solovetski

OK, now we have with the latest GoPro Labs firmware the ability to use a color gamut (WIDE) that contains all the color the sensor can recognize, way wider than REC709. Leeming makes a LUT that transforms the WIDE gamut to REC709. This is the test video I shot using the Flog (Fuji) gamma setting, WIDE 10bit color, and graded using the Leeming LUT:
 

In a blink of an eye we're going to enter the "Web 4.0" era within a few years, when there is more AI written content on the internet than there is human written content. And you won't be able to tell the difference. 

One less pointless trip to the stratosphere (barely space!) would run DPR for 4 or 5 lives!
The forum there had a very strong NX presence, I hope we can attract here most of that traffic, even thought there are too many hobbyists and newbies, which I am not sure if they are the right target group for eoshd, still, it is a possibility..

The problem with Japanese camera makers is that they don't know how to make money anymore. You want to attract younger customers, you have to support the platforms that encourage them to use dedicated cameras. That's about a combination of knowledge and culture. Its a shame that these days its Apple, the king of parental "auto everything", that advocates manual control for its iphone cinematic mode. The Apple way of "manual" of course. Soon they change the taste of an entire generation to believe 60fps is artistic! Dedicated camera needs its own narrative to survive, and we're losing the narrative. 

I have gotten to where I shoot almost exclusively with the R7 for events and hybrid photo/video work. For talking heads, long form content, concerts, etc. where the camera can be locked down and audio is more important then I use the C70. For commercial shoots and things like music videos I typically combine the C70 with the R7 as the b-cam.
For audio when running and gunning I typically use just a shotgun mic, the Canon EF 24-105mm F4.0 lens and get pretty close to the subject to try to reduce background noise. When I am working with an onscreen personality doing impromptu interviews at events then I use a Sennheiser handheld mic and G4 receiver. For talking head work I use a Sennheiser G4 transmitter and receiver combined with a mini-XLR shotgun mic into the C70.
Some of it is depending on budget as well. If the budget is pretty low I will just use the R7 simply because I don't see the point in bringing the C70 to a lower budget shoot unless it will drastically improve my workflow. If the budget is high enough then I will use the C70 even for shots that I would typically shoot with the R7 (i.e. I will rig up the C70 on a gimbal if the budget is high enough, and forgo the R7's IBIS for the C70's improved DR/IQ when shooting handheld). 
At the end of the day I definitely make my camera selections based on the project type. If the project is 90% photography and 10% video then I will probably use the R5. If its 50/50 photography/video then I will use the R7, if I need two cameras then I will pair the R7 with the C70, if its 100% video then the budget and audio requirements will make me choose the C70 or R7, etc. etc. 
The great thing about the R7, R5, and C70 is that none of them need much rigging to work and all of them will produce great quality with or without rigging/lighting. I know BM cameras tend to need more rigging/lighting to get the best results which is why with my setup I can use any camera for anything from run and gun to studio work.

The idea of editorial independence was enshrined in the BBC’s founding Royal Charter in 1927, which stated the corporation should be “independent in all matters of internal control.” This was a way of ensuring the BBC’s coverage was not subject to political interference or pressure from any external sources such as the government.
Now the editorial independence of the BBC is at best completely neutered by the Conservative Party. Many talented journalists have left. In many respects the best news organisation in the world has taken to sourcing stories purely from Twitter and social media.
https://www.eoshd.com/news/controversy-at-the-bbc-and-impartialitys-true-meaning/

On a side note, I never liked the term "creator" from the start. It's pretentious. 
No matter how awesome a video I make is, I didn't cReAte anything. I captured something that God created, and edited it into something cool. I produced something, but I didn't create shit.
Imagine an architect looking at a building he/she designed and declaring: "I created this". 
But it makes people who make a basic-ass video or reel feel good and important, so that's one of the reasons it's so popular IMO.
/rant.

