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Yeah. noreply@canoncustomers.com

Nope, they raised enough money to pay the codec consortium, aka the Illuminati, the 24 cents for 24p. I don’t think he was being pro-Canon here... it’s like the folks that say, Canon isn’t withholding features, that wouldn’t make any sense... they just don’t have the tech to do it.

I heard a rumor it was next to impossible to develop 24p in the software. It would have been too expensive. But then Steve in software development had a break through. boolean ENABLE24P = true;

They found some room in the budget!

You were saying? https://www.canonrumors.com/canon-to-add-24p-recording-to-the-canon-eos-90d-canon-eos-rp-canon-eos-m6-mark-ii/

From everything I heard connections are the real benefit of going to school, of course the better the school the more useful the connections. If you are a socialite you can make connections without school though. It can definitely help motivate one to actually do work and learn, but if you can get a production job that accomplishes the same thing. For corporate type 9-5ish jobs having a masters on your application can definitely help, though in this visual land your work can also speak for itself.

I'm very happy with doing a part-time study program in filmmaking. Most of my class mates are already industry professionals but want to have a more creative role, so it has been perfect for networking and I've been able to join several of their projects not related to the class. At the same time it doesn't interfere much with my daily work and lets me build my portfolio efficiently. It also helps that higher education is next to free here. My decision might have been different if I had to pay for it.

VR.

Its a sure thing that the S will be supported as an update to all 5 users. I made the classic error of making estimates based on projections of future productivity. This is something I've seen so often, I'm surprised I fell into it myself (I was one of those scarred by the 3K Scarlet experience, circa '08-'11, still waiting). I think smaller, independent manufacturers can fall into the trap of being too enthusiastic and optimistic about their own speed and potential. Something key to the picture is that the P4K, by virtue of its gamut and range, revealed limitations that I had missed with the GH5. It has been crucial in determining what the process to make the new HDR EC space would be. That process will directly be ported to the S and 5, and I think I will be able to do it much faster.

Well, It seems Canon listened to their customers. Many videographers felt angry that Canon did not deliver 24p video capture mode (23.98 fps) on recent cameras. The first Canon cameras to get 24p video mode through a firmware update in October will be the Canon EOS 90D and EOS RP. The Canon PowerShot G7 X Mark III and PowerShot G5 X Mark II will follow in December, and the EOS M6 Mark II sometime at the beginning of 2020. Canon press release: Canon confirm a firmware update to include 24p mode for video recording in recently launched EOS and PowerShot models London, England – Wednesday 9th October 2019 – In response to customer feedback about the recently launched EOS and PowerShot models, Canon Europe will introduce 24p (23.98fps) mode for video recording, via a series of future firmware updates for select models. Once downloaded, the free firmware updates will enable users to shoot 24p (23.98fps) in Full HD and 4K resolutions for the select models. The first Canon models to benefit from the new 24p (23.98fps) firmware will be the recently launched EOS 90D and EOS RP in late October. The Canon PowerShot G7 X Mark III and G5 X Mark II will follow by the end of December and the EOS M6 Mark II update will be available during 2020. This announcement comes after the recent availability of the new firmware version 1.3 for EOS RP and 1.4 for EOS R which further enhances the eye and subject detection AF performance of both mirrorless cameras. Canon is committed to providing a diverse and full line-up of products to cater for all capabilities and interests by listening to our customers feedback and providing enhancements accordingly.

I suggest you go straight to work. I know Escape studios but what they offer can be learned on the job. I worked as a compositor out of college with just my portfolio, and a BS degree. You learn so much more from your Seniors and your colleagues while working in the industry, plus you'll get paid to learn and to build out your reel. So for me, you should get a job in production first, then rethink if you really want to do your Masters

Getting popcorn ready to watch how @Mokara fumbles his way through this news

https://www.the-digital-picture.com/News/News-Post.aspx?News=33626&fbclid=IwAR1Wa9PyqGo9yJwGJlh5P55hl0a3Ajo_Kh1ZJnLc2jjfwCUZsmwFBnEwGrA Well, case is solved then. I assume that was a firmware evolution delay or clients pressure has done that .

All the rumors about the A7S3 seem to actually have been for the FX9. There was also rumors about an A6700 that would be similar to the Fuji XT3, but of course we have just seen a whole slew of Sony APSC cameras being released with no A6700. I'd still rather get an A73 than any Canon camera but every new release since the A73 seems like a waste of time besides maybe the A6400.

