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Hehe. I seem to remember when the honesty doesn't work in their favour they just leave the glaring flaws out of reviews entirely And they have so many relationships with so many PR and marketing people at the manufacturers, you can never be honest while you're constantly looking over your back at a bunch of friends imploring you to be as nice publicly to them as you are face to face at trade shows. I know how this works, I have felt the same thing myself. It's not a pressure or a strict form of censorship - it's more about just common politeness and a good career move. But it makes for a bloody boring website, believe me. And they get very highly rewarded financially too, so they're hardly a charity. What do they want? Reader donations on top of their latest $40,000 commercial video work? $2000, a 6K H.265 mode, anamorphic support and much better low light performance than the GH4. Yet they didn't mention any of that. Far worse though is they chose to make a small flaw HEADLINE news - a ridiculous click bate headline out of a tiny flaw in compression... then to imply the 10bit implementation was faulty and V-LOG completely useable for serious work, which we all know is bullshit, was the final straw for me. BULLLLLLLLsheeet. Panasonic loaned them the GH5! I have some suggestions!

I heard the HD is so good they shot the Revenant with a G7 hidden in an Alexa 65 body

First time posting here but I've lurked this thread ever since andrew started it, which ultimately made me get a GX80. Anyway, Ive been using a Sony a7s (mark I) since it came out and this was the first time I used my GX80 for a shoot. I wanted to use as little gear as possible, so I only took the cam, my lenses (14 2.5, 25 1.7, 42.5 1.7) and my glidecam (which I only used for the walking shots in the beginning). All filmed in 1080p50. In hindsight 4k might have been a better choice, but I'm happy with details, noise, etc.. Just one thing - the video has grain added in post. During filming I wasn't too sure about the footage - especially using the kinda crappy EVF. But editing I realized everything came out pretty much as I hoped. The only times I felt the the camera wasn't up to the task were high-contrast images (see the shot at the counter, handing over the bag). Exposing for the bright parts would have made everything else too dark and otherwise the highlights were blown out. But using my Sony (and even an external recorder) woulnd't have resulted in a more balanced shot. So, not to make this post too long, I'm stoked on this little cam and even consider getting a GH5. If anyone's interested, I'll keep posting as I use the cam more and hopefully notice more detailed stuff (like using adapted nikkors, downscaled 4k vs. HD,...). Just don't expect scientific tests.

Some things to know about this - Panasonic understandably were not happy with the flawed test. C5D - "We have decided to temporarily remove this content while awaiting further feedback from the manufacturer." Rediculously Seb is still blaming the removal of the test on "agitation from the community" rather than plainly putting his hands up and saying "we got it wrong", which I for one would have welcomed. Full statement: "Due to the agitated discussion and hostility arising from our test of the Panasonic GH5, and our commitment to re-evaluating our test methodology based on reader comments, we have decided to temporarily remove this content while awaiting further feedback from the manufacturer. We value feedback from our audience, and our common goal is to find the most affordable and portable cinema tools out there." Forgive me for thinking C5D's goal was to blog about professional gear, all $6000+

That's because the sensor in the G7 is very very good , its not the same sensor that's in the gh4 , its a totally new design sensor and its also amazing in low light very very little visable noise, the g7 is a superb camera I shot a feature film with 6 of them last year.

What is happening here? Recent articles include how much you love the 1dxii and how the Leica SL is your logical upgrade path, and now you write some sort of attempt at satire against high end cinema? This was very uncomfortable to read.

Mattias, you are so close, if you set ISO correctly you've got equivalence down. What's the purpose of your videos? Is it to create drama or controversy to get views and negative engagement by doing things wrong on purpose, or is it to share your work, to help people make decisions and to help them learn how to shoot? Why not demonstrate equivalence correctly so other people can learn too?