I took this path more than a year ago for several reasons.
    1. BRAW. Using BMPCC 4K realized how good BRAW is  
            - various degree of compression and file size
            - ability to adjust white balance
            - great support in Davinci Resolve,
            - smooth playback, scrubbing and editing
One of the main reason I've choose Panasonic, instead of Sony or Canon was support of external BRAW recording. Only Panasonic and Nikon cameras had it. But Panasonic support is better as it gives you 6K and no line skipping, auto focus was not a problem for me because can use manual focus for 100% of what I shoot
The other reason was price. Even then Panasonic S5 almost new from the box but second hand costed me 1100 Euro. Cheaper than BMPCC 4K which new came at 1400 Euro. If we add speedbooster and monitor price is also pretty much comparable to Panasonic S5 + Video Assist
    2.     BMPCC 4K is great but it's difficult to shoot without external monitor. Maybe it's just me but without a good 1500+ nits monitor which sits at 45 to 90 degree to the top of the camera or camera + cage + top handle it was really difficult and painful to shoot. In general I find that the most convenient, practical and useful setup for professional or serious shoots is camera + cage + top handle + monitor. It adds weight which is good for stability and it makes shooting so much easier. If we add the monitor to BMPCC 4K, then in terms and weight and size Panasonic S5 + BM Video Assist, suddenly became almost identical to BMPCC + monitor and even more compact in terms of length. Panasonic S5 can be used on most gimbals, BMPCC 4K on just a few. If I stayed only with BMPCC 4K had to buy a new gimbal. Sometimes it is great to be able to shoot with one small camera and lens, similar to the reporter style of Henri Cartier-Bresson. But BMPCC 4K is not good at this. It lacks EVF and is too big in length. Panasonic S5 on the other hand is. For those shoots I can skip the recorder and use 10bit 4:2:2 internal codec which is also very good or simply put the recorder in a bag and have a small and tiny HDMI cable hanging on the side.
    3. BMPCC 4K sensor size. I used Metabones speedbooster x0.64 and in term of DOF and bokeh this camera and setup were great. However crop factor is kind of weird - 1.21, can't use my primes lens sets on their specific focal length. No big deal but still kind of problematic. With Panasonic S5 any vintage lens has exactly the same focal length / angle degree it was designed for.
Panasonic S5 + BM Video Assist 5'' 12G solves most of BMPCC 4K shortcomings like poor battery life, lack of EVF, IBIS and smaller sensor size. Plus it is a great photo camera on it's own. Plus it could be used without BM Video Assist 5'' and will still give great image quality.
Shortcomings of Panasonic S5 + Video Assist: Micro HDMI, always kind of problematic, needs special attention and mini cage with a clamp to hold it on place or micro HDMI to HDMI adapter clamped to a cage as well. You need a bigger bag in order to be able to put camera and recorder together as one piece but same is true for BMPCC 4K + monitor. You have to start / stop two different devices.
In general I find  S5 + BM Video Assist to be more convenient and enjoyable camera setup than BMPCC 4K + monitor + speedbooster. New S5 II solves the micro HDMI port problem and adds tracking auto focus. Can we call it cinema camera ? Yes, with BRAW it certainly is capable to deliver high picture quality.

Yeah, I don't know the ins and outs of the arrangement but there are certainly slim pickings when it comes to DX lenses in Z mount (although there are a number of them on the lens roadmap) so these Sigma lenses certainly fill a gap for Nikon to encourage sales of the two DX cameras.
Canon have the same issue with their RF-S range being small and exclusively fairly slow zooms so could also really do with these Sigma lenses for their R-50.
Looks like a triumph of pragmatism over ideology to me but, knowing my terrible prediction skills, Canon will now launch a raft of RF-S lenses next week 🙂

No I didn't just go by what Andrew said, I looked at it for myself, and the R8 is missing the back wheel around the joystick which I use on literally every single shoot, they moved the photo/video switch to the left side which means I would need to let go of my side handle to flip the switch vs the R7 which is on the right side and right under my thumb allowing me to instantly switch from photos to quick video clips during events, and last but not least it is even smaller and lighter than the R7.
When shooting video handheld I like big heavy cameras, the bigger and heavier the better for stability especially since Canon has IBIS wobble problems with wider lenses. The R7 with a cage and side/top handles is the perfect size for me, big enough to easily rig heavier but small enough to quickly strip down to a gimbal camera.
I never use the touch screen to focus, that would mean I would need to take one hand off of the camera and touch the screen. I stick to center cross hairs and keep both hands on the camera. The R5, R7, and C70 all have a back wheel which I use to quickly adjust the aperture or shutter speed without letting go of the camera. Only my Canon Rebel doesn't have a back wheel and for that camera I don't care since it is just a timelapse camera.
So yes, I did reach my own conclusions that the R8 is not as ergonomically friendly to my specific shooting style as the R5 or R7 and is closer in ergonomics to my Canon Rebel.
I will never get a camera with a single card slot when dual card slots are available on so many cameras. Many more things can happen to footage vs just the card going bad or the camera stopping the recording. I shoot event work and most of my customers re-hire me year after year, all it would take is one year of lost footage for them to hire someone else leading to much more lost revenue than the cost of getting dual slots. Computers can get infected with viruses that wipe out your footage, if you are transferring the raw footage onsite with the client their computer could be infected, or their card reader could fry your card, etc. etc. None of this has happened to me but I have had a few clips disappear in the middle of a project (possibly accidentally deleted or overwritten) and I have used the second card to get it back.  With equipment being so good these days sometimes the only thing separating the professional from the beginner is the level of preparation for when things go wrong.
When I need multiple cameras for a project I pair the R7 with the R5 or C70, if I had to buy an additional camera body tomorrow then I would just buy another R7. If your budget is $3K and you need two camera bodies then I would recommend two R7s, that way they can share batteries and accessories, menus and ergonomics are identical, etc. I just really don't see what the big deal is about shooting FF or non-line skipped 4K60FPS. RS doesn't bother me since I don't shoot fast action. 
As I mention in many of my posts, these are just my opinions, my workflow, and what works for me, in today's times, there's something for everyone.

Competition is good isn’t it.  Why not share the pie, it would be boring if it’s just Sony and Canon.  I’m thankful that there are Sigmas, Panasonic, black magic, Fuji, Leica, DJI etc. because they offer different things for different users.  It’s not like these brands are gonna die anytime soon, there are fan bases for them.  There all just tools anyways and filmmakers/videographers/photographers are just trying to find the right tool that works for them, there’s nothing wrong about someone being interested in choosing L-mount/Z/fx mount/?, just because they don’t have a high-end cinema line.  

Maybe because it can oversample a FF 24 mpix sensors at 60 fps 10 bit with full AF and can shoot 40fps 12 bit RAW pictures with full AF and AE.
40 fps RAW I believe it makes it the fastest FF RAW camera (with the R6 ii)…. just a few years ago you would need to buy a 1Dx class camera for 12/14 fps RAW….
But I finally find your problem with this camera … is not a Panasonic 🤣🤣

That's what so-called pundits where expecting three years ago when the original R6 dropped. Still hasn't happened, not even in the sub-$4K range. So who's going to do it? Sony? Nope, they won't put a new FF sensor that will cannibalise their best selling A7IV inside a $1500 camera. Besides FF 40K60p 10-bit sensor won't work in the tiny A7C body. Panasonic? They just released S5ii, have S5iiX planned with no FF4K60p and they don't do $1500 cameras. Who's left.. slow-poke Nikon? We're still waiting on Z8 (a $4K camera). 
Like it or not Canon have been pioneering quite a number of things in their mirrorless range, including 6K/8K internal RAW cameras. Something only the $6K Z9 can currently do. So yeah sometimes you just gotta give them credit where credit is due. Too easy to just dismiss it by saying no big deal, someone else will do the same soon when they've literally proven to be years ahead. 

Check out Lok's R8 test, he sticked it in his oven set at 37 degrees Celsius and it ran for an 1h10mn in 4K25p after what his SD was full and he stopped testing it, the new temp meter was only at about 3 bars. The R50 overheated immediately upon turning on after his initial 5mn off warm up. R8 battery life was I think 53mn (you'll have to check) in those conditions which isn't great but not totally bad.
Totally understandable. Not too many scenarios for the EOSHD crowd to go for an R8, we're not really the target. Places like Cined, Gerald Undone etc haven't even bothered reviewing it. Heck even the R5/R6/R5C barely get any traction. Canon is absolutely hated on by pundits. That said, on the field, or even right here, most Canon users are working pros, shooting silently and getting paid while others circle jerk over their bonus features shooting alleys and trees in glorious anamorphic splendour and wobble free stability. Being slightly facetious here, I think all cameras are pretty great right now compared to just a generation or two ago.

Are you serious?
We should compare to cameras that may be released in the future and thus we should be here saying that is meh release because it will be surpassed in the future?!? Because you, alias Nostradamus 🙂, thinks that in 6-12 months there will be (and I actually hope so) better cameras in this class?