Hahaha... Leica Summicron... as sharp as a knife - subscribe to John Wayne Gacy Tasty Images with Jeffrey Dahmer How to gut a lens that will not be blamed for nothing ... From Hell with Jack

Are we sure they know about it? If you or anyone has contacted them, can you share the best contact method so we can all flood their inboxes? I don’t need any internal noise reduction ever, if I want to use it I’ll do it In post. If it’s an option turn on or off, that’s best of both worlds. Panasonic needs to be near perfect with their full frame venture as their competition is stiff and they can’t afford this issue to linger and become more of a thing. Turn off noise reduction, put out a firmware update, let’s move on. End of Next year or 2021, put out an S2H with phase detect and then we are all happy campers and roasting marshmallows together and singing songs of celebration.

Wow, it may sound sad but I’m excited about this. ? 24p was one of the main reasons I got an R over an RP (besides c-log). I might pick up an RP as a b-cam now. I didn’t see the new M6 mark ii mentioned but hoping it’s included.

Yeah, so this is weird. I was going to say that I'm pretty sure people have modded them to be ai and that would one way forward and that I'd found you a tutorial video on YouTube of a guy doing it. So, I was idly reading the comments, as you do, and lots of people were commenting about him being a murderer and I was thinking "well its an old lens and I can see why people might think its heresy to be messing with it but calling him a murderer is a bit over the top but hey this is YouTube so...". Anyway, curiosity got the better of me and I googled his name and it turns out he's an actual serial killer.

I don't mind them either and I think if you're going for a set then it makes a lot of sense, particularly as if you do end up using a follow focus system then it is far easier with having them all aligned. Yeah, if you don't want to speedboost them (and they are arguably fast enough and have decent enough wide options to not especially need to) then you can use the lens throttle and again, if you go for F mount stills versions, then you can use a very thin F to EF adapter on to it to get click less aperture control of the lens and variable ND behind it. The only downside to the lens throttles is that there is no fully clear setting so you'll always have some ND in play which may be an issue in very low light but, again, these lenses are fast enough to mitigate it somewhat. Yes, Auto SS and Auto ISO would still work.

You mean they intentionally left these features out?!? I don't believe it!

I didn’t realize you shot auto, I just assumed you shot manual. I think Nikon G adapters have an “aperture ring” and will make all Nikon lenses have a smooth aperture... but I’m not a hundred percent sure on that.

How innovative of Canon to include 24p in a firmware update!

I’ll just throw in one perspective - if you gain a Masters degree then you have a useful transferable qualification if your first choice career doesn’t take you in the direction you wish.

This is a 24K camera.... Not cheap though. https://petapixel.com/2014/10/30/41395-thats-much-24k-gold-nikon-df-will-cost/

Cool tips. If you feel like you can share more (without crossing your personal PR threshold!) then please feel free In terms of ratios, I can't remember where I saw the 400:1 ratio but this gives a few with a couple of stand-out numbers... I understand that knowing what the story is, having it planned, and knowing what you're going to shoot should give a lower shooting ratio than a doc (where none of that is planned) but obviously it's not the case for every film! I don't know what would have made Fury Road and Gone Girl have ratios like they did... it's nice to have options in post, but...

Yes. And until such time, I refuse to make any more wedding videos. It's ridiculous that we don't have 12k now. 24k would be even better ?

Pretty much your first sentence plus a PL mount option. This is a brief history of time for the Samyang/Rokinon range. https://www.google.com/amp/s/thecinelens.com/2016/01/13/rokinon-cine-cine-ds-and-xeen-whats-the-difference/amp/ There are a few tests on YouTube that support the same conclusion. The Cine DS ones are the sweetspot but you need to be a bit more creative ND wise for the ultra wides as they have fixed hoods on them.

I was going to go into a whole lot of detail about my post process for larger projects (I do a 10x23min travel TV show) but then realised I'd sound like a pompous wanker (which I am; I just would rather not sound like one), so instead I'll leave you with 2 tips: PANCAKE EDITING. Once you've got your timeline with your rough selects on it, set up a workspace with two skinny timelines stacked on top of each other (like pancakes) - one with all your media, and one which is your working draft. Then you can quickly drop clips down from the top timeline to the one below, without ever having to go back to your project window or toggle between different timelines. Makes it really quick to scrub through and grab shots to drop into your edit. SPREADSHEETS. If you haven't already, make a spreadsheet with notes on everything you did. Date, shoot day #, location, people, activities, cameras used, key events, hero shots, etc, etc. Normally I do this at the end of each shoot day while the footage is transferring. It will come in handy so often when editing bigger projects. On big features, everything is planned in minute detail so shooting ratios are generally lower than on a doc. a 400:1 ratio would cop any director a serious grilling from the executives. Now obviously they allow time for rehearsals, dry runs, multiple takes etc, but as crew sizes go up, every extra run through a scene just adds to the bottom line. Of course certain scenes will take longer than others because they require more impactful & precise performances, but others are knocked over in one take to compensate.

