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Hi there - here's a link to download this test: http://vimeo.com/jaemorrison/iscorama54test01 I was interested in seeing what Apertures were sharp with different Achromats & Diopters. Rather than waste even more time cutting a boring video, I've just uploaded a boring image sequence for you to download and step through frame-by-frame. The Achromats and Diopters tested were: Redstan +.25 Achromat Tokina +.4 Achromat Voightlander Focar A Voightlander Focar B And some stacked combinations of the above. Apologies if the test isn't ideal (h264 certainly isn't) - thought it was worth sharing as I've learnt a lot from people posting stuff here. Cheers, Jae.

http://vimeo.com/88826657 >NEW: The EOSHD Music Challenge - pick tracks from up and coming singers and bands to suit the mood of my cinematography pieces and future camera tests! In my opinion the Canon 7D is currently the best budget solution for shooting raw video. There's plenty of used 7D bodies here on eBay for around $750 - and that is practically a steal for 14bit raw video from a Super 35mm sized sensor... Stills camera is a mere bonus! So to the big question - does the Mosaic Engineering VAF-7D filter completely cure the 7D's raw video of moire and aliasing? Read the full article here

For the GH5 Panasonic needs to develop a 4096 x 3072 native resolution sensor to allow the 4096 x 2160 video without horizontal crop in the micro four thirds sensor, better shallow dof, better wide angle and better low light due to increase in pixel size. Also it will be good for still photos because 4096 x 3072 is 12.6 megapixels, enough for most photo work. Dynamic range increase to reach ARRI is the most expected improvement in the Panasonic now... maybe this will be implemented in the organic sensor they are developing. And why not 200Mbps IPB in 4k?

I would like to give my platform to up and coming musicians around the world to showcase their music through my cinematography to an audience of around 250,000 people per month. This is the EOSHD Music Challenge. Readers act as DJ - they can pick music from up and coming singers and bands, with suggestions that might suit the mood of my cinematography and future camera tests. Cinematic music is really important to me but I haven't been satisfied with The Music Bed or similar resources so far. How does the challenge work? 1. Suggest a band or musician on this thread. They have to be up and coming not signed to a major label or already huge. 2. I investigate and do the contacting of those which I like and credit you for the find! 3. If they agree to let me use their music, they will find a new audience through my blog and hopefully sell some tracks on iTunes from a link on EOSHD. You will be designated as the discoverer of talent and winner of the challenge. 4. You can have fun with this challenge and play DJ - use your taste to select the right standard of music to fit EOSHD and in turn you might discover new music yourself which you really enjoy listening to. 5. My cinematography at EOSHD is purely an artistic endeavour and experimental, non commercial and does not make any money but for all videos featuring unsigned acts I will consider enabling the Vimeo Tip Jar and sharing the proceeds with the musician 50:50! This is a new idea and it will start off as a trial. If it works then great! If not then we will swap things around until it does, because I am determined to find new music and up and coming artists. Good soundtracks are really important for filmmakers and I believe in finding new talent. Perhaps you know some artists yourself? Perhaps you are one?

Adorama have just given me official pricing for the GH4. The prices are due to go live at 12.01am March 10th (Monday). Pre-order now to be one of the first to receive the camera in the United States. Shipping date is May. Panasonic GH4 body only (black) with 4K video recording - $1698 Panasonic YAGH interface unit (for 10bit 4K, HD-SDI and XLR audio) - $1998 Panasonic GH4 with YAGH interface unit bundle - $3298  Read the full article here

I was at the state fair last year and I had my camera hanging down my back while I was having a beer. some dude snuck up to it and did the shocker symbol and pushed the shutter button. He got off a few shots before I noticed. So I went ahead and put his photo on craigslist casual encounters male seeking male section. And I laughed pretty hard about it.

The "rant" in this article has been some of my favorite EOSHD material yet.

  Good idea. Why in 2014 do we still have to physically rotate the camera body to do a portrait shot? It should be done with a button press to change the sensor crop.