But yes if you remove the super sampled 4k with no crop 24-60p, the great AF, the fast still fps, the 10 bit log, the good rolling shutter, the hybrid hot shoe, it is a crappy release... but guess what great AF and great 4k 24-60 image with AF is what many people want.  

I have also a prediction then, with the "next 6 to 12 months camera on the same price brackets" people can take artifacts free, rolling shutter free and noise free image, by using 0 space on the card compared to the R8 because it does not exit 😁

You don't like canon and is fine but I really don't get what is your contribution here as it not facts based and only hypothetical future predictions that does not help anybody that needs a camera today. 

Canon has changed a lot on the video side and most of the new release have really good video capacity with great AF:

C70 4k RAW
R5 8K RAW, 4k 120
R5c 8K RAW 60P with Cinema OS
R3 6K RAW 60p
R6, R6 II, R8 super sampled 4k 60 10bit CLog 3
R7 super sampled S35 4k 60 10bit CLog 3

Times are changed from the Canon that was not innovating and holding back tons of features on the video sides. Are these camera perfect no, are their competitive in their respective price bracket yes. Just a few years ago RP and R where really meh released for video.

The fact that a 1500$ gives you most of the feature that the others much more expensive cameras give you is the good story. And let's not discuss on the stills side that for the sports/actions photographer a R8 will do better in many scenarios than 6k$ 1Dx III (and I owned the 1Dx III)

 

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
 

I had similar thoughts. However, I was most surprised by the AF that looked surprisingly similar given the AF upgrade on the S5ii. Clearly, you'd trust it more in a Youtube situation. However, after watching Blooms' Sony video on "manual autofocus", I decided that manual AF is the way to go, even in 2023 for a lot of content. You end up putting way too much trust in the technology and fiddling around with settings when you could simply do another take if you know you missed it.
It would seem there's an unhealthy paranoia around focus in general. Talk to a YouTuber and they'd say it's the most important point on a camera with seemingly higher standards than Hollywood... for YouTube. It's a strange world we live in.
Concerning the DR Boost, I was also surprised he didn't use it. He should have because all the frame rates that the S5ii is capable of, the GH6 CAN use DR Boost. Also, that crop for 60fps is only mildly bigger that the GH6 60fps 4K.
The IBIS on the S5ii looks good on the wide end, but would seriously doubt the long end looking better than the GH6. Also, they was only 1 shot.

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You mean 8K 120p isn't industry standard? Don't tell the forum this, there could be a mutiny. 

Lens selection has improved. They might be second to only Sony at this point, though as you said a lot of them are expensive. The performance of the Sigma EF to L adapter though might be something worth looking into, as the performance from what I've seen has been impressive. The Sigma lenses themselves look to work really well too.
VLOG, from my experience, is the easiest LOG profile to work with. I wasn't a fan of VLOG-L, so I never really used it on my GH5 and kinda regretted buying the license. Once I got the S5 and full VLOG though that changed. For concerts and live events I still will usually film using the natural profile because it's "good enough" straight out of camera and the lighting isn't usually ideal, but for everything else I pretty much always use it because of how simple it is. I like the gamut.io VLOG conversion LUT a lot.
Going from the GH5 to the S5, the size difference was negligible. You'll mostly feel it in the lenses, but I don't know that they're that much heavier than what you're used to. 
I actually disagree about lenses being a major factor in Sony's rise. For a long time the biggest knock towards Sony was the lens selection, but they grew despite that because for the longest time they had the full frame mirrorless market to themselves. That allowed them to overcome issues that plagued them, like the lens selection, terrible rolling shutter, overheating, ergonomics, color, etc. Canon and Nikon didn't enter the market until the end of 2018, and when they did their entries were weaker than the A7iii that had already been released six months earlier. That they pretty much opened the E mount to pretty much everyone to make lenses certainly did help, and it quickly made the "lack of lens selection" complaint a thing of the past, but being the only real full frame player in the mirrorless game for years while everyone lagged behind is what I'd say is THE major factor in their rise. That it all happened during the "content creator" boom was huge, too. Things though really could've shaken out differently. I think people forget how prevalent/popular the GH4 and GH5 (and even G7) were pre-A7iii. The A7iii was a game changer, but before that most video shooters were using either Canon DSLRs or Panasonic cameras if they were using ILCs.
Full frame lenses for the E mount really didn't start coming fast and furious until Sony, Sigma, Tamron, and other third parties started to release a flood of lenses in 2019. Before that there were like 25 Sony lenses, a Tamron zoom, and Sigma's f1.4 primes, which wasn't a lot for a system that had been out for almost 7 years at that point. The lack of lenses didn't stop the A7iii from becoming one of the most popular cameras of all time right from the start (remember how it was backordered for a lot of 2018?)
 
