Leaderboard

In light of the recent arguments on EOSHD I thought it'd be cool to think about how awesome it is to be a filmmaker/videographer in 2019 going into 2020. We don't have to settle for crappy 8 bit anymore on anything less than $5000, we even have multiple cameras that shoot compressed raw and/or ProRes for less than $2.5K! We have lenses from 3rd party makers that not only don't suck but are better in some cases. Wireless monitoring and follow focuses are affordable now!? What!? Our options for post are incredible, too - We have Final Cut and Resolve that are rock solid and Adobe... Adobe sometimes doesn't crash now! ? Frame.io and Vimeo review help make working remotely way less frustrating We get to bash Canon while shooting on Fuji/Sony/Nikon/Blackmagic instead of bashing them because we have no other choice And on top of that all we have places like here where we get to talk about it all and get help and share our sometimes very strong opinions ? I hope you guys see my sarcasm where I sprinkled it in. I encourage you to go ahead and post what you're grateful for:

Has there ever been a more pointless increase in resolution? I found this video hilarious! In my opinion 8K's future lies in VR. Read the full article

Are you making Netflix commissioned productions? If you are: you'll have plenty of budget to hire Varicam/Venice/whatever! If you are not: then that list doesn't matter at all.

Grateful for continuing good health as I wade deeper into my 7th decade. Grateful for the people I love...and that they love me back. Grateful to be residing on a comfortable planet that also just-so-happens to have chocolate. And, as relates to this forum, grateful for the nifty imaging toys available at this moment in history, with which I'm looking forward to learning how to image in wide-gamut HDR. :)

The jump in IQ is definitely more noticeable with the XT3. The GH5 has the best 1080p though, virtually no moire/aliasing. The XT3 is definitely more prone to moire and aliasing but less so in 4k. The XT3 definitely is ahead in the 4k department having 10 bit in 4k 60p. Its 120p also beats the GH5's imho. The extra stop and a half of dynamic range is noticeable on the XT3 coming from the GH5, even more noticeable coming from a G7. If you have a slower PC the GH5's H254 10 bit is nice, especially in 1080p. 10 bit H264 200mbps All-I runs nicely in premiere. Fuji you are stuck with H265 which is a bitch, but if you have a better PC its no problem. If you can link up with some local video people and test out the cameras that's always the best way. You'd be surprised how many people would be willing to do that. I think you'd definitely appreciate either camera. The IBIS on the GH5 can be magical.

I'm grateful for the abundance of cheap equipment and software. But I'm also grateful to the thousands of people who spend their time freely sharing knowledge on sites like this, from the retired pros with decades of industry experience, to experimental newcomers with more ideas than experience, and everyone in between.

I'm actually working to make this a lot more accessible and easy to navigate! ?

Yup. Recording RAW is a pro choice, there's no way around that and for holiday videos and snaps as you've found, isn't ideal. Maybe once they include some kind of log recording through firmware it would be better suited to that. But i see this as a sensor in a box and you build everything around that. The cinematic DNG test that Lars posted back there is perhaps some of the best footage that's been publicly shown from the camera. These are very challenging scenes for any camera and the fp does a fantastic job. However their post workflow isn't ideal - i see exposure wavering between frames which is either a factor of the firmware version they are using or the fact that appears to be batch processed through lightroom. The native gamut of the camera is certainly beyond 709, so therefore as i guessed that workflow is going to be the nut to crack. I've shot primaries off a reference monitor in P3 and 709 and can clearly see the difference. So any workflow built around 709 (Adobe) will somehow be messing with the native gamut to squeeze it into the 709 bucket meaning colour clipping or scaling - all warning signs for me that the final image will be compromised. Another reason why the camera isn't for the masses. I personally would not archive DNGs in any log or compressed format but slimRAW is a good choice. I don't see the point of having a camera that can dump out RAW then transcoding to a less format. Just get a camera that shoots in the format you need. This will be sigmas marketing issue. I understand what they're aiming for but it's a small market. Steve Huff certainly has fallen for the stills side and i get my VF today i think, in which case then i can spend some time using it like that. cheers Paul

What you could do instead of being forced into a daily edit, is to simply convert the RAW to a LOG format, and archive the files on a 4TB drive for after