I've been experimenting with Resolve and ACR, trying to find the best workflow for RAW. By best, the highest quality possible in the shortest amount of time. ACR+AE runs a few frames/sec on my 4-core MBP and about 6-fps on my 12-core Mac Pro (both cases running with AE multiframe processing on). Resolve runs near real-time on the laptop, and slightly faster on the Mac Pro (Quadro 5000 is getting long in the tooth- a newer consumer card with hacked mac ROM would be faster). While I have been able to get Resolve looking closer to ACR, I have not been able to match it. http://www.dvxuser.com/V6/showthread.php?320727-Results-of-testing-various-5D3-RAW-workflows The first goal was to get Resolve to show an accurate image of what was shot. All the experiments with BMD Film color space and LUTs weren't able to do this (including the EOSHD and Hunters "Alexa" LUTs). I also experimented with creating 3D LUTs from scratch. The 5D3 RAW footage is pretty much linear RGB. It appears it can be transformed to BT.709/Rec709 with a simple matrix (linear transform). Using the Rec 709 color space and gamma in Resolve, I can get much closer to the correct colors for the scene shot. Unless we are going from 14-bit to 10-bit (for example), it doesn't make sense to convert to a log color space since we've already got everything captured in linear. From there we can grade for style then save out the final render with a Rec 709 compliant color space (it's not clear what Resolve does with out of gamut colors- clip, etc.). Log makes sense in a camera capturing and preserving dynamic range to a file format which can't otherwise store the full range sufficiently. Log can also make sense if one wishes to use a 3D LUT that needs log as input. However, there a many different log formats, ARRI, Canon, Sony, etc. all make different versions. At the end of the day, we need to get back to something like Rec 709 for broadcast (of course internet test videos are excluded). After comparing ACR, Resolve 10, and AMaZE (used by mlrawviewer: http://www.magiclantern.fm/forum/index.php?topic=9560.0, which plays MLV's in real-time and can output ProRes HQ (a little faster than ACR, but still slow (AMaZE only used for export)) debayering, they are all very close. ACR is doing something with color and microcontrast that puts it above everything else right now. It looks very accurate and also 'pops' in a way that I haven't been able to get from Resolve (granted, I'm just now really learning it). I'm planning for a ~90-minute final product which means lots of footage. Even shooting Robert Rodriguez style (limited takes- edit as much as possible in-camera), there will be terabytes of footage. For now I'm thinking to use Resolve to make ProRes/DNxHD proxies quickly then go back and only process necessary clips with ACR+AE for the final cut (until or unless I can figure out how to make Resolve look as good as ACR). Or batch convert ACR+AE overnight and replace proxies as I go (deleting the massive RAW files). 5D3 RAW is amazing, but requires a lot of planning, work, and most significantly, drive space.

My dream: 4096x4096 square sensor. 16mega stills, no more vertical grip needed, the flash stays always on top of the sensor, no horizontal crop in 4k video mode, shallow dof, better wide, better low light. Theoretically all the lenses should cover the area. Shooting square photos is fun, someone ever tried a 6x6 film camera? Who knows when and if that dream will be true!

Hey guys, A couple of stores in London will have a working GH4 with a Panasonic rep this weekend. The dates are Friday 14 March, Saturday 15 March and Sunday 16 March 2014 from 10-4pm at the following stores: Jessops, 129-131 Oxford Street, London, W1D 2HU Park Cameras, 53-54 Rathbone Place, London, W1T 1JR Full press release here: http://news.panasonic.co.uk/news/panasonic-announces-preview-campaign-for-dmc-gh4-79357 I'll be there to check it out on Saturday around midday. Looks like Panasonic are also giving away a free battery and battery grip with every GH4 purchased! They are really gunning for it! Adrian

For me the Sony heritage in the GH3's chip reveals itself in how it handles highlights as well as biasing towards a "cold" image compared with other sensors. You can remove the cold feel or any color bias in your grade but there's nothing you can do about electric, harsh highlights. Both the GH1 and GH2 don't feel as harsh and electronic. Pre-grade, the color and tonality can feel quite photographic and decidedly not camcorder-like. For almost a year before ever purchasing my GH2 I reviewed shoot-out after shoot-out, with the GH1 in the mix with 5D2, 7D and other cameras and my eye always favored the image of the GH. I lusted after the ridiculously sublime shallow DOF you could get more easily with the 5D2 but it's color (we're talking pre raw here) never spoke to me and even on YT/Vimeo streams it was easy enough to see other cameras didn't have as much detail as the GH. The GH2 only seemed to improve Panasonic's position compared to all comers. When I saw the GH3, before finding out Panasonic had outsourced its sensor, I could tell right away that something was rotten in Denmark. The secret sauce wasn't there. Detail, sure, but that's it. The Sony revelation made everything clear. Top to bottom, from the VX1000 to today's F65, I just don't really like the way their sensors look and top to bottom it usually has to do with electric highlights. Anyway, Driftwood-patched (take your pick) GH2 is still king of the hill AFAIC if you have to shoot compressed.

For me the GH2 was absolutely great! I never had any quirks and it was always reliable (I used the "Vanilla hack") Image is also very good "out of the box" for my taste. I sold it (bad idea) and bought the GH3 therefore. There are things which are also great about that camera: Get rid of AVCHD! 25/50p! Much better feel and weatherproof! Better photos (for my taste)! I prefer 2x crop (better/wider with anamorphics)! Dynamic range of the GH3 really is that much better over GH2. I recently captured video in very foggy conditions and later during grading I could make things visible my eyes couldn't see when I was shooting - that was really astonishing. But at first glance I preferred the image of the GH2 (still not sure what "cinematic" really means? I always thought for many it means "get as shallow depth as you can" but that is not my cup of tea because that is not so filmic)

hack is good, hack is like releasing hidden powers, is like overclocking your processor, i wish there would be a hack for a human brain, like in Matrix, so i can learn After Effects, or Resolve from A to Z in 5 seconds, or i wouldn't need to sleep so i can shoot and edit 24 hrs a day Hack is really good, and as to a GH2 vs GH3 - i got rid of GH3 after couple months, but i still shoot with my GH2; but that's me :)))