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I haven't seen it discussed much for video (maybe it was and I missed it) but lots of people have looked at it for photos. It was the widest non-fisheye lens that I could find for a reasonable price. It looks hilarious on the GH5 because it's so small and thin! My strategy has been to get a 17.5mm lens for generic people / environment shots, and the 8mm for those wider "wow" scenery shots where you want the grand look of a wide angle, and it's been great for that. Today was my third day in India and it hasn't come off the camera yet as everything here seems to lend itself to that "wow" aesthetic - look at that building - look at how many people there are - look at this amazing chaos... Basic grade and crop.... I'm still making friends with the GH5 so these might not be sharp, but they certainly suit the geometric nature of the architecture

You're welcome. I'm not sure of what you are trying to do but additionally you can export and copy all the files in a single location. Go to FILE > Project Manager. Then select the sequence (timeline tab) you are working on, specify an export location and it will save your project and all the associated files to this single location. It can be useful when you are working with media scattered across many different hard drives and want to consolidate all the useful media on a single drive.

Yes and it's very simple. On the top menu go to EDIT > Remove Unused It's going to remove all the files which are not in your timeline. But make sure that you don't have multiple timelines tabs or sequences otherwise the "remove unused" feature will keep all the files also used by the other sequences/tabs.

Good on ya. Wish I had done that. If that were possible, I would have NO working cameras left (instead of the six I have lying around, if you include my drones and my Olympus 3030 zoom that I have been too lazy to take down to the electronics recycling center).

With Black Friday and Cyber Monday coming up it might be nice to have a central place for these random upcoming holiday deals/coupons. November 12th, 2018 SmallHD 503 UltraBright Monitor on sale @ B&H. $1600 usually $2,500 ($900 savings) https://www.bhphotovideo.com/c/product/1346903-REG/smallhd_mon_503u_503_ultra_bright_5.html/mode/edu/mode/edu

With all due respect, I think it is a bit harsh referring to people as crying babies who are whining when they are actually raising legitmate concerns about powering this camera. Read my post above about the difference in heat generation between powering it on mains for 8 or 9 hour stretches versus powering it for 10 or 15 minutes on batteries. That difference in heat is not something to be unconcerned about and neither is the random battery life indicator. I have literally just had mine shut down on me mid take when it waa showing a quarter full. Yet, thus far, the only OFFICIAL way to power this camera other than the mains adapter is to use batteries. Everything else until they actually get that cable kit out is some form of cobbled together solution with dummy batteries and power packs. Yes,that situation will be resolved over time and won't be a concern for people who get this camera in the future but for people who actually DO have it right now, it is fair comment to be annoyed about the situation. The price of this camera doesn't always give it a pass regarding criticism as some of the criticisms have got absolutely nothing to do with the price of it or could have been avoided with such a minimal price increase that would have had zero impact on sales or anyone's satisfaction that they were getting more than their money's worth. Oh and @Jonesy Jones, my advice would be to favour any solution that powers it off the DC port. If they ever ship that cable kit

Non need to buy a new computer trust me. Just import the files in premiere. Make proxys of your footage in a small 1080p h.264 or proresLT. It will be buttery smooth for editing. Premiere will always use the original h.265 to make the final render.

From new thread recently opened by Don (thanks @webrunner5) I found this interesting release: https://www.43rumors.com/kamlan-announced-two-new-mft-lenses-50mm-f-1-1-and-28mm-f-1-8/ https://www.sainsonic.com/collections/manual-prime-lens/products/zonlai-22mm-f1-8-large-aperture-manual-focus-lens-prime-lens https://www.sainsonic.com/collections/manual-prime-lens/products/kamlan-28mm-f-1-4-standard-prime-lens https://www.sainsonic.com/collections/manual-prime-lens/products/kamlan-50mm-f1-1-prime-lens Take a look on this 9-months teaser...

Oh hell you are half way there. Good job. I had a suggestion but now you are winning the battle. Proceed. ? This kind of explains Codec and Container, ergo Wrapper a little bit. "Simply put, a codec is a method for encoding and decoding data and more specifically, a protocol for compressing data, especially video. Selecting the right codec can depend on several factors. Target file size, output quality, and delivery method all factor in. Currently h.264 is the predominant codec on the web. In comparison, a container, is what holds the grouping of compressed video as defined by the codec. A container is also referred to as a format. The container takes care of packaging, transport, and presentation. The container is usually represented by a file extension. For example the MPEG4 container is usually represented by a .mp4 file type".

