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@leslie oh thank you!! Jasper is a St Bernard/Great Dane mix, sometimes called Saint Danes, Bernardanes... and other things lol. theyre not a recognized breed, but they SHOULD be. Jasper is an angel – he really isnt like any dog I've ever met. And I love animals, but hes really exceptional. He's the size of an adult man (176lbs with a 28" neck), so between his incomparable sweetness and his size, hes very human like in the things that he does... all the time. Like when he just puts his arm on you because youre petting him, and he doesnt want you to stop... its like a person. lol im kind of biased tho i rlly love that big guy the thing he needs is attention, he just wants love and to be with his family. when i had to evacuate my home because of fire this year (dont worry my town was saved), Jasper was SUCh an angel when i had to drag him around for a week and of course ppl love him wherever he goes. total strangers kiss him right on the face but he doesnt mind. so, in conclusion, get yourself a saint dane for sure. hes my best friend. i started saying that when he was like 2 years old, as a joke, but hes 8 now and its not even a joke any more

Recently got the EVA1 because it’s Christmas and cameras rule the world. Took it out for a spin first time on a major project in Amsterdam and Iceland. My entire kit was a right heavy bugger to carry around, silly me. GH5 came too. But will it service my creativity / ability or is this just a symptom of the camera “want, need” sickness? BRIEF GOOD THINGS - Body is nice overall. I’d look twice ? - 4k image is super lovely. I could marry it. - 2K 120fps better than competing cameras. Doesn’t look like an infected toe. - Codecs. Lots. Same as GH5. Woo. Party! BRIEF BAD THINGS - The LCD makes a good mirror. As a monitor? Get a hammer and smash it. - Switching sensor modes and HFR could make you feel unwell quickly. Slow. - The hand grip moves a bit when locked. Makes you sigh a lot and say “f*****g hell” under your breath. - More user error, but I had my IBIS hands on while shooting. Sort of forgot I’d be back to wobble club. Overall, it was robust and performed well. Images look lovely. Matches GH5 nicely. Looking forward to shooting more and not throwing it in the bin. Extra note - I used the new SWIT 55C as the Monitor which I also want to marry. Great deal! Here’s a photo from the shoot....

merry Christmas 2018 everyone i hope santa brought you all something nice this year. ?

Season's greetings to one and all. Only 102 sleeps until NAB.

wow your well organized i commend you ( polite clapping ) i was lazy and went with gift cards. what type of dog, saint Bernard ? i kinda been looking for a new family pet / member, but i don't need any kind of working dog as they tend to chase the sheep around when they get bored and i'm not always home. so a lay around and not do much kinda dog is ok with me i'm glad that doesn't say bmp4k because you would see a grown man cry ?

That is too shortsighted, I'd recommend the eos16k.com domain name instead.

And Merry Christmas to you, and all the fine, upstanding people on here. Hmm , I am counting, 1.2.3......Hmm. ?

Thanks @leslie - Merry Christmas to you too (and everyone else!). May santa bring each of us a bit more skill in our craft, a bit more knowledge about how we like to work, and a bit more wisdom and restraint when it comes to buying new gear!

Pleased to announce that my Pocket4K app for Android is now complete and is with beta testers so barring any calamties will be available from the Play store on the 21st of December. Here is a screen shot with a quick run through of the features from top to bottom : Across the top we have the controls for Aperture, ISO and shutter angle. Next up we have the colour temperature and tint controls, the preset white balance selectors, the Auto White Balance button and, of course, the Record button. Beneath that we have the 8 snapshot memories which you can use to store and instantly recall 8 different custom settings of ISO, Aperture, Shutter Angle and White Balance. To store the preset you long press on the memory slot that you want to use and to recall it just short press. Haptic feedback is given to indicate that the preset has been written and the currently loaded preset is denoted in orange (M1 in the shot above). Presets are stored in non volatile memory so are always available in any session. Next is the focus controller, which is operated using the slider and/or the fine tune buttons. A long press of the button moves instantly to closest focus and infinity respectively. The AF button in ths row activates the single shot auto focus. To accompany the focus controls, you then have 6 memory slots (A to F) to store focus points and you can switch instantly between them by simply pressing the required one. In addition, next to these are the controls for A-B-A focus transition and the speed control. Again, all focus points are stored in non volatile memory for use in any session. Finally we have the controls for applicable MFT power zoom lenses with the same interface as the focus controls (including long press for instant minimum/maximum zoom) and 4 non volatile memory positions for later recall. There is another function that it can do that I'll let you know about closer to release date and I will put up a little demo video of it in action late next week.

Hey everyone, I am getting tired of bad gimbal reviews. I rarely have time to make them, but trying to do more and more when I can. Here is my honest opinion on the weebill lab.

Hey everyone, I am getting tired of bad gimbal reviews. I rarely have time to make them, but trying to do more and more when I can. Here is my honest opinion on the weebill lab.

I learned English thanks to this site (and pornhub too) So I know all about dynamic range and horny milfs looking for a young pizza delivery guy.

Absutely right. All the gain in the universe doesn't turn a half-full pixel well into a full pixel well. Gain has zero affect on the amount of light (photons) that were counted. Gain also cannot improve signal to noise ratio either. A 25% full pixel well will always be noisier than a 99% full well. Yes, you can take a 25% full pixel well reading and amplify that (dim voltage) and amplify it to represent pure white, but it will never be the same as getting a pure white value from a 100% full pixel well. (And of course all the mid tone mappings that come with it) "Gain" is not "exposure" in any way shape or form.

To anyone who says "color science is bs:" I'm curious what your definition of color science is. From the CFA, to the amplifier, to the ADC, to the gamma curve and the mathematical algorithm behind it, to the digital denoising and sharpening, to the codec--someone has to design each of those with the end goal of making colors appear on a screen. Some of those components could be the same between cameras or manufacturers. Some are not. Some could be different and produce the same colors. Even if Canon and Nikon RAW files were bit-for-bit identical, that doesn't negate the fact that science and engineering went into designing exactly how those components work together to produce colors. As it turns out, there usually are differences. The very fact that you have to put effort into matching them shows that they weren't identical to begin with. And if color science is negated by being able to "match in post" with color correction, how about this: you can draw a movie in Microsoft Paint, pixel by pixel. There is no technical reason why you can't draw The Avengers by yourself, pixel for pixel, and come up with the exact same final product that was shot on an Arri Alexa. You can even draw it without compression artifacts! Compression is BS! Did you also know that if you give a million monkeys typewriters, they will eventually make Shakespeare? He wasn't a genius at all! The fact that it's technically possible to match in post does not imply equality, whether it's a two minute adjustment or a lifetime of pixel art. Color science is the process of using objective tools to create colors, usually with the goal of making the color subjectively "good." If you do color correction in post, then you are using the software's color science in tandem with the camera's. Of course, saying one camera's color science produces better results is a subjective claim... ...but subjectivity in evaluating results doesn't contradict science at all. If I subjectively want my image to be black and white, I can use a monochrome camera that objectively has no CFA, or apply a desaturation filter that objectively reduces saturation. If you subjectively want an image to look different, you objectively modify components to achieve that goal. The same applies to other scientific topics: If I subjectively want larger tomatoes, I can objectively use my knowledge of genetics to breed larger tomatoes.

That was me that posted that on Sony Alpha Rumors. I read that MIT is working on a sensor readout technique that virtually doesnt allow a photosite to saturate. It makes a photosite fill up, dump its value and fill up again and again until the readout cycle is complete. If you were using a 1/30 second shutter setting, you could collect and "add up" the photons in your your brightest highlight areas 2 or 3 or more times in that 1/60 shutter opening. Your dark shadow areas wont get much help because those photosites would never completely fill up but your highlights theoretically have no limit. (Execpt for the readout and processing speed of A/D conversion.) How fast can the processor handle a photosite fill, read, dump, add, fill, read, dump, add, fill, read, dump add in 1/30 or 1/60th of a second? Thats a TON of adding work for each photosite. You would probably need a specialized processing chip to take advantage of this new way of handling this kind of A/D..... Oh wait!!,...isnt that what Sony is saying? You must also buy their specially paired image processor to go with this sensor? ( otherwize it cant work with any other? ) Hmmmm....... P.s. Im sure this is a gross over simplification of what MIT and maybe Sony are doing. We will need to see how this develops to truely know. I think is clear that Sony is doing something unusual to make these phototon collection numbers so high using photosites that ore only 4+microns large. CT

The new Filmic pro LOG2 changes the design of the flair. I don't even know how is that possible. I'm not dissing the film. I saw it in the cinema. I think it was 2002 when it arrived to Spain. I knew it was the beginning and I exited the cinema thinking that yes, it was the future but it still had shortcomings. Sixteen years later we have finally profiles that look better than the F900. Just going through the mobile film fest 2018 show that we're still not there but soon is going to be another viable tool for some productions (stealth shooting, shy people or scared of big cameras) without compromising image quality. Filmconvert has announced profiles for the iphones with filmic pro too. I'm just happy I can take less weight and size with Ryanair reducing more and more the stuff we can carry.

