andjo

Funnily enough, a former client from 2014 contacted me today to say that she had 'lost' her wedding video and did I still have it?
After I stopped laughing, I thought hang on, it is probably still on Vimeo. And it was.
I thought it would look so dated and be an utter cringe-fest, but actually it wasn't and I was a bit surprised.
It was shot on the GH3.

If it’s something filters and technique can’t fix there’s always Kolari. Easy fix for a lot of people on the S5iix
https://kolarivision.com/product/olpf-aa-filter-upgrade-for-panasonic-lumix-s1-and-s5-cameras/?srsltid=AfmBOopFsw5dPlgKUes_emPZ2SlZb_WExlwAj5PRubAwVK87j0VeSK6B
 

I'm very intrigued to see what they are bringing with this camera. I assume that the S1R II will not include an optical low-pass filter (OLPF), so even though the video specs are impressive there still likely will be a need for a potential S1H II. Wish they would come up with some sort of interchangeable OLPF solution.
If I remember correctly moire was quite bad when recording video on S1/S1R?

I have been shooting with the Canon R5 Mark II for about two weeks now for various small projects, mostly just testing the camera out in the types of conditions in which I usually shoot; very hot, humid, run and gun with little to no control over the lighting or venue. I mostly shoot event work and work quite a bit with models and fashion as well. I plan on replacing my Canon R7 with the Canon R5 II as my hybrid run and gun camera. To fill that role it must have one usable mode that does not overheat, and must be reliable in less than ideal conditions. 
So below are my thoughts on the Canon R5 II so far, some bad, mostly good and possibly some of it was just due to me not fully getting used to the camera, so my opinions on some of the bad things may change over time as I get more familiar with the camera and hopefully as new firmware is released for it.
THE GOOD
Ergonomics - As usual, Canon hits this one out of the park. The grip is even more comfortable, the dedicated photo/video switch is way better than fiddling with a custom function switch, and everything is pretty much exactly where I expect it to be. I do miss the thumbwheel around the joystick like the R7 has, it made changing the Aperture a little faster while keeping the camera steady, but the R7 was the only camera to have this so its not a huge loss. Video Quality - I tested everything from 8K60FPS to 4KSRAW to 4K HEVC S and it all looks good to me. I will probably use 4K30/60FPS HEVC S 90% of the time with 4KFine for interviews, and 4K30FPS HEVC S for long form content. I believe it will not overheat in that mode so that is another place where it will replace the R7. Dynamic Range - I don't pixel peep or use charts and graphs, I just get out and shoot; so far the dynamic range seems acceptable, not really more or less than other current cameras in my opinion. The one simple test that I do with each camera is have the sun directly behind the model and try to film her face without a fill light...basically the harshest possible scenario possible; and the R5II looked no different to me in that scenario than every other camera that I have tested. CLOG 2 - All I can say is wow....this to me is the biggest improvement in image quality that I have seen in any mirrorless Canon camera. I have always shot in CLOG3 because I was used to it and with the C70 I used CLOG3 because it had to match the R7. I had no idea CLOG2 could make such a big difference. The highlight roll off, colors, and overall image quality in difficult lighting conditions is pretty incredible when compared to CLOG3 out of the R5. Any camera can get a good image in ideal lighting conditions, the real test is harsh lighting, highlight clipping, and highlight roll off, and with CLOG2 the camera excels in these situations. This one feature alone makes it hard to compare IQ out of the R5II vs other Canon mirrorless cameras; I can't tell if the sensor's DR is that much better, if its CLOG2 doing the heavy lifting, or both; but I am definitely satisfied with the image quality. Viewfinder/Backscreen - Both seemed good to me, I still to this day prefer my OVF in my 5D4 vs any mirrorless EVF, but that's just me. The EVF in the R5II seems acceptable as EVF's go, and the backscreen was easy to see regardless of the lighting. Dual Slot Recording - Of course the R5II can record to dual slots but only for a few modes due to the data rate limitations of SD cards. The main modes that I will use; 4K30/60FPS HEVC both can write to the SD card so for most of my work, I will have redundancy. One nice feature is that even when shooting video that can only record to the CFE card, the camera can be set to still save images to both cards. Photography Features - I don't shoot sports so I don't really care about all of the new AF settings, I did test photography as well though and it performed exactly as expected. For me, there's nothing really new in this area that interests me; it triggered my remote flashes when it was supposed to, triggered the hotshoe flash properly and reliably, and overall felt like the R5 and every other Canon mirrorless camera. Auto Focus - It has so many AF modes that I need to practice more in this area for video. I found myself switching modes more than I expected during the test shoots because the AF wasn't working the way I needed. Not the camera's fault, but just due to the sheer volume of settings, I need to get better at figuring out what mode is best for the situation. Low Light - Haven't done almost any testing with this yet, but a second native ISO at 4000 is perfect and is the most useful place for a second ISO. I believe this second native ISO is only for video though, so it is a little murky to me what happens to noise when you set it to 4000ISO for photography. I will be shooting a lowlight event this coming weekend so I will do some more testing then. So long story short, the Canon RII predictably builds on the R5 with the biggest surprise for me being CLOG2. After using the R5 and R7 I believe it fix the small things that I did not like about the R7 (no dual native ISO) and add things I didn't even know I was missing (4K SRAW, CLOG2, etc.). 
