Leaderboard

We shot this as a two man crew over two weeks in Georgia. Was a whirlwind shoot driving up mountains to track down nomadic sheep herders and trying to get access to shoot in Orthodox churches and dance clubs. This is what we came up with.. would love to hear what everyone thinks.. we took a different direction on this piece than we normally do.

Yeah but this is just a beta, and they are getting there. If I have time I'll post a ticket.

I'm completely relaxed thanks. I was debating a point with a complete idiot that was reducing the collective IQ of the forum every time he posted but if you want to open up the subject again.. From my experience with the JVC LS300, most lenses are able to do 90-94% coverage of the sensor so the windowed mode would be minimal (both in terms of FOV and resolution loss) and a fair compromise for the ability to use lightweight mft lenses. I don't know where the E mount or RF mount come into it as I never mentioned those as being a viable option for BM to incorporate. Its a fair point about the original BMCC but that was also at a time when electronic mft EF adapters didn't exist so people were buying them because it was a shallower mount and more adaptable. There is no reason why the new mount would not be active as per the Pocket 4K and there are now plenty of electronic EF adapters on the market though so its a bit of a moot point in the context of the point about this camera today. The lens landscape in terms of quality and range for mft lenses is also significantly different between now and then. For a camera with such rudimentary AF, there is no loss of performance in using an adapter versus native, only a loss of flexibility in having the option of both. For the sake of a 90% windowed mode only when using the small lightweight lenses, I don't think there would have been a huge pushback at that compromise, particularly as it would also then allow the use of PL lenses amongst others. With regard to PL compatibility, this is a list from the SLR Magic PL Adapter and is actually quite a bit more extensive than other adapters that carry the same core list SLR Magic SLR Magic ANAMORPHOT-CINE 35mm/50mm/70mm SLR Magic APO-HyperPrime 25/50/85 Century Optics Century Optics S2000 150-600mm - Canon Century Optics 200 mm T 2 - Canon Nikkor Nikkor Micro 200 mm T 4 Nikkor 800 mm T 5.6 Nikkor 300 mm T 2 Nikkor 200 mm T 2 Cooke Optics Cooke 18-100 mm T 3 Canon Canon 800 mm T 5.6 Canon 400 mm T 2.8 Canon 300 mm T 2.8 Canon 20-35mm T4 Angenieux Angenieux 20-120 mm Angenieux 7-81 mm T 2.4 HR Angenieux 17-102 mm T 2.9 Angenieux 24-290 mm T 2.8 Angenieux Optimo 24-290 mm Angenieux Optimo 28-70 mm Angenieux Optimo 17-80 mm T 2.2 Angenieux Optimo 15-40 mm T 2.6 Angenieux Optimo 45-120mm Angenieux Optimo 28-340mm Angenieux Optimo 19.5-94mm Focus Optics Ruby 14-24mm T2.8 AllStar Allstar 135mm T1.9 Allstar 80-200mm T3 Allstar 50mm T1.5 Allstar 18-35 T1.8 Hang on, you're asking if I'm sure "a lot of the PL mount lenses will not work with the PL mount adapter?" and then immediately talking about a product that exists purely to address that issue! With regard to the speed booster, I don't know who's original quote that is as it's not mine, but there is a big difference between that statement and the Lucadapters solution. Both products, as smart as they are, are offering solutions that need not have been there had BM continued with the mft mount and are nowhere near as convenient as the solutions on offer if they had. I'm not saying that EF was a flat out bad choice (and it might actually have resulted in more attraction for people who don't like the mft mount) but it was certainly the less flexible and I don't recall a massive backlash towards the Pocket 4K for having an mft mount in terms of lack of sales of it. By the way, for what its worth, I'm quite an advocate of thinking outside the box when it comes to BM cameras. Way outside of it

Let's cut to the chase with an example. If I set up a lens and adjust focus so that the blur on some writing is just enough to make it unreadable, then it doesn't matter which crop factor or how much resolution I digitise the projection from that lens at, the text will remain unreadable. If I then adjust the lens so that text is just readable, then it will be readable regardless of crop factor and resolution (except if the resolution is too low to resolve the detail in the text). Does that make sense?

I was trying to figure out why we were wrong, the optical system hasn’t changed so the depth of field hasn’t changed - this is pretty fundamental in optical systems I have worked on. The bit that we were missing, as Kye says with the circle of confusion, was that while the optical system hasn’t changed, the viewing conditions have. The depth of field ( effective to the viewer of the output ) is the same for any size sensor as long as the output is scaled similarly to the input I.e. FF35 is viewed twice the size of M43. The circle of confusion is related to both the input and output size and scaling that changes the visible depth of field. I think of it like zooming into 100% , I can see whether something is actually in focus but I couldn’t tell when scaled to fit the screen, the difference won’t be as apparent as that example though. This is interesting to me because it explains why FF35 looks so good on a phone but can be too shallow on a big screen, and may explain some of the rush to the bigger sensors - as the images we view get smaller we need shallower depth of field to match the depth of field we see ourselves or are accustomed to in media. What I haven’t quite wrapped my head around yet is whether it changes the absolute level of blurriness of the out of focus areas. My initial thought is that it doesn’t, it just changes the rate of transition between acceptable sharpness and out of focus but not the absolute blurriness ( I’m sure there’s better terms for this ) Anyone got any pointers on that ?

