Leaderboard

Lovely camera and thanks for sharing my video Sadly I couldn't keep it long enough^(investing in some telephoto lenses) which is why the images in my video aren't exactly to my full potential. Therefor I'm looking forward to your review instead Here are two shots if anyone wants to pixel peep.

So while I'm out on a gig yesterday my wife sends me a pic of 3 boxes. Obviously I was excited! So first thing I do when I get home is get rid of the shipping bulk, right? Not at all excited about my new BMPCC, a 14mm f2.5 asph lens, and my Pebble Time watch. Then I did the responsible thing and finished working on a Toyota spot I'm editing, and by time that was done I was looking at 2130h. Ho boy. But y'know, I've been really excited about having a portable camera, and to hell with it, I'm going to film something! Wife and screaming kid wanted to come, so we all headed to a nearby tourist trap. Colour Version: B&W Version: Personally, I like the B&W better, but my wife argues for the colour version. Things I learned with this test: 1) It definitely keeps the info in RAW, but man do I never want to touch 1600iso ever again! 2) The 14mm isn't the best cinematic choice due to the amount of reflections it has in the lens flares. 3) Shakycam is very real with this camera, even with using my tripod as mono- and bi-pod. Can't wait to shoot more projects with it, hopefully with more planning and light involved!

In principle RAW should be data directly off from the A/D converter. But that is hardly the case for most manufacturers since there is always some level of processing, usually selective noise reduction and gain for each channel. I would say that RAW data right now refers to just non deBayered data + some metadata. Log space just means to calculate the log (or other log like function) of the high bitdepth pixel value before you conform it to a lower bitdepth in order to maximize the information that is captured in the lower part of intensity scale. So for example lets take 12 stops of light captured from the sensor and processed with an 12bit A/D converter: stop 1 2 3 4 5 6 7 8 9 10 11 12 0 2 4 8 16 32 64 128 256 512 1024 2048 4096 if we were to scale that into 10 bits we would have these values: 0 1 1 2 4 8 16 32 64 128 256 512 1024 We just lost two stops of information in the shadows... So a log version of the original 14bit data, scaled to 10 bits would give: 0 85 171 256 341 427 512 597 683 768 853 939 1024 And that results in no loss of dynamic range by spreading the values for each stop equally across the bit range. Of course things are a bit more complicated since the log function that is used has to take into account the sensitivity of the sensor, the color calibration and so on. For example you might want to assign more values to the midtones which most things are anyways, and less to the highlights.

Resolve 14 full version - been using it a ton - no crashes. Very happy with this program. Blackmagic is a HELLUVA company.

What ML has done with Canon cameras is simply amazing - they've taken a camera with great colour science, a really shitty delivery codec & given it a greatly needed shot in the arm! But, and it is a big but, RAW can be a real pain in the arse - with my set up, I need to transcode the DNG files with RPP (it's great as it can batch stuff, has 3 different LOG settings & loads of JPEG/TIFF settings), then I need to wrap them in a QT PR .mov file & then i can edit them. Personally, H264 is dead to me & all i want is a sturdy codec with which to play with in post - PR422 HQ or above is more than good enough for most things. RAW is only useful when you come across a difficult scene that needs some extra care/attention in post - DR to you guys. However, if I was given the choice between the 5D3's internal codec & RAW (regardless of bits), then I'd certainly choose RAW everytime - so some of the ML flavours might not have as much DR, but come on, you don't or won't need that amount of DR all the time. I know it might be a bit old fashioned, but the rule of thumb should be to get it right, as close as possible, in-camera & then all you'll need to do is tweek in later - personally if you're spending more time in post than actually filming, you're doing it wrong. What Andrew shot (see vid above) really shows the strengths of what ML has brought to the 5D3 table - if you can't see it, then i feel really sorry for you. It isn't an ideal situation, but if you have a 5D3 you should be jumping up & down with joy - so many choices are now available to you! If you're still using a camera with an H264 delivery mode, I'd be pulling what's left of my hair out!

