Leaderboard

I find that to be incorrect. Even when adjusting raw, the original color science is in effect and dictates how and how much adjustments are needed. Otherwise for example all LUTs would work the same on all footage. But they don't. Anyone with two different raw capable cameras can easily try for themselves. Take a side by side. Adjust one and copy the settings to the other. It won't look the same. And that is the key. Sure I can fiddle with images but sometimes there are a lot of them. In a project I was leading recently we where a couple of photographers that took roughly 15 000 photos. And I edited out maybe 5000 keepers that are going to be used in various marketing material. I was pretty happy that it was only one photographer that used a different brand and the rest of us all had the same color science. If I ever for some reason would start to work full time as a photographer or filmmaker again. Spending a huge amount of time processing pictures. Then I would definitely want to minimize the time spent in post.

Excellent stuff. Tony really knows how to do clickbait with style.

Very, very good video.

Ok, take the risk, ordered one, it is arriving today. Will try to make some comparison videos with the GX85.

Thanks! ?

This is hilarious! Old school propaganda! I am using Adobe since the 90s and I can't wait to move to Resolve. Adobe is like Canon in a sense, dominates the market, but could be easily left behind in a couple of years.

So this camera is going on sale soon, and the first footage from what I suppose is a (near)-finished model has been released and ... ho, boy:

My Smallrig Cage arrived today. Looks and feels really solid. The Pocket 4k, the Cage, the Viltrox, the Battery and a Nato-Rail on top result in a weight of 1280g. With the Sigma 18-35mm (810g) it is around 2090g, really managable with a gimbal or a compact rig.

You make a good argument against "late-stage-capitalism." Preaching to the choir here. When you decimate the working class, there's not going to be enough to prop up the wealthy class. Wealthy can't help it though, they want/need money now over long term interests. To me, it's also touches on the whole supply-side notion of things, which as an economic theory is insane to me.

GH5, Zhiyun Crane 2, manfrotto tripod with fluid head and Dji 550 drone (with gopro). Really don't think it's a superb video, but with 2 hours for 2 apartments, including drone shot, thats the best way i find. And this is my first "real state" and i think is the easiest money you can make in the video world.

The vent isn't flush with the plate.

Tony in the video has shot his hallway which is practically monochromatic. The main differences in colour are a result not of the colour science, but of the white balance settings. So this is not a Colour Science video. It's a White Balance test in artificial light. The shot in the hallway he said everyone loved, because "warm" - looks YELLOW when he shows it full screen on YouTube, typical Sony style, but warm and good looking on the TV monitor behind him. At the end he ranks the colour voting and Sony comes out on top by a wide margin, going against everything I know from direct experience making EOSHD Pro Color and shooting with almost every camera on the market, over a period of over 8 years running this site. It also seems to be confirming not just the channel's strange Sony bias which has been commented on before but the bias Tony himself pointed out of Sony users earlier in the video, which made me chuckle a bit. Nikon and Canon come out bottom, FOR NO OTHER REASON because their white balance settings were presumably set to keep absolute white rather than to keep the ambience of the scene, which is a built-in default setting Canon/Nikon strength and always has been. Again proving that is a test of white balance, not colour science. He even took a page out of Max Y's book and didn't bother detailing in depth the camera settings used. Nice try Tony. He really is the Clickbait Emperor. Gets us talking every time. Maybe try again, do an actual colour science test not white balance.... And don't try and pretend it's scientific.

Sliders, drones and gimbals are all over used when first becoming popular and will later on fade a bit to be used only when needed. Personally I can't stand unnecessary gimbal shots and don't get me started on drones

I think it is too late. They bought her in there to chop off some heads, and apparently she is damn good at it for the time being. I think the bought her in there to be the scapegoat. And they can blame it on her youth. And then they will hire some middle of the road CEO and get it back on track after weeding out the bad apples in their mind.

