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Overlooked in the first articles about this camera is the 4K H.265 mode of the Panasonic S1. Similar to the Fuji X-T3, this will allow 10bit internal recording in HEVC with launch firmware version 1.0 - no need to wait for the paid 10bit update. 3840 x 2160 is available in 10bit at 24p, 25p and 30p with no crop - it is full frame. The later paid update is for a higher bitrate 10bit 4:2:2 mode and V-LOG, but in the meantime 10bit H.265 provides the silky smooth colour of 10bit with HDR and much smaller file sizes. Read the full article

I'm going to bang the Ninja Star drum again but I've got to say that if they were going to split the Ninja V into its two component parts then they've arguably decided to sell the wrong half ! Don't get me wrong, its a great monitor for that price but at £349 the extra £200 for the Ninja V having the recorder is almost a no brainer. Whereas if they reversed that equation and made a compact recorder only version for £200 then everyone who's cameras offer enhanced frame rates and bit rates over HDMI only would be all over it. And while we're at it, Atomos would also have a big hit by doing an affordable EVF.

You are such a poor human being. I commented on a Canon camera, not even mentioning you or answering your post, and you come out of nowhere to insult me. Of course I respond. Now you come and screenshot my 2 worst Instagram shot and try to compare it with your best pics.... Ok. Be careful though with posting pictures of people that are not yours without permission, which I am not giving you by the way. I am happy about my work especially when I see what you do with a $6000 camera, when I do this with a $500 one:

I think offering full frame (no crop) 12 bit raw video on a US$2000 hybrid body pretty much meets the definition of going into complete and total overdrive.

Hey! I'm back again with another BTS look at lighting. This time with a scene from a short film I shot a while back. I hope we can get as good a discussion as we got going with the last post, so if you have any questions at all - just ask away and let's start a conversation! Link to the lighting breakdown

OK, a bit quick and dirty but here we are. Slightly complicated by the only non-reducing EF>MFT adapter that I have on hand being a Fotodiox Lens Throttle which always has a certain amount of ND even when set to clear which, coupled with the light advantages of the focal reducers, means a bit of an exposure modification for that one. No big deal really as its only there for reference anyway. I shot this so view that you would have plenty of white wall and with focus set on the wine bottles so you also get some detail into the edge of the frame with white surrounding it and some potentially glowable stuff on the fridge. Obviously the Metabones 0.71x reduction to 0.75x of the Aputure gives a wider FOV but its also got a very slight sharpness edge. The RAW dng files are here for you https://mega.nz/#!x35lUQYI!P8oS55N-z2xvfjzesoSEEsjcIPIt4e-lKGYpUdVO7jsBM4K Focal Reducers.zip

Did you miss out on all the news of the 4K 10bit output then raw video from the Nikon Z6??? Not sure how an EOSHD reader could be unaware of that Personally I see there is no chance whatsoever that the surely more expensive and possibly mythical (I have my doubts we'll see it in 2019) Sony a7Smk3 will have this

That's very kind of you to say so. Yes it does.

A friend once told me they purposely leave a bottle of water in their bag, so their gear gets taken to one side and held away from public until he gets through the scanner. Then the security go through his bag, throw away the water and off he goes...

After taking numerous cameras from numerous manufacturers through numerous different airports, I'm going to venture my anecdotal experience of the only risk to your gear going through the scanner being someone "accidentally" picking your bag up at the other end if you yourself don't get through the metal detector fast enough. There are also some airports (Manchester in the UK for example is a bastard for this) where they make their own rules up about what electronics have to be separated out and make you take all of your electronic items out to go through the machine separately which means you can have a ton of very expensive gear sat there on very public display on the end of the conveyor while you are waiting in a queue behind half a dozen idiots who've left coins in their pockets .

I know. That's why I said they could/should also re-relase the Ninja Star. The argument for Pocket 4K owners having a 4K version is that they may have more than one camera that can benefit in a different way (opening up 4K60p for the LS300 etc).

I have filmed weddings with an OG BMPCC, and yeah it got warm! But never overheated and shut down. And the vast majority of the time I reckon ProResHQ is a better choice practically speaking than raw

@Snowbro @wolf33d can ya'll stop trying to flex, take this to PM's or something

C5D test the DR on S1 with HLG it got 12.2 stops, Cine-D got 10.8 stops, so hopefully with full vlog it get 14dr https://***URL not allowed***/panasonic-lumix-s1-review/

Nice analogy. The problem is too many shooters are Mr Spock!