It's great to start off with as much dynamic range as possible because post is important... you can do so much... and even if your grade is only going to deliver a punchy, contrasty 8 stops, your highlight and shadow rolloff is much smoother if you shoot with more stops than you finally need. To make crushed-footage look like it has more dynamic range, many people raise the black level to a milky grey like in a lot of Philip Bloom's drone videos... With the 5D Mk II 3.5K you never find yourself needing to do this... the shadows already look filmic, milky and creamy with lots of tonality and yet you get to keep true black when and where it's needed. It's an even better image than the GH5 in 10bit, it is up there with an Alexa or RED. Also the live-view hack is not bad... It is nice and sharp for focus and the framing is 100% bang-on and easy to do... They just need to work on increasing the frame rate.

What the eye can do doesn't really matter. Because the brain can modify it any way it pleases. Our eye has variable dynamic range and HDR. We can expose for highlights, mids, and shadows all at one and the brain shows us a perfect 20 stop image. The brain is super fast and adaptable. If I remove one of my contacts I never have the chance to see the decrease in resolution and sharpness. My brain is way to fast in applying the proper corrections. So trying to mix DR from a camera with that of screens is already a bit weird. I know some say that 13 stops isn't needed if a screen is only 10.. just wrong. With the 13 in the camera I can adjust more info into the 10 for the screen. Simple as that. To add the eye into the mix is just silly imo.

Well, getting back onto the subject of the 10bit and 12bit lossless 3.5K raw on the 5D Mark III, I can safely say it's the best QUALITY dynamic range I've ever used in post. I can correct for huge exposure differences and there's no crushing of the shadows / blacks at all. So I agree in that I'd rather have a high quality 10 stops or 12 rather than a compressed to hell 14 stops that's for sure (*cough cough* S-LOG 3 *cough*)

Yes there is an IBIS mode for anamorphic to account for the change in focal length of the 2x or 1.33x stretch. Panasonic really did think of everything.

Choose 10bit or 12bit then This isn't North Korea.

Available now! The new EOSHD 5D Mark III 3.5K RAW Shooter's Guide With the new Magic Lantern experimental build for the 5D Mark III, we have an amazing 3.5K 10bit lossless raw mode with Super 35mm continuous recording. Read the full article

http://www.newsshooter.com/2017/09/06/sony-unveils-venice-36x24mm-full-frame-digital-motion-picture-camera-system/ "the camera’s lens mount can also be changed to E-mount (lever lock type), which opens up a lot more options for using a wide variety of lenses." Today marks the end of Sony's FZ mount :-( As a Sony F3 owner it makes me a little sad :-/ But I'm not too surprised (& the FS7mk2 was a small hint), as I half expected this day to arrive eventually. This does make Panasonic look even more dumb now, because they didn't announce their EVA1 with a locking MFT mount. (As heck, Sony can put E mount into their highest of high end cameras!!) "The Sony VENICE CineAlta digital motion picture camera system is scheduled to be available in February 2018. No pricing information was given on release." Reckon I'll be able to afford it with what I find down the back of the couch?

Testing all these cameras out against each other - the ursa mini did quite well!! Sony F65 vs Alexa Mini (Arriraw) vs Ursa Mini Pro vs Red Helium vs Red Dragon All shot at their highest resolution! Testing skin tones and motion cadence and highlight handling! Using filmconvert profile kodak 250d, also lowering exposure on it cause it blows out the highlights. SPECIAL THANKS TO: Public Record (for the RED DRAGON) No Frames (Mikko) for the Red Helium Adam Uhl for the Alexa Mini!! And Viewers Like You! WHICH CAMERA IS WHICH?? The results will be posted below. But first! A quick announcement! Shot on Zeiss 100mm standard speed - at T2 - I think. I don't remember. Did I shoot with glimmerglass1 or not - I don't remember. Shot over the course of a month, in a poor scientific matching way on all fronts. No chip chart. No measured distance nor t stop. This test is a mess. Sony F65 - 4k Raw Lite 3:1 Red Helium - 8k 5:1 compressoin Ursa Mini - 4.6k 3:1 compression Alexa Mini - Arriraw 3.2k Red Dragon - 6k 5:1 compression

