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Hello EOSHD community! I must admit that although I follow your website on a daily basis, Andrew, I haven't really commented or posted much on these forums. Regardless, a big thank you for all the honest, passionate, critical, informative and damned funny content you've shared over the years! In any case, here is my offering, for what it's worth. This was a great little project to focus the mind and soul!

Great piece, Andrew, and I agree with the premise. These offerings lack 'soul' and the analogy to Toyota couldn't be any more accurate. Cameras have become part of the tapestry of culture (both as tools used for the creative arts and as accessories that we carry around with us) and as such, demand some attention to aesthetics and ergonomics. I don't see Sony innovating nor even evolving with each life cycle of their product. It's the death of imagination and the murder of the beautiful at the hands of technocracy.

Why not? You get it with a smartphone. Dude, this is 2019. This camera is an expensive upgrade at $1200 just to get a fucking 5 cent mic jack component and a different hinge. Sony is the new Canon.

https://www.facebook.com/VICE/videos/345786596351138/UzpfSTEwMDAwMzA5NTc4ODA1ODpWSzoyMzgzOTkyNTc4MzM3MDQ5/ @webrunner5 will approve the choice of camera used by the director! ?

C'mon guys, someone submit a really bad one, I don't want to come dead last. My budget camera is my only camera ?

Tomorrow I'll be doing a blog post with my favourite submissions in it. In the post I will clear up how we go from here... I suggest we go for 1 more week of submissions. However to make the blog post more interesting, I am going to reveal one of my choices of camera and post the video I shot with it tomorrow. Maybe it will give some people some ideas and spice things up. The voting will then take place after 1 more week of shooting... You can reveal your choices of camera too, but after the voting in a week. If I reveal mine straight away, that would make for a more interesting blog post and not affect the results, as I am not eligible to win. I will however be making one of the submitted videos under an anonymous pseudonym, which I am eligible for in the forum vote Time to get registering that Fake forum account

Your horizontal FOV gets wider (usually 1.33 times [hence 1.33x in the name]), while vertical FOV stays the same.

My camera broke last night during filming, can't even access the footage xD That's what you get for 20 euros xD

“GW1 is equipped with a Dual Conversion Gain (DCG) that converts the received light into an electric signal according to the illumination of the environment. This allows the sensor to optimize its full well capacity (FWC), utilizing the collected light more efficiently especially in bright environments” https://www.hindustantimes.com/tech/48mp-isn-t-enough-next-redmi-smartphone-to-feature-64mp-camera/story-pFbEtxqrre5QNprYgwBfFI.html https://www.techfoe.com/2019/07/redmi-to-soon-launch-smartphone-with.html https://www.indiatoday.in/technology/news/story/redmi-64mp-camera-smartphone-will-launch-soon-with-four-rear-cameras-xiaomi-confirms-1572804-2019-07-24

Here is mine:

That is really good. Grats.

Don't get the fuss over Red (only marginally better than Bmpcc as far as real results go. for a billion times the price). No independent film maker needs one. So many people shooting movies with £50,000 + Red packages and a script worth about 15 pence.

THE LAKES (AIVASCOPE 1.5x anamorphic lens with Canon FD 35mm f2 paired with Speedbooster) this is my fourth film test with the new Aivascope 1.5x anamorphic lens on my Panasonic GH4, paired with Canon FD 35mm f2 and Metabones Speedbooster. The Aivascope anamorphic 1.5x lens is a very sharp lens working great with some of my primes. It’s a single focus lens (you do the focus on it and let the prime on infinity). The speed booster gave sharper, faster and wider shots paired with the prime Canon FD 35mm f2. If my calculation is good it gives a (35mm X 2,34) : (1,5x) X 0,71x) = 38mm (in the width) « 35mm equivalent » with 1.8 aperture In this 4th movie you will see different shots done with (Canon aperture from wide open f2 to f4) : GH4 4K uhd (no CC) 24p + Aivascope 1.5x anamorphic lens with Canon FD 35mm f2 on Metabones Speedbooster I’ve used a Starblitz variable ND lens, on the GH4 the picture mode is on « portrait » with slight ajustments. I did no color corrections at all. Thanks for watching. Heres is the characteristics of the Aivascope 1.5x lens : Designed for Full Frame systems. Recommended taking lenses for full frame (16:9 aspect ratio) from 50mm to 90mm Single focus From 80cm to infinity. Non rotating front element. Focus ring rotate 190 degrees. Lens mounting clamp 52mm Filter size 82mm Weight 700 gr. Integrated focus gear. Price : 2 250,00 € Aivascope facebook page : facebook.com/aivascope/ thanks to Aivascope, Hayley and her daughter, Nina, Allan and Mika. a Seb Farges Movie music : ”Ag Anda” from Sigur Ros 24th july, 2019

