Everybody loves Mr Undone. The YouTube bros line up around the block to circle jerk with handsome Gerald, but I for the life of me cannot find any of the great guru’s cinematic work!
Does David Lynch think a yappy assistant is trouble? Try getting clawed in the neck on both sides from Canon fanboys and Philip Bloom sheeples.
A tale of broken promises and a resistance to fixing fundamental problems.
Is this how PR works in the camera industry? Promise a factory visit (twice), hand out a free battery grip but whatever you do, don’t fix the product!
I recently found a disturbing issue with the EOS R6 when used with an external mic and an external USB C power supply connected to the camera.
Check it out on my new YouTube channel and don’t forget to like, subscribe, hit the notification bell and admire my amazingly dramatic thumbnail expression.
I take a look at what’s been going on in cameras this week, with some thoughts on the GFX 100, EOS R6, Panasonic S1H and other “goings-on”. Caution: some strong(ish) language.
Above: The new Fuji X-S10 and Canon EOS R6 10bit mirrorless cameras do not play well with Adobe Premiere Pro.
Fuji users have probably – 90% of them – not been seeing the true capabilities of their cameras, because Adobe Premiere’s hardware acceleration doesn’t interpret the files correctly. As the EOSHD Dynamic Range Enhancer shows by fixing this, the full range 10bit H.265 files are heavily clipped in both the shadows and highlights. With the M1 processor, this seems to be improved due to Apple’s new hardware acceleration but the issue has been plaguing Fuji users for years on Intel, Nvidia and AMD systems. You can find out more about the EOSHD Dynamic Range Enhancer download here.
The other problem with Adobe Premiere is the lack of hardware acceleration for Canon’s 10bit 4:2:2 H.265. This is the format Canon has used for C-LOG recording on the new mirrorless cameras like the EOS R5, and the Cinema EOS C70. Even on a new M1 processor, I find that files fail to playback at all and buffer constantly – and this is just a single clip on the timeline without any effects or grading applied.
There’s a reason Fuji chose 10bit 4:2:0 for their HEVC codec implementation on cameras like the X-T4 and GFX 100 – Nvidia and AMD GPUs don’t support hardware acceleration of 10bit 4:2:2 H.265. So did Canon not realise this?
Either way, Canon EOS R6 and R5 users are stuck with uneditable files that have to be transcoded to another format to be usable in Adobe Premiere Pro.
Here are some shots I recently took with my GFX 100 and 32-64mm F4. We’ll also compare it with the 50mm F3.5 pancake.
The EOS R3 is rumoured to feature the 30.38 megapixel sensor detailed here. That makes it the first Canon flagship EOS camera to use an off the shelf sensor from Sony.