Occasionally I like to pretend video doesn't exist on EOSHD and I'm preparing a review of the Leica Q! I really liked Mattias Burling's review And this guy's, with some stunning shots in both... I bought mine used for £3000. The prices new have gone up due to lack of stock. But if you think of it as a £1500 lens and a £1500 body, in Leica terms that's cheap and with this you get very fast AF unlike on the 28mm F1.4 M It is quite simply the best small full frame camera I've ever used And what I find very interesting technologically about it is how much of a Panasonic trace there is in the camera, a clear collaboration and I think we'll be seeing more from Panasonic in the full frame market in due course (just a personal opinion). I had the Sony RX1R II but I prefer the Q, which is saying a lot because the RX1R II is an amazing camera and has better specs on paper. The look of the 28mm F1.7 is drool-worthy wide open on the full frame Panasonic... I mean Leica... sensor. The 24MP sensor in the Q has amazing colour, the lens is crazy sharp... You have a 35mm and 50mm crop mode, which works in video mode too. I really wish it had 4K, 3K and 2K high quality video, as the cropping ability from the full frame sensor at 28mm gives you practically a 28-50mm F1.7 OIS zoom. Firmware update please Leica!

Just added a 5d mark iii raw and sony f35 into the test. Results soon

I'm 56 and have been doing photography since early early teens--you'd think I'd get good at it by now I appreciate your knowledge, I do, but it's confusing the issue here, which is what the filmmaker should focus on. The stuff you're pointing out, true as it is, is in the weeds. Like many others here I used to focus on how much DR I could get in my image. Then I had the epiphany that I was thinking outside in (physical world to viewing world) when improvements can come by looking at it from inside-out (viewing world to physical world). That is, by thinking about what the viewer ultimately sees, and how that image can be the best, I can understand what's important and what isn't. I wasn't trying to start a debate It's like Plato's cave. Everyone wants to talk about the metaphysical forces that create the image on the wall. I enjoy doing that too. But much can be learned by talking about ONLY what we see and what makes for good quality there.

Leica is always good for premo schtuff... both quality... and pricetag. Needless to say... I won't be getting one anytime soon. Did buy my Voigtländer 17.5mm from a guy who switched to the Leica Q as well, so, I guess there's still a sunny side to it for those whose collection won't have a Leica camera init for the while. Of course I'm a wannabe, so I'll still chase the dream... Huawei P10 Plus has the Leica collab going on, got that MFT Leica 15mm f/1.7 and now the 12-60mm f/2.8-4 that came with the GH5. Two Summicron-R E55 f/2 primes in 35 & 50mm flavors to adapt. But then again, neither of these are even close to £1500 a pop and offer me a bit more versatility. For the lifestyle stills shooters, the Q however is definitely about as good as it gets. There's something about Leica snaps... those cameras capture the emotion of the moment, as if it feels... and intensifies it... connects you to it, where most other cameras can only see and observe, kinda lacking that kind of immersion. I also like the idea of having the very basics covered in one of the most purist forms. That's something that I really appreciate about shooting with the LX100 (oh, another thing with a hint of 'Leica'). Don't have to think about what to bring with you, you just bring your camera and that's it. Would've even been better with a single focal lenght perhaps, that would've simplified it even more. That's why I'm really hoping Ricoh would make a GRIII and hopefully one with a tilting touchscreen and weatherproofing (dustproof!). That's about as close as analog shooting with a digital camera you're going to get perhaps. Surely Fujifilm is doing great things too. And at more of an price for anyone to enjoy it.

You presented a Wikipedia as fact - please do yourself a favour and do some proper research which also includes using your own eyes.

The internal ND filters may be quite close to the mount thus interfering with the optics of the focal reducer

Wikipedia is clearly wrong then as anybody with a pair of working eyes can easily prove.

I really like the satirical style of the test... something different and filmic, yet still useful and a conversation starter. Well done dude.

People talk about only "8 stops of dynamic range" as if it's unusable. I love following Andrew's and everyone else's analysis of how to maximize various camera's potential, but we sometimes let things get out of perspective. The order of important in my experience is 1. Lighting 2. Focus/stabilization 3. Lens 4. Sensor 5. Ergonomics 6. CODEC. Yes, we can't control the lighting all the time, but we also have to compare cameras in how they do in properly lit scenes; that is, scenes at/under 8 stops of DR. Here's my take on why we must never forget that shooting scene with more than 8 stops of dynamic range is something we really want to avoid. No camera can truly save it. It becomes a calculus of atrocities.