THE BAD
Firmware Bugs - I really hope these things are fixable via a FW update, but at this point I almost feel like I need to bring a backup camera to shoots. I never felt that way even with FW 1.0 with the R7.  Screen Shuts Off Video Display - This one is bad.....3x now the back screen has gone black and will not show the video. It will show all of the configuration data on the screen such as WFM and histogram, but no video feed. If I switch to photography the display comes back, switch back to video there is no feed. The sensor is still working because the histogram shows changes when moving the camera around, but it will not display on the back screen. The only fix for this so far is to restart it. Stops Communicating with Lens - This happened twice for me. The Aperture read F00 and I had no Aperture or AF. This was with my Meike vND adapter and an EF lens. I tried changing EF lenses, removing the adapter then reinstalling it, etc. The only thing that fixed it was putting on my one RF lens then taking it off and putting back on the adapter. Of course  I will get no help from Canon because the adapter is a 3rd party adapter.....not good. Lost Settings - It has only done this one so far but it reverted some of my settings back to their default settings after a restart. IBIS - Compared to my R7, the IBIS in the R5II is not as good. Its correction is very harsh when it reaches the end of its travel, and it jerks the image back to the center of the IBIS. If you do not reach the end of its travel then it is fine, but if you try walking for example, no matter how carefully you walk, the IBIS will jerk the image around instead of slowly correcting back to center. My Smallrig cage is on order, I am hoping when I get it installed that I will have better control over the camera when shooting handheld. Battery Life - The battery life is noticeably worse than the R7. I went through 2 batteries shooting short clips with the camera mostly turned off in between. I was shooting 8K/4K RAW/Compressed up to 120FPS but they were still all pretty short. My battery life could have been so bad because I set my EVF to smooth, but I barely used the EVF because I was shooting video. Overheating - The overheating warning came on when shooting 4KFine. I was shooting approximately 4 or 5 very short 30s clips and two bars showed up and it looked like it was going to climb pretty quickly. The ambient temps were around 90 degrees Fahrenheit and 80% humidity. No other mode displayed the warning for the rest of the day. Electronic Level - Still a pet peeve of mine, it still disappears while recording. 4KSRAW - This codec has some major moiré issues that are not fixable in post. If the scene has nothing that will bring it out then the mode is fine, but it definitely has major issues. On a production shoot I don't think I would ever trust this mode for paying work. THE ODD
The camera also has some weird quirks that take some getting used to. Once you know them and if you can remember them in the middle of a shoot then you are ok, but they are annoying nonetheless.
Histogram - The histogram will only display if Exposure Simulation is turned on. I do not like exposure simulation in certain lowlight situations so turning it off means I lose the histogram. WFM - It is great that they included the WFM, but you can't move it, you can't resize it, and you can't turn it off/on via a button or even via a direct option in the Favorites menu.  Aspect Ratio Bars - They finally included this in the R5II, but it is only visible on the backscreen, so if you are shooting photos with the EVF you are out of luck. The Panasonic S5 had this years ago and displayed them in both places. 8K Compressed - 8K Compressed options disappear from the list if the recording option is not set to CFE only. Instead of just greying it out and telling you that when you try to use it, it completely disappears.  Even odder, 8K RAW does not disappear and it tells you that you must use the CFE card only for recording. 8K60FPS - This is not documented clearly anywhere I have seen, but 8K60FPS is only an option if you pick compressed raw. I am fine with that, 8K is massive as it is, but I never saw the advertising materials mention 8K60FPS RAW is compressed raw only CONCLUSION
If the bugs get worked out this is a worthy successor to the R7 for me. The image quality and features are what I expected when getting the camera.  The bugs though really make it hard to trust this camera, it stopped communicating with the lens after a 1.5hr drive to a shoot that could only be done that day.....if I had not brought along my RF70-200 lens (which I usually don't for a video shoot), I may have been unable to get the camera working again...not a good feeling after buying a $4300 camera.
IN CASE YOU MISSED IT
Here are my reviews for:
The S5 - Panasonic S5 User Experience
The C70 - Canon C70 User Experience
BONUS
I shot a camera test video with some local models and exotic cars to put the camera through its paces. This is the way that I will be using the camera every single day so that's how I tested it....no control over nature, lighting, venue setup, etc. For this shoot I used the Meike vND RF to EF adapter, Sigma EF 50mm F1.4, Canon EF 24-70mm F2.8, and the Canon RF70-200 F2.8. Mostly handheld, but I did use a gimbal for some of the longer walking shots.
 