TL;DR version: Lens selection NOW might be a selling point for the E mount, but that really only recently became the case. In the early stages of Sony's growth it was actually a negative.
 

Recently purchased the X-H2s, and you know me, the first thing I look at is chroma resolution. Just dropping this in, on the left side you see the Cr channel of an EOS R 4K C-Log 8bit 4:2:0 recording (about 420 Mbps), on the right side it's X-H2s 4K F-Log 10bit 4:2:2 (about 615Mbps):

Don't get me wrong it's better than the X-T3, but this smoothing can still lead to loss of color. I really wish we could turn it off and deal with color noise in post.
ProRes RAW helps but it's a mystery to me. RAW on the X-H2s has the X-Trans pattern, obviously. However, it gets magically converted into Bayer in the ProRes RAW file. I had discussions with people who are involved in ProRes RAW->DNG conversion, also did my own test with Raw convertor (resulting DNG has Bayer pattern) and it seems that the data that arrives to a Ninja V recorder is already Bayer, even though the sensor is X-Trans. I'm still trying to confirm all this but if the body demosaics the X-Trans pattern and remosaics it into Bayer, then it's kind of a hack which in some cases can lead to artifacts.

Well that's it, deal done; S5 and S1H being 'traded' for a pair of S5ii's. MPB collecting tomorrow, new boys on pre-order...
I would have preferred a pair of S5iix's, purely for their look (don't need their spec, - anything over 200mbs not required) but as they are not available until end of May/early June and my next season starts end of March...
I'm going to miss my S1H for sure, but this is going to be a better pairing for my video needs being:
A. Identical bodies.
B. Both having a built in fan rather than just the S1H (though the S5 never overheated a single time).
C. The AF of course for which I have a need, especially with regard to shooting log because shooting that only made the AF worse with previous Lumix cameras.
D. No 30 minute time limit as with the S5 which was a pain.
Body A will be paired with the Sigma 16-28mm f2.8 and Body B with the Sigma 28-70mm f2.8 and that's happy days for the forseeable future. My only wish would have been the tilt screen of the S1H (or even the S1/S1R) but that is the ONLY compromise with this camera for me. For my video needs anyway...
For stills, sticking with my trusty S1R's for the time being. I had already sold off my f2 Sigma primes. Loved them, but going forward, really wanted something a bit faster for the low light stuff so bought 3x f1.4's, the; 20, 35 and 85.
I'm in no rush to replace them and had considered a complete S5ii lineup, but I reckon either Panasonic or Leica will come out with something maybe for next year that will update the S1R significantly enough for me to replace them.
The ideal now would be an S5iiR model, but an S2R or something Leica flavoured would do it.
On the other hand, I might just trade the pair of them for a third S5ii body as a 3 body set up rather than a 4 works better...except during wedding ceremonies and speeches unless I switch to a 3x zoom set up for those times.
We'll see but glad I stuck with Lumix after considering; OM-1, XH2/S and even a wholesale switch to Sony.
Faith restored in Lumix/L Mount. Hadn't really lost it as such but I had a concern that they might just blow it and not go phase detect but realistically, that would have been suicide for them.

I sympathize with a lot of people that went with the GH6 for this reason, though it's just the nature of the beast unfortunately. 
The GH6 felt so long overdue at the time that it's hard to say this, but they might've been better off waiting until they could do PDAF before releasing it. Easy to say that now, though. 

my vid is up! outside of the review aspect, i would love your feedback on my edit/ tone of this video. 
 

#1 wish: give us zero delay SDI output!! (they can go with DIN instead of BNC if they need to save space, no big deal, one of my old Atomos monitors already uses DIN instead of BNC)
  
Oh snap! We posted this at exactly the same time.