? Nikon Z is underrated... It has a lot more to offer & curios about the coming firmware update and other z's like z5 or 9... Imagine the shitstorm if Nikon had 4K crop!

I don't usually get annoyed about cameras, but this is beyond ridiculous now. I think if you primarily shoot video, then forget about Canon. At every single price point, overall the competition offers far more attractive packages. There's always some baffling omission or lack of compulsory features that ruin every release.... "New 4k full frame but you can't use our class leading DPAF in the best video mode! The 4k isn't full frame either. The price is very low but the lenses are twice the price! Wanna buy?" Rant over. Where's my Panasonic? ?

Agree, exatly my thoughts. They give us that, while everybody express, one more time, its disappointment concerning canon newest release... Announcing a lot of lenses and disappointed cameras may appears relevant for some... But for me, the firmware updates announced by Nikon, the existing Nikkor lenses lineup, the coming adapted possibilites (the sony to Z, canon ef to z, leica etc.) plus the new S lenses are more than what I need, thus highly relevant !

I wish they'd just embrace their cinema snobbishness and be wonky about the craft/industry, but whatever. It's a friggin' awards show. Even when I go to "Oscar Parties" I tune it out and just chat with friends. It's total shit show from top to bottom regardless. As Andrew says, it's there to drive revenue. Anyone that hasn't caught on to that reality yet and thinks it's some sort of artistic endeavor, god bless your sweet soul you beautiful butterfly. Yes, it's virtue signaling. And, yes, it's been that way forever. Anyone even remotely know about most of the "best" Academy films from the 40's or 50's? Nah, 'kuz they're mostly preachy Hollywood treatments of social themes. Decent movies, some, but mostly just industry fodder. So, same complaint, new generation. In the meantime, people like my colleagues out here in the SoCal desert are doing our part by trying to make our film festival a destination for cinematographers. Point is, there's always legitimate platforms for the nerdier side of filmmaking. If you're really into it, just go look for it. Expecting a Hollywood glamour show to be something it's not is odd. It's like complaining about watching a baseball game...or, I guess, cricket. You should really know what you're getting into and accept it or reject it for what it is.

And he calls this video a "reality check"!? Read the full article

I think Black Magic should pull a Canon and release a Pocket v2 with the old sensor but with Braw, full size hdmi, and a brighter tilt screen at like a $650 price point. Well that would probably still be cooler than Canon. I'd probably get it.

Very cool breakdown! I am getting into gaffing so I always love to see articles like this.

A posting history of precisely two posts and both with the same link to some no doubt dubious site.

This thread should rename to Snowbro & Wolf33d friendship is magic thread

It depends on more than just the codec specs so it's tricky to answer that especially as I don't yet have an S1 to compare to the EOS R. It depends also on what aspects of the image you are measuring. I'd expect for instance 10bit to have an advantage in dynamic range but ALL-I would give an advantage in motion cadence. Tricky to say what is "overall" the most cinematic.

Unfortinately I have experienced this in many occasions. Definitely a pain in the donkey (...use the other English word for the animal here) In this case, I usually pick one of those boxes and put a jacket inside with nothing in the pockets and this box goes first, then I place all the electronic gear and then a final box to close the queue with other items inside like bags, keys, etc. At leats you have a visual of where your stuff begins and ends.

Still got my OG Pocket & all I can say is forget RAW, simply because ProRes HQ has all the DR you'll ever need - RAW also produces way too much M&A & noise, whilst I've never seen in it in PRHQ. Also the highlight roll off is lovely, even if you clip it slightly & I've had to do that a few times in the past - no complaints. It does get hot - i've burnt my finger on the metal casing before, but it was about +30 degrees when I that happened! Make sure you've got the latest FW on it, as they made huge strides with the Video mode setting & the colour it produced - it was like they'd added a BM LUT to the Film setting & you still had room to grade it more. Be really careful of the mini-HDMI port as it is really fragile - i've heard of it breaking even with a cage clamp. Which brings me onto the screen - don't believe all the rubbish about how bad it is. I never used anything but it's screen & I was able to nail focus every time - I could pull focus using it too! IR/UV cut filter essential. And if i remember correctly WB of 4500 was always a safe bet, which you could easily tweak in post if need be.