Rather than doing it all manually, why not set up a huge batch convert to encode to a different codec that is accepted and maintains the file extension. Set those to go to a whole new drive. While that’s happening continue to edit in cc2014 and when it’s done open your project in cc2018, plug in the drive with the new encodes, unplug the drive with the OG files and relink the whole project. It might take longer, but at least you can keep working in the meantime and it’s much less manual tasks, and you can leave it over night. Also, don’t update mid project, it never, ever saves time.

Non of the review said they had used it with 4k 10bit 60p on the GH5 though. I've just bought the Atomos cable after noticing drop-outs on an standard HDMI cable.

Well, some FF cameras have a better crop mode than FF mode in video, so one could shoot in crop mode and then gain back the FF FOV and an extra stop by using a speedbooster.

Thanks! Everything works!

I'm pretty sure its the IBIS, the current EM has up to 6.5? The extra stop would be for the new handheld high res mode? Just had a quick look on their website... looks like it mean IBIS! (EM1 MK2)

I've only done very limited testing, but it looks like the 4k H265 is excellent in 400mbps, and I have found Provia to be a great colour profile if you don't want to grade much. I have Highlights -2 and Shadows -2, and sharpness reduced. Face tracking autofocus seems to work well, if not 100%.

This is gold and right on time! I'm doing some rough cuts from 2000 files, every day to a different sequence. And then I will need to export/copy only the used files in the sequences. So, according to your last post @OliKMIA I just need to select "Collect Files and Copy to a New Location", correct?! And most probably I'll need it to transcode to DNxHR/HD after. And btw, is it possible to export all individual cuts in a sequence, but with IN/Out points and also with some margin at star/end of each file? Let's say, 2sec pre/post-roll... I'm not sure If Premiere is able to do this.

Come on, admit it, the damn camera is shit and get over it LoL. You gets what you pay for as they say. Now just go out and shoot an award winning feature film with it. ?

I just received my Kipon. I'll be reviewing it this week on the Nikon Z7. E-mount version is the same glass.

If you want to stream wedding videos with unlicensed music then it's easy enough to host on your own VPS. The traffic will be minimal & no record company could ever find your content anyway. Same goes for proof copies & demos for clients.

I don’t see Panasonic abandoning m43 anytime soon, they have a complete lens lineup and by all accounts the GH line and others have exceeded sales expectations. What I do see is something similar to Sony with aps-c, new bodies and few new lenses over the next 2-3 years. Panasonic pretending PDAF doesn’t exist isn’t doing them any favors either, but that’s another argument. Where m43 fails is at the $2k+ price point, especially on the stills side. CaNikon still dominate with 3/4 of the market and they’re still heavily focused on the photo side of things. M43’s strengths are size and stabilization. Once you move into high end m43 with fast zooms and primes, you can easily go with a larger sensor in Fuji or Sony, and build a similar size/cost kit that delivers superior IQ. IMO m43 still has a great future, but trying to push upmarket with a small sensor is a losing proposition. People do cross shop and compare things like DR and IQ, they’re clearly choosing other options. Mirrorless is the future, but casual ILC buyers are shrinking, that’s why we’re seeing so many new bodies aimed at more advanced shooters with higher price points. Chris

I'd be sceptical, the bridge in the sample shot goes exactly through the middle of the frame, so it won't show many forms of distortion. 7artisans does have a range of lenses and a track record though, so who knows. I've been using the SLR Magic 8mm F4 on my GH5 and I'm really enjoying the image, but it's also designed as a drone lens and so the ergonomics aren't that great though!

Yes. I have been using V60 Cards with the GH5 and with the Pocket Cinema Camera 4k.

@Andrew Reid Some food for thought as winter is coming. EOSHD is already a big and healthy community. Guess what could compliment your site... Right! A bunch of servers. It does't have to implement personal funding. I would prefer paying a fee to you and this community than any company to store my videos. Not big enough to be subject to those silly regulations. Big enough for your videos to reach your audience.