That is one of the most detailed break down lists I've seen on this forum!

you should buy a sony rx10 ii

Just so readers can decide themselves how the cameras match together I'll give you a breakdown of the setups: Shot 1 - invitation - Blackmagic Pocket 4K with Voigtlander 25mm f/0.95 (ordinarily shot at f/1.4-2.0); Shot 2 - dress zipping - BMPCC 4K & V 25mm f/0.95; Shot 3 - engagement ring macro - Canon C200 with Canon 100mm f/2.8L with a Rotolight; Shot 4 - bride putting on ring - - BMPCC 4K & V 25mm f/0.95 shot wide open; Shot 5 - bride reflection - BMPCC 4K & V 25mm f/0.95; Shot 6 - groom tie (close up) - Canon C200 with Canon 85mm f1.4L IS; Shot 7 - bride and groom against vines - BMPCC 4K & V 25mm f/0.95; Shot 8 - bride getting out of car - XT-3 & 18-55mm; Shot 9 - dance shot - Fuji XT-3 with Fuji 18-55mm f/2.8-4.0 OIS (shot close to 18mm and wide open at f/2.8); Shot 10 - silhouette - Canon C200 with Canon 35mm f/2.0 IS; Shot 11 - bridesmaids - Blackmagic Pocket 4K with Voigtlander 25mm f/0.95; Shot 12 - dance shot - All dance shots are as per shot 9; Shot 13 - groom kissing bride in field - BMPCC 4K & V 25mm f/0.95; Shot 14 - walking - XT-3 & 18-55mm; Shot 15 - dance shot - see shot 9; Shot 16 - groomsman doing Toyota - XT-3 & 18-55mm; Shot 17 - silhouette - BMPCC 4K & V 25mm f/0.95 shot wide open; Shot 18 - bride and groom close up - XT-3 & 18-55mm; Shot 19 - aerial - DJI Phantom 4; Shot 20 - bride and groom in field from low angle - BMPCC 4K & V 25mm f/0.95; Shot 21 - bride and groom and veil - XT-3 & 18-55mm; Shot 22 - bridal party confetti bang - C200 & 85mm f/1.4L IS wide open; Shot 23 - bride and groom walking towards camera - XT-3 & 18-55mm; Shot 24 - bride and groom leaving ceremony with confetti - XT-3 & 18-55mm; Shot 25 - bride staring over groom's shoulder at camera - BMPCC 4K & V 25mm f/0.95; Shot 26 - bride and groom walking through long grass - XT-3 & 18-55mm; Shot 27 - bride and groom resting against vineyard post - XT-3 & 18-55mm; Shot 28 - ditto Shot 29 - ceremony kiss - Canon 5D mkIV with Canon 100-400mm f/4.5-5.6L IS II; Shot 30 - veil shot - XT-3 & 18-55mm; Shot 31 - dance shot - see shot 9; Shot 32 - bride and groom walking between vines - C200 & 85mm f/1.4L IS wide open; Shot 33 - bride and groom dancing on hill - BMPCC 4K & V 25mm f/0.95; Shot 34 - dance shot - see shot 9; Shot 35 - bride holding veil - BMPCC 4K & V 25mm f/0.95; Shot 36 - bride doing gladiator - XT-3 & 18-55mm; Shot 37 - bride glancing down at window - BMPCC 4K & V 25mm f/0.95; Shot 38 - hand holding - C200 & 85mm f/1.4L IS wide open; Shot 39 - groom swinging bride - XT-3 & 18-55mm; Shot 40 - sparkler exit - XT-3 & 18-55mm shot at 2000 ISO; Shot 41 - dip - XT-3 & 18-55mm; and Shot 42 - final - XT-3 & 18-55mm. Basically all of them had on Southall which is a Delut by James Miller (https://sellfy.com/p/KUuV/).

We should start a new sub-forum. Fixing Max's tests in post.

ah those well known matching colour profiles - PP1, Eterna and Neutral!

Travel paid for by Adobe. Trip organised by Adobe. Meetings organised by Adobe. But the sellout is all Johnnie's.

"During her time there, she made the case that the business should focus its attention on content creators. That was a really valuable business opportunity, and an area no one was really focused on," Sud said. She made the case to Vimeo, and "because of that, I was given an opportunity to run the company." lol. Guys she is a visionary. They should start by updating their servers so people can stream 1080p let alone 4k. I didn't even need to go to Harvard Business School to come up with that idea! ?

Oh Gawd....don't go giving them ideas for new episodes...

The entire core product is probably secondary to marketing. They probably have 10x the number of branding and marketing or PR staff than people working in technical, design and creative positions. The core product will go to shit at some point and all their customers will use something better, from a hungry rival. And Adobe will be dead.

A CEO says "failing often can be empowering" because they are never the ones to get the brunt of the consequences and can always continue their career somewhere else high-paid. I think it's almost like a spoilt child who doesn't care what toys they break as they immediately get a replacement! She's shafting us who rely on Vimeo for work, and at the same time is immune herself to the controversy. Living in some kind of bubble. It's the highest form of entitlement and late stage capitalism.

The Cinema5D videos are almost all ripe for parody... Where's that laughing Spanish man when you need him!?

