Leaderboard

I know where you’re coming from. My wife had been shooting on her Canon 750d for a year (now 6D mk II). She specialises in newborns. I’m always astounded at the colours. The skin looks perfect. Always thought it beats the crap out of my Sony / Pana images! Fuji is the same. I get that same feeling. I can definitely get there with the GH5 or other Sony but like you say, there’s something missing you can get so easily from a Canon or Fuji image. Their motion is better too. I think this is the reason people get so infuriated with Canon. They WANT to shoot with one but the video features slam the door on most desires. Sayin’ that, I’m going to try the C200 and maybe I’ll find a new friend, and become an intolerable Canon fanboy! ?

I like the IR pollution - it's more filmic and cinematic

Isn't the truth now that all modern cameras produce very good images and the differences between them are more a matter of taste and style than of one being markedly better than another. The flaws I see in footage these days seem to come more from operator error in either the capture or the post production stages.

I just got word the Weebill will arrive today, so I can do some testing over the weekend. People want to see how smooth it is in slowmotion right? If the weather is nice, I plan to test it filming a live song performed by a singer-songwriter friend - I'll happily share the SOOC file if people are interested. I'll shoot DCI ProRes 422 24p, unless people would like another format to play with.

I'll have an answer for you soon - I'm shooting the official launch film for it . Here's my unboxing of the Mavo LF - the first one to land in the US - with a tiny bit of actual production footage at the end of the video. (sorry for the audio. I'm deep in pre-pro and was rushing to get the unboxing out while in the midst of other prep). This couldn't be further from the truth. At a base price of ~$12k it's a fraction of the cost of full-frame competitors - Monstro VV =$80,000, ALEXA LF = $98,000, Canon C700= $33,000, Sony Venice = $42,500. it's a dual-native ISO 800/5120, a feature none of the competitors offer (the Varicam has a similar dual native, but isn't full-frame). Also it's a fraction of the size/weight of all those other cameras. But, yeah, nothing special. Been shooting tests all week, production starts on Saturday.

I really hope so. A new Canon C100 type but a bit lighter and taking the best from the P4K, GH5 and FS5

I asked Canon Rumors about the redirecting to EOSHD of his URLs. Apparently we disrupted his little tie-up with Canon's PR department, when I jokingly asked people to join the EOS R give-away so we could give it to Magic Lantern to play with. Their PR people cancelled it ? Or was I joking? I can't remember Anyway, he is trying to ban us from viewing the site now, by using a script on his server that detects if you have visited a Canon Rumors link on EOSHD, and redirecting that link back here. Along with a lot of fishy ad trackers on there which analyse your web browsing history and past purchases. If you don't like this email him. canonrumorsguy@gmail.com I am sure he will come to his senses eventually, and maybe even give one of his EOS Rs to Magic Lantern ? In the meantime if you want to link to a clickbait made-up Canon Rumors story from an EOSHD forum post, I'm not going to stop you, just use an URL shortener like Google's This should bypass their blocking. Try going to this Canon Rumors article via my shortened link for instance: https://goo.gl/Krp6W5

Oooohh we can get a new episode out of that.

I keep hearing how everybody just comments on trivial things and complains these days so I thought I'd go ahead and make a thread where I post my creative videos (maybe some of my paid stuff too). I make video's on a fairly frequent basis, so I thought it could merit a thread. Anyways here is a short I posted on youtube recently. I am liking the super short video format lately. Have a bunch of 1 minute short projects planned for this month (for the film riot competition).

I've been having a lot of fun making micro shorts with this camera lately. I don't think I'll ever sell it, even if (when) I get the pocket 4K

For the first time ever I've come face to face with the Blackmagic Pocket Cinema Camera 4K and the Blackmagic Pocket Cinema Camera 4K has come face to face with me. It's time to face facts without doing an about-face. Read the full article

Yeah the differences become more apparent when you get tricky lighting conditions. In that test above I could spot the EOS R a lot due to the lack of DOF. The big issue with the video in the original post is Slog has a lot more noise then standard profiles, so when comparing ISO its really unfair. If he used the standard profile or Cine4 it would look very clean.

That's some sexy ass kit! I'm bringing in the C200 to give it a go.....

I've never used a Mavo or any Kinefinity, however I'm a huge fan of the image and the concept. The product is unique and quite a marvel, despite what some people are saying here. If I had that kind of capital lying around and I could justify the investment, it would be a strong asset to have. If you wee looking to "upgrade", maybe a Fuji X-T3 or GH5 would be best for you.

You are clearly not up to speed on your mirrorless promises.... size and weight was the old promise of mirrorless... the new pitch for mirrorless is now faster glass, and more adaptability due to the shorter flange distance. Here is an interview with some Nikon engineers.

@Danyyyel It looks like a pretty nice 24-70mm F2.8, but was not the promise of the super short flange distance, and indeed the current promise of mirrorless, the idea that we would see faster glass? If so, why is this lens an f2.8? Hasn't that been done to death? It's been 17 years since Sigma created the first 24-70mm F2.8, it's time for a new faster variant in the f2 to f1.8 zoom range.

It has 'proper colors' to start with. The calibration that Atomos does in the factory is likley on a better device than the I1pro which is pretty basic as far as calibration devices go and you could well end up with worse colour afterwards. Just trying to save you money

C200 is a beast for sure, a bit more heavier than c100mkii

I understand your point your point about manual focusing, my guess is that those lens are not necessarily meant for manual focus for movie use. I know it is a sacrilege for some but with those new autofocus, manual focusing might really become a niche thing like in photography.

Got mine today?

I don't understand that supposed edge in native lens. From everything I have seen the adapted lens worked as good as they did on native F mount cameras. Have people not seen the video from Ricci Talk and BH, one was the 105mm F1.4 and the other 70-200 2.8. The 70-200 2.8 was tracking in very low light in the BH video. I dare to say that after the lens rental review of the build quality of the z7, that the z6 might be more weather proof with the FTZ adapter than Sony cameras. I personally don't know, but can someone tell me how many Sony, Pana or Fuji have in terms of video centric lens (silent, no breathing etc) The second thing is that Nikon said they were dedicated to video now and the development of the S line of lens was from the ground up done with video in mind. We can already see it with the fast focusing , silent and zero breathing lens they have released. If you think that the treatment they gave to their 24-70 f4 kit lens in terms of video, you can be sure that they were not joking when they said that. Another thing, they already published lens roadmap, by next year we will get nearly the trifecta of Nikon 2.8 zoom and two new f1.8 prime lens plus the f.95 prime. Again I just saw a mock up of the F 2.8 Nikon zoom and it had a third ring. I guess we will have smooth step-less aperture control with this lens as the Canon, if I am not mistaken. So tell me how many Sony, Pana or Fuji are have thee type of video centric features to their lens line.

Sorry if this is taking the thread off topic... I haven't spent a great deal of time working with the Fuji files yet, but I have played around with them a bit so this is based on that. I've worked with the GH5 since shortly after it was released so know it quite well. From what I've seen so far the X-T3 has better dynamic range, particularly in the shadows. Gh5 shadows tend to get quite crushed and noisy. The quality of the image also seems more organic to me and less brittle and sharpened. And I agree the GH5 has good colour, maybe not so much out of the camera but with a little tweaking, mainly on skin which can be a little yellow. However there is an illusive sweet spot with colour and skin tones for me where it just feels right, and the Fuji lives in that sweet spot a lot more. I haven't done much testing but I'd predict that on the vectorscope Fuji skin tones will be closer to the skin line under more circumstances. GH5 skin was often awry or distorted. I've also noticed Canon skin is pretty much always bang on the line.

Added a quick clarity and sharpening to DPR's 4k sample of A7III. They are very close in details. And as we know, Sony Standard color is terrible.