Sure, that is the basic way embedding a video onto a webpage today. If that’s all you need you are good to go ? However if you need stats or having the minimum ambition regarding the player functionality and looks it is another story. And more importantly the distribution on the internet. The user experience. If you want your 1080p or 4K video to play relatively fast forget about uploading it to your shared web host plan thinking that is it. To perform well and stream fast the video has to be hosted on a good CdN too Further more people are used to adaptive streaming. Not just one bitrate version of the video being downloaded. It is more important than ever since many are watching using their phone on the go. It seems simple but for high performance delivery and smooth experience the embed code is just a very small part of the equation.

@Geoff CB I completely agree, very smooth look without giving up depth or resolving power. Just tested a set, and I'm going to be using them on the C200 for a project coming up at the end of this month. Should be a lot of fun! Will share stills when I can.

Hmmmm.... at those prices a Panasonic 25mm f1.7 would be the same price (or even cheaper!) but would give you AF And a chinese 85mm f1.8 F mount lens + focal reducer would be cheaper than the 50mm f1.1 but be nearly as fast and would give you greater versatility for the future. Would need to wait for reviews first, before simply leaping straight onto it purely because of their prices.

Was that even 8K sound at all? :-P That video was amazing, for not being able to do anything right. For the sake of everybody who might buy one, I hope I'm right and it doesn't come out until 2030

hmm thats a good tip actually

Thank you for the feedback! I think you make good points. I wasn't really happy with the sound edit.

Just get cheap Lexar 1000x UHSII. They work great in 400 mbps

It's Northrup. And the Z6 seems to have a pretty damn small buffer in it also.

Renaming the files fixed it on my older Nikon DSLR. Email me and I'll help you there.

We surely didn't think we were going to get an Arri Alexa build quality, specs wise for 1300 bucks including Studio Resolve did we LoL.

Who is doing 8bit RAW? - that's a crazy idea......

Fully agree with TheRenaissanceMan and you. We are on the same page here. How easy or difficult it is to get the color we want makes huge difference. My comments about RAW were mostly for photo. Tony's test is mostly for the photo side of hybrid cameras. Adding video in the bag is not correct, because: a. as you point out most DSLR mirrorless cameras shoot 8bit 4:2:0 which is quite different and limited compared to RAW and even JPG. Getting the colors we want may be quite difficult and time consuming. b. RAW video is not = to RAW photo. Most if not all cameras shoot RAW video but in log format. Which means some kind of additional processing related to colors is applied in camera. It is not the RAW image as it comes from the sensor. And cameras from different companies have different log formats, even the sensor is the same. For example Panasonic GH5S and Blackmagic Pocket Cinema Camera 4K. Same sensor, different log formats. In both cases there is some form of in camera color processing/manipulation. We still have the problem measuring those colors in RAW, we still have to go with the development process before any measurement is possible. But it would be correct to say there is in camera color science and is logical to expect that it will affect the end results. Tony's argument that people will not notice and object slight variation in color and sometimes even big color shifts also is not correct for video. We still want to get the colors we want and even we ignore this we still have to color match different sequences under different lighting condition in one movie/clip.

I was able to recover the file using Resolve. In media -tab, choose the clip -> right click -> Clip Attributes -> Data Levels -> Change from Auto to Full. Voila! Before I figured this out, I made a massive investment (over 4€ )on eoshd recovery lut, which didn't recover anything in my Ninja V files from X-T3. https://youtu.be/bwFRWWNSFlY

So, I’ve been shooting ML Raw with my 5D3 for over a year and a half now and I’m still as happy with the camera and the image as the day I bought it. I’m even thinking of buying a used one as a backup and to have set up for 48p/60p. I’ve been using a 2014 MacBook Air to process, edit and temporarily grade the footage so far but I really need an upgrade. I’d like to say with a Mac. So I was wondering what bate minimum requirements are to edit 1080p ML Raw? What I have actually works pretty good but the screen is killing me. Any recommendations? Can an iMac or MacBook screen be calibrated with a Spyder or similar product? Also I’d like to know more about the ACR workflow. I was thinking of picking up a pre-subscription copy of Premiere or After Effects if I can find one. Thanks

Quite good actually. IMHO the background score and foley need a little not work, especially since its a horror flick (and a little interplay between them in the sound design). In the edit if you could do a little more back and forth, especially when the light first goes out and in the end, by hanging between frames and angles, it could look very scary. Nice work

I’ve been using the Meike 28 f2.8 and it’s great. Such a small lens and cost about £80 I think. It’s a nice focal length, clickless aperture and quite bright, although not as fast as the ones listed at the top here. You can get some lovely portrait style shots with it.