Yes but the conclusion of the video I have a problem with. It's simply wrong. Sony's colour science is according to the video far better and a crowd pleaser, vs the competition like Canon, Nikon and Fuji. I know from my own eyes this is simply bollocks. Yes changing WB makes people change their mind on what is the best image, no shit! This is just filmmaking basics. Speaking not of white balance settings on the camera for a moment but looking at it creatively, Game of Thrones has a cool palette, other shows have a warm grade, and so on... It is supposed to match the scene and the content. In cases where a warmer look is necessary like in natural light to maintain the ambience of incandescent light, the Sony fell flat. You have no idea how many months I spent correcting this with custom WB presets in EOSHD Pro Colour and special colour settings to overcome Sony's sterile white balance handling and poor handling of ambience. Yes movies have strong colour grading, who'd have thought?! That's all part of the creative process. We are not talking about lab technicians. They are professional colourists. All this matters a lot. So the debate on colour science is not overrated. I don't agree with Tony's conclusion - either the outcome of the vote, or the underlying "colour science doesn't matter, and it's easy to change with a click of a button" bullshit. No, a lot of people want straight out of the camera satisfaction and they don't have the time nor the skillset to go off and do advanced colour correction. That's just us, who can afford the time to "correct every shot". It's pretty glib of Tony saying, if you don't like Sony's colour "just change it" (I guess the raw stills he is referring to) For a start it is not RAW when it comes to video. It's baked into the H.264 files. Even if you shoot S-LOG, S-Gamut is baked in and comes out in the grade. People have spent hours trying to get S-Gamut in post to look the way they want. I don't think Tony has even ever graded S-LOG? So how can he suddenly be an authority on colour science? You guys need to get off YOUTUBE. Put the tablets away.

Not a bad take, tbh. Corporate conspiracy notions are fun. Break it all down to rebuild it, eh?

Tokio Storm, the video that made me buy a GH2. And got the video bug.

Well, I sincerely WISH that were true Although if you saw the results of me trying to mimic a slider using my a6500 on my Zhiyun crane gimbal, you might not think that they are "very decent results". I think that most of the people who get really good "slider" shots from their gimbals are mounting the slider on to a tripod and then panning the tripod Which is ok I guess but I would rather just put a slider on the tripod and a quick release plate on the camera, gimbal and slider and do it that way. Setting up a slider though is just SO MUCH MORE TIME CONSUMING that I often just do my slides with my gimbal. While I think I understand your point, in real estate, you are already giving the agent / client still photos 99% of the time. So you can either give them a "Ken Burns" style video, or a walkthrough style video, which is what they prefer. So it certainly may not be your cup of tea, but if the person who is paying the money wants it, then I say give it to them. Good job. I am going to have to try some of the jib / crane style shots in my videos too.

It's pretty well established that the record label wants streaming revenue. Why not just give it them? YouTube is. Unless the problem is that Vimeo simply cannot afford it. It's possible they cannot strike a deal with the recording industry like YouTube has for streaming revenue, because Vimeo don't run ads. Any streaming revenue would have to come from their subscription fees. However I hardly think they are a tiny, small company. They have MANY subscribers, paying quite a bit. So sort it out, or lose them. Indeed Vimeo are 134 on the Alexa rank. Yup. 134th largest site on earth. Their parent company has revenue of over $3 billion per year (2016) https://en.wikipedia.org/wiki/IAC_(company) https://en.wikipedia.org/wiki/Vimeo And they cannot spare $100m or less to sort out critical legal issues and protect their users.

The vents are raised off the base and sloping upwards towards the mount. So the tripod plate doesn't block them. Hard to tell from the picture but it's true.

I said "in a hurry" so real thing are a proper slider, crane or fluid head. In this video, i faked all sliders and cranes with a Ziyun crane 2.

I believe they do subconsciously. They might not be able to articulate it though, as they don't have our trained filmmaker's eye. a) diminishing returns apply b) how do you define "10X better"?? Let's make up some random simple numbers as a basic example: A company sells $40,000,000 of a product each year with a 25% profit margin on that. They predict if they spend $10K on an advert and $400K on the advertising spend for that advert that then they'll see a 10% lift in sales in the coming year. Should they do this? Of course they should! It will lead to millions of dollars in extra profit. Now what if they predict they'll get a 20% lift in sales with the $100K advert? (with the same $400K advertising spend. Although... often this budget would be larger too, to go along with the pricier video budget itself. But hey, I'm not pulling this example from any real life figures, and I'm just keeping the figures simple) You might say "But David, they're only seeing a 2X improvement for a 10X increase in production cost!!" However I'd suggest you stop and re-think this, you don't need have the video be anywhere near "10X better" for it to be worthwhile to spend 10X more on the video shoot. Rather instead if the client believes these figures (of a 2X improvement on their sales volume increase vs the $10K video) then this is an obvious no brainier decision they should make to spend $100K on the video.