That was a rather silent announcement. And it has a 1.85 crop, so slightly smaller sensor than s35 / APS-C. At US $3,999, it probably has to be rather good in first reviews to be a new, better alternative to the KineMini 4k or the BMD Production Camera 4k. I think they lost all hope to enter "western" markets when they completely dropped the ball on their Terra 5k, making their reputation even worse. They announced it April 2016, had some prototype thing this April but I'd bet we still won't see it in April 2018. That actually breaks my heart because the Terra 5k was the only dedicated video camera I was interested in so far (we can easily ignore the Craft camera that never made it out of render stage), seeing the form factor with the hand grip.

Premiere is extremely poor at the moment. The Resolve 14 BETA is more stable than Premiere in 2017. And free... blows my mind. Downloading the latest Resolve 14 now, and I am sure the performance and reliability is even better. Adobe should apologise for being so poor, and give everyone an opt-out of the subscription service for a one off fee. Otherwise, the sub service is going to whither and die, people will move back to Apple and Blackmagic. It really is that bad. You can't have such a mission critical piece of software with such poor reliability for months on end.

This is my thoughts on the various options for sound recorders we can choose from on the market: http://ironfilm.co.nz/which-sound-recorder-to-buy-a-guide-to-various-indie-priced-sound-recorders-in-2017/

This will be very profitable for BM. I don't know if it was very wise to cripple the performance of the free version (no Quicksync supported there), but I guess many will start to see the advantages. 300 bucks (once and for all, no subscription, no dongle) is a price point that won't scare off many. If they continue to improve everything and add features with the same energy they showed in the last years, it will mean hard times for he competitors.

Yes, using high quality glassware, it's not bad to turn the Ursa "full frame"!

You are masterful at getting that early 80s film look. Really cool.

I redid the grade here, still crazy macro blocking in YT: Also did a ursa mini 4.6k in 16mm mode - like the color better than the micro or pocket. better blues

Don't know about that, I find rocks far more stable About 10^-12 fps.

Everything is a tool. If your style dictates IBIS, gimbal moves and the such, great. I remember a few years ago sliders was the thing, then drones, now gimbals, tomorrow IBIS (because it is not implemented on the bulk of the cameras out there, yet), in a week, maybe cranes controlled by your Samsung's S10+. Everything is a tool, and can be used accordingly, and at the will of the creator, but the tripod was the first, and probably will be the last filming tool. Hopefully someone will be the pioneer here and buy this Sachtler, and live to tell the experience.

Im willing to wager that the reason is because its all manual. Out there, away from video forums you will have a really hard time finding people that would settle for a full manual lens. Even for f0.95. Almost no one would buy such an expensive lens in the first place. And hardly anybody would buy any lens no matter the cost. So the little niche thats gonna go full manual... where talking a very select few.

The thing is Magic Lantern's option for 8bit RAW at ISO 6400 makes perfect sense as the sensor isn't delivering more than 8 stops dynamic range at that ISO any way So to cut the data rate and save some card space in low light it is a good option.

Camera A is the red helium with IPP2 Camera C is the Sony F65 (slog3.cine, sgamut) Camera F is Arriraw (Alexa Mini) going log-c all with a filmconvert lut. I think the slog3.cine is pretty good. There is a natural green color to it that is nice. But yea, there is kind of an orange look to their sensors. Canon and Blackmagic have a more red look in skintones. Red has a bizarre greenish overcast to it in their skintones. But these are just my opinions. The venice is, god-willing, going to be quite the camera. With more inherient resolution than the alexa, with a nice form factor, and a camera that looks studier than the alexa mini. The dynamic range and motion may be close to film. Maybe not. Just have to wait till footage comes out and tests come out. Also, this camera is built like a beast. And a removable sensor and the mount system - this should be looked at as quite innovative. The ND filter as well. Anyway, sure poo-poo away the Sony. But I rather have this camera than a canon c700 or a panasonic varicam or a red helium. Can it beat the alexa? That's the question. E is arriraw A is red helium C is F65

There's a lot of misinformation out there because there's a lot of fake 10bit. The whole camera, colour processing, colour profiles, image pipeline and codec need to be built around 10bit for it to be an advantage, like on the GH5, or in raw on the 5D Mark III with Magic Lantern (where the colour profiles and image processing is done in POST, bypassing the camera's 8bit processing limitations). The 10bit GH5 Rec.709 image is night and day better than the GH4 10bit HDMI output. And don't get me started on 8bit "uncompressed" HDMI... It is compressed as hell! No point in recording it. Especially not as 10bit ProRes.