Affordability for all! Read the full blog post

Among other shows, I'm the DP for a series that runs on Motor Trend On Demand called "The House of Muscle" (it's about Muscle Cars.) This is a fun series to shoot since we travel around the country and drive some amazing cars. Weather is always an issue. For the series our primary cameras have been a Sony FS7 as primary a Canon 1DS Mk2 for secondary and a Sony A7S for rigged and gimbal shots. The A7S was good, but it wasn't perfect. After already shooting several episodes for this season, this past week we filmed in Alabama and I replaced the A7S (typically used with Nikon 20mm f/2.8 or Sony Zeiss 16-35) with an A99II (using a set of Sony Zeiss primes: 24, 50, 135). The show is delivered in HD, so 4k isn't necessary. Episodes 1, 3 and 4 were shot in Slog, and since I wasn't thrilled with the coloring done in post on episode 3 (totally different team handles post), that, plus needing fast turn-around pushed us to going with cooked 709s. Versus the A7S, the A99II delivered a much better shooting experience with negligible difference in quality. Here's some thoughts on how this overlooked camera performed: When rigged for in-car commentary, the rotating screen of the A99II allowed me to run without a second monitor. For exterior mounts the weather sealed body make me feel more comfortable with the occasional splash Much, much better battery life. It's a pain to de-mount a camera just to change a battery. Full support of the dual-channel wireless lav receiver (I didn't use it for the House of Muscle like this, but for a 22-part series I shot for Autoblog last month we used it extensively on the A99II.) It's possible the A7S support it, but I haven't tried. More a plus for running Sony across the board I guess. Since we travel all over the USA to film this series, bag space is a premium and we're already packing 10 cases as it is. With the A99II I don't have to bring a second camera for photos (I always take a few for promo use.) The A7S simply wasn't good for action photos. My FS7 has an A-Mount adaptor, so I can swap my Zeiss prime set between both cameras easily. The 135mm f/1.8 is a beautiful lens. The full-frame video is good. Yes, there is some minor aliasing in FF mode, but nothing the client or the viewers will ever notice. Autofocus in video mode is excellent -- for how I use it. The ONLY time I auto-focus is when the camera is mounted on a Ronin gimbal when we do tracking car-to-car shots. Even with the f/3.5 "issue," the camera performs very well in this situation. To reduce the shutter speed in bright light, I just add the appropriate number of ND filters to hit my target exposure. The full-size DSLR-style body is more enjoyable to use. I found I shot a lot of run-and-gun with the A99II when I could have just as well grabbed the FS7 this past week. Built-in stabilization helped damp vibrations when running with a hard-mount on a chase-car. Like the A7S the dynamic range works magic to "save" exterior details when filming inside a dark car interior. A few areas where the A7S was better: Sharper image overall (negligible as far as the client was concerned.) Smooth aperture adjustments "on the fly" thanks to a manual control on the adaptor we used with the Nikon lens.

I can try to get a tutorial for that in. I have been on back to back shoots for over a month now so not much time, but I will try to get something in soon for that. Thanks!

Wow, that ... dismisses all criticism as being just "people who don't like or appreciate honesty." "I'm very sorry to get caught Your Honour" is another great apology. Oh that's just gold! @fuzzynormal he was just reversing the argument, replace "C5D website" with "GH5" and you'll get it.

That's right especially if you're doing it wrong and you know it!

hey guys, since I just I´ve just got a G7 this weekend for the nice ergos, screen, EVF and for checking out the Cine profiles, I was wondering about its HD resolution. This test suggests it´s better than G6, which would be pretty awesome. My GX80 seems of lower HD resolution than my G6 to me. Pretty nice test this guy did. So in HD G7 seems to have better resolution than G6, which, to my own superficial testing, has better resolution than GX80 again. Any findings on that from you guys´ side?

Black magic

It was the most 10bit article of EOSHD to date, but some people still can't notice the difference.

Its EOSHD with cine4 on a6500

An Redlettermedia inspired post?

Yes, Andy, I remember your post about your movie "Pandora" and your super cool screenshots! That post was awesome with great lens recommendations, as we know it from you:), and cool BTS! You wanna tease us with some teaser footage? BTW, I had a question for you in the lens thread two days ago, if you wanna check cheers and thanks! from my experience gx80 has weaker HD than G6, less resolution and more moire. G7 I cannot tell from my own experience, as it was not my test video. And I haven´t tested my newly bought G7 yet. Asking you guys. How is the HD on the G7? The youtube video I posted, seems to show obvious improvements. Inazuma, didnt you post a video of the GX7 in the yard of spooky soul asylum place? That was a cool video. That GX7 for sure had some serious mojo going. From the videos on vimeo to me it seems it has the best HD of all Lumix interchangeable cameras. Of course it should sooner break apart under certain conditions than GH4 footage with the 100/200mbit codec. So maybe was a GX7 in the Alexa body for the Revenant

I don't if anyone mentioned this before but EOSHD is awesome

Looks like the kind of thievery that is to order, and if so, those lenses will be out of the USA already and will not ever be sold online as first point of sale. No chance of security cameras identifying anybody, either - unless they are complete idiots doing it for a few bags of crack. Insurance will cover the company but will not cover them for the lenses that people buy as an alternative whilst they await new stock.

That's the thing about various gear or filmmaking "blogs" out there. Most often it's dipshits like me spouting off on our anecdotal and biased experiences. And there's nothing inherently wrong with that. But when a site purports to be some sort of authority on matters when all they're doing is elevating us fellow dipshits to assert some faux academia and generate ad revenue, damn right readers are going to be skeptical about that nonsense. "Don't bullshit a bullshitter" is the American colloquialism...or "dipshitter," if you prefer. I mean, god bless the kids at a site like nofilmschool for pissing into the wind with their tinkle of naiveté. I think even that sort of blog has a place, but to manufacture cut'n'paste "content" with the priority being the monetizing of it all? No thanks. Too smelly. Fact is, EOSHD doesn't play that "content" game. It's not trying to be something it's not. It has license to be aggravated, satirical, or dismissive because it's willing to pay the price to do so. When I was a kid we'd shorthand such an attitude by simply saying it's "punk rock." If anything, that's the minor-key vibe that keeps me around here. Expecting EOSHD to be otherwise, knowing what we know of the owner of this place, is also slightly ridiculous.

Priceless Andrew!!!...if you get sick enough of EOSHD you clearly can seamlessly morph into writing comedy!...perhaps even funnier though are the 'concerned"comments about the satire in this piece...WTF...I guess a good sense of humor not acceptable these days?...The way the world is going these days with the idiots who are now in power, I think levity is more necessary than ever....well back to the 'Lab" I guess to study "unusable 10bit and Vlog" on the GH5

Hahaha. I read that too. It seriously hit the nail on the head. I laughed really wrong. I posted a comment on Cinema5D saying that the tests and their usage of language was so unacceptable, that it was meme worthy. They deleted that comment. I am guessing they also deleted many other comments from many other visitors to the site.

Another example with the GX85. The shoot was a bit of a disaster! Record company said they needed the video for the next week. We had a Sunday to shoot. Only one venue available. Picked up lights on Saturday. Group arrived late on Sunday. Get to the location and plug in the lights...fuse switches off! We could only use overhead fluorescent lights! Arrrrgh! Anyway, the GX85 held up quite well all things considered. Lenses: SLR Magic 12mm T1.6 and Voigtlander 25mm F0.95. A mixture of 4K and 1080 50p

Dude, the ANUS hasn't got shit on the new camera that... wait for it.... Wall Street are making for hedge fund scam artists turned cinematographers. I got the rumour from a sugar puff toothed drone pilot who is actually a recycled paper plane entrepreneur. The camera literally takes all the best bits from current cameras, and with Zacuto inspired modularity, you get this all in one: RED Weapon 8k sensor with combined backside circuitry of the A7SII sensor. Arri Internal LUT and motion cadence wizard engine. Sensor has also been embedded magically into the Olympus OMD-EM1 mk. II IBIS. Sony Electronic Vari-ND. "Very, very, uber, massive Pro" version of Sony FS5 body in carbon fibre. Built-In Atomos Inferno with Odyssey 7Q microchip "Blend Mode". SonyCanon QPAF. (A6500 autofocus combined with DPAF = Quarter Pixel Autofocus). Sony powered Ursa Mini 4.6k user interface. Zacuto rigging made from titanium AND adamantium combined, including the Octo-handle (it has 8 handles so 4 people can carry it at once). Takes Duracell AA batteries for power (256 required for half an hour worth of recording). Instead of SD cards/ SSD's etc, it has a slot for a 40TB G-Tech Studio hard drive (you can get 6 minutes of footage in 8k on one hard drive). The camera can be broken down for drone usage into a Panasonic Micro URSA but it only has 3 stops of dynamic range in 1080p. You can connect the camera to the Digital Bolex for absolutely no reason whatsoever. Rolling shutter is controlled by keeping the camera very still - a world first. Wall Street are taking pre-orders at NAB for the one camera available at only $378,000 per shoot day. They hope to sell many units by offering an affordable, complete solution for a wide range of filmmakers. Many well known blogs will sponsor the camera and publish their lab tests before the camera is finished. A mini version of the camera is available for Youtube Vloggers with over one million subscribers, but it doesn't have an articulating or tilting screen.

Remarks from people without a sense of humour will not responded to directly.

I was curious to find out if it did or not. It does very well. Even on an older firmware than most seem to be and works great. Maybe I should make a little video of it in action to show how little I know about using monitors. At the moment I can move my fingers and not much else though. So much for my new bruce lee hobbie. - Anyway, I should have got 2 or 3 monitors when they were 120.

Oh, the irony. Also noted: throwing 'insanity' and 'terrorism' at @jcs when he has been polite, patient and indeed persistent. Ad hominem much?

And wood tones. You are absolutely right. I've totally given up on trying to discuss with him now. He ignores my questions but demand I answer his. I tried in various ways explain that some full frame cameras cant use higher ISOs than small sensor cameras (it varies from camera to camera). I tried to explain that not everyone is willing to change shutter speed because that effects the motion blur. I tried to explain that for example a 12mm lens is more likely to have barrel distortion than a 35mm. I clearly showed (what most of us know) that exposure doesn't change with sensor size, the notion that crop factor applies to aperture is a myth. But most of all he doesn't comprehend that this is for ME and not HIM. If he don't give a rats about ISO noise, use NDs or only shoot landscapes then that's fine. If DOF is all that matters then he can go ahead and calculate any way he wants. I don't care. But I do care about the endless amount of beginners contacting me and asking if its true that their phone can do everything that a FF can. Or the countless beginners who are told that they shouldn't consider for example a BMPCC because they then "need a f1.8 lens just to match the exposure of a f4". Only to find out later that it was total BS and that exposure remains the same. Not to mention the guys (in my experience most girls just shoot and don't go on about meaningless specs as much as guys) who says "there is no wide angle for the BMPCC" just because they don't get that comparing formats is totally useless. A 12mm on s16 is a wide lens and the shooter shouldn't give a crap about what a 12mm looks like on an old box camera with glass plates and a gunpowder flash. They should learn to use their camera.. that's all. So your right Tweak. In order to remain sane I will stop trying. He can believe and think what ever he wants.

It is only 720p, but the 7" SmallHD 701 Lite is available at B&H for the next 21 hours for $399. https://www.bhphotovideo.com/c/product/1224295-REG/smallhd_mon_701_lite_701_lite_7_hdmi.html I've got the 502 and 702 Bright and love the functionality.

I thought it was funny. Loved the ending.

If you just email them they'll get back to you and then usually rose replies on one of them.

On going your own way Friedrich Nietzsche had this to say: "The individual has always had to struggle to keep from being overwhelmed by the tribe. If you try it, you will be lonely often, and sometimes frightened. But no price is too high to pay for the privilege of owning yourself." And on differences, this: “You have your way. I have my way. As for the right way, the correct way, and the only way, it does not exist.” Once, on a long walk in the mountains, an elderly gentleman echoed the sentiment when he told me that "Everything is opinion", to which I opined, "That's your opinion". Now that I think of it, he was probably paraphrasing Nietzsche at the time. Walk your own path. Who cares about the others.

Bought my VCT-14 plate on eBay virtually New for $160...will work equally well with an Alexa as my set up and last a lifetime... You can see how the adjustments are done fore and aft to keep the camera and lens and all else like a mount or monitor you may hang...this setup works easily between 10 & 30 lbs.

Ehh... it's all pointless. Over the holidays, I was at the movie theatre and their projector went wonky during the previews and the menu screen appeared... they were projecting the trailers at 720p and they looked great... so if Hollywood movie trailers don't need to be projected at 4K, I highly doubt Albert's Bar Mitzvah or Elizabeth's Wedding or little Billy's 5th Birthday Party needs to be shot in 4K either. But Sony and Panasonic needs to sell those 4K TVs, so they tell us we need 4K... and that is what we get.

The 1080p produced by the cameras that concern us is so bad so practically this conversation is pointless. I remember when People were arguing HD vs FullHD Televisions, and how FullHD was pointless with all sorts of charts and formulas, now we have 4K cellphone screens

I predict an Ebrahim Saadawi joke in 3... 2... 1...

Hey Joshua, Thanks for the great videos. I checked your youtube channel. Great stuff by you and Brandon. I wanted to pick your brain on tips for implementing orbital shots. I always struggle to keep my subject centered when i try to take an orbital shot (going around the subject). Any pointers? I presume I need to use the default follow mode? You should seriously consider making a tutorial video on how to pull off different shots using the crane

Settings are almost by default, the only DR profile is active, WB auto, sharp, contrast, etc.. by default. NX1 is a real pleasure to work with picture-wise. the light is inexpensive Amoran led.

This is the first I've heard from them indicating that their testing methodology may have been less than comprehensive, but it's a welcome admission.

Funniest thing I know, and that happens all the time. At least once a week: Someone tells me that camera X is much better and produces better images than camera Y and calls me an "idiot" (or much worse) for using camera X. I ask them to send me an example of the images. They say "sure" and send me 7... or 12%... or a graph...... Im sorry but charts can suck my balls

The term 'equivalence' is just a tool to match cameras and lenses, not lenses by themselves. Once the concept is understood, sure, for stills you can use shutter, ND, and ISO as needed to match EV (for film/video need to match shutter).

I'm using the Sigma 30mm 1.4 with a speedbooster XL 90% of the time and continue to find it pretty wow

The young guy in the video makes a lot of sense - you have to give him credit for being uber-sensible. My mantra is: If there's noise in my shot, so be it. I got the shot. And it works. Light, composition, lens choice, perspective, location, filming style, people.... all these things have way more impact than filming with a better camera. It's easy to kid yourself that you need a better camera, but SO MANY forget the bigger picture of having a camera in the first place. A better camera will have very little influence on making your stuff "cinematic" if you don't apply the key principles around it. Right now - I have the FS5 and the A6500. I have the FS5 to cover all my jobs as a great all-rounder - plus due to many requests for HFR, it does that too. The A6500 is used for gimbal work, B-roll and stills shots. For every job i do, I'm covered. New GH5? Ursa Mini Pro? Nice, but not needed. A waste of money. Have these Sony cameras had a dramatic impact on my overall content quality? No. It's the artistic choices like lighting, lens choice, grading and style. It's the casting choices (spending more on talent). It's using a location in creative ways. It's editing and rhythm. It's getting everything synchronised. It's publishing work to be proud of. The cameras are now at a point where we don't need to be concerned with them, or have to jump through hoops to work properly. We're in a content age where video is the biggest type of media on the planet, and to stand out, you have to wake up from the merry-go-round of camera obsessions and make some really engaging stuff. I really couldn't think of any big reasons that I'd part with my cameras just now. There would be little benefit to upgrading them, just another hole in the wallet. Frankly, I'm done with the gear acquisition illness many of us have. It's incredibly distracting, time-wasting and not creative at all. Of course, it's part of my job to keep up to date with it. But losing time due to thinking about new cameras, not anymore. There's a lot of camera gear blogs now. Many of them are sponsored because people have to make a living. They are a good source of news. Opinion pieces are subjective. BUT...there is a gap in these blogs. There's barely a focus on the craft, experimentation and artistry of film making. Maybe because these topics are less hyped, monetised and clickable.

I think GX80 has come a far way color wise. To me first Lumix with pleasing color ooc. Here is a nice example of color and camerawork with this little gem. Other than the fragile monitor it has a beautiful solid feel. I don´t know, maybe someone can chim in and tell me, if stabilization is better with new firmware. Beautiful little cam so far. Kinda torn if I gonna keep it though because to me the real weakness is the monitor, kinda fragile and pretty small, evf is bad but for filming i´m using monitor anyway. Here some work I must say showing the GX mojo pretty well. Not my work though:)

Well, that was a pretty nasty little article. Why bother ? The guys over at Cinema5D are trying hard just like everyone else. Andrew, you talk about them basically as if they were corporate shills, but on the other hand I remember very clearly you promoted the Zacuto eye, saying what a great small EVF for small DSLR cameras and when I pointed out repeatedly that it had no HDMI input (only SDI so really not adapted at all to those cameras) in your forum, not once ever did you respond. The point is that your criticism can be extremely harsh, yet I don't see you holding yourself to the very same standards you ask of other people. It's obvious that not once did you try the product with the DSLR's you mentioned or even consider such a glaring error, so what was that article? Nothing but an empty promo in the end, right ? I don't point this out to shame you, but merely to say that your article seems harsh, strident and unfair. You really seem to have a chip on your shoulder. You could have just as easily rebutted their findings with the points you made in a more gracious manner. In the current climate do we really need more harsh hate filled rhetoric these days ? Maybe they got it right, maybe they didn't on the GH5, but it's important to cut everyone a little slack now and then.

I'm working on it now, the G85 is just a little too tall to fit into the G7 cage, by a couple mm. The Smallrig G85 should be out soonish, they have it up for preorder on their site, only $40: http://www.smallrig.com/SMALLRIG-Cage-for-Panasonic-Lumix-DMC-G85-G80-1950.html

EOSHD is perfect for what its suposed to be, a color profile that requires little to no grading/correcting, you either like the look or not but it works perfectly! Below is a test i did, first two clips are in SLOG2 graded with film convert, other two are EOSHD with no grading

Sure, with the T bar you have a lot of additional possibilities. But then you also just increased the footprint like crazy and are not able anymore to just put it into a backpack, hence I decided not to bother with it. I would have gone straight for a Ronin-M then probably to carry heavier setups. I'm sticking with using a super clamp on the bottom of the Crane.