I think the 4k 60p out of the XT3 is much better then the 4k 60p out of the GH5. The higher bitrate, better codec H265 vs H264, and 10 bit really give it an advantage. That said the 10 bit 422 footage out of the GH5 has an advantage over the XT3 as the Fuji only does 420 not 422. The XT3 holds more detail at higher ISO's though. If you are good at grading you should be able to get good colors out of 10 bit 422 though either way.

And with their awful batteries they'll last... What? 50 or so minutes, assuming it doesn't overheat? And they'll still lack decent stabilization, awful Sony colors, low bit rates, and all the other features the GH5 introduced. And don't get me started on the rolling shutter I'd have to put up with for something as fast paced as wrestling or other sports! It's so weird that people always try to sell me, and other satisfied users, on FF and Sony in particular. Part of it is they don't get my production situation, which is understandable, but part of it also feels like they just can't understand that there are legitimate benefits to MFT and that sensor size really isn't that important. Wrestling events are generally 3-5 hours, with an 15 minute intermission in the middle. I NEED a camera that can shoot 90 to 120 minutes straight. I can't worry about batteries, overheating, etc. because every second I'm not recording during the action is a bad thing and creates issues in post. Sure I can work around them but why not avoid them completely if possible? I'm also constantly moving around the wrestling ring, so that stabilization and the weight of the lens and camera is a godsend. I don't want to have to use my gimbal or shoulder rig on these shoots, the simpler and lighter my set up the easier it is on my fat ass for the 3-5 hours I'm on my feet and shooting! ? Maybe I'd feel differently if I wasn't regularly just a 1 to 2 person crew. But I have way too many responsibilities and things to worry about when shooting events and these MFT cameras make my life a lot easier.

Yes, SSD and SD use the same usable slot, which is annoying if you don't plan on using Cfast for anything. Maybe they'll change that in a firmware update. I was the one with Phantom power issues, but they have since (mostly) cleared up. I contacted BMD about it and they've said they haven't had any other complaints. After sending them some tests, I've been asked to send the camera back and they'll replace it within 10 days. I'm filming stuff that doesn't require in camera audio for the next week though, so I'll send it back after that. I think my camera just has some issues and it's not wide spread thing.

Speaking of downscaling. Interesting way to figure out if it is downscaling if you can find the true specs. "Figuring out what kind of monitor you’ve got requires a trip to your monitor’s spec sheet. Proper QHD monitors have a larger pixel pitch or pixel width (the distance between the center of two sequential pixels) compared to 4K UHD monitors. If your QHD monitor has a pixel pitch of .233mm or so, then you’re working with the real deal. If it’s got a 0.16mm pixel pitch, the same as a UHD monitor, you’re probably working with a downscaled display. Eagle-eyed owners can likely confirm their suspicions by looking at text or small icons, but you should probably contact your manufacturer to get some clarification".

Anyone using the Metabones 0.71 Ultra speed booster with a Canon EF-s 17-55mm and can comment on vignetting on the wide end and if the IS works alright? Thx.

Oh sorry, it's this product... https://www.kamera-express.nl/product/12218258 In the photo I posted the power bank is charging off mains. When powering the camera I use the mains plug that came in hhe camera box.

I got one early August its been flat out amazing. The images even in 4k 8-bit are stunning (surprisingly good DR and this is coming from a guy who used to shoot only Epic-W). And Canon is close if not tied with Arri for making cameras that are so easy (and fun) to work with. 2 fully charged lightweight BP-60s and you can go a whole day. Remember the stunning beautiful Blue Ruin by Jeremy Saulnier: https://www.youtube.com/watch?v=uIwzTUzmXto Shot entirely on the "weak" 8-bit 1080 codec. ?

My experience with my own log profile on the d800 was that you want underexpose /protect highlights and denoise after. The log profile will hold your detail in the shadow and the under exposure will give you nice highlights. Afterwards, instead of applying a S curve, try to just darken below midtowns. This way everything looks natural/cinematic. External recording will protect the noise more.