Right. Forgot that one : ) Thanks : -) On a somewhat different PS note: hope it had remained clear I didn't want to attack or embarrass you (as one of my favs over here!), just a few days ago in that other thread, only to address that point I felt I had to : ) As explained then, written expression is invariably limited to let you know all about details on the author's intentions.

I thought that this was part 2?

Hold on, what new technology has Sony brought to the table in the last 5 releases.... Not a lot. The A7R IV is a hybrid cam if ever I saw one... Very much in both the stills and video camp, that one. The A9 II is clearly aimed at pros and sports, but again there is no reason why it shouldn't do better video. It doesn't even have S-LOG, like the first one. No new sensor. Barely any new features. May as well put a big sticker on it saying "don't buy me" The A7R IV and A9 II are headline releases, a great chance to show off their new sensor technology and next-gen video specs. From the A6400 onward, it's as if Sony pressed the pause button. A6400, A6100, A6600, A7R IV, A9 II all very boring and just 1 out of 5 with a new sensor is not a very good strike rate for Sony's most precious components. So either they are holding back to cement profit margins and protect the FX9, doing a Canon... Or they are holding back until the new advances are ready. I don't buy the latter, I think it's the former... otherwise we would have at least had X-T3 sensor in the A6600 and 10bit in the A7R II. It's 4000 euros! Sony staked their game mainly on specs... And now what reason do we all run out and pay $3000-$4000 for a new camera... The fact it has a different feel to the joystick?! You're the one pedalling conspiracies. Never do you seem to get round to supporting the daft theories with any proof, either. In one sentence you say 24p is left out due to a cheaper stripped down image processor... In the very next sentence you say you never claimed 24p was left out because of processing. A contradiction if ever I saw one. Back the drawing board for you!

DUDE, people only paid for the Gh5 lut not the S! I dont recall Alex having a preorder for the S version. There shouldn't be anything to complain about. You used the word "entitled" in an earlier post. That's how the likes of you sound on this thread - "Entitled" for "Good money" It's beyond ridiculous. Like Jeremy said, Folks probably don't understand what goes into this. Let's Allow the genius to create, refine and continually develop the Luts in PEACE

I'm not arguing it's a great move by Sony, just sharing what ppl have told me, ppl that are asked by Sony because they are working in that field. 200 was for world cup (don't quote me on that number tho but I think it was something like that) Olympics probably have a lot more ppl than that. If it was it would have log and all those things right? I mean you are not wrong in being grumpy about Sony not releasing such a camera. I have nether, but my friend had a few Canon bodies, 1Dx MkII 400/2.8L 70-200/2.8L. That sort of thing. I'm just sharing what I know, I will not argue more about it.

EXACTLY! Well said.

I am in agreement with you!!! I don't understand the rebellious-teen-diva-ish tone in some of the demands of this thread that the LUT be ready at their command. They probably don't understand that Sage is a one man R&D team, so he has to take his time to fine tune the luts. Plus as someone pointer earlier, updates are going to roll out soon and we don't know how that might affect the LUT as well. Sage probably has other film demands to attend to, perhaps a full time job? He owes no one any deadline schedule.

I mean the guy is only one person, and funding the camera rental, while nice, still doesn't pay the bills - which is where the time thing comes in, and Alex clearly has made a decision on what to do first based on the P4k demand. While that may not fit your needs, the Gh5s is becoming the minority, and I just think it is distasteful to act like he should just focus on what you want, because he said it is on the roadmap a long while back. He made no promises, and I am sure he has every intention of getting to it. I was simply throwing some sarcasm out there.

The GH5 is not able to compete with Sony and Canon, especially when it comes to adapted lenses. But the narrative that it's awful or unusable just isn't true. Most of the tests you'll see are static shots on a tripod and don't play to the GH5's auto focus strengths. For instance, the GH5's strongest auto focus setting for handheld video is single area. As you see in the beginning of the video, when I move to get the shot of the wrestlers on the outside, it focuses pretty quickly and nails focus. That's the result you can expect going with single area. For the G85, when on a tripod for non static shots, the ideal setting for wrestling is 49 area. Single area doesn't work as well because there is much more going on in the frame, so you don't want just that single area to be in focus. It's all about learning how the AF works and working with it's strong points. Unfortunately it's strong points isn't when it's on a tripod with people popping up in and out of frame. I will look for footage I shot on the 14-140mm zoomed in and see if it's something I can share. I do know though that the results are comparable.

YouTubers have been promoting the new Gnarbox 2.0 which looks kind of cool. IIRC it has ability to plug in an external USB drive for storage, as well as a USB port for an external card reader, and can do cool things like backup a card to the internal and external drive at the same time.

We are on the hold till today. Tomorrow is another future.