FHDcrew

Andrew, excuse me for going a bit off topic. But I regard EOSHD and your work. I came to photography and videography as a hobby and now it has become part of my full time job. I remember my first steps on the internet, like paying 1€ at the internet-cafe to watch the trailer for star wars because my internet at home was so slow 😄
But I learned a lot from early video tutorials (ryan wieber for lightsabers and videocopilot, even though his tutorials became kinda stale), online forums and blogs were a great source of knowledge and information, with some strange guys of course, but thats the nature of it. Nevertheless, a community and as long as there´s no gatekeeper, great exchange was possible. the evolution of youtube into "cable tv" is in fact really bad. sure, you don´t have to like every aspect and genre a platform offers, but the amount of crap content and nonsens is enormous. 
Facebook is a similar thing. I began using it very early and it was great to stay in contact with my friends after leaving school and starting university. the first versions of the app and the messenger, all nice additions and well integrated. but what is it now? my feed is basically 90% braindead, idiotic, AI-created shit that I am supposed to look at. I only log in because I manage some accounts for work and I to use some groups for knowledge in resolve and audio recording. but facebook as it was intended is long gone.
I still think that youtube, besides all the shit, still is a source of great information and knowledge. but you have to dig through a lot of mudd to reach the gold. The thing is, a lot of the accounts and characters i dislike, gain a lot of attraction for some reason. I just want to support overacting, narcicistic media prostitutes, that praise each and every product as long as there´s some reward for them. To some part that is the case for the mentioned cat owner. It became a 50% work 50% my life show, where the ration before was maybe 80:20. Me personally, I don´t watch this kind of television, I despise all forms of "reality TV" and scripted BS productions. 
If I look at the accounts I subscribed on YouTube, a lot of them haven´t posted for quite a while. Some of them do, but either with a lot of partnerships, product placements etc. If some of them can talk about this and make things transparent, I may be willing to watch it, but as soon as there´s clear bias I´m out. So many clips have become 70% this is the best product ever, it can make your dreams come true, just buy it and you will see, 30% real information and something you can take away and learn. 
I´d like blogging to make a return. Maybe in a typewriter font and with 800px only image sizes. back to basics, information and knowledge first. I´d like that. 
And on a side note: EOSHD not only kept the name, it even survived forums like BMDuser and others, that just died a slow death or ended instantly. 

When they say you don’t need this or that and can use cheap gear, and then proceed to use and advertise expensive gear. These guys annoy me greatly. 

When they say you don’t need this or that and can use cheap gear, and then proceed to use and advertise expensive gear. These guys annoy me greatly. 

The 20MPix sensor or similar is still in use on the latest RX100 model I think, the first version being twelve years old already! @FHDcrew Here is a comparison between RX100 VII and the RX 10 II. I imagine the colour science in video is nicer on the former due to processing. For RAW photo the latter is slightly ahead though in this test:
https://www.dxomark.com/Cameras/Compare/Side-by-side/Sony-Cyber-shot-DSC-RX100-VII-versus-Sony-Cyber-shot-DSC-RX10-II___1336_1034

Yes this video so absolutely incredible haha

Reviving a super old thread here.  Came across a recent review of a Sony RX10 ii.  Still an awesome camera.
 

I don't see how the external recorder market can be sustained. I used a Ninja Star around 2015 with the 5D3 and whatever A7 version we were on, and even back then with the clear visual benefit of ProRes, the ridiculousness of using a HDMI cable and bolting a box on the camera was apparent. At that time, anyone could tell that external recorders were a short term investment--never more than one or two generations ahead of internal recording specs. If I worked at Atomos, I'd push leadership to build some new products.
Edit: I suppose Atomos does make decent monitors which will continue to be a market. However, I wouldn't call them the top of the tech game, even for that, compared to a lot of the monitors with builtin wireless these days.

The product is becoming irrelevant
On the codec side, the camera does it all now. There's no gap for Atomos to fill, not even ProRes RAW.
On the monitoring side, we could do with going beyond just 3.2" screens... So it's still nice to check focus on a bigger screen. This is an ergonomic benefit, but speaking personally I have always disliked the trade off... It feels like one step forward for focussing, 10 steps back for balance, size, handling, battery life, simplicity, stealth, reliability, weather sealing, robustness and weight. So I'd rather just eyeball the EVF instead.
I am convinced that Atomos customers mainly bought into the product because it was the cheapest way to make a mirrorless camera look professional in front of a client.
The actual practical benefits are very questionable in my experience.
So can Atomos now pivot from the dying market, into a big growth area, or will Jeromy be captain of a sinking ship?
It wouldn't be the first time he's been on trouble on a boat.

