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You just need the right adapter, with the Metabeans Speed Roaster your GH5 can do an espresso just fine! Just make sure your sensor gets really hot!

Is it really so much for us to ask for it to have a coffeemaker built in, though? I mean we've got IBIS now, so caffeine jitters won't be an issue. This is obviously the next logical step here.

Thinking of hackintoshing the Dell XPS 15 - sounds good in theory - but researching well the wifi card stops working - and I don't think Resolve will utilize the nvidia card in it. Which brings me back to it all - how important is pro res? How many people use FCP X or request it? What is the reason to stay mac? I just don't know anymore. It's time for people to start migrating. I just wish there was some way Blackmagic could license pro res and put it into windows. Hi Jon - I think it looked really nice - your lumix test video. Don't see anything out of the ordinary on my macbook air.

Well I would imagine in a few more generations someone, probably will be Sony, will make a consumer camera that IS almost what everyone here pleads to have. The A7sII is really not that far off in reality. Build one with a S35 sensor, 6k, internal ND filter, better codec, little bigger body for a larger battery, and sensor cooling ability. They could have done some of that with the A6500, but I think they wanted to save that for the A7 series. We really are getting close to the real deal if only they would stop worrying about loosing sales on their top end stuff. Seems to me they would sell more of them at 3k dollars than the few they sell at 10k dollars. No one is ever going to give up on buying a real full size camcorder for serious work. so they will still have a base for that category of bodies.

Me neither. And there's an undeniable advantage to a bigger sensor, it just catches more quantity and hence quality light. But I'm just not into fullframe as I don't like DSLRs and mirrorless there's only Sony and I'm not really their biggest believer, getting into a fullframe system is just too expensive and needing those 35mm image circle covering lenses kinda defeats the purpose of having a small camera, if anything, it makes it unbalanced to shoot with. I'd rather have APS-C. I'd still have the option to use a focal reducer and boost it towards fullframe if I absolutely have to. Thing is with Sony APS-C, that's just the thing you might be doing as their are hardly any native APS-C lenses for it. The performance is 'on fleek', though. Can't say nothing bad purely on image quality (although we've learned that their standard colorprofiles causes problems when left untouched). But Sony has other problems they need to address. If they actually did that... I could perhaps even see me getting one someday. But I imagine they'll go straight for the paper specs and not the reallife handling of the camera. Which means that the APS-C crown goes to Fujifilm. If only Panasonic and Olympus were into APS-C. But... they aren't, they seem very commited to that MFT mount. Funny enough though, the Varicam does feature S35 and offers... wait for it... the EF mount. If they could just borrow the color science and dualpixel AF too and throw it into the VC5 (VariCam5, still hoping for this one! Something up from the GH-range, but not quite cinema, more like Kinefinity). Or... Nikon... now, I'm not actually religious, but I've been praying for a mirrorless APS-C 4K Nikon since forever. But I guess if you believe in noone, noone will answer. Better not to look at what you don't have and do look at what you do have, anyways. That said... happy new gear! 2017... it's going to be an interesting one.

Tom Antos just did a video on dynamic range between different cameras including those, perhaps a decent watch:

I bought the Pocket again last month because nothing else would cut it. It just has such a pleasing, rich image to it, with great color.

Our 2010 2.93GHz 12-core MacPro with GTX 980ti couldn't edit complex 4K footage smoothly in Premiere Pro CC (in OSX El Capitan or Win10x64Pro). FCP X for the most part can handle medium complexity 4K (chroma key, multiple 4K streams at once, very high resolution stills (Ken Burns etc.). However, I'm quite a bit faster in PP CC, and I need to research plugins to replicate what I can do with Lumetri (if such a plugin exists). It was time to upgrade the video editing machine, and it seemed like building a Hackintosh would create a far faster machine than anything Apple currently has to offer. The goal was to balance high performance with low noise on air cooling only (tricky!). Here's the machine: Corsair Carbide Series 330R Blackout Edition Ultra-Silent Mid-Tower Case ASUS X99-DELUXE II LGA 2011-v3 ATX Motherboard (ASUS has fancier boards however this appears to be just as fast) Intel Core i7-6950X 3.0 GHz Ten-Core LGA 2011-v3 Extreme Edition Processor (have been buying or building dual CPU Xeons for over 10 years. The single chip high clock 10 core looked to be the best fit for video editing vs. lower clock more core Xeons) Corsair Vengeance LPX 64GB (4x16GB) DDR4 3466 (PC4-27700) C16 with Airflow, Black CMK64GX4M4B3466C16 Noctua Dual Tower CPU Cooler for Intel LGA 2011-0/LGA 2011-3 Square ILM/1156/1155/1150 and AMD AM2/AM2+/AM3/3+,FM1/2 NH-D9L Noctua AAO Frame Design, SSO2 Bearing Premium Quality Quite Fan NF-A9 PWM (Extra fan for CPU cooler) ASUS GeForce GTX 1080 8GB ROG STRIX Graphics Card (STRIX-GTX1080-A8G-GAMING) (purchased over eVGA (normally favorite) due to heat issues with ACX 3 and the VRM chip) Corsair ML120 Pro, 120mm Premium Magnetic Levitation Cooling Fan CO-9050040-WW (to replace rear case fan) Corsair ML140, 140mm Premium Magnetic Levitation Fan (2-Pack) (to replace front fan and add additional fan to cool hard drives) Samsung 2TB 960 PRO M.2 Internal SSD (fastest drive available (~3.5GB/s), for OS, Apps, temp projects) WD 4TB Black 7200 rpm SATA III 3.5" Internal HDD (long term storage for video projects) EVGA SuperNOVA 1000 P2 1000W Power Supply (higher quality PSU's increase component life and reliability) Microsoft Windows 10 Pro (64-bit, OEM DVD) (lower cost than download!) SanDisk 16GB Extreme USB 3.0 Flash Drive (downloaded Win10 from Microsoft and used key from DVD to create USB installer) I was able to get it stable at 3.96GHz (in turbo/boost) with core temps max around 65-69C (all fans running 100%, fan speed temp ramping tuned in bios). Memory was only stable at 2666 (so much for 3466 rating). It will run at 4-4.1GHz, however some cores temp spike to 80C, so is probably too much for this air cooling set up. The latest NVidia drivers are still buggy with Premiere- the "black screen bug with Ultra key" is still present. I installed the latest CUDA development video driver figuring it might be more stable than the game-oriented drivers (black screen bug hasn't appeared in latest green screen project yet). 4K editing in software mode is pretty smooth (full res preview)! So if the GPU driver has severe bugs during a project I can switch to software mode and still work reasonably fast. Windows 10's font rendering looks much crisper than El Capitan. Window rendering and overall GUI speed is also much faster- feels like you are working faster. Once Windows 10 checked out with Premiere Pro I dug a bit deeper into what it would take to install OSX (would test on a hard drive then replace with SSD). Here's the closest I found for this motherboard (uses apparently the same bios). Doable however a lot of time hunting down kext (kernel extensions) and trial and error. So for the time being the new machine is Windows only- I can access both machines through a USB switch for keyboard/mouse (monitors have dual inputs). At idle this machine is nearly silent, much quieter than the 2010 MacPro. It's good to see that after 6 years there's been some progress in CPUs and memory (GPUs have had much more performance growth). The new NVMe PCI SSD drives are insanely fast, however 4K editing straight from a USB3 port and CFast 2.0 works fine (as does editing from a hard drive over SATA- not the bottleneck). Hopefully this info will be helpful for anyone looking to build a fast and quiet 4K editing box.

Hi Guys, Happy new years to all of you. Long life to EOSHD and I'm looking forward to another round of heated discussions with complete strangers in 2017 Here is my best of 2016

A7S + Shogun 4K + Leitz Elmaron 150/2.8 70's Projection lens. https://vimeo.com/197502073

How did you get such close focus with a projector lens, diopters? Very nice feel and mood!

Sorry @kisaha, NXL is not a clothing!! :-)

True, most pro people do not (especially the old ones, they don't like to share the "secrets" of the trade!), I am sure there are "amateurs" that have a much more "professional" attitude, skills and quality than self-proclaimed professionals.

I think she looks better without make up.

Next up on the wishlist: a CoreDNA or Rangefinder ;-) Playing with anamorphics can get expensive quickly, but your footage sure looks great!

G85 has more NR in high iso than GH4. With good post processing the GH4 high iso video may be close to G85. Here is example of processed GH4 EOSHD review image vs original G85 image.

There is useful know-how to learn from professionals and useless yadda yadda too... Such as same technique any curious shooter will find based on a few practice and self D2L ( desire to learn : ) The PRO tag means nothing at least to me. The amateur, on the other hand, is variably more prone to give something to the world, no less often much more than people are used to associate to the professional missing link. An interesting piece of gear can always bring something in the right hands, for sure.

There is no way for a perfect camera, humans are not perfect so they can not create perfect objects. At the time that the Sony, or Panasonic, or whoever, have the perfect 4K camera, 8K will be the next big thing. more bits, different codecs, new technologies, new mounts, more megapixles, bigger sensors (medium format will be a greater thing soonish), whatever, there will be always something better to crave. I thought that this is common sense since the Assyrian empire or even before that.

Wow.

If using iso200, Natural contrast -5 and idynamic low the GH4 dark bars would be much more visible. Iso200 is GH4 native iso! Iso400 is blurred by NR. I wonder why there is a soft flare around the brightest bar in G85. Is the lens same as in GH4?

Bolex, my lens for a lifetime.... another 40 years ;-) pictures taken in De Efteling - The Netherlands. Film follows. First picture is not sharp, the X-mas tree left is better.

I killed my MacBook Pro a couple weeks ago because of this. It was already dyin' due to other issues (graphic cards switching) and it was past it's due date (2010 model). Went out shooting for a couple days at about 0C, second day we wrapped up shooting, went for glass of wine at friend's house, I took the Mac out to download the footage and it was soaking wet. Keyboard gone, touchpad acted crazy. Luckily I had installed SSDs in there so the data was all recoverable, don't wanna know what could have happened if there were old spinning drives in it.

the color of your g85 field test looks great on my plasma the only nice thing i have to say about the new mbps is that the screens are WAY better - better color, contrast, and the consistency at different viewing angles is dramatically different (it used to be terrible). havent noticed anything bizarre about the color – which i certainly would have if it was horrid – but ill give it another look with a critical eye sometime soon

Hi all, just signed up after grabbing the EOSHD Pro Color for my GX80. First of all thanks to Andrew for working it out, after a few tests I'm completely hooked to the color profile. Skin tones are now very very pleasant. Anyway, I discovered a small issue while testing the LUT out with DaVinci Resolve. I was tryin' to clean up my workflow and transcode to ProRes422 right after archiving in FCPX. I transcoded a clip with EditReady burning the LUT in and imported in DaVinci. Comparing the ProRes422 from EditReady with the LUT applied while transcoding to a simple ProRes422 with LUT applied by DaVinci, there was quite a bit of difference at both extreme of the dynamic range. In fact extreme highlights and deep shadows get clipped while transcoding and applying the LUT with EditReady. Transcoding to ProRes and then applyin the LUT in Davinci on the other hand works better. Just wanted to share this small info in case anyone needs it.

Lol I stick my 28mm on my A7sii, switch to silent shooting, turn off the LCD and get some fantastic close up angles of natural expressions as I am wandering around crowds. I always look in the opposite direction to where I am shooting and have mastered the art of pretending I have seen something fascinating off in the distance. For my 70-200 I can do the same but have to stand or sit still and 'fish' an area of the street.

I watched your video on my Note 4 which has a respectable (for a phone) representation of saturation and it looked good to my eyes. If I had watched it on my wife's Sony Xperia it would have been way over saturated. I have yet to have a chance to watch it on both my iMacs but will not judge any video or photo on the basis of what my mid 2011 version throws up. My 2015 5k iMac gets closest to a true representation (though I know that they can't hold a torch to a professionally calibrated monitor) regarding videos and photos I have shot myself. I'll report back when the other half has dragged herself out of my office (bedroom) but I know what you mean about some smartphones inducing nausea. When I put stuff up on Facebook I implore people to not view it on their mobiles. However, the masses are now used to grossly oversaturated images and probably think that real life (that they see through their eyes in their everyday world) is a washed out heap of boredom. When Instagram first showed its face, all was sepia with half of everybody's photos online lost to vignetting.

I'm actually all for biological cameras. That will crossbreed and evolve into new species. Or atleast mechanical ones that have 3D print functionality and instead of firmware updates, they actually upgrade themselves on a physical/mechanical level. And have one of them StarTrek replicators in the future. I have to agree, serving beverages would be utterly convenient.

There appear to be people who have never used a M43 and seem to want to have one with features found on top end full frame or the C-Line of Canon Cameras. It reminds me of the Apple Fan boys trolling on all Android sites. It's plain ludicrous. It completely defeats the purpose of a healthy debate.

Happy New Year Everyone! I've begun to create a library of texture images that you are welcome to use in your projects. There are seamless ones for tiling as well as standard ones. I've uploaded about 300 or so to get started, and I'm adding more all the time so be sure to check back often. You'll find them on my TXR pages. In the meantime, here are this week's new free music tracks: "Magic Clock Shop"_Looping http://soundimage.org/fantasywonder/ "The Village"_Looping "Strange Shop"_Looping "The Castle Beyond the Forest"_Looping http://soundimage.org/fantasy-3/ "The Awkward Princess Returns"_Looping http://soundimage.org/fantasy-4/ As always, any and all feedback is welcome and much appreciated. :-) Have a great start to your new year! Eric

I see, so lenses like the Sigma 18-35mm and the 50-100mm will not work but full frame lenses should be fine! Thanks kidzrevil!

Makes sense. I think I will stick to 0/-5/0/-5 also. Yes, Ultra Contrast 2 Filter was used which I have put between the speedbooster and lens - flaring issues are greatly improved. Window is really blown because it was already golden hour and the sun was directly shining through the window.

Been using the GH4 for 2 years of freelance now, gh2 for one before that. I'm working as a 1 man crew, often run and gun is how I shoot. In terms of what the gh4 makes "easy", I'd say: 1. Battery. Solid, with a couple backups you are so covered in terms of power its just not as issue anymore. 2. Control access. Now I know I am used to it but I have found the gh4 (and the gh2 when I use it) to be easy to manipulate. ISO and white balance are easy to get at with their own buttons. At the start of every shoot I create my c1 and c2 profiles. Example: I was filming in a motorcycle shop. I knew I wanted slo-mo for various things (cutting, grinding, power hammer). First thing I do in the shop is check WB, set my exposure on my c1 profile. I then go into the menu and choose the variable frame rate option, set it to the desired rate, compensate for the higher shutter, and set that to c2. Now I can flick between the two settings and never dive in a menu. Moto builder starts to grind something, c2, get the slo-mo shot. c1 for my real time wide. It's quick. This is something any cam with custom profiles can do, for me it's how I use the gh4's variable frame rate. In-camera slo-mo whenever you want it is AWESOME. Other than that it's mostly up to how you shoot as to what will be easy. The gh4 handles well, it's a good size, its easy to manipulate the controls. The body has a mic input and an audio out so you can monitor what it's getting, which is also great. Lately I've been using a zoom h1 as a plant mic or with a lav on someone in combination with a shotgun on the cam. It's light, small.. the kit packs up nice. I don't know if the GH4 is "weather sealed". I have shot in the rain with it. I did everything I possibly could to keep it dry, but I noticed no problems. I've enjoyed this little cam a lot. I use a sigma 18-35 and a nikon 50 1.4 on a speed booster 90% of the time. Highly recommend a speed booster w/ m43. An extra stop of light is just great to have and helps stretch the iso limit. So yeah, this little tank has served me well!

The GH4 is an older generation camera, if I had to chose between them I would go for the G85 (or the GX85 if you want to save some money). I would be wary of people "recommending" the GH4 as I am sure many current GH4 owners want to sell theirs and buy a GH5!

Use something with two handgrips. While not heavy by itself, you will exhaust your wrist quickly with most single handed gimbal. Especially if you are using the 16-50s lens.

Yeah, just most enthusiast and indie filmmakers do a lot of run 'n gun shooting and they don't particularly go and carry around lighting kits, so they are oh so tempted by the convenience of setting a camera to ISO6400/12800 and just go and shoot something in availlable light in pretty dodgy lowlight conditions. It's just easier to find and work with f/2.8 zooms (although with Sony you hardly have native ones of those, so you'll be adapting) than with super fast primes too (which you can't afford to pinch much to get a deeper depth of field/sharper image). Think that might need to be added to the equation. But you're so right, a camera such as the GH5 would be legit enough for just about anything serious. RED, ARRI, BMD wouldn't be much different in terms of shooting conditions and flexibility. So you can shoot like a pro, but be doing it on the fairly cheap. Just different cameras with different uses. I do wish I could set ISO3200/6400 not have a care in the world. But from the GH4 and Blackmagic we're kind of used to be limited to ISO800 and somehow making it work. And I guess now ISO1600/3200 might be fair game. I'd say that's perfectly managable, but it might not be quite there yet for those earlier mentioned group of people.

I did some tests today with different settings and Andrew's Procolor mode. Forgive me my awesome hangover look - 4K screencaps This is the OOC Standard Profile with 0/-5/0/-5: And this is with Procolor applied: To be honest, I dont really like it. My skin looks as if I had sex with an orange. This is my own quick grade with Filmconvert: And since I am using normally Standard with -5/-5/-5/-5, here are the same shots again. First OOC: Procolor: Own grade: To my eyes, there are no real differences between -5 on all and -5/0/-5/0. Yet, maybe I didnt recover totally.

Fat cat laws on the definition of a camcorder. When Brexit happens in about 100 years, things will change on that front.

Fuji's OIS is on par with the IBIS in the A7rII. I have the 50-140, 18-55, 55-200 and 10-24, stabilization is really good on all of them. The primes and the stellar 16-55 are of course not stabilized. I shot for years with the 5d2/3, the 24-70 and a bunch of unstabilized primes, personally its not a big deal. As always YMMV.

there are plenty of solutions for video production these days. We're not left wanting for solutions. It really is an embarrassment of riches.

i think you guys should kno that my friend who *cough* works at an a p p l store said that the new mbps are ALL fucked up in ALL kinds of ways the 13 and 15" touchbar mbps have been returned for not working for every conceivable reason.... and people have bought them, then exchanged them, not once but twice, only to find that they have problems with a THIRD computer so: caveat emptor

Speedboost it!

In all fairness though the 5x zoom range of the Leica 12-60 f/2.8-4.0 is great!

I agree about the lens choices too. Can't figure Why the M43 makers don't concentrate on Faster Lenses. Like maybe a few f1.8 zooms or f.95 primes Even if it means collaborating with Voigtlander or Sigma. Leica is great but their prices aren't.

Yea, a super FS5 is more of what I was picturing- still m4/3, real video camera shape, but very small for such, and bigger than the GHs... just big enough to have real controls, ergos, XLR, ND, etc. Although then you're not a whole lot bigger than the GH5 with the XLR box, so maybe it's just not worth it at that point. And the GH5/XLR combo is pretty similar to the C100 shape and layout. Just needs a rotating grip and a tilting EVF.

The first video from this shoot is now live. Check it out for a point of reference. Concealed Carry Belts: Please forgive some of the camera shake... I was testing out a dual camera rig. Although it got the job done, the rig needs improvement and... more importantly, I need more skill wielding it. Between the two cameras here I was able to cover most of my mistakes and got some interesting Dutch Angles. The NX1 was simply mounted to a magic arm off the rails. The tighter shot was the BMCC 2.5K with the 50mm F/1.4 Super Takumar and a cheap speed booster. Stopped down to about F2. With the backlighting it was flare-tastic! ... I should have put on the matte-box, but we were in a hurry. The wider shot was the NX1 with the MIR 37mm at somewhere around F4. Somehow, although Sang and Mickey where standing next to each other, I really only managed to get Sang on the left in focus. That's user error. I tried to cover the mistake up with Luma Sharpen in Resolve... good enough. --- Alright, lets try picking up where I left off. Grading... The Samsung cameras put out a solid image with plenty of detail as you would expect. I used Andrew Reid's Flat LUT on the front end in Resolve as I was setting levels. After that I dropped on Hook's Luma Sharpen... and then the Super Film Stock powergrade from Color Grading Central (oddly I don't see his Luster Grades pack for sale online anymore). I've been using that same powergrade since the beginning Carry Trainer videos. Lastly, from there I tweaked the base colors on the levels layer... nudging the reds and blues a little to my taste. Coming out of Resolve, I rendered the video in uncompressed 10-bit 4k for finishing on Sony Vegas Pro and final output to YouTube. Vegas is much nicer for audio... and it's just what I'm use to. In case your curious, the opening was done with some simple shots feed into the Prolost Handcrank plug-in in After Effects. It could just be the lenses, but I did like the image from the BMCC better even though it had less resolution 2.5k vs. 4k, but with 4:2:2 maybe that's debatable. 12-bit RAW still has it's advantages. They were both good, but the BMCC just looks richer with it's own kind of film grain. Once my NXL speed booster arrives, I'll try using the same 50mm Super Takumar 1.4 on both cameras. With the variation in sensor sizes, that should work-out perfectly and be a better grounds for comparison... As you can probably tell that's my favorite lens these days. Meanwhile, with my amateur shoulder shooting I could definitely see jello issues with both sensors. The thumbnail/cover image for the youtube video was a Macro shot with my my NX1 and the Canon FD 35-70 Macro zoom. I had the belts inside one of those light tents common for product photography.

The S lenses are the best AF lenses on the NX ecosystem, the 85 is one of the slowest, especially if you go fast. Quite a big lens, too much glass inside, old design, I wouldn't expect any better. Change the AF speed (I do not own this lens, I do not know), and see how it goes. From time to time I have to work with 5Diii's and I can't stand the image anymore. I am joking about Vasile, he did great for the whole community, but there are people like Otto and Kino Seed that did much too (if not more) and there are still around for a word or two! I believe Otto was the last one had some kind of communication, I can not be sure of course.

If you shoot a lot viewing the rear LCD screen (rather than the viewfinder), how about using the neck strap? I never used to bother attaching it to any new camera I had because I mostly shot on a tripod. But several years ago I put a strap on one of my DSLRs just to carry it about, and when I used it for informally shooting something, I found that with a short strap, pushing against the two strap connections gave surprising extra stability than handheld alone. You can gimble your waist to perform moves, and pushing against the strap seems to iron out any micro-tremors that can happen if you are holding a camera free from any support.

You made 40k without monetization on a 1.2 million viewcount? Sure we believe it..........

Buy tungsten.

I came up with a similar option... I took a cheap half cage made for the pocket and attached it to the micro (they have the same height dimensions) and then attached a Slik quick release base to the top of the cage and the plate to the bottom of the monitor. Then I used a manfrotto quick release plate on the bottom of the cage and attached the base to a cheap L-Bracket... This way I can go handheld or attach it to my manfrotto tripod. It's still a little too clunky for my taste, so I may sell the Ikan 5" monitor and pick up the newly released 3.5" monitor. I also need to figure out a way to attach a neck strap to it.