Amazing actor. Embodied Bladerunner's whole concept in one character. Amazing sense of that he felt the role for real while acting it. Time to die. But never to be forgotten in a billion years. RIP!!

The Nikon Z6 has all those things

Yeah, it seems that way. It looks great... although I have had my first camera freeze ever since I switched to this build. It’s nothing that a power off/on doesn’t cure, though... so no big deal.

Yeah, idk, I think they are all the same. The problem occurred in 2014 when they forced 4K on us a generation, or two, too soon so Sony and Panasonic could sell some 4K TVs. None of the companies had even perfected 1080p yet... and they still haven’t. Andrew, with your skill set and talent, I really think it’s time you move onto a cinema camera. I doubt you’ll ever get all you really want from these hybrids. And with the size getting smaller, and the specs getting better, an EVA1, or whatever, would be a better choice. With that said, I agree with this silly RX100 update. Waste of engineer’s time.

If you have a 5D mark 3 there is no reason not to use lossless raw. There is definitely no difference in quality with the compression! It is lossless after all, not lossy. It uses the LJ92 compression algorithm, built in to the camera for raw photos.

Thanks, I bought it for a stupid price, so it was a no brainer. Of course, I remembered quickly why I went the 5D3 ML route instead of the BM route a couple years ago. But this will force me to sit down and put the work in. And I’ll still get the ease of ProRes. So, like you said, it will be great for certain projects. I think you’re right about the c-mount. Last year, I was forced to use my Canon 28mm lens and due to the circumstances, I took the time to learn the nuances of the lens and focal length and I think I’m better off for it. It’s been a long road but I’ve learned a lot about myself as a filmmaker and weirdly the joke I made earlier about a 50mm lens and a wide angle/telephoto adapter would almost suit me better than a collection of focal length lens sets... if I can get over my indecisive nature. Lol.

Definitely, Lectrosonics/Zaxcom for wireless with the DPA 6060 lavalier microphones. Cheaper mics can be a Sanken or a DPA 4060. Sound Devices/Zaxcom for a recorder/mixer. Schoeps/DPA have the most natural sounding microphones. Sennheiser 50/60/70 series are somehow indestructible and top choice (50 is a hyper for indoors, 60 for outdoors and the 70 is used by some for extreme outdoor conditions, it is VERY directional, only a very experienced boom op can seriously use it). Sanken has some very interesting and modern designs also. Cinela offers the best protection from the elements (this is something you have to seriously budget in advance, like a very good boom pole and mic baskets e.t.c this is a significant cost). Are you U.S based? Gotham sound are very friendly and can point you to the right direction. In Europe there is pinknoise in UK, Audiosense in BE and NoyzBoyz (or BoyzNoyz) in the Netherlands. I have done business with all of them and I was/am super happy. All very friendly and helpful. There is a Czech shop also but do not remember the name now. Super friendly also! I wish I had millions to spend to all of them!

What is there to understand? I actually, just today, picked up a used RX100VA from BHPhoto for $700, I've owned every RX100 except the III and VI, and I wholeheartedly agree with this post. The idea that only positive things should be written is absurd, if it weren't for posts like these there may be some poor bastard who actually goes out and spends $1200 on this camera. I'll buy a used one for cheap(ish), but yes, please don't encourage Sony to keep doing this crap. Stop releasing a new version every year with some small, incremental changes just to try to trick people into feeling like their awesome, 9-month old camera is now archaic. Come back to us when you have some real changes. Eurgonomics, UI, codec, something. The biggest revolution in this camera line was last year's, with the lens, and most would say that was a step backwards in many ways. Keep going Andrew.

All sorts of innovation remains. Not just larger numbers on the box. Modularity. Add ons. Different grips. Different interface jacks at the side. Slot in LCDs. Wireless modular follow focuses. Exposing at 1/50 F2 in daylight without pissing around with filters. Better dynamic range. More film like colour profiles. Better design and styling of bodies and lenses. More soul and character. More photographic DNA. Better controls. Larger screens. Better touch screen interfaces designed afresh from ground up. Human-like focus pulls using the AF system, not the quick digital looking racks. A.I. Apps. Wireless focusing modules. LiDar. The list is fucking endless... But all Sony sees is higher megapixels and faster processors.

I understand your points. But you want a perfect camera and they won't do it because then what's left? A stills camera that films it's just a stills camera deep down. If you want a stills camera with raw video and 10 bit or whatever, what's the point of the company on having pro cameras? That would make them obsolete. Firstly they are a company, and they care about profits, like every company in the world.

Swapping batteries is actually super simple, it looks like it would be an issue but once you've done it you realise it's easy. With a smallrig cage Cfast is easy to get to. Mount your handle on the nato rail with a quick release and it's less of an issue (I've found myself hardly shooting with the side handle anymore though). Image is great. You're right that not much good footage is floating about, it's something that held me back as well. Crop factor is the same for all codecs/speeds as far as I can see, the only change is if you use the 2.7K super16 crop mode. You're correct that most reviews online for the cam are rubbish.

I am surprised that the top camera companies aren't trying to hire you as a consultant to help improve their products, Andrew. Many of the things that you rant about are valid points. But the Japanese are a strange sort anyway, they embrace change very slowly.

iPhone X among others, you might not heard about it, its a small chinese company making these phones

Highlight recovery needs to be used at 400 iso still when ettr'ing, it seems super whites get clamped. Not sure if maybe Gerald's understanding is off, but you definitely need to use it at 400 iso in my testing. These images are original, then lowered exposure and then lowered exposure with highlight recovery on.

Looks nice, but $1200 for a compact. Ouch. chris

Yup, that's correct. And at the same time you get a whole lot of sexy distortion and (not so sexy, since they're usually colored green) flares. All that for ~35 $, if you decide to get some Chinese knock-offs like this: https://s.click.aliexpress.com/e/SNn5fes A lot of folks from Anamorphic Shooters Facebook group bought the lens I linked above and are very happy with it, even when compared to OG Moment / Moondog solutions.

High speed and large sensor are quite often conflicting goals. Thus you'll need to either go UP IN PRICE, or compromise somewhere in some area of "quality". Half a dozen models is still nowhere near as many models as Blackmagic / Sony / Panasonic / etc have.

Well Kisaha and IronFilm, and others know a ton more than I do about that Audio stuff. So you are in good hands with them. But it is just about as important as the footage to be honest.

I wish you the best in the future. Sucks about the gear. Nikon with 10 bit 4K out looks good for now and 12 bit RAW will be nice to play around with. (If I get the Ninja recorder). I've learned a lot about the Z6 and it's CS. Mainly don't trust what it gives you and calibrate or adjust manually. I used 8500K in the outside guitar guy video for the first time. The Z6 doesn't have color shift were one area is off balanced that throw off the other color. I shot footage last week that looked just like the C200 CS. Not just skin tone but that nice shadow color that the C200 gives you. I want the P4K for it's reference camera value and it's a good step into cinematography. I love to push gear and get the most out of it. Audio is my blind spot.

Oh I can believe it! You missed out on the good stuff then!

You're right, they should stick to one model like every other camera company...

that was funny at first, but i had to turn it off after the first min ?

I guess the story exceeds the resolution Nice one! @theraywong.

I think Mercer will find he gets better B&W from his BMMPC than his 5D3 even in ML. They just have a lot more info in them. BMD hit upon a magic look in them. That video that Skip77 bought back up I posted using a BMPCC proves no Canon camera is going to look that good in B&W compared to it. Ain't happening.

A little late to this conversation, but firstly congrats on buying the Micro!! ??? We've spoken about this before and I know how cool this is and what it means for your projects! I was reading through your posts and kept thinking C-mount (or even D-mount) would be the way to go considering your fondness for a wide prime and the crop factor, and then boom....! My advice would be to start with this bad-boy and only replace it if you've found it lacking from real use. When you say that it's not that sharp wide-open I'd encourage you to think about it the way I think of my fast primes - as two lenses. A soft and emotive lens wide open, and a sharper more vanilla lens when stopped down a bit. Almost like the aperture dial is a defocus control. Rig it up, take it out, shoot the shit out of it. Make lots of videos like people are making in the $200 camera challenge - kind of little test-shot montages. The Micro sensor won't be that sharp anyway (1080 RAW), so you might find that the lens makes less difference than it would on a 4K h264 camera. Also, you might be able to make that sharpness back with slightly more Midtone Detail on those shots than on the other ones. Alternatively, you could apply a small blur to the sharper shots and just go for 100% vibes over straight-out resolution. I'll say more on this later, but blurring footage can work magic if done right Man, a tiny Micro + C-mount setup is almost making me jealous!

@mercer Cool shots! I like the colour as well as the B&W versions. One of the things that makes the colour shots nice is the contrast of warm/cool tones, a kind of orange/teal grade but done in real life rather than in post (which is 1000% better than doing it in post IMHO). One thing lacking from the "shot-by-shot" decision making that photographers have is that its typical to have the whole film graded in the same look, so we're making one decision for all of our shots in the design phase instead of in post. Making the decision in production design gives an advantage as we can shoot for colour or shoot for B&W, giving us the chance to get things better in-camera. I think ML has a B&W preview mode doesn't it? That might be useful as you'll get a better sense of what the finished product will be like.

to be honest I thought slog2 held onto highlights better than clog on the C100 did. But the 8 bit was a problem with slog2 on the a6300 sometimes causing strange artefacts and banding, whereas 8 bit on clog seemed to work better. 10 bit slog2 and slog3 from the FS7 had way more highlight retention than the C100 in clog though

Definitely SC, i used to have weebill but sold it and got S to fly my S1 and Eos R. There is still features missing in action that is stated on their promo and a silent update on weebill (so there is a secret new version that they dont want people to know about) . But yeah it is nicknamed wobble for a reason, it is not as stable as the ronin which is much more smoother when u fly the cam.

They will probably go the Minimag way: pack a Galaxy S10 inside a new shell and charge it triple the price.

Gerald Undone: Exposure Tips for the BMPCC4K & Why I Don’t Use ProRes So, according to Gerald, there are several things with the P4K that I didn't know about that are very important: 1. Exposure with ProRes on the P4K can be problematic. To fix this you should use RAW, not ProRes, or be *very* careful when setting your exposure. 2. The maximum clipping point *changes* as you change the ISO, if you reduce your ISO from the "native" ISO levels (400, ~3200). At ISO 100, it clips at 83%! I am familiar with the chart showing the steps above and below middle gray, but I didn't realize they were just clipping the top at lower ISOs. 3. Highlight recovery seems to work differently than I had thought and should apparently not be used much of the time. Highlight recovery appears to cause problems with the image when you use it at ISOs >= native ISOs. I had heard that the highlight recovery used the data from other channels when a color had clipped to rebuild that clipped channel. If you have a P4K you should watch this video! I am really curious to hear other's thoughts on this material. Thanks @kye for telling me how to embed the video!

Got lucky with the weather yesterday out filming my piece! Definitely a challenge using my chosen camera body and was wary of it's pitfalls. In keeping with the rules, I'm not revealing my choice but the only thing I will say is that I use the latest version of this model in my professional work and boy do we have it lucky now!! The technology has definitely moved on considerably in a relatively short period of time. Looking forward to the results from the judging phase!

I'm a manual lenses guy. I despise auto focus for my filming. Even when it works I find it more of a curse than a blessing. Weirdly, I like it when subjects move out of focus and someone on the other side of the lens makes an organic correction to maintain it. And I love a slightly sloppy but creative rack focus. It's a neat trick of the craft. I'd rather have imperfections created by humans than perfection created by programming. Am I simply justifying my anachronistic (read: old fart) attitudes or do I really have a legitimate point? Am I alone? Is anyone else attracted to this?

Very easy reason why: PRICE!! The Panasonic S1R is US$3.7K At $2.5K the S1 is a *lot* cheaper! And there are heaps of other tempting cameras around that much lower price point of US$2.5K, or even sub $2K. Such as Z Cam E2 / BMPCC4K / Sony a7 mk3 / Panasonic GH5S / GH5 / Fujifilm X-T3 / Nikon Z6 / etc We're really spoiled for choice! If someone wishes to spend much less than what a S1R costs. And if a person does want to spend somewhere around that US3.7K price point that a S1R costs, then they've got plenty of other choices there as well to tempt them away, for example: The Sony FS5 is cheaper (and is MUCH cheaper if buying secondhand on eBay) Also did you know the Panasonic EVA1 has dropped in price to sub $4K new? That is only marginally more expensive than the S1R (cheaper than the S1R when you consider how much it would cost to make the S1R a bit more fictional!). And the EVA1 would put the operator into a totally different class of work than owning the S1R, that the ROI from an EVA1 would undoubtedly be better than owning a S1R. And if you carry on looking up, the Canon C200B has dropped to sub $5K new as well, which from a professional working perspective is not really that much more than an S1R either. I could go on and on. But basically the Panasonic S1R is too expensive for both amateur and semi professional filmmakers, unless you first and foremost are going to get a lot of value at of its stills capabilities as well (perhaps you're an ex Sony a7R, Canon 5DS, or Nikon D810 shooter etc). If you are a photographer hybrid who can justify the expensive of a stills orientated S1R then sure, go for it! Although personally I'd probably rather get two cameras instead (is always handy to own two! A back up for each, or for multi cam shoots), which each dedicated to the task at hand. (videography or stills) Such as a Nikon D810 + Z6, or a Sony FS5 + a7R mk2 would be a waaaay nicer combo to use for shoots than a single Panasonic S1R! (and yet, the total cost would be very similar for any of these three options from Nikon / Sony / Panasonic )

Here's the end product but I had to take that artistic direction rather than my preferred more natural approach because the light was just so poorly exposed. If you can't tell what I mean, I'll try and put together an ungraded clip today - The weather was tough, overcast raining in the background (no colour, blurred, little light) but I still found the footage needed so much work to get any contrast back which skewed the little colour there was present. Deadcode: I don't see any correlation between a GoPros capability and my question? Edit: Removed the question about EOSHD, read up about it. Is there anything the EOSHD profiles provide that I can't just experiment with and set myself? I thought it was some software rather than a PDF with settings recommendations

@mercer I have used the Rokinon 12mm f/2 extensively, I really like it. Tiny, bright, plenty sharp, great minimum focus distance, a no-brainer really. Flares are a little bit messy. Mine got damaged somehow and the internal focusing elements got all messed up, but after I took it to a lens technician the infinity focus is bang-on so it's a cinch to get shots really quickly. Here are a couple stills that I think show off the versatility of the lens, flares, bokeh, etc.

I was originally planing to shoot a short "music video" for one of my vocal cover. However, an event very bad happened to my city and the region I live so I didn't have the opportunity to do a proper video. Luckily I have brought the camera with me on a half-day trip to Hong Kong Disneyland. I was filming my girlfriend, as usual, and her good friend. I wasn't planing to use these footage for the challenge, so... hopefully I wouldn't get the last place because I really like this new camera! Anyway, this is a very fun competition indeed. Would love to take part again!

Exactly that, but 4K instead of 2K ;-)