I’m mostly concerned about the internal noise reduction, I really hope it’s not as aggressive as the one seen in the a7III at iso 6400 and above, even when dialed all the way down. If the S1 retains more detail but with slightly more noise in the aforementioned iso:s it’s an instabuy for me.

I don't think it is aimed at Pocket owners. At this price, if you have the P4K it'd be better to get the 5inch Blackmagic Video Assist that records 1080p as well. The UI between camera and VA is the same, the batteries are the same and you can record 1080 and 4K at the same time. - the Ninja V is overkill since the P4K doesn't output 4k, and the Shinobi is just a monitor (with great features). You don't need a 4K Ninja Star for that, in fact, being 4K would make it overkill for the Pocket. The OG Star - which I use a lot with the pocket - is perfect. Output the LUT and record a 1080 file and a LOG/RAW 4K file at the same time. In my line of work, we use 4K for backups/future proof and 1080 for actual broadcast, so a majority of shoots we're just downscaling the footage. The BMD VA or Ninja Star skips that step, and we have both resolutions in real time, automatically. The only real difference is if you'd like a monitor or not. Interesting side-note for those who do have the P4K and the Ninja Star - the Rec trigger on the camera sets the Star to record too. Most recent cameras don't do that since Atomos changed their trigger protocol, meaning you have to press Rec on the camera and the Star.

no idea what you lot are getting worked up about oscar's (Astronotus ocellatus) is a species of fish from the cichlid family known under a variety of common names there is some similarity between oscars and humans as you can see 1) some always have their mouth open. 2) some are dazzling to look at others not so dazzling 3 ) take either out of their natural environment and they flop around and gasp for air. ?

If you record sound on set then it'll be easier to sync ADR. One consideration is that if you're going to have an actor talking through a bunch of effects, there might be certain things that the actor can do to make the processed dialogue more understandable or sound more menacing or whatever. Ideally you would have the effects applied to the actors voice in real-time so they could hear themselves through it all and act appropriately, however real-time audio is tricky unless you're setup to do that. More likely is that you get the actor in to do ADR, you record a take, apply the effects, listen to it, hear what works and what doesn't work, and re-record / apply effects / listen again, etc until the actor has learned how to speak so the end result is good. Of course you can just record normal ADR and then only apply the effects that work with that way of talking, and that will be more straight-forward, but it will be creatively more limiting.

I heard way back when the movie came out that Bane's voice was 100% dubbed. However, I would definitely record audio on set, even if you plan to dub it all. First of all, you can give your actor nice recordings to listen to when dubbing. Second, you will probably want to process the dubbed audio to actually sound like it come from the real space, and the original recordings will be an excellent reference tool. Third, in the event that your actor is not available to dub and you can't find someone else suitable, you have a backup plan. I might not go all out and be super picky about the sound. Like don't redo the perfect take because a car two miles away backfired during a line, but put some minimal effort into getting usable audio.

MattH - you win the Starting An Argument About A Name In 2015 And Bringing It Up Again 4 Years Later award of 2019. You ok luv?! Bored?

And there we go.

ok thanks for the pointer. I just want fusion for animated title openers, and 3d tracking text, animated split screen. nothing too fancy

My advice for few minutes watching is to completely turn down sound and just look at Tony's hand and dancing fingers. He sometimes does very interesting pantomime movements, sometimes even like an conductor. Combine it with innocent sugar-like mouth mimic, and you get pretty quality, live lesson "how to be suggestive speaker".

Since the XC10 in 2015 Canon have a very good XF-AVC 8 bits 422 305mbs codec. Why not use it in their EOS R/RP? Even in 5DIV or 1DXII instead of old MJPEG? Yes, I know ... segmentation ...

Can't believe you're all missing the obvious Star Trek line here. "Captain's Log....No, hang on it doesn't have any sort of Log."

If you're passionate about sound and filmmaking, you hang out on forums like this, and you've hobbled together your own kit, and you're keen and pay attention to stay on top of the ball during the shoot, then you're almost certainly their best option when it comes to sound on unpaid student/indie films. Once you've got the experience of a few of those under your belt, then even if you're asking one or two hundred bucks for the day for a short film, we'll you're likely still their best option. And I'd then done heaps at this lower level, before I even got to doing many jobs at anything close to "pro rates". It's a natural progression up. You can play around with your gear, watch youtube videos, and read manuals, but in the end it is really hard to get experience on set without actually being on a film set. But that is where all those many student/indie no budget film shoots come into play, they're great learning/testing grounds when starting out. THIS! I've been on so so many shoots every year. And when not working, I'm still consumed with my obsession, learning from forums/youtube/manuals/textbooks. Yeah, people will often re-hire a person based more on liking them than on their actual abilities. So is good to not just focus on your abilities (which is very important to improve as well!) but also just being a likeable person that others enjoy working with.

Yes, that’s true... IBIS does add to the equation. That Raw/IBIS combo could make a great home for my 35mm 1.4 and 85mm 1.4 ai-s lenses. I wish Nikon had more of a timeline for when the Raw output would be released.

This development won’t push me toward a Z6 purchase because I don’t like external recorders but I am glad to hear that Nikon is also offering a 1080p Raw output. It will make a great camera for a lot of shooters. Of course, I predict a lot of event shooters and cat shooters will shoot Raw just because...

Well the 5D Mark III with Magic Lantern was the first to output 14bit video and nooooone of you are using it!!

12 bit Pro Res RAW could have some mojo

Along with Fro, Northrup does my head in.

It still produces a great image. Below is RAW 12bit upscaled to 4k in davinchi resolve.

Smallrig do a half cage for it that has a locking grip for the HDMI cable. Alternatively, you can get this from Movcam that gives you a plug in full size HDMI and power barrel connector adapter that can also be secured into a cage.

This has been my favorite one yet

I can't say anything new and original that isn't already at massive quantity all around net Maybe just an idea - if I got again Pocket, I'll try to match it with Laowa 7.5mm lens... each time when I had Pocket that lens didn't exist yet, and seems to me very interesting combo. Pretty capable, greatly keep whole package small and, most important, keep absence of IBIS under control for discrete shooting, being somewhere around FF 21mm, my beloved focal distance.

Yes, that's why I didn't even consider filters for so long. Its not specific to Firecrest, those are the reference Full Spectum NDs for EC though (how the Day conversion was made). It needs a minimum of a 2 stop ND to fully cancel out the reflection; the glass also needs to be parallel to the sensor plane, as one ND I have is slightly off axis, resulting in a diverging reflection. Interestingly, the Alexa doesn't even have this problem, despite having CMOS, as best I can tell. The falloff is silk and there are no ghost reflections, as I believe the filter is 'integrated', and not a stack (that causes 'stair-stepping' falloff): GH5 GH5 (1/4 LC, DD1, Contrast matched) Alexa

That seems like quite a price gouge for buying that lens as a separate item from its bundle value of £700 in the original leak yesterday. ------------------------ LUMIX S1R Overseas price: Body 3, 399 GBP, lens kit 4, 199 GBP LUMIX S1 Overseas price: Body 2,199 GBP, lens kit 2,999 GBP ------------------------ Those prices seem fairly accurate based on today's leak of a UK dealer's page (which looks like Park Cameras based on the styling) and would put the battery grip at about £200 I said the other day in a thread that camera prices were reaching levels that my outdated valuation scale deemed to be getting a bit excessive and even bearing that in mind I'm still looking at that price of £4348 for a camera with an f4 kit lens and thinking "blimey". And the least said about the £5448 for a camera with a 50mm f1.4 lens the better I don't think the prices are excessive compared to other FF offerings necessarily just that they probably should have been cheaper to get their foot in that particular door. I think they'll have an uphill battle for quite a while trying to establish the Panasonic brand in that kind of territory with stills shooters. For Panasonic's higher end stills shooters, its a massive leap to go from a G9 to that anyway, let alone when you can't take your lenses with you so I'm not sure how much brand loyalty they can rely on in this instance. The alliance as a whole isn't just about these two cameras in isolation though so the landscape might look a lot different in a year's time when Sigma's lenses and new SD Quattro's are available with that mount as well as subsequent Leica models.