That is preposterous it really is. The 1D X Mark II cannot compete with the X-H1 on pricing, size, weight, codec, file sizes, 120fps quality, handheld shooting, stabilisation, ergonomics, EVF or LOG. And that is just the features off the top of my head. The video market knows exactly what it wants and the 1D X Mark II isn't it. Otherwise they'd be a big thread about it here but there isn't. And when I reviewed it, it didn't exactly set a discussion going with hundreds of people saying "this is for me". I liked it in 2016 for stills and for giving the 1D C Dual Pixel AF - but losing Canon LOG and increasing the crop factor left a sour taste for my $6k. The 1D X Mark II is a superb pro stills camera and I used it as such... With Canon's best looking 4K outside of the 1D C... But it just isn't practical. Paying that much money to shoot MJPEG in 4K, massive file sizes, losing the EVF and IBIS, very important features... Why? Along with introducing moire in 1080p and 120fps, all I can say you must really need it as a stills camera to buy it in 2019. It's a dodo. In 2019 I would use the X-H1 every time instead.

C100 MK2 plus the 5D mkIV is a good setup

Please don’t sell your kidney! I hope you are joking about it. If a laptop is worth it so much that you are willing to put your health at risk you have issues...

DaVinci Resolve Studio 16.1 public beta 2 released • Support for Fujifilm F-Log colorspace Now it's possible to use RCM and make color grading without LUT. 1a : F-LOG 1b : Color space F-Log+OFX tone mapping simple 1c : Simple adjustments expo, contrast and auto WB.

Canon could garner a good bit of goodwill by just simply releasing a mini C100 MarkIII with 4K 60p 10-bit, RF Mount, great AF (that’s a given), dual XLRs, etc. maybe somewhere in size between the C100 and XC15. Still small and light enough to put on smaller gimbals basically. could just be their standard doc and one man band camera for $4500-5000.

This will be even more true if that atomos statement somebody linked to from instagram about the S1H being able to achieve 4k60p in full frame mode when externally recorded turns out to be accurate.

I'm a long-time Canon user and I decided to give them one more chance with the Canon EOS RP. I like the camera for stills (but being Canon, I feel in many aspects I gave a step back from my Canon 6D Mark II), but all these video restrictions drive my mad. So I'm waiting to see what they come up with next. The only reason I'm still in the Canon camp is their lenses, but if their next-gen mid-level cameras don't deliver on video as well a higher dynamic stills range, I'm switching to either Sony or Nikon's Z line (still waiting for more lenses there). And like many have said, Canon is only generating ill-will against themselves with these stupid upper-management-level decisions. Their attitude is basically this: "Do not worry, remove all the features to force them to buy our more expensive gear, after all they will stay with us because of their large investment in lenses". Well, everything has a limit and soon I'll start figuring out how to get rid of all my Canon glass, or even better, adapt it to other mounts...

I see you're not the only one here with good humor... ; -)

A slight downside: it seems that the fix they implemented for the bad interpretation for Fujifilm files in v16 (bad YCbCr->RGB conversion) only works in Davinci YRGB and not in RCM.

Yes, it's pretty obvious when you state it like that ?

I’m really into listening to Bob Wills’ again. Can’t really explain why, just am.

Everything from Irish folk to anime intros xD Anything with passion doing their thing with something to say so that excludes basically everything mainstream where songs are written by someone else using the same sound/beat library as everyone else and processing the poor fame craving younglings' voices to bits because they can't sing.

$1500 sounds good to me. It really depends on how good it is in terms of color, rolling shutter, AF, aliasing, high ISO noise, and dynamic range. I already have a camera that's great in most of those areas, the Pocket 4K, but DPAF would really enhance my setup, and I'd rather shoot without speed boosters. The Sigma FP sounds like what the 5D mkiV and EOS R should've been. After the Mk3, most filmmakers went for a Sony, Blackmagic, GH5, or stuck with the Mk3 with Magic Lantern. The thing that turned me off the MkIV and R the most wasn't the crop, it was the hideous rolling shutter, and no raw.

So nice!

A C100 Mark II sounds like a great option for you and if you don’t mind used cameras, you can save some money on it as an interim camera until the market shakes out. I’ve seen a few sell for around $2000 on eBay.

