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Creative Cloud is anti-competitive, locking users into a perpetual payment plan with no guarantee of future costs. What started at Adobe has spread like a cancer in the software and creative app industry with subscriber-only plans rather than a one off purchase price. Our subscriptions as businesses, enthusiasts and consumers are stacking up and becoming a real monthly headache, and it is time governments looked into regulating the subscription software industry - starting with the king bastard of them all, Adobe. Read the full article

CVP may have been under the assumtion that is was 3 letters, I mean 3 characters also work, but the max is 8 as you can see in my screenshot. More than 8 won't work.

Little great events cam indeed... the best one IMO : ) My hat to these DJI guys : -)

Don't flush money down the toilet because of a couple of turds. Always buy used. Used A7 in store with six months warranty surfaces for sub $300 here at least once a month.

Pentax have more options, more function and more buttons, but their menus is way more intuitive. My smartphone has way more options, +100,000 apps and accesses millions of web pages. None of them are that unintuitive. I have no problem using the Sony menus, I of course know them after years of use. But the original design, from an objective perspective, compared to other cameras and devices, is absolutely awful. In a world where UI and user experience is a key element when designing products the Sony menu is a joke. @Robert Collins makes a good point about how reviewers is a good measure of how bad the menus are. If people that try out all kinds of different cameras with no issues and ease, still have to point out Sony as a weird example.. then it probably is. Sony makes lovely cameras. But like all brands there are some downsides as well.

I always ETTR on the BMCC/BMPCC but not on the new BMPCC4K. I used the native ISOs and tried to get as close to the final exposure as I could in camera. With the new color science it's been a winning concept for me. I still have never been able to create any type of "blue sky macro blocking", and I've owned two separate units.

Doco! Doco! Doco! Bonus points for narrating like David Attenborough. "...and here we can see the water as it soaks up the wall, creating a frenzied bloom to millions of mould and fungus spores..."

i find that hard to believe ?

In searching out more information on Panasonic's .vlt LUTs I stumbled on Lumix Ambassador Bernard Bertrand's video where he mentions being able to use the VariCam .vlt LUTs with the S1, as seen here beginning at the 1:47 Mark... Lumix S1 V-Log - 422 10bit - Firmware - When Panasonic strikes again - YouTube: (t=107) The VariCam LUT Library page he shows in the video is located here... Varicam LUT Library: https://info.panasonic.com/varicam-LUT-library.html I just finished downloading that collection of 35 .vlt LUTs! And here's a brief sampling of some of them from Panasonic's VariCam & EVA1 YT pages... The VariCam LUT Library | Panasonic - YouTube: So if this actually works out as Bertrand advertises then it's looking like there's a whole lot more to "look forward to" and "experiment with" when I finally get my key! Woo hoo! Has anyone tried these yet? _____________________________________ After looking at the LUT names I downloaded from that Varicam LUT library I linked to, it seems like that 8.3 naming scheme is not quite correct either... ...hmm. :\

That is a dramatic difference in the sky. This is where I use highlight recovery (rebuild) too. It makes the camera seem like it has a greater dynamic range than advertised. Since the clouds are already white, it doesn't hurt much that we can't recover all of the color detail in those sections. Scenes with that much dynamic range are problems for most cameras, particularly at the P4K price point. I think you would have to spend at least 5K to get close to enough range for this (perhaps VLog on the S1). Even the C200 is limited to about 3 usable stops of over exposure and it costs about 4 times as much as the P4K.

I’ve been sticking pretty strictly to iso 400 and 3200 and controlling my exposure with a vnd and have absolutely zero problems. I think the thing with the highlight recovery is that you can now compare two different options. With a lot of other cameras, if the highlights are blown, tough luck. Now you can compare, so there’s one more thing to consider while shooting. It’s far from a problem and if anything, I see it as a bonus. Just like many things, don’t rely on it and have it as an emergency backup. It’s like a ‘don’t worry we’ll fix it in post’ kind of thing. Thinking that way about audio, lights or any other aspect of film making is a bad idea, so why do it with video?

maybe bc for the vast majority of us, its a buggy/crashing nightmare.