Looks killer in so many ways. Would be interesting to try one out.

Straight from the sales materials so mileage may vary regarding the accuracy of the adjectives but here are the details.
-----------------------------------------------------------------------------------------------------------------------------
EOS-R8
24.2 mеgаріхеl full-frаmе СМОЅ ѕеnѕоr fоr bаlаnсеd dеtаіl & реrfоrmаnсе Duаl Ріхеl СМОЅ АF ІІ ѕуѕtеm rесоgnіѕеѕ & trасkѕ ѕubјесtѕ wіth ѕhаrр fосuѕ Ехсеllеnt lоw-lіght реrfоrmаnсе wіth а mахіmum ІЅО uр tо 102,400 -6.5ЕV АF ѕеnѕіtіvіtу thаt fосuѕеѕ іn lіght еquіvаlеnt tо hаlf-mооnlіght 40fрѕ еlесtrоnіс ѕhооtіng & 6fрѕ wіth Еlесtrоnіс Fіrѕt Сurtаіn Nеvеr mіѕѕ wіth 30fрѕ RАW burѕt mоdе & 0.5 ѕес рrе-ѕhоt Аdvаnсеd НDR mоdеѕ fоr bоth ѕtіll & mоvіng ѕubјесtѕ А truе hуbrіd сараblе оf оvеrѕаmрlеd 4К vіdео uр tо 60 fрѕ Full НD uр tо 180р thаt іѕ реrfесt fоr ѕlоw-mоtіоn еffесtѕ Саnоn Lоg3 fоr іmрrоvеd соlоur grаdіng аt роѕt-рrоduсtіоn Ѕmооthеr fосuѕ-рullѕ wіth fосuѕ brеаthіng соmреnѕаtіоn 2.4GНz Wі-Fі & Вluеtооth соnnесtіvіtу ѕtrеаmlіnеѕ wоrkflоwѕ UVС ѕuрроrt fоr fullу flехіblе wеbсаm uѕе & ѕtrеаmіng Wеаthеr-rеѕіѕtаnt dеѕіgn fоr unіntеrruрtеd ѕhооtіng Соmрасt & lіghtwеіght buіld fоr еаѕу trаnѕроrtаtіоn Body Only - £1699
with new RF 24-50mm IS STM Lens - £1899
-----------------------------------------------------------------------------------------------------------------------------
EOS-R50
Еntrу-lеvеl саmеrа wіth 24.2МР АРЅ-С ѕіzеd ѕеnѕоr Соmрасt аnd lіght fоrm fасtоr wіth еrgоnоmіс grір Flех thrоugh frееlу uѕіng thе 3” Vаrі-Аnglе tоuсhѕсrееn DІGІС Х Іmаgе Рrосеѕѕоr fоr ѕіgnаturе Саnоn lооk Duаl Ріхеl СМОЅ АF ІІ ѕуѕtеm dеlіvеrѕ ріn-ѕhаrр асtіоn АF Тrасkіng іdеntіfіеѕ humаnѕ, аnіmаlѕ аnd vеhісlеѕ 4К UНD 30р vіdео rесоrdіng fоr іnсrеdіblе dеtаіl Мultі-funсtіоn ѕmаrt ѕhое fоr орtіоnаl ассеѕѕоrіеѕ UVС ѕuрроrt fоr hіgh-quаlіtу vіdео саllѕ оr ѕtrеаmіng Вluеtооth аnd Wі-Fі соnnесtіvіtу tо kеер уоu ѕhаrіng АРЅ-С lеnѕ dеѕіgnеd fоr Саnоn’ѕ ЕОЅ R-ѕеrіеѕ Іdеаl fоr trаvеl & fаmіlу рhоtоgrарhу оr еvеn vlоggіng Рrасtісаl 29-72mm (35mm еquіvаlеnt) zооm rаngе 4-ѕtор орtісаl Іmаgе Ѕtаbіlіѕеr fоr ѕurе & ѕtеаdу ѕhоtѕ ЅТМ mоtоr аllоwѕ ѕmооth, ѕіlеnt & ассurаtе fосuѕіng Body Only - £789
with RF-S 18-45mm Lens - £899

with RF-S 18-45mm and RF-S 55-210mm IS STM Lens - £1,099

with RF-S 18-45mm Lens Creator Kit - £949
-----------------------------------------------------------------------------------------------------------------------------
Canon RF 24-50mm f4.5-6.3 IS STM Lens
£ 379
-----------------------------------------------------------------------------------------------------------------------------
Canon RF-S 55-210mm f5-7.1 IS STM Lens
£ 479
-----------------------------------------------------------------------------------------------------------------------------
 
Full details for the R8 here :
https://www.canon.co.uk/cameras/eos-r8/specifications/
Full details for the R50 here :
https://www.canon.co.uk/cameras/eos-r50/
 
I don't have any skin in the game but I wonder whether the R8 that give pause to those switching to the more expensive S5MkII, albeit it that the R8 lacks IBIS ?
They seem to be pitching the R-50 as the new EOS-M but, again, I suspect the lack of IBIS will be a big miss for the crowd that they are going after but the two kit lenses for it do have OIS so maybe not.

S5 with Voitglander 35mm 1.2 @ 1.2 and DJI Focus
 
https://drive.google.com/file/d/1zfdaF9VfxQ5PPJ0PXOFygTKcnzbUHqjq/view?fbclid=IwAR18VZmAs2U24wxr0-3UnFtwKCxlr0mnmzgp3imrbngTKoN7CcwKqrM97zc
 

I am indeed! I meant to thank bloggers (including Andrew specifically) for bringing the issue of overheating up so much. The pressure about the timer nonsense forced Canon to change the way the camera monitors temperatures, which is the reason the mod works at all.

go ahead... tell me how stupid i look in this thumbnail. 
 

Any chance this cfexpress to nvme ssd could work? https://www.ebay.com/itm/184438464836

Here is a VFX heavy short film I shot on the Samsung NX1 years ago, finally decided to finish it and get it online so here it is!  The last scene is the canon T3i 
all lenses used are the rokinon 24mm f1.4 and Canon 50mm f1.4  
Watching in 4k is strongly recommended as YouTube loves compressing things 
 
 
 
 

Some cameras shoot RAW and Prores, and some shoot h264 and a few shoot h265.  There's lots of bitrates on offer too, 50Mbps, 100Mbps, etc.  Some are ALL-I and some are IPB.
But how good are they?
I couldn't find any comparisons, so I did some myself.
What I did was take a few shots from the BM Micro Cinema Camera shot in uncompressed RAW of a tree moving in the wind, and made a single UHD frame by putting them in each corner, like this:

Also, they were of different lengths, so I just repeated each one, like this:

So we have a test clip that was shot RAW (maybe compressing already compressed footage is easier?  I don't know, anyway..), that includes decent movement but isn't some stupid test case that means nothing in real life, that doesn't repeat (because the clips are different lengths), and has some deliberately almost crushed blacks to test the pixelation that h264 and h265 sometimes get in the shadows.
Then I exported an uncompressed 10-bit 422 YUV file to use as a reference.  After some tests and seeing the file sizes and processing times, I decided to only use the first 12s of the timeline.
Then I rendered a bunch of clips, either h264 from Resolve, or h264 and h265 from ffmpeg.  I tried rendering h265 from Resolve but had issues, and in this test all the maximum bitrates I tried all created the same size file, so I abandoned that.  Common wisdom online is that Resolves h265 export mechanism isn't the best and you should use ffmpeg anyway.
Then I compared the compressed clips with the uncompressed reference file, which gives a score called SSIM, which goes from 1 (a perfect match) downwards.
Here's the results so far:

Here are some observations / thoughts, and some answers to some questions I'd had:
In Resolve, H264 seems to top out, as I couldn't get it to export at more than about 400Mbps IPB, but ffmpeg went higher than that quite happily ALL-I h264 doesn't seem to be that different than IPB, at higher bitrates anyway - slightly lower quality and slightly higher file size, but not the 3x I've read around the place Prores isn't that much worse in terms of quality vs compression than h264 or h265, despite being an older codec (although maybe there are versions?  I have no idea how prores works.. maybe that's important for this topic?) Different encoders have different levels of quality, so what's in a given camera is likely to differ from these results I guess the real question is, how much h264 do you have to have to equate to Prores?  The answer seems to be "about the same bitrate, but probably a little less for an ALL-I codec, and a little less bitrate again if it's an IPB".

Maybe Panasonic would be willing to trade the S1H “fan technology” for DPAF. Fair trade!

Jason Zhang, the owner of the company, posted a test 4 months ago.
 

kayleerumors is reporting gyro as confirmed

 

Just opening this to start off the discussion of the Z-CAM E2 models.
I shot with one for the first time at IBC in 2019 and will bring you some footage from the full frame 6K version of the Z-CAM 2

Incredibly close between these two. I have a Panasonic S1H with me at the moment, and am getting to know it. Meanwhile the Z-CAM, I had the briefest of hands-on at IBC and will be posting some footage from it. Both cameras are capable of 6K H.265 internal recording from a full frame sensor, and both are at the lower price-end of the pro-cinema market.
Flannel Ninja’s video above goes into really in-depth detail about the two, so do give it a look.
Read the full article

Always positive vibes in your posts, love it!
And I agree that this forum is a great resource ?

i feel like im starting to get the hang of this filmmaking thing, for the first time, with the project im doing right now
i dunno how i couldve gotten this far without andrew, eoshd, and all u guys on this board helping me, and answering my stupid questions
it means a lot
i just want u all 2 kno ?
 
thank you

I just bought my first fullframe toy?
Now i need That piss a shit Vlog card!!!
 

First test on my S1 with V-Log
 

and the EOSHD Nihilist quote of the day goes to..........   *drum roll*
???

I think they did everything right with this one, what a beast! So much good options right now for filmmakers and there is still even more to come (a7siii/z-cam) ?
Exciting times!

I finally recieved the mc-21 adapter today so I did some totally unscientific moire tests after seeing that dpreview chart which I thought initially looked very sketchy. To my suprise it did conform to reality.
The S1 does seem to suffer from alot of moire in APS-C mode. I find the levels of moire in aps-c is near unacceptable, I believe panasonic has messed up here in their quality control. Also the 4k image is a bit softer than expected. However in 24/30p the moire levels are very low and the image is much cleaner so there it delivers stellar results. I think S1's strong points is its dynamic range and low light performance but it does come with some drawbacks unfortunately (atleast for us that mainly got it for its 4k60 and high frame rate modes..).
Setup:
S1 firmware 1.2
GH5 vanilla firmware + dummy adapter
Lens: Samyang 85/1,5 AS IF UMC II VDSLR at f4
S1 settings:
All default. Standard picture profile and 8-bit video.
Might try to play around later and see if the moire can be lowered with some settings adjustments.

I finally recieved the mc-21 adapter today so I did some totally unscientific moire tests after seeing that dpreview chart which I thought initially looked very sketchy. To my suprise it did conform to reality.
The S1 does seem to suffer from alot of moire in APS-C mode. I find the levels of moire in aps-c is near unacceptable, I believe panasonic has messed up here in their quality control. Also the 4k image is a bit softer than expected. However in 24/30p the moire levels are very low and the image is much cleaner so there it delivers stellar results. I think S1's strong points is its dynamic range and low light performance but it does come with some drawbacks unfortunately (atleast for us that mainly got it for its 4k60 and high frame rate modes..).
Setup:
S1 firmware 1.2
GH5 vanilla firmware + dummy adapter
Lens: Samyang 85/1,5 AS IF UMC II VDSLR at f4
S1 settings:
All default. Standard picture profile and 8-bit video.
Might try to play around later and see if the moire can be lowered with some settings adjustments.