The Ninja Star was relevant in the old days when electronics needed a larger box and more power simply to do a 1080p ProRes recording,
Now we have such insane power in our portable cameras and even iPhone, the market for this has completely vanished.
In fact it wasn't really much there in the first place because with the Ninja Star - yes you got ProRes - but no you still didn't look proper at work, because you'd be turning up with a tiny GH2 and no chonky cabled up gigascreen to pimp it out.
So it didn't sell very well and that's what makes me think that the codec capabilities offered by Atomos were never the main reason for their original success... It was the $500 bolt on that gave a basic rig vague credibility on a hire.

Simply hilarious...
So actual... : ) This usual (un)suspect is actually more often brilliant than not ;- )

If owning 3 Ninja V's counts, I'm an Atomos customer.  I still have them because the resale value isn't great - though I should just get a quote from MPB to see about swapping them all out for a Video Assist 12G.
At this point, it's hard to imagine Atomos releasing a product that I would buy, both because the CEO is fucking awful and for the other reasons I outlined abovef.

Some 8-bit stuff I shot a few months ago and finally got around to editing.  Graded with one of the Fuji film-luts in Davinci Resolve.  I got my white balance pretty close which helped a lot.  I've found the 8-bit color to be pretty solid as long as my white balance is good and I'm not underexposed.  Need to get better at nailing those things for run-and-gun stuff.  Whenever I shoot 10 bit I get less strict with spot-on WB because I know I can tweak in post lol.

The S1H is really special, I got a photog friend uses it mostly for photo and some videos, he also had dab with Sony for a while but back to Pana S1H for everything he do.

Mixture of 8 bit and external 10 bit. The first location is definitely 8 bit. 
 
 

I have one.
The buttons. They are designed simply to irritate me. They succeed. Far too small with little feedback. I’ve actually packed mine away to sell on but I might get chance to answer your question over the eeekend.
It’s such a super concept. But, at least for me, entirely unusable. I got a FX30 to “replace” it.

i dont know if this makes any sense but the z6 and z6ii have a nice fat image. I find the z8 thin. Maybe from my chemical photography days. You could punch through an overexposed fat neg, but had to work harder with a thin one.  I often stumble on stuff I shot on the z6 and think "gee that's nice".  With the z8 I can get a great image, but i've found I get the best results shooting non log flat mode with the dynamic range boost cranked at the lowest iso possible.  And then I'll still often need to denoise a bit. 

I filmed recently on a Sony a7iii with modified slog2. Color mode set to ITU709. Graded with. Resolve CST. Nail your white balance and your skin tone is honestly really solid. Sony 8 bit does have legs in 2024. 