..more like +30K: Canon EOS Full-Frame Cinema Camera In EOS R related info, here is a 8-bit Clog tutorial & (almost) free EOS R LUT pack that includes an ARRI Alexa LUT: The Alexa LUT is pretty nice i'll try post some examples in a few.. Merry Xmas!

No, the camera does not currently have any file transfer capabilities. If BM include it in the future then it can be incorporated. In the meantime, if you want to transfer wirelessly to your phone then you could use a Toshiba FlashAir wifi SD card as the recording medium in the camera. They are rated at 90MB/s so will be fast enough for the more compressed versions of ProRes or for the DNG stills. A browser and transfer functionality for the FlashAir could be incorporated relatively simply if there is a demand for it. I personally think the path of least resistance though is to use the Samsung T5 drive to record on as it can be read by the phone and the transfer speed even on a DNG still versus wifi transfer far outweighs the few moments of a cable swap from camera to phone

On the TV series I am doing sound I give headphones to 1) director, 2) script/assistant 3) director of photography and occasionally to a 4th person. No one is really listening, I assure you! I have to explain everytime why I have to stop/cut!

dude! this is crazy! how did this happen?? random hacker? what is the hacker's goal – extortion? or just destruction? ive always felt that to use social media you need to treat it like it could all be gone overnight. i find this being proven more and more and more and more, i hear these stories almost every day! what tha heck!

i hope santa paws brings jasper lots of presents!! heres an outtake from my holiday card shoot ?

Yeah people have complained about that on the facebook group. Apparently z cam is putting a no-sharpening mode into a firmware update, as well as an option for less noise reduction. I am not sure whether the firmware update has been released yet to be honest.

Oh shit, just received confirmation on my order including the G2X and Nano. 5 business day shipping, so definitely next week!

I was about to create a post saying merry Christmas everyone, and decided to check first if someone did. You did. Merry Christmas guys, may 2019 bring us the first ever FF mirorrless 4K60p 10 bit IBIS DPAF camera . we already know Panasonic won’t (no DPAF), and the canikon neither. Sony all hopes are on you to once again show the way, at least for specs. cheers

That looks destined for the Cinema line. They're not releasing a 10mp hybrid and they're certainly not releasing a 4k60p hybrid or something that does 12-bit internal given how conservative they are with 5d4 or EOS R video specs. Its a Cx00 sensor if anything. Chris

Ive got the Tilta Cage and Metabones support. Some of the other accessories haven't been shipped yet.