Isn't the Terra 4K / BMPCC4K / GH5S already matching in the same league for lowlight as Gemini? And obviously the Mavo LF is far cheaper than Gemini! That we know already. The Terra bodies are more energy efficient than REDs (roughly double the power is needed for a RED DSMC2 body vs a Kinefinity Terra body) so it wouldn't surprise me if the same is perhaps true for the MAVO LF as well. (I checked the specs just now, and the MAVO LF only needs 10% more Watts than the Kinefinity Terra 4K draws)

enough people on here have a p4k camera by now, heck andrew reid could provide one, and we call it community service ?

Yeah, I have fond memories, but if the portfolio I've spent 10 years on isn't guaranteed safe, it leaves me little choice but to do something about it! I mean, an online video channel is so key to what we do... Always has been... If it were to disappear randomly one night in the blink of an eye because Vimeo's CEO doesn't have her eye on the ball, it'll be a disaster for me and for EOSHD, the blog. Whatever I think of Vimeo in 2018 and what it has changed to become, it all comes down to that really. I'd rather stay and enjoy the community there... Maybe from a safer distance, from now on. I also really like that YouTube makes an effort to explain their DMCA stuff in a more friendly way and in plenty of detail. The first I knew of Vimeo's policy was a big warning message flashing up saying my account was an inch away from obliteration

I had the original Edelkrone slider one. The size and build quality was great but overall for the price I thought it was pretty shit. Sliders can add a nice aesthetic to your footage but since its another thing I have to carry around, I usually only use them inside the studio.

Wow I found this link for the PK4. Somebody must have been Really bored to make this page up. Holly Crap. Just about everything there is out on it! https://creativityinnovationsuccess.wordpress.com/tag/blackmagic-design-pocket-cinema-camera-4k/

He's not even very consistent ... Sometimes it is the stuff of a Canon PR plant. Sometimes it is rabidly anti-Canon. Sometimes I wonder if the internet is populated at least 50% by faulty bots.

Well the Nikon Z7 is a $3500 pro camera. Does Max really think the people who buy it are going to use it on the default settings out of the box and not even explore the different automatic WB presets which would have fixed Bart Simpson and the other picture styles such as Flat which would give more control of colour in post? It's not a mom & pa's camera. It's a professional mirrorless camera and he's testing it like a bloody iPhone or a point & shoot. It's just an excuse for lazy testing and gettin' it out quick. Sadly he has 100,000s views and the good guys who WAIT do not. That's what happens when you have no editorial control over a network (YouTube) and promote stuff based on FIRST and VIEWING STATS.

seems to be a little too expensive ... because it is nothing exceptional in relation to the competitors.

Without too much risk of being wrong, I can say that we've all been there. You know, forums... Welcome back!

And HIS professor might have told him he only needed three lenses, A 28mm, a 50mm and either an 85mm or a 135mm. Zooms? pfffft!

Yes! Zach resurrected! ? Those were the good ol' days (except for that certain Egyptian scammer), things have gotten a bit rotten and turned into drama I feel like lately. We could use some of that oldschool community back (a lot either got banned or decided to stay away on their own). What ever happened with that one exotic lens?

OH MY GOD in all seriousness Zach, its good to hear from you. it sounds like youre doing well. i really respect the steps youve taken to get your shit together. i would be happy to try to share some knowledge, as im sure would others, but youve gotta promise to listen, and to see the positive intent of our comments. okay?

Fall is a beautiful time to fall in love

Z-Cam: "We have produced the most mundane and uninspiring footage that any company could ever possibly publish for promoting their cinema camera" Cinemartin: "Hold my beer....."

Iscorama Pre-36 with Helios 44 @ f2.8 (oval aperture) on Canon 5D3 To get that sharp on my (sharpness tweaked) Kowa Inflight or Kowa B&H with Core DNA attached I'd need to stop down to at least f5.6. Sharpness is indeed often overrated, but it's sure nice to have and can always be softened in Resolve very nicely. Iscorama still has perfect balance of sharpness but with organic feel due to vintage coating. More modern cinelux type lenses are as sharp, yet look very clinical (to my eyes at least).