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Here are some more test shots from the Zeiss 25mm 2.8 ZF “Classic” lens... I’m in the process of picking out a new monitor, can anyone suggest the best/easiest/quickest color calibration tool... Spyder?

Yes it will be on Kickstarter. I understand the apprehension about Kickstarter to be honest but rest assured nothing of mine will ever be going on there until it is ready to go from a functionality point of view, which both this and the small one already more or less are. The problems with Kickstarter invariably happen when it is being used to fund development rather than just funding production. I'll put up a small video when time allows next week to show both of them in operation. The small one has another trick (or two) up its sleeve that I'll also show in the video.

6D Mark II is not cinema for me. There is a 1080p frame grab, look at it full screen and it screams digital. Lack of dynamic range, mushy codec, in many ways a step back from even the old 6D. Terrible detail that doesn't pop. Now compare to an X-T3 frame I pulled from Vimeo... World of difference. Details pops, three dimensionally, film like dynamic range and colour. Even if you don't care about 4K delivery, it's a world of difference between a shitty Canon DSLR and a top of the range 2019 mirrorless camera.

Lol. I got great images from my first DSLR, the EOS 450D which is far inferior compared to the 6D. And what? It's not because one can get good images with ANY full frame camera on the market that one should choose the worst one because you know it can take good images. It's still crap. Canon makes crippled crap decade-old tech cameras that's it dude. There are just far better cameras than the 6D starting with the Nikon D750.

Buffer was big enough to make this on the E-M1 II. Not tried the same thing on the E-M1X yet. Maybe buffer is the same, or larger. I'll find out soon enough.

Oh man, Fuji is doing 4K video from a 100MP sensor. Canon is doing a cropped readout from a 30MP sensor. There are no excuses for high rolling shutter on the EOS R. Also, the video above @DBounce is an utterly useless waste of 10 minutes with the camera and proves nothing. I can't find the rolling shutter test in it, maybe you can suggest the timestamp to save us having to watch the hole 10 minutes of badly shot focus pulsing.

DisplayCal is a great software, free and open source, plus it's more powerful than the stock softwares from Spyder and Xrite. I calibrated my display with it and did the calibration with the Spyder's stock software to compare. The software DisplayCal applies a driver level correction while the software from Spyder did like an overlay which glitched in certain applications and was visually much less accurate.

I'd advocate Canon for stills. Even when my wife had a 700d, her images smoked my Sony A6/A7 whatever just from pure image rendering. nearly every photographer I work with uses Canon. For video though, even though they have a few of industry leading features (reliability, DPAF, colour) - they've fallen way out of favour in the UK. Nearly everyone in the low and mid tier are shooting on Sony or Panasonic. Some Blackmagic. My local rental house has had to sell on their C300 II's because no one wants them. This is all because, and you can't deny it, that their video pipeline is an absolute mess. From the C700 bazooka to the immensely crippled EOS R - barley anyone wants them for video here because they lack features that Canon could easily include. They could wipe the floor in the sub-£10k market if they gave the C200 a 10bit (non-RAW) codec and better 120fps. But that camera has a major split personality and it puts potential buyers off (like me, who went for the EVA1 instead). Additionally, as most professionals own A,B and C cameras - their video lineup is a mess here too. Panasonic lead the way here and this to me is a huge selling point. There's no doubt you can create stunning images with whatever Canon - but their decisions in video features have had a severe impact on their universal attraction (for video in the UK). To the point of the post, they are SO frustrating because we all have a soft spot for them, and want them to deliver what we want. But they won't, and probably never will.

No problem. I they're both great cameras for sure! I just prefer the form factor of the EOS M and how the files look when they're graded compared to the 5DII. Cheers

okay looks like the social media guy I report posted my footage - Everything that's ground level was shot by me with the FS5. This was a big game for our team, have had a rough year and the head coach was fired a week before this game. So this was our biggest win of the season.

Fair statement for just about amy camera, but you'd be a fool to say it was worth its initial launch price of $2,000. $1200 fits that camera a lot better, even though I think its a $950 camera at its core..

Hahahaha. Each time I want to have a good laugh, I open EosHD forum and make sure to read one of Mattias post.

You're welcome! Video is tricky and colour and colour science is especially tricky because it's a very very deep subject. The main levels I see in colour are: Use camera on full-auto in standard colour profile, don't adjust in post Dial in a profile to get the results you want in-camera, maybe using a grey-card and maybe not Shoot log using a grey-card and grade in post using LUTs and basic adjustments Grade manually without relying on LUTs to do the work Professional colourists I also hang out on liftgammagain.com which is aimed at professional colourists and in many ways the gap in skill level and knowledge between 3 and 5 (or even 4 and 5) is larger than the gap between 1 and 3. If you're curious to have a tiny taste of what a professional colourist skill level might be like, check out Juan Melara on YT. It's a fundamentally different kind of skill level. Here's a couple of videos to get you started: In talking to the professional colourists I've come to understand that the world of Hollywood and the real pros has basically no overlap with the YT world - if all you know is YT then you've never seen a glimpse of how that other world works, with the only exception I know of being Juan Melara. I'm happy to point you to other resources where pros hang out if you're curious. In this sense I appreciate that you're torn between people that haven't got a clue how little they know and probably complain about anything resembling work, and those with more knowledge criticising you for not catering to a more informed audience.

I only had the camera for a few hours, and did not have other cameras handy to compare it to (aside from the X-T3, which has excellent readout speed). I'll get full numbers eventually, but it seemed quite similar to a Sony a6400. This IBIS system helps control some of those micro-wobbles, but it's not a camera I'd use for fast paced handheld work. I certainly wouldn't find it "unusable" for quite a few types of shoots. Nor, however, would I make this my primary video camera.

Leaving aside discussions about imaging chips for a moment, if there are any better actual chips than the thrice cooked ones available from the van at that market then I've yet to taste them

Can't you easily sell a C200 for $5500, which would fund a new EVA1?

Yeah I agree. Its the combination of many issues which makes people hate on the Canon. If there was no crop in 4k or at least less of a crop I don't think people would mind as much. Fuji at least gave us 10 bit and no crop. I certainly wouldn't buy the GFX100 for video work.

Presuming a 30 day campaign, I would expect it to be shipping within 4-5 weeks of the conclusion.

Xrite i1 display pro IME is best cheap calibrator but the stock software lets it down and you can get much better results with DisplayCal.

Never heard of that before.. try exporting the project as something high quality (like Prores HQ?) and see if the dud frame is in that file. If not, you can use the Media Management tool to transcode it to the h264 file you need for YT.

Yeah, that's more than a first impression. Great footage though!

tbh the great thing abt vanilla is that you can mix it with stuff, its so versatile mmmmm.... milkshake sounds pretty good right now

Last time I checked vanilla ice cream is the best ?

Hi Jordon, since you guys have the camera, I thought I should ask you. Someone in another thread (or this one?) was saying the rolling shutter is terrible (for video?) on the Fuji. But I vaguely remember that Fuji has a quick readout mode or feature built into the sensor, whose sole purpose is to control rolling shutter. Could you comment on the rolling shutter, from your use with with camera? Thanks

@DBounce You're right, they do seem a little more professional than some of the other similar concepts we've seen. A 3D printed body would have been bad advertising, even if it's a perfectly legitimate way to make prototypes.

Yeah the new Spyders are really quick to use, and most of it is just push a button and let it do it's thing. The old ones took Forever to calibrate, and like 20 steps at that. I am not familiar with other brands. They may be as good or better? I have for some reason always used Spyders.

Fuck, this camera is a glorious failure. It only hurts for me and other early adopters. The rest of you are going to get a bargain!!

Like I have showed before, this is Just a frame grab from my XS. Is it perfect no, does it suck no. First one is a Photo from it. Second one is using a Moment tele lens, third one the normal Apple lens using video also. All the colors are spot on right OOC. No editing on any of them. If isn't that good enough than I have no clue what you are wanting out of a Smartphone, or even whatever you shoot with.. The Apple iPhone XS series is just crazy good, even more crazy with the Filmic Pro app using the Log they have for it. Claimed 12.5 stops. Am I going to shoot a Netflix series with it no. But to say Phones are shit is not even close to being true in this day and age.

I'm still trying to find a supplier for the e-ND that can make a larger piece so slightly back burnered at the moment while I concentrate on other things. The electronic part does work in concert with my other controllers such as this one (and the app as well actually) so when it happens it will be integrated. Currently, the size of the glass that I have is only really suitable for in mount versions, which is a bit of an issue with cameras such as the P4K which relies on speed boosters. Anyway, I've just done a quick and dirty pic (literally when you see the finger prints all over the glass) to illustrate what the build along would have been with the smaller piece. I used the MicroBit as the controller (in an electric blue DIY case obviously) as its cheap and easy to program for everyone (although I would obviously provide the source code) so at its very, very basic component level this is how it works and you could finesse it from there in terms of housing etc. and not using croc cables to connect it! In this version you just use the two buttons to increment and decrement the ND level as seen here at 0%, 50% and 90% reduction although you can scale it anyway you want. Another advantage of the MicroBit is that it has a very simple Bluetooth link function so you can use a second one to remote control it. When I source the bigger piece, I'll put it up properly but thought it might be interesting to you in terms of how it works as it will be exactly the same simple principle but bigger! I'm actually pondering a mechanical version of it at this point though.... As a man who's latest phone purchase was a Blackberry I'm not sure ahead of my time is that accurate Wait till you see what this one does.....

I have two EOS M's and have had two 5D2's, the 5D is cleaner than the EOS M without the speedbooster at high ISOs. Pop a speedbooster on the EOS M and then they're pretty close with the 5D slightly at the upper hand. Honestly, I don't get the point of shooting at high ISO's (unless it's your base ISO e.g. 800). If you must shoot in the dark, just use some cheap lights, an iphone screen or something and then add de-noising and it's fine.

possibly the best for any mirrorless/dslr type camera

It's exactly what the NX1 needs, tones down the greens and over-sharpening. The great thing is, with the hack and Gamma DR you can stick it at ISO 800 and rarely need to go higher, you just push the exposure in post. Really cleans up the image and stops the overzealous in-camera noise reduction from muddying it up. Never shoot at ISO 6400 on the NX1, always at 800 and boost it in post!

Remember when the trend was to leave Alexa footage all milky/washed out - it was like they used LOG, couldn't make a grading decision & so just left it (or that's how it seemed). And here we have someone who has actually put some contrast/colour into his images & people call foul - it's a real shame & a very boring position to take. Would hate to see the comments if these people ever watched an old Film Noir.... Yes, the OP is correct - this piece doesn't look like video. Really thought you'd nailed it with the shot when the woman is moving in front of the shops. The only comment would be that there is a slight colouring inconsistency between the wide & the close up shots with the opening dancing sequence (the close ups are slightly less contrasty, but not much).

Great video deezid! This video is so good in so many ways that is surprising that the first thing that cross the mind of some ppl is that "the blacks are crushed". If thats the first thing that someone wants to say about this video its says more about "you" than the maker (or the piece). Even if i think that the blacks should be "less crushed" (wich i also do, but thats not the point) thats the last thing i think after i saw i video like this. But hey....thats me.

I doubt anyone watching this on youtube is going to care if the shadows are crushed ? The deep shadows were an aesthetic choice right ?

I think you achieved that look, some very beautiful stuff! Aside from stylistically not having a problem with the alleged "crushed" shadows, I didn't see any problems compositionally/graphically with that either. Bear in mind that I only watched the concept trailer once, but I didn't come across a moment where I felt like I needed more information in the shadows to tell me more. We decide what we want to show, and what we want to conceal. To all the people that think you needed to show more "information in the shadows", would it be preferred to shoot the entire film with a fisheye to give the most information that way too? Maybe just do it in VR? Do a grid system to show multiple takes at the same time? Then we can have all the information !!! On a serious note though, hope the concept trailer gets you and your team the feature, it looks promising!