You're not quite understanding the way the hardware works Jimmy. The sensor delivers that 3840 pixel wide image under the normal Canon firmware, every time you hit the focus magnification button and it's capable of sensor windowing with any full pixel readout crop of the full frame sensor, like 3.5K, 3.3K, 2K, whatever you like. Magic Lantern are extracting the existing capability of the camera within the normal spec and clock speeds of the hardware, they are not running it at full capacity or increasing clock speeds. That 3.5K image goes into the buffer as normal and then Magic Lantern take it from there and put it onto the card. The only heat increases come from a harder working card and battery due to the data rates. The processor and sensor do not get 'worked at breakneck speed'. In fact the processor is relaxing if anything because it doesn't need to think about compression or H.264. The only reason the live-view isn't as nice as in the normal 1080p mode, is that Canon's code is designed to show the 5x punched in display for focus checking, so Magic Lantern had to hack it to give us accurate framing for the entire resolution, which is very difficult as they lack any kind of documentation from Canon or an SDK to tailor camera operation to their choosing. The hardware is 100% capable of 4K video and likely with the same MJPEG codec as the 5D Mk IV and 1D C. The reason it is not in there is due to marketing. They wanted to reserve the feature for the 1D C and target the 5D3 predominantly at a stills audience and consumer crowd for whom 4K would be somewhat overkill or wasted and result in more support costs, distracted focus in the marketing messages, confusion on the shop floor, etc. The 5D3 also wasn't allowed to compete against any of the pro Cinema EOS cameras which were fresh on the market at the time it was released, because the margins would be much greater on these cameras and video shooters should not have been tempted by something cheaper offering such a recording high spec... That's another reason the 1D C cost $15,000 on release. Plenty of compact flash cards in 2012 were fast enough for MJPEG 4K, otherwise they wouldn't have released the 1D C the same year doing MJPEG 4K to compact flash cards. You talk like the cards didn't even exist or would drop frames. Also in 3.5K there are no dropped frames or occasional messed up frames, it is continuous recording with perfect image quality, like you see in my video. Sometimes a clip may stop due to the data rate being on the limit of the card, but there are no corrupt frames...and we always did have these occasional stoppages with the original uncompressed 14bit 1080p as well... that didn't stop a ton of AMAZING work being shot with it. For many things, shorter takes are enough. And if you want longer ones just decrease the resolution slightly and shoot 10bit lossless instead of 12bit. 10bit has more advantages than just less banding my friend In rec.709 your dynamic range is limited in 8bit because you simply run out of room. We know the look that comes with trying to compress more dynamic range into a rec.709 8bit, colour suffers, it looks like HDR puke. That's because with 0-255 you have regions of large variation in brightness crammed into the last 5 or 10 shades, so things like a sky looks like crap, no accurate colours in it. LOG is a way around this to a certain extent but is also a form of compression The reason the rec.709 image looks so good on the GH5 is the entire image processing pipeline is 10bit this time round... things have room to breathe and when you do bring up the blacks or pull down the highlights there's 100x more information in there and they don't fall apart. So in short, 10bit = more dynamic range, especially on a 10bit HDR display using Hybrid Log Gamma. That's why the HDR standards all demand 10bit or more. Dynamic range! Also 10bit raw = more dynamic range, plus more control over colour and white balance as it isn't baked in. Also lossless compression = 50% smaller file sizes with no loss of visual quality, so it is almost like having uncompressed raw, rather than compressed H.264 10bit. In addition the bump to 12bit and 14bit on the 5D3 with Magic Lantern gets you a bit more dynamic range, but close to the ceiling of the sensor. I'd say the image quality at 10bit is very close to 14bit... 12bit even closer as to makes barely any difference. 14bit has a bit more accuracy in the highlights. Shadows still look AMAZING in 10bit, like the Blackmagic raw cinema cameras but less noisy.

Typical Sony Skin Tones Grading Session: 1. Pull towards magenta. 2. Pull back to green. 3. Pull a bit more back to magenta. 4. A little nudge towards green. 5. Slight more magenta. 6. Increment of green. 7. Too magenta, or too green? 8. Arrgh sod it, looks good enough. The A6500 has the best skin tones at the lower end. FS7 and F55 and barely any different. The issue I've found is mostly the suspect white balance on Sony consumer cameras. Doesn't work as expected. This causes crap looking footage uploaded to Vimeo. On the VENICE, it looks like if you press button on it, a building nearby will explode.

If you only read the title, it does. If you actually use the camera, you'll know that it's not 4k, it's not 16:9, it has no usable live view and requires CF cards that were very expensive when the 5D3 was launched.

Right? Sony colors are the worst! So gross. Look at this grossness: Or this disgusting s***: This makes me want to puke: I mean, how can you even think this looks like real skin??:

I was hoping somebody would respond, as I'm having the same problem getting enough volume from the Rodelink wireless system to anything, including a Zoom H6, a tascam Dr-2d and Panasonic G85 (and GH2). I don't have problems with the other gear I have (Rode shotgun mics and some stereo cardioids with a preamp built for loud live music.

I wish they would actually make something Nice... (Like an A69 that's a mirrorless APS-C camera with the rough formfactor and functionality of the GH5 and a plethora of exciting compact lenses native to that sensor size)

Hey Ed, maybe do the test again? Even one scene where everything is constant (except camera) would be good.

UPS just dropped off the Panasonic Leica 100-400mm ?

https://www.mysterybox.us/blog/2016/10/18/hdr-video-part-1-what-is-hdr-video Sorry for going somewhat off topic.

NX1's AF was the second best back then, not that further away from Canon's, and still I prefer it from Sony's for video (so in my opinion, it is still the second best!). Samsung was nothing to Canon back then, the smaller players were afraid the most (Olympus, Fuji, Panasonic mainly; Sony was worried, and Nikon would have been doomed). Olympus and Fuji haven't the resources to fight Samsung, Nikon can't compete in the new digital age, and even Panasonic is much smaller than Samsung. Sony is powerful, but Samsung had some amazing R&D breakthroughs, and the capacity to manufacture EVERYTHING you need for a photo/video camera (CPUs, RAMs, lenses, Super AMOLED touch screens, everything). First 28mpxls BSI sensor (A7Rii was the second big sensored BSI actually) etc etc. Samsung just decided that they didn't want to compete on a declining market, and pro video/photography was a long shot. NX1 was too late in the game. It is just a pity that we didn't see a NX1mkII, they did the first version SOOOOO good, without any prior real practical experience. The NX team had some truly talented and passionate people (just check some of their older corporate videos), something that a huge capitalistic and autocratic mega-trust, couldn't allow to exist.

A very god review, thanks @Andrew Reid! To be honest I feel respected as a customer with this firmware update. What more can I say, very nice!

The Expodsic (or at least this £13 'equivalent' version) is a good cheap alternative to an incident light meter as well as being a quick and reliable way to set white balance. You just hold it over your lens whilst pointing to the light source that is falling on your subject so and when the camera meter hits centre then thats the exposure set correctly as the camera expects it to be because it is seeing 18% grey through the Expodisc. Its quite interesting to see how that can look on screen when you then take away the Expodisc and on the histogram (especially with cinelike d) as it is definitely not ETTR but sure enough with zebras at 100% the peak highlights are only just pinging the zebras. I wouldn't say its a definitive way to expose but its a very consistent starting point from which to make the decision and as its measuring whats falling on the subject rather than whats reflecting from it then its more appropriate IMO. Kicks arse for white balance setting.

I have upgraded your forum profile to a Super Member so you can edit your original post and generally have mod-like access to the forum. Thanks for all your efforts so far on the project.