So I went with the A7R III of course 🙂
The reasoning goes like this... It was 1160 euros, and the A7 IV would have been 1750. Quite a big difference.
The A7R III is a 2018 camera, and in those first EOSHD reviews it remember feeling it was a big step up from the already very good A7R II, because Sony had introduced new ergonomics, new battery, new colour science... And now they have done so again 6 years later, and the a7 IV of course has completely new Creative Styles and menus... plus 10bit and S-Cinetone, which you'd think I would consider a must-have. Thing is I don't. The new menus aren't a selling point, they're a bit of a mess. The new colour profiles are pretty decent, but I am more used to maximising what you can get out of the old ones with EOSHD Pro Color. And the A7r III when set up right has some serious mojo... Maybe a bit of a harsher highlight roll off than the A7 iv, and it doesn't grade as well in S-LOG3, but there is a part of me that doesn't care and just wants to shoot.
I tested both side by side for about an hour in the shop, sat down around a table... The a7r III autofocus was as good as I remember it... Can't really see any major improvement on the a7 IV. I tried the Clear Image zoom for Super 16mm c-mount lenses and the Super 35mm mode on the a7r III and again there was no shortcoming, and no clear advantage for the a7 IV. That's quite an important feature for me as I like the look of my c-mount stuff.
When it comes to 10bit and more dynamic range I have the GFX 100 and S1H. When I need really good AF in video mode and stills - the a7r III does the job admirably. My a7r III will be mainly for personal stuff, stills and video - with emphasis actually more on stills whereas the S1H takes up some video duties.
The video mode on the a7r III really is no slouch... I find the image really very nice in 4K full frame and S35. It also has 1080/120fps which is a nice bonus for such an aging model.
The a7r III also has a small edge over the a7 IV in low light, in both video and stills, even thought it has a higher megapixel count (42 vs 33) and is 6 years older... quite surprising.
Ergonomics wise, the a7r III is smaller, slimmer, and has an equally good EVF - you don't notice the higher res panel in the A7 IV very much as the resolution of the live-view feed doesn't quite make use of it.
So I feel good about saving the 500-600, and will one day get back into the modern Sony cameras... but for now the a7r iii does the job perfectly fine. I'd like to get an a1 again one day... When it comes down under 2.5k then I will strike. It's hard to see how they will ever better it, without a complete change in concept and technology.
By the way, I really do prefer the tilt screen on the a7r III over the social media friendly twizzle screens of late. The a7 IV just didn't feel as good to shoot with somehow, when the screen is opened up at the side off axis.
There's also no advantage in RAW quality for stills.
I appreciate the image in video mode is that bit better... A bit more dynamic range in the creative styles, a better codec, and S-Cinetone is nice to have as well.
So a pure videographer's needs may differ and that extra 600 might be worth spending.
Let's see if I regret the decision by this time next week 🙂

“Flexible Options for Diverse Expression Based on Your Imagination.”
 
Finally, now I can use my imagination when filming. Didn’t know I could do that. 

“Flexible Options for Diverse Expression Based on Your Imagination.”
 
Finally, now I can use my imagination when filming. Didn’t know I could do that. 

It's very odd what Panasonic have prioritised over releasing the S1 Mark II, S1R Mark II and S1H Mark II.
They have updated the G9, because that's an insane best seller of a camera isn't it? And it really was crying out to be updated in an S5 Mark II body, hence G9 II and it is now languishing at something like 58th in the sales chart for 2024.
They have updated the GH6, as the GH7 being part of a dead system is obviously more important than an S1H isn't it!
And now we have the new box cameras, aimed at the cinema market which is currently in a huge downturn, maybe Panasonic want to capitalise on the raving success of the first box cameras, which sold a mammoth 5 units.
At this rate we are going to see a Panasonic CM1 Mark II, a GM1 successor (S9 anyone?) and a sequel to the long line of sales chart toppers known by their initials G... as in G100, the vlogging camera.
The S9 really nobody wanted it, I don't know why it exists.
The GH7 I can just about understand, I'm glad the GH series will die AFTER getting autofocus and not before.
The G9 II doesn't need to exist, just use a GH7.
The S5 Mark II probably should not have come out BEFORE the S1 Mark II.
The box cameras, I really couldn't give a hoot about.
Somebody wake me up when Panasonic rejoins the camera market and stops messing about.

https://www.nikonusa.com/content/red-luts
 
Excited to try these. RED color (or maybe RED-ish color) for Nikon is a win in my book. The fact that these work on my 6 year old OG Z6 is awesome. That camera truly has aged like fine wine. 

Please test the new Rec.709 LUT too.
"The LUTs for N-Log, which were previously provided for each individual camera, have been consolidated into a single file and optimized for video production based on color science developed by RED (Red Digital Cinema, LLC). The Technical LUT converts the N-Log color space to the Rec.709 standard, making it suitable for general viewing."
 

I need to actually film an example that I post online, but gyroflow is quite impressive at least if you film wide. Easy to get a steadicam look or a gimbal look, if you are going for more of a steadicam/stable handheld look you don’t have to crop in much. Only annoyance is with my Nikon Z6 there is no internal gyro recording so I have to use an external device (my phone).  Cameras like the Sony fx30 look so tempting because they record internal gyro; seems like such an easy workflow. 

Yep. I find the most efficient workflow for those who need external gyro loggers is to use either a phone with the GyroCam app or an action camera. This is because they record video as well as the gyro data. Then when you come across a clip from your mirrorless camera you want to stabilize, just find the corresponding video clip where the same action is occurring; then you just sync up the gyro.