I assume because so long as the chromaticities defined by a given sensor's filter array encompass at least rec709 or sRGB (same chromasticities/gamut, different decoding gammas), then transforms exists to map an image acquired with that sensor to an image acquired with a different sensor that also covers sRGB (assuming the final output is sRGB or rec709). And all color sensors should cover at least sRGB. This is sort of the idea behind ACES if I'm not mistaken. The flilpside of the above argument would be that things like dynamic range, noise performance, and metamerism error can result in an image clipping, being overly noisy, or having poor tonality or colors that bleed into each other or simply false or indistinct colors. And those are inherent to the raw file. And metamerism error cannot be accounted for in software so far as I know. As I wrote above, Phase One's trichromatic back and their standard backs should both more than cover rec709, and yet the images taken with one appear more saturated and with better looking (imo) color than those taken with the other, even on an sRGB monitor. And, for instance, Red's too-close red and green chromasticities make it more difficult to get punchy green foliage in post (though the DXL proves it's possible to and I've also seen work from Company 3 that looks amazing with the Red). So for an expert colorist, I could see making the argument that raw files might as well all be the same... to a point. With raster, however, each company is baking things in quite differently and I think that really does matter, just maybe not where one expects. And that's where Red applies their "color science" label, in the debayer process. So personally I don't think it's entirely BS, even if I think it's mostly a marketing term. (No offense to @Mako Sports, I don't mean to speak for him or disagree with someone more experienced, just hoping to contribute to the discussion even though I'm a real neophyte with this kind of thing. I suspect you have better reasons for claiming it's entirely BS than I do for thinking it's somewhere in-between BS and material.) Also, a lot of raw isn't really really. Canon Raw Light has a lot baked in. I suspect ARRIRAW does, too. As regards color being more important in raster than raw, a friend worked with Stephen Sonnenfeld (founder of Company 3) on a project he cut and even he wasn't able to fully account for chroma clipping on cheaper cameras, though I'm sure what he did still looked absolutely amazing. But it's specific bugaboos like chroma clipping that ended up being the hardest things to address, and with raw that's not so much an issue. Again, this is just my uninformed opinion and I don't mean to speak for anyone or insult their abilities. I'm just a fan of Sonnenfeld's work so that's my bias, to agree with what he says, but it's totally possible someone more technical has figured this out better than he could. Back when I was shooting with the F5 I couldn't grade out clipping color channels in SLOG2, then I worked with it again with a a different LUT (Sony now has Arri-emulating and Kodak-emulating LUTs) that addressed that and the image was much easier to work with. So I think for raster images the pipeline makes a big difference, but I'm not much of a colorist.

People don't throw away their perfectly fine 4k TV to get new 8k one, if there is no visible benefit. And the problem with 8k is that you need 100 inch TV to see its 4x-more-than-4k pixels. In 55 inch and at typical distance its completely meaningless.

My espresso machine likes to go on Twitter to let off a little steam from time to time.

Here is the videocentric version: After 2 months spent with the camera, I can honestly say it's my favourite Canon to date

Hmm, that could have been shot on just about anything out today. Not impressed. At least not with That video. But if you are into FF video, using a Cine body, it is for sure the cheapest way to do it. But the output looks nice, but nearly all the newer stuff looks good with skill now. It is not going to be long before the days of 50,000 dollar Arri's are a thing of the past. The gap is closing at a alarming rate if you are the one building the high end stuff. The cost to put any of these new mirrorless cameras in a Cine style box can't be 1000 bucks more to do. Most all of them have a big ass heat sink and a fan in them, and 1 1/2" of it is the electronics, and 1" for the sensor. Look at the new Sony Venice with the detachable front to it.

One thing no one talks about is audio for UHD. I have a 4k tv and a 4k graphics card, so i should be able to watch 4k content, right? Nope. My receiver can only take 1080p hdmi, and that is the only way to get 5.1 audio. So to get 4k, i have to do stereo sound via aux input. I have no desire to buy a whole new receiver just to get 4k, let alone 8k, and 5.1 is more important than high resolution for me. Its frustratingly ironic that wanting decent audio is the reason i cant watch 4k right now and have absolutely no interest in 8k content.

Quick tip, buy a bigger ND filter. That way, if you buy lenses with a larger diameter filter thread (77mm or 82mm are common), you wont have to buy another one. You can always buy a step up filter ring for next to nothing, but going down isn't an option.

Hold your horses there! I'm calling full and utter BS on that last statement ? I use my 2X all the time with my NX1. It's 16:9. I get paid actual monies (several monies sometimes) specifically BECAUSE I shoot 2X! There are monitors that can desqueeze it and crop to 2.35:1. I have one. There are adaptors to make it single focus. I have one. Shooting with it? Easy as shooting with any standard prime lens. In terms of "easier to deal with"? As in the post-production? Don't fool yourself, unless you're a fool (which I'm sure you're not). It's just math. Desqueeze ratios and aspect ratios. Vertical and horizontal resolution. All can be sorted with simple division, multiplication, subtraction or addition. If you feel the need to defend the 1.5X, that's fine, there are great 1.5X lenses and crappy 1.5X lenses, just like there are great and crappy 2X lenses. As as far as calling 2X users "purists"? I take offense. I'll put my "cheap" 2X up against what I can only assume is an Iscorama that you spent too much money on. But I'll tell you right now mine is sharper, the bokeh is more distorted, and the flares aren't yellow, they're blue. Oh, and it has a wider FOV (even when cropped to 2.35:1). Im all for everyone finding their own solution in anamorphic, but do the math, don't just make blanket statements.