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This is me with all the abysmal kit lenses that I've bought over the years with the intention of using them as a DIY rebate scheme by selling them off.

1. Think about the light before anything else. 2. Change that lens, it may look way better on different glass. 3. When the talent is in thought, or simply just waiting for a direction, roll the camera without their knowledge. You can get some really useful, very natural moments. 4. Don't do the shot once. You may pull off the technique better on repeat. 5. Bring 634 lens cloths to a shoot, because you will lose 633 of them. 6. Never settle on a grade straight away. Look at it again tomorrow. Those skin tones might be green and you had no idea. 7. If you're not sure if it's right, it's definitely not. Trust yourself. It's got to feel right, always. 8. Adjust the light again. It will look better. 9. Eye lights. Make the effort. 10. Buy a RED cam. Send it back. Read EOSHD and get confused. Get a GH5.

Readily available in the UK still as body only. Thanks to the country lurching from one laughable decision to another it won't be long before there is 1:1 parity with the dollar and it'll be worth buying a plane ticket to come and get one! http://www.wexphotographic.com/panasonic-lumix-dmc-g80-digital-camera-body-1607694/ It does point to a new model but I'm curious to know what they could put in it without threatening the GH5 to be anything other than a relatively small incremental change. Higher bitrates and purchasable VLOG are both available in their top end bridge camera the FZ2000/2500 so it could be those and that could make it worthwhile for upgrading. But either way, a new model will make a used G80 quickly be available sub £400 which is beyond a bargain. Not to mention the surprise on their faces when I ask if I can test it with my new follow focus controller........ And how doubly shocked they'll be when I put the metabones smart adapter on and they see it doing it with Canon lenses as well......(As shocked as I was yesterday when I got it working !) But that's for another thread on another day. Like next Thursday probably.

I've just picked one of these up and its a pretty nifty little thing. Basically its a series of locking bars that you can easily change to be anything from a selfie stick for Vlogging to a top handle to a shoulder mount or even a poor man's low mode stabiliser. As the joints lock in any angle its really flexible in being able to be shaped to what you need it for. Its really useful in the shoulder mount mode actually because you can make the angle of the piece that runs over your shoulder to be really tight so it hooks in firmly. Each piece also has 3 mounting holes so you can attach handles, mics, lights, monitors, cup holders or whatever else rig enthusiasts like to cram on there if thats your thing. Its light, versatile, folds down small enough to fit in a coat pocket and at £38 its not exactly going to break the bank. With something with IBIS like the GX80 I've got it with here, it gives some great additional stabilisation advantage and still keeps you stealth. https://www.amazon.co.uk/d/Camera-Photo/Movo-SV1000-Aluminum-Combination-Stabilizer/B012Y7UVB4/ref=sr_1_19?ie=UTF8&qid=1498822792&sr=8-19-spons&keywords=movo&psc=1

The two major problems those LED ad board actually present to us shooting in stadiums as they become so widely adopted are : 1) We've had to get taller stools. 2) They are quite temperamental so you often have their techs crouching next to you and fiddling about with them. White balance changing in a fast burst due to floodlights pulsing is an order of magnitude higher as a lighting issue than the LED boards. For this LED board stuff to be causing a genuine problem for people shooting at stadiums with the A9 then people would have to be actually shooting at stadiums with the A9 in the first place. And in my experience, they're not. For reasons that have zero to do with banding. Such an odd thing to go after them for in the overall scheme of things with that camera. This image they've used to show the banding though.... I'm not being catty, because I don't mind that fro fella, but I don't look at it and think "Wow, look at the banding" I think "Where's the ball, why is your horizon off, why is the focus on the wrong player, why is it so noisy for a shot in broad daylight, why is it so heavily processed" If I sent that on the wire, it wouldn't be the banding that would be preventing it from getting published.

Wow, stinging article. Sadly the money wagon does take over in every genre of publication ever. It's great that EOSHD is still impartial, brutal, sometimes funny, insightful and on a few occasions, off the rails! But I like that. It's genuine and human. I cant give an opinion on DPReview, I've barely read it as I find the site design frustrating. Oh, and Ebrahim is a video genius, obviously. His knowledge is the greatest thing on Earth

Recently I did a test with the Bolex 16/32/1.5x, HCDNA, Ultron 40mm and Samsung NX1.

The 2-bay Lacie at 400 megabytes/sec is probably OK. However that should be backed up regularly. You will likely have to transcode 4k H264 to proxy for smoothest editing, no matter how fast the iMac is. Even on a 12-core Mac Pro with dual D700 GPUs that is often required. I personally would prefer the 4.2Ghz i7 CPU, since so much of video editing and transcoding is CPU-bound. You can save some money by getting the lowest 8GB memory config and using third-party RAM. The exact internal storage is up to you but I would not get the 1TB Fusion Drive. I have tested 3TB Fusion Drive and 1TB SSD iMacs side-by-side and for FCPX editing with media on external storage, there's no significant performance difference, nor difference in FCPX startup time. However SSD is simpler, might be a little more reliable and if you're using external media anyway, why not use SSD.

If shooting a Doc, always roll the camera when speaking to a subject/contributor, even if it's just to run through what they're going to say - people come up with moments of clarity when they don't think they're being recorded, which they won't be able to recreate later. Also, have loads of cutaways so you can splice up an interview, which leads to the next point of making sure the sound is as even as possible throughout & get some room tone (the sound of the room with no one talking etc..). I really like the David Fincher approach of splicing up different takes to make a perfect take - he uses this when he has 2 characters on screen together & makes sure that there is space between them so he can use Take 2 of Character 1 & Take 7 of Character 2.

I'm so white, on certain shoots I've used myself as a reflector.

11. The long term benefits of sunscreen have been proved by scientists

Man it was difficult finding some examples and these are the closest I could come across. It's crazy the amount of looks that they used this season. Honestly, you're a better colorist than me, so you'd probably know better if it is obtainable with a GH5. I think @AaronChicago made a LUT for the GH5 emulating one of the various looks from this season of Fargo, so he'd probably know better than me. Are you thinking of taking the GH5 plunge? Now I just like this shot and color...

Some here can guess which year we will finally have a right camera? I mean, PROS from some manufacturers are CONS from others. Sony = poor ergonomics which is a Pro of Canon and vice versa and that goes for every pros and cons. Since years I have been begging for 1 manufacturer to bring those Pros together. Truly Camera market is the most disappointing industry in the world. Canon, give us a FF mirrorless with rotating multitouch screen + PDAF + EF Mount + usual colors and ergonomics + GH5 video specs and be done with it. No one on this planet having more than 2K to spare and interested in photo + video would buy anything else. Sony would be instantly dead. So what are you waiting ?

Thanks for the link!

This was one of the worst offenders:

Glad to see you picked up a GH5!

Shot on the GH5 in 3 days. A concept trailer done having a zero budget for our upcoming first feature film. I really like what I can squeeze out of the internal 10 bit V-Log footage. DR, lowlight and colors are really good. Everything was shot with sharpening and nr set to -5 and a Tiffen Black Pro Mist filter applied in front of the lens (12-35mm 2.8 V1, 20mm 1.7, 42.5mm 1.7) to make it smoother. Colorgrading done in Davinci Resolve. Drone shots by the DJI Mavic (the internal sharpening is hideous tbh...).

I wrote for DPReview for a few years contributing video advice and where it was a talking point as on the 5D Mark III and Panasonic GH4, I wrote that part of the review. DPReview was for me the original trusted authority on digital cameras and it was an honour to work for them but I am really sad at what the site has turned into today. Read the full article

Canon Rumors is a general-audience Canon site with no emphasis on video, yet their poll currently shows 36% of photographers are angry about the lack of 4K. That's a huge amount of people. Although 9000 voted so far in that particular poll, if you extrapolate that 36% to 36% of Canon's total sales, they are in the shit. Why piss off over a third of your customers? I have the Mk IV with latest firmware! Sometimes, with certain lenses, the AF can be pretty good... It's more the random reliability that kills it, along with the low light AF. It was a big reason behind me sticking with the 1D C and 1D X Mark II for stills work.

Maybe they wanted to stay nimble in case Vlad rode in on a bear?

Here's the source DPReview are using for the article Doesn't look like click bait to me Here's the 1D X Mark II reacting even worse to high brightness pulsing LED light sources https://***URL removed***/forums/thread/4133297 But it didn't make the front page, obviously

If you remove Nikon, Canon's market share completely outpaces all others combined, and with Nikon its still not far off. What's different is people are buying Canon's in much greater quantities than the rest. 4k obviously has very little to do with that, or Canon wouldn't be so dominant. People on forums like this want 4k - but there are millions of camera buyers that don't care about 4k, DR, rolling shutter and so on - the vast majority of the buying public wants a nice image and doesn't care about all the technical aspects because most never do anything more than shoot in auto mode with a cheap kit zoom, and post stuff online, email or print at places like Walmart. Amazon's sales rankings are a pretty good indicator and the top of the list are a bunch of cameras that can't shoot 4k. Right now 4k is not a driving force in the camera or cell phone market. I doubt it will ever be a 'must have' feature for a casual shooter that never edits anything. Most of the world isn't even at 1080p yet, much less 4k. I went to an 8k demo in Tokyo from NHK Broadcasting, while awesome and a preview of the 2020 Olympic broadcasts - other camera geeks were the only people in awe. Nobody else really cared.

I suppose it depends on the definition of problem to be honest. Can Nikon and Canon have the same issue? Yes, if the circumstances are right. You'd have to test both of them side by side to see if its exactly the same circumstances or if, as you'd expect, the electronic shutter is more prone. But taking it all as an actual problem? Nah. As I say, white balance changes off floodlights are a far, far bigger problem than LED boards and they all suffer from that. Those LED boards are a problem because they ruin shots aesthetically rather than technically. The article is talking about when your subject is predominantly lit by them, which when you consider they're predominantly used in field sports is a bit of an interesting comment! In the shot I put up that they are highlighting it with, the photographer has a sideline position and the boards are very close to the touchline and the players themselves are very close to it too. That is definitely the worst case scenario and also the least likely. The more usual position would be behind the goal where there would be at least 10 metres between the boards and the subject. Even with sideline positions, the stadiums that are of the ilk to be having them would generally have a greater distance from them to the subject and not be as tight to the line as this. The real story here of course is that of course its highlighted on a short shooting distance because the A9 doesn't have the lenses to do anything else. It just makes it so bizarre to be making such a fuss over the banding when you've got that particular elephant in the room. Thats what makes me think its just general clickbait rather than some shill stuff for Canon because I'm pretty sure that until Sony magic up some lenses for it that this is Canon's (and Nikons) reaction to a problem like reports of banding on the A9

Let's see how many people he defrauds out of their money on DPReview before they do something about it.

I think it's very hard to judge the image quality of the GH5 going off the user videos on Youtube and Vimeo. The majority of footage is exceptionally poor, and this is down to bad exposure, poor lighting, missed focus, crap compositions and pretty awful grading. It's understandable as I guess many beginners have picked up the camera and are giving it a go. With the GH2, it's more "seasoned" and therefore has a history of better skilled hands on the camera. I don't think there's any excuse for the 6D II video quality - other than the fact Canon certainly and absolutely want video shooters using their C-series cameras. I think everyone has to finally concede that Canon will never be a serious option for DSLR video anymore. Never.

@mercer I know, you are right. The problem is, this is a déjà vu. Nokia was the same arrogant company, being cocksure of itself - and 10 years later they are dead. And their death is hard-earned. Primarly beaten by a company, formerly known as computer and laptop manufacturer...Would you have thought this 10 years ago? For sure, not... The Canon ultras are not far away from this. The way from Hero to Zero could be a very fast one nowadays - not for Canon as a global company with many divisions, but for their camera business....

@BTM_Pix This is a nightmare and paradise at the same time.

What i found with [ML] RAW is that ETTR only needs to be used to help clean up the noise in an image when filming in dark situations & a complete waste of time in well lit places - but that's obvious, right? There is too much misunderstanding about how or when to use this technique & I've had so many DOH! moments when watching footage of people using it in nice daylight! I'm with you, I expose to what my eye likes & then peep a little at the zebras. When I first started out, a seasoned cameraman told me that to begin with I should set the zebras to around 70-80% & then as I got used to exposure, move up to a max of 90% - he said never set at 100%, because it'll only show the hotspots that are really blown & mask other areas of the image that won't look blown, but can very easily be unrecoverable. This is mainly because zebras aren't 100% accurate & should always be treated as such - they put you in the right ball park, but never tell you the whole story. The only thing that will be accurate is a light meter. Is that because you're using a Black Pro Mist filter & the result has a more pleasant rendering for blown highlights - to my eyes they really bloom softly & become a lot more pleasing to the eye.

Why would you want body-only anyways? It's only $100 more for the kit,and you can easily sell off the kit lens for ~$250. Instant $150 discount on the body.

Well you just like soft images. Nothing wrong with that. How much do you like this one ?

No, its fine. Its based on Panasonic's own DMW-AC8 and DMW-DCC11 system which also has 8.4V coming off the actual supply which the dummy battery then takes care of. Yes, its that kind of thing. I couldn't remember who did a range of them but I do now and its Ex-Pro. So they sell the coupler and their own power pack as a package and then you just add more dummy battery types if you've got different cameras. https://www.amazon.co.uk/dp/B01MXHMOPZ/ref=sr_1_fkmr0_2?ie=UTF8&qid=1498831490&sr=8-2-fkmr0&keywords=Panasonic%2BDMW-DCC11&th=1

Interesting, your footage lately has really looked like you are trying some new things and as usual it looks great. I know it's not your thing, but I'd love to see you shoot a narrative. We could use a modern Mean Streets shot guerilla style on the streets of NYC. I only shoot horror/thriller/suspense/mystery stories so I've really been experimenting with using my midtones to add my contrast. I'll raise my blacks to like 10 ire and then drop my mids to bring in the contrast and deeper color tones. But as we all know, there isn't a paint by numbers way of doing this. If you need to see into the shadows a little bit and you want them clean, with certain cameras, you have to overexpose slightly. Each shot is different but I think it's safe to say that with most of these cameras, the sweet spot is between -1 and +1 and the closest you can stay to +/-0 on your meter is the best bet. In my opinion. And if one can see some dynamic range in the shot while you're filming, then that will probably be the best you're gonna get, or the most you can expect. There's a reason why Hollywood films use lights and flags with an Alexa... and that has what... almost 16 stops of DR. Okay that makes sense now. The scene with the state trooper, in the last episode, looks insane. I have been really into B&W lately, planning a film in the Fall/Winter.

I made that Fargo LUT based on an interview that I heard with the DP Dana Gonzalez. He said that they stripped out the blue channel. If you notice the sky or anything that is blue - it's virtually monochromatic. He said they were basing the look off of Inside Llewyn Davis.

In 2020 low end Canons will finally get 4k that looks like 1080p

"Missing 4K" is becoming THE story of the 6D Mark II in the eyes of the wider public. This has so much traffic it ended up on the front page of Reddit, which hardly ever happens for cameras - maybe once or twice per YEAR!

Best sunscreen for low light on a $5 budget?

@BTM_Pix i really think G80 is your camera!! We, G80 owners, really wish it so badly !! And think about the surprise faces of the camera store crew, when you came back but this time not to capture data packages...

The 1DX II has aliasing at 1080p, however for some things I like the soft-ish look and extra shallow DOF available at FF (not to mention the tiny files sizes!). The Sony A99 II is clearly aliasing in 4K on a 4K monitor. I haven't seen aliasing with the 1DX II in 4K yet, though I have seen aliasing on the C300 II in 4K! Very few cameras provide sufficient Bayer photosites to allow oversampling (2x per Nyquist sampling theory) to eliminate all aliasing (along with a tuned OLPF for a specific target resolution). Camera manufacturers could have created a "perfect" camera many years ago, however that would ruin their upgrade path. One manufacturer dared to create a superior camera before its time: Samsung and the NX1. After doing much research in 'how the world really works', I seriously doubt Samsung's reasons for dropping that camera were accurate. That said, balance is important, and it's best if there is good competition and many different companies be allowed to survive along with all the people they keep employed. A lot of people think it would be great if we had free energy for all, right now. While that will be amazing for the planet, we'd need to ease into that, because the world economy is based on the petro-dollar, and anything that disrupts that dramatically would cause a worldwide crisis and chaos. Bitcoin and related cryptocurrencies are the next big disruptors, and are very close to being mainstream and trusted replacements for the petro-dollar. Once that transition is more established, then we'll start to see more clean energy technologies becoming available (some say government UFO/alien disclosure will happen then too, however I wouldn't hold your breath. Some people think Jupiter Rising is a documentary, hopefully that's not true, lol). The ARRI Alexa/Amira series are as close to perfect for image quality that have been created so far, however these cameras are big, heavy, have huge power requirements, don't have any AF, and are priced for very specific markets (which can also afford a skilled AC to pull focus). So nearly perfect image quality doesn't make a perfect camera for everyone (Alexa Mini becomes big and heavy when fully rigged). Regarding older cameras being better, the Canon 5D III IMO has better color science than the 1DX II, especially for video using the stock picture styles! This does create opportunities for folks to create and sell better ones (I'll release some for sale soon). 5D III RAW compares very favorably to the C300 II 12-bit RGB444. The 5D III has less DR, much more RS, more noise, no NDs, no XLR audio, and no AF, however it can still be used for quite a lot of types of shooting with fantastic results! In the budget market, the 5D3 and GH5 are really no excuse cameras. If AF is a primary need, the Canon 80D and Sony A7R II can work really well, especially if the target is only online streaming. In the midrange, the C200 is going to sell very, very well.

I remember after Technicolor released CineStyle, for Canon cameras, there was an onslaught of SOOC Flat "cinematic" videos posted on YouTube... I wondered if any of these people ever watched a movie. But has anybody watched this season of Fargo? The last couple episodes they did a beautifully desaturated look in the exteriors. I swear it was almost black and white but with color skin tones. It looked so cool.

Yup, Panny doesn't have the body only either. I think the mid range camera you're hoping for will be the one they're rumored to announce in August. If I get my high bitrate all-i, 1080p, I may reconsider my plan. But it seems they are keeping that for their GH and FZ lines. @jonpais

I admit I was being a little facetious with my clickbatey topic title...but perhaps no worse than 'guess the camera' posts I should have opened up the topic more, to ask people to post their favourite drone shot...and why. I often am left cold by drone shots, but this is the first one that somehow engaged me. I do think this example is valid, (even though it is not from a commercial or film) since it has an interesting narrative idea that could be expanded upon. Using a soundscape/ audio clips from relevant events from the location seems to act as a clever companion to the cameras journey...giving a visual overview combined with audio echo's from the past. Funky distortion is no doubt introduced from Reelsteady software...but it seems to produce results far better than Adobe's inbuilt warp stabiliser from what I've seen online. Check the second video (making of) to see the original footage, it is pretty darn impressive what the software has corrected.

Credit to Sony on that front. You can reheat frozen burritos with their cameras.

Right. No miracles in hands of many... Be free to mark my words LOL :-) BTW, IBIS per se is worthy of any camera upgrade ; ) To begin with... :P Let alone 10-bit or 4K/60p for under 2000 bucks... Without mention 400Mbps or new AF firmware to come up in a couple of months :X

LOL. Personally, I think it looks great deezid. It's kinda sad the crushed shadows are getting so much pushback. Oh, and I noticed you're in austin... Me too

How relevant will this camera be by 2014?...Oh...wait....

We've waited 5 years and have got... Swivel screen Dual Pixel AF .... .... Probably no moire fix. Erm, that's it!

These kids can play! Does the EOS M still have to be recording H.264 to record raw? I remember that pressing the video button starts H.264 not just raw on this camera...

My lut is specifically designed to emulate the colour offered by Magic Lantern RAW, debayered by ACR, with the Cinelog DCP profile applied. The Panasonic lut is not.

Imo it was about the DR before 4K. And before HD. And before SD. And before Beta Max. And before colored film. Its always been the biggest focus on DR, still is and still will be tomorrow. DR has been the buzz word for as long as I can remember. 4K resolution is just like a slider, a flash, an EVF, 120fps, its just another feature. Until it becomes a standard. 720p took 10 years to become a standard, not in the world, but in a big enough part of the world. Now we are waiting on 1080p HD to become the next thing. After that maybe 4K will catch on so much that its a "need" instead of a "nice". But if it doesn't have the DR its not gonna stick. 50% of the Oscar nominees are still shot on film. And it isn't because of resolution.