Maybe they should have listened to EOSHD earlier! Read the full article

The funny thing is that people here still believe that consumers are buying whatever Canon throwing at them. Maybe 5 years ago when hordes of amateurs were buying cameras, but now the customers are more informed, better image educated and the competition much harder. The Canon line up right now seems like the shop from Friday the 13th, every camera a terrifying story..

F

Disagree. I have seen several new, heavily promoted features in Photoshop declared as breakthroughs that actually appeared years before in GIMP and other open source imaging software. I also don't see much difference between Lightroom and Darktable (and Raw Therapee). If Lightroom has an advantage, please let me know. In regards to NLEs, I don't usually use a lot of fancy plugins, but there are certain features that I find in open source NLEs that I can't find in Premiere or other proprietary software (and I would avoid using proprietary software, regardless).

I've had no issue with mine but I haven't with my LX100 either which for a lot of people was a big dust magnet as well. Might be a chance to pick up one for even cheaper then and then use this "easy" guide to removing the dust from one Can't help thinking he should have done a mic input mod while he was in there !

Speaking of 80s, here's one of my fav ones... Have had the luck to personally meet the groovy Mike, what such a musician/composer/poet 'n full artist... this man is part of many people, me included : -) Yet about characters... I see our good oldie @Ed_David has forgotten LOL : ) to post one of the best camera works (let alone the light ; ) I've ever seen in a music video by his own hands and eyes -- kudos comrade : -)

If you are looking for a (much) cheaper option to the RX100 that can match the colour profiles of your other Panasonic cameras then the LX10/15 (unlike the LX100) can use the Cinelike D hack made by that Focus Device Prototype Guy™. Its f1.4 on the wide end as well so its faster than even the Mark V. Still the same no microphone input bullshit though.

Thanks again for taking the time for that confirmation, Lars, much appreciated! I was a little too busy and excited yesterday at the prospect of having access to the VariCam LUTs that had I merely taken the time to RTFM on the matter I would have seen that this LUT naming scheme is actually covered in the S1 Firmware Addendum for the DC-S1 on page F-13 and confirms your "8.3" reporting "to a T"... << • The following LUT data can be used: – The “.vlt” format, which meets the requirements specified in the “VARICAM 3DLUT REFERENCE MANUAL Rev.1.0” – File names consisting of up to 8 alphanumeric characters (excluding extension) • Save the LUT data with a file extension of “.vlt” in the root directory of the card (the folder opened when the card is opened on a PC). >> ...User Manual screenshot from that page below...

I have been using the Affinity Suite since it’s first release and now that Publisher is out, it covers everything without the need for a sub. Davici/Smoke/FCP and other web apps cover the void for me, haven’t looked back since switching. I even had adobe CC for free for many years and that wasn’t enough to make me stay. I’m really hoping they make a DAM client next. Affinity is just well written on the Mac and not too bad on the PC, and they patch bugs really quickly if you report them, they also discount when there’s new releases. I just hope Substance Designer and Substance Painter don’t go sub only now they are in the Adobe family, those apps are killer software. Cheers.

It's the perfect business model. Get em hooked, then charge whatever you want. Cigarette and crack sellers have been doing it for years. The GIF is dead on.

Now a days you buy resolve and you get a camera for free. Shame on adobe.

Thanks. You get a punchier image with ETTR: more contrast and saturation, and less noise; but you'll get maximum latitude exposing in the middle @ 400 ISO, albeit with a bit more noise.

Well a large percentage of people are using APSC and on those 50mm Is pretty close to 80 (75mm FF angle of view for most and 80mm for Canon 1.6). I guess they just made a lot more 50s for a lot longer and it used to be people got a 28mm a 50mm and a 135mm with 85s becoming a thing after that. I have just got a cheap little APSC Sony and my only AF remaining E mount lens Is the Sony Zeiss 55 1.8 which I am going to be using pretty much AS an 85 (well 82.5) and it will do better than many of the real 85s I had on FF (Sony 85 1.8 FE possibly excepted) and will be a hell of a lot easier to use than my old FD 85 1.2L FF.

If it wasn't for After Effects, I would completely give up and move to Resolve. But trying to replace AE with Fusion is a much harder process than replacing Premiere.

some of those varicam names are too long, I tried them, no luck had to rename them to shorter ones. If you can make the long ones work without renaming I will take back everything I said on this topic. The good news is that they do work, because I have some of those loaded in the camera

Looks amazing I want it lol

Ooof those look nice, but about 9x the price of the ones I have linked.

You really don't understand why people complain about Premiere? ------ I've ditched Adobe completely. The only thing that is causing me issues is the lack of After Effects competitor. Fusion just isn't clicking with me, it goes against how my brain works. I've tried and tried, to no avail. I really, really hope something comes along soon.

We have a gambling man here.

The Resolve dongle that came with the first BMCC in 2013 still works with Resolve 16 Studio for me Incredible. This was a free dongle with a camera. But no matter how good the competition is, coming off Premiere is like trying to stop smoking. Not easy due to the years of muscle memory.

Adobe Lightroom is a good example. Luckily I still use the last perpetual license. It's only available now in an expansive plan with Photoshop which I never use. I downloaded the last Lightroom Classic Trial and I'm shocked to see that there are no major changes in the 2 year it was out. From what I can read on the Adobe forums, Ligthroom 6 is more stable than any version after that including the last Classic. Pay monthly to be an Adobe beta tester. No thanks!

The free version of Resolve has almost all the functionality of the paid version, and a one-off purchase (of $300 IIRC) potentially comes with unlimited future upgrades. They don't guarantee that, but I bought a dongle when v12 was out and it still works on v16, and people who bought at?previous versions are also around saying the same thing. If you buy a physical dongle then I think you can use it across however many computers you like, just not at the same time, and you won't be subject to the Apple store licencing restrictions. There are also threads of people petitioning BM to give it still image editing so they can also ditch LightRoom, but I'm not sure on how likely that is. Come on in, the water is fine

Might depend on the size of battery? This I don't want to have to do to be honest. I could probably live with it. But the point for the C-fast over the ssd for me is easy access and quick turn around. This is very good to know. First straight answer Ive gotten and I have asked a lot of reviewers. Thanks I know. But it so far doesn't have it in all frame rates, which are the main attraction over the BMPCC4K for my usage. But since I recently sold my second BMPCC4K last week its main competition is now a Fuji for 120p. And then it might win

Here is my entry. Best regards!

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

I understand that the honest truth in written form is hard to take for fanboys, but remind me now who needs to grow up.

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

I know several people who have a Red, they don't make anywhere near the money back from them, and didn't expect too. Bought them to "make their film better" And the few films independent made that have been shot on a Red have all had terrible scripts. So what I'm saying is maybe sacrifice a little less camera for a LOT more script. A lot of cameras are good enough to make a very good looking feature film nowadays, including any camera made by Blackmagic, and even down to cameras such as Panasonic GH.

by all means please extend it. i had a pipe burst in the house a few days ago. no pun intended but its certainly put a damper on things. maybe i should do a documentary and submit it lol

Here is mine:

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!

Weren't you guys bagging on this dude's earlier P4K video where he blew out the highlights?

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!

Great news. Well done! Looking forward to seeing the result.

why'd you copy my pinned thread?

There are tricks for that, c'mon... I follow and concur the meaning of your comment, though : ) As much as with Mavic Pro II BTW Andrew... Stick it, truly worthy... these devices are yet more revolutionary than RED claimed to be : -)

Wanted to share my first trial with Canon EOS M, Magic Lantern RAW and vintage lenses. Also the first time I use Davinci Resolve for editing and grading. Overall I'm quite happy with the results. Here's the link: https://youtu.be/bDT8-ChgzrE. Make sure to watch it in 4K, even on non-4K screens, because it has way less compression artefacts. Shot in mv1080 at 1736x976 resolution, 25fps. Using Helios 44-2, Mir 1B and maybe in some shots the Jupiter 9. Also used two stacked polariser filters as variable ND. Didn't use a LCD viewfinder, but plan to use one next time. Need to get more stable shots, so I applied stabilisation in post. Sound recorded with Rode VideoMicro.

I recently purchased the Original BMPCC and have only tested it gently using a Lumix 20mm f1.7. I'm waiting for a Metabones Speedbooster to arrive to officially test it with my awesome lens pile, but so far I can say the EOS M RAW is sharper and more detailed. People describe the BMPCC as having "cinematic" image due to its soft cinema look. it's like someone stuck an invisible 1/8 Black Pro-mist filter in front of the sensor. Until the other gears arrive for the BMPCC, I really do prefer the EOS M.