I own Canon Rumors now. It's all mine

Jesus, what happened to keeping criticism constructive and supportive? I came to this forum hoping to find a community of likeminded film makers interested in the new possibilities of smaller, cheaper cameras, and I stayed because of the variety and frequency of discussions. This forum always seems to be more on top of new news than others. But lately it's all been about attacking other blogs and youtubers, denigrating your peers, and now giving really harsh and insensitive criticism to each other. I would never post my own work in this forum now. I wouldn't expect to receive any useful criticism from a place where there are so many thin-skinned, insecure and defensive people. Of course there are many intelligent, experienced and positive people here too, but they increasingly seem to keep their heads down these days.

I enjoy travel photography most but I have no doubt that the only stuff I do that will stand some reasonable test of time - is the family stuff. Just finished a book of photos of my son’s first 5 years....

IronFilm's comment was made before the announcement, but Cinemartin is talking about two-to-four months, depending on the model: https://***URL removed***/news/2936447826/cinemartin-launches-fran-cameras-with-8k-global-shutter-and-raw-support No offense, but you have to be almost wilfully obtuse to think this footage looks good or even displays good dynamic range. You don't notice the: 1) Incredibly wonky colors in log and even more so in the 'graded' footage at 2.56 or 2.19? I mean you could argue that this was the grade but this footage should never, ever be allowed to look like that in a product launch video, 2) The heavy IR cast in much of the footage, including 2.56 and 2.10, 3) The focus being off in a lot of the footage, most noticeably in 2.04: I mean these are the fundamentals, this simply cannot happen in a video like this, 4) the dynamic range looks terrible and I would really love for you to convince me otherwise, you've got clipped highlight details and milky, crushed blacks at 1.48, 1.50 (better shadow detail), 1.58, 2,04, 2.18 and this is JUST from THEIR OWN highlight reel. You could argue this is because they didn't do anything to control the lighting on an extremely sunny day at high noon but my question to you would be then that WHY, for God's sake, would you EVER shoot your video like this when the aim of it is to make your footage look good?! 5) the overall production quality is laughable, with audio sounding like they recorded it straight from a rode videomic pro in an empty concrete room, visuals popping in-and-out of frame out of sync, the guy explaining how to import the footage to your NLE, I mean it doesn't make ANY sense. This video is a masterwork in unintentional comedy. EDIT: Prices by the way: Fran LT: €10,995 regular, €7,920 introductory Fran (STD): €17,790 regular, €15,995 introductory Fran Plus: €25,670 regular, €19,995 introductory I mean these are URSA, EVA-1, even RED prices ... that's a big ask for this footage.

I thought those camera's were doorstops. Anyway, to the OP, I prefer wired, analogue doorbells. They sound much better.

I have plenty of AIS/AI lenses that are ready to fit right on the FTZ adaptor, and my 50mm f1.2 will be a lot easier to focus on mirrorless than my DSLR. Novoflex adaptors are ready already for most mounts, and much cheaper ones will be along as soon as demand ramps up.

Just a quick test. Big difference!!

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

I use Zhongyi II speedbooster with GH5S and 35mm Elmarit-R is the widest I can go. Had to use rings instead of Redsan adapter as it is really important to get the back of pre 36 to the front element of Leica. It is almost touching the glass. Also, I added this to the lens (managed to make better cut in the middle, but don’t have photo), which helped to remove white flare.

Flickr may now turn into a viable alternative. A couple of days ago the announced a revamp... https://www.flickr.com/ ...following on from the acquisition by Smugmug... A 'pro' account is US$49 a year with unlimited uploads. From 'early 2019' video playback will be increased from a maximum of 3 minutes to a maximum of 10 minutes....

Got my DJI Ronin S a few weeks ago and while digging through the app realized that I could program tilt and pan moves and repeat them. I paired the Ronin S with a motorized slider creating a small motion control system. This allowed for some interesting VFX in a music video I just shot. I was able to created several versions of the singer interacting with himself while the camera moved around following the action. Check it out: