It makes some shots much easier to do with one person, a camera, and a gimbal. Who wouldn’t want some half decent AF on their camera?

I highly doubt there will be a full frame GH6. But you’re right. The S1 is perplexing. I also think it won’t sell well. I would disagree. It’s less expensive to buy a $200 Deity D3 pro shotgun mic and turn down the preamps on the Z6 then it is to buy wide angle lens. I haven’t checked lately but I’m not sure Canon sells a 9-21mm that would get you a 16-35 equivalent with that 1.7x crop in 4K. I also agree that Panasonic is in the worst shape here with bad AF. Is it useable? Yes. Is it trustworthy enough to rely on in a paid shoot? Way to risky. They need to get their AF shit together.

I heard if you max your contrast and brightness you can see the ghostly specters of long dead characters eating popcorn during the battle scene.

This is possibly good news for MFT cameras and shooters. It sounds like a path to bring MFT into the 8K world in a cost effective way while combating some of the weak points like low light performance. I believe DoF will become a creative software choice in the future. I so enjoy the lighter kit and great video MFT offers. Especially when you have to lug it up a mountain or on long shooting days. Sure, the same can be applied to FF with even better specs but at some point I’ll trade image quality for other features I.e., better sensor stabilization, less weight, more FPS, smaller telephoto, etc..

The EOS R is not a terrible camera. It’s has some serious handicaps that can be lived with depending on what you use your gear for. It’s not my cup of tea. It leans heavily on it being the only mirrorless camera with dual pixel AF. I mean, I am now seeing people comparing 720p to 4K and 1080p on YouTube saying you can’t tell a difference. 720p is the new 4K guys. This just smacks of people wanting the EOR R to do what they want, but it not having the specs to do it and convincing themselves it doesn’t matter anyway. However, given the fact that we haven’t seen a pro level mirrorless camera from canon makes it a bad value at the current moment. I agree with Andrew about the S1. If they would have added PDAF it would be a much better value proposition, even with its high entry price with the new mount. I have a feeling even if they improved their DfD AF at this point it has such a stigma attached to it that people will still say the AF is no good. I also expect to see a lot of used second hand EOS Rs on the market when Canon releases the EOS RX pro model, or whatever they will call it.

I find this is more true with video than still photography. They are viewed differently. In a lot of cases the motion can help mask the noise problem to a point. With photos I find I’m generally looking around the photo for a longer period and will notice those noise details. Totally agree. I think the single biggest feature Panasonic could add to the next GH camera is some sort of built in variable ND, electronic, or otherwise in a mirrorless ILC form factor. If they can manage that and improve on the perceived weakness of poor ISO performance and low megapixels they will have a popular camera I think. I think most people that love and use the GH5 would logically upgrade to it since it solves some very common pain points. Please Panasonic, don’t be over zealous in protecting your cinema cameras. People buy those for different reasons.

I have a GH5S, so no IBIS, and I just received my shiny new Pana-Leica 50-200mm f2.8-4. The OIS on this lens is pretty insane. I didn’t expect I could hand hold it at 200mm and get rock solid video of birds in flight. I deliberated between this lens and the Olympus 40-150 f2.8 but finally settled on the 50-200 because of the OIS. So glad I did. The variable aperture is not a problem with the GH5S as I can easily shoot up to 8000 ISO before I need to do some noise reduction in post. Especially if I’m downsampling 4K footage into a 2K delivery. Cant wait to start shooting some projects I’ve had on my list.

Seems like anything with a sensor smaller than full frame is fighting an up hill battle in the industry. It’s full frame hysteria going on right now in the industry. And everybody will migrate to full frame with big cameras with IBIS and monster telephoto lenses. Then software will catch up and make DOF an afterthought. A post processing, creative option with a checkbox and a slider. I really like the trade off MFT makes with regards to size and image quality, if you consider DOF as image quality and not a creative choice. I think shallow DOF is almost a fad now. Like you can’t have cinematic footage that doesn’t have it. Which is totally rubbish. Framing and composition is where it’s at. Shallow depth of field on every shot to make it feel “cinematic” has is a YouTube fad and just a type of laziness. I am afraid resources will be taken away from developing new and improved MFT sensors that offer improved dynamic range and color rendition. MFT gets shat on all the time now. Except it pioneered the mirrorless revolution we are seeing today. Everybody wants to be smaller and faster with amazing digital EVFs. But I’m just one of those illogical MFT shooters. So take with a grain of salt.

Looks really nice. But it hasn't been released yet?

I think your questions pretty clearly point you to the EOS R.