In the US, the P6K is $2500. Canon batteries are $60 a pop. From my understanding, a battery lasts 30-40 minutes. I’d need at least 3 hours worth of power... that’s another $360. The battery grip is $250. Media would be another $500... bare minimum plus tax. Right there you’re right around $3800. Sure with the S1H I’d need to buy media and batteries but I’d also get a better build quality, FF, IBIS, longer battery life, tilt-able and articulating screen. It’s just a better deal on a better built camera with full frame. But in all honesty, why do I have to justify my opinion to you? Every single shooter on this site has different needs and budget. For me, $3800 isn’t worth it. On another note, I hope your shoot went well this weekend. What are you working on?

Sorry I didn’t know the two line rule. And regardless if you find it lazy, to some, battery life is a legitimate concern. And with that concern comes expense. I would only use internal batteries and/or the battery grip and internal media. By the time you pay for all of that, with tax, you are damn close to $4000... sorry but for that money I’d rather have the S1H or pay a bit more for a C200.

Canon C100mkii will solve all of your problems. Picked up a used one online (ebay or so) and you'll be good to go. Great . Features out of the box and will improve your workflow dramatically. Your 1DXmkii will help you with the slowmotion and the gimbal work too. I suggest getting the Sigma 18-35, DPAF works great on it and will also be amazing with the 1dxmkii (covers the frame with video, especially with the crop. The DPAF is really awesome on it too with it.)

I'm a Sony fanboy and former Canon shooter, I only complain about Canon when they cripple as it hurts everyone not just Canon shooters. When companies battle it out to bring the best camera to market - the consumer wins. When Companies hold back - everyone is sorta affected.

New photo taken with Canon T2i with Olympus OM 28-70 F/2.8

It’s no surprise really. Canon had no reason to upgrade their consumer cameras with 4K. Sony and Panasonic had a vested need for 4K material. In the end, the demand for 4K won and Canon was left behind. Back in the 80s, Canon gambled with AF and it helped them, this time... DPAF hasn’t been enough... no matter how good it is. Of course, IMO, Canon has been so anti-4K that they have painted themselves into a corner and now with this 24p fiasco, if they ever have any interest in the consumer/prosumer video ILC market, they will have to start offering more.

Are those camera/imaging division only employees? I have my doubts. Now it’s clear how blackmagic is releasing what would traditionally be $8K+ for only $2.5K.

It mostly depends on my mood, but there are some 'safe bets' that always get me.. Just like in movies, I love songs that have some deep, hidden meaning. Things that show a lot of thought was put into making them. Here is one of my favourites. ATTENTION: melancholy incoming.

Don't sell your kidney... Geekness or even filmmaking are not worthy, your health is : -)

I agree. It's the only lens still on my wishlist!! Not because it has great bokeh, but because it works in lower light situations (more of blue hour and into the night with city lights and cityscapes). Generally if I'm shooting wide I'm doing it because I want a grand scene, not as a vlog or anything. I do film myself, but more as B-roll and I've found an action camera is better for those shots as they're about me in the place rather than putting the focus on only me. Plus it's easier to hold up an action camera than a GH5 and big MF lens (it's also way less embarrassing too!) This are the shots I'm interested in: @jake all the above are the 8mm SLR Magic.

As an a6300/a73 owner I don't give two shits about the new a6x00's, especially the "flagship" with the old sensor and same video specs. $1400 gets you a Z6, which outside of AF and photo FPS speeds, is superior in every way. The only way Sony gets my cash to upgrade the a6300 is the XT3's sensor and 10-bit/4k60p, but its obvious that's not happening in the next 2-3 years until the next gen bodies are released. Been tempted by the XT3, but I mostly use AF and I don't want to carry two sets of lenses, so I'm still in the Sony camp for now. But I'm also in the camp that doesn't expect the a7s3 to be anything close to the S1H, IMO it gets a new sensor - Andriodlad says the quad bayer is coming - and the new AF system, with 10-bit HDMI only to keep it out of FS5 territory. I've done a lot of work in TV and doc's, its split between C1/300's and FS5/7's in my neck of the woods. Everyone shooting commercials I've worked with is on Canon or Red except one company that uses a FS7. I can't imagine Sony letting the a7s3 run into FS territory the way Panasonic just created a FF mashup of the EVA and GH5 in the S1H. Sony is going more conservative with every new camera. Chris

After receiving yet another email from B&H that they're still waiting on the DMW-SFU2 Lumix S1 Filmmaker V-Log Upgrade Software Keys from Panasonic I decided last week to take matters into my own hands and reach out to Panasonic directly to inquire as to the hold up... Several attempts (going back to last Thursday) to get through their phone system resulted in dead-ends as I encountered "Please call back during normal business hours" messages...those call attempts made during their "normal business hours"! Haw! Well, good fortune shone today as I just got off the phone with a Supervisor at Panasonic USA's Customer Support line (800 211 7262) who informs (after some prodding for a specific date or time estimate) that Panasonic will have their backlog of B&H Customer DMW-SFU2 codes delivered to B&H by the end of September. I can't say where hearing that I might have to wait up to yet another month+ came as particularly happy news considering that I purchased the camera back in the Spring (early May), watched their Summer (July) V-Log release promise blow on by like a runaway train, and now, hopefully, I might be able to make some Autumn (late September/early October) shooting plans? Oofah. Well, "shame on me" as the saying goes, lesson learned I'll not be giving Panasonic the benefit of my being an early-adopter again. Oop, almost forgot the punchline...I'm still waiting for my 3-year Extended Warranty confirmation from them, as well, the Supervisor also informed that that takes them at least 60-days to process! Ahahahah! :/ Jimmy G

Unless Panasonic's Headquarters is all of a sudden Studio 111 in Hamburg then you're wrong. And although both places begin with an H, Hamburg is not Hawaii. It's a 2 hour train ride from Berlin where I am visiting my girlfriend. The original plan was to go to L.A which would have pissed you off even more. But I chose to spend time with my girlfriend instead. For me this was like visiting a camera shop, and I don't do that unless the camera is worth a visit. If those specs are disappointing in your world you must be an insufferable fucking brat. Disappointing compared to what? Did a RED 8K handout land on your doorstep or something? Did your $4k go towards a stolen Alexa off the back of a van? Some people have been reading EOSHD for longer than 5 minutes and actually realise how far I've gone out of my way to keep the PR influence over this blog as low as possible, and I'll point you to all those adverts I don't have.... Anywhere. No sponsors, no paid ads, no content paid for and no shoots 'embellished' with Hawaiian scenery or Canon topless models. But yeah, I'll take your word for it... The image is spectacular but the specs disappointing. The 5m dot EVF and 5 axis IBIS are top notch but the specs still disappointing. The tilting screen is a great evolution but still your disappointment overwhelms you. Maybe you are better off using that "real cinema camera instead", you know, the one with the "proper ergonomics", that shoots 6K full frame for $4000, with a built in ND, a 5 million dot EVF and IBIS. ?

This does look like an incredible camera. Raw over HDMI coming! That's exciting. But... no announcement of price or release date? Very strange...

That's a bit of a stretch. Sony being Sony, you know the a7s3 will be gimped in some way like low bitrates, or they'll finally go 10-bit, but only 8-bit internal, but they'll wow everyone with the new AF system. No way the a7s3 has the video specs of the S1H, that's too far into FS territory. And it'll still have Sony's shitty LCD hinge and useless touchscreen that I hate so much on my a73 and a7r3. Will it get the 5.7mp EVF? Maybe or maybe not. Right now absolutely nothing is known outside of a vague statement saying it will exceed expectations. Given recent releases, my expectations are a new sensor and mild evolutionary updates. 10-bit internal would exceed my expectations, so would PDAF. The Fp - little is known at this point and Sigma cameras have never really been competitive price wise with others in its class. It wouldn't surprise me if the Fp was $4000. They're a small company and this will be a small volume camera. To make their nut, IMO its not going to be cheap. Panasonic is playing the long game and with the new Sigma lenses the L-mount will take shape pretty quickly over the next year. The 2.8 zooms are coming in the next few weeks according to rumors. The AF issues do need to be addressed, they really need a more competitive system to make the bodies more adapter friendly with Canon lenses. Right now the AF with adapted lenses is pretty awful. Since the S1H shares a lot with the rest of the S1 line, development costs are lower than a completely new camera like the EVA1. I do think their lens pricing is out of whack, while they are class leading, getting people to buy in is a tall ask when the lenses AND bodies are more expensive than the competition. Sigma lenses can't come fast enough to make the L-mount more viable. People are saying Nikon mirrorless - and Nikon in general - is dead after the Z6/7's lukewarm reception. The AF update fixed a lot of the issues at launch - they really should have sorted that first, but I can see why they went the route they did. You have to start somewhere, and like Panasonic they got a lot right. How they respond to shortcomings with the next bodies will be telling. Chris

Are you Satanic? Yes Sir, and from Carabanchel!! ?

Braindead numbers game.

On my 2018 OLED, 1080 from film is really beautiful. For me, HDR is much more important than resolution. Declaring something is dead, is over the top and maybe a little disrespectful! When we are ready for 8K, 16K will be there, which it will be amazing for VR worlds.

I can only speak for myself, but I wouldn’t pay $2500 for a Blackmagic camera. But I may rent the 6K sometime when the demand drops.

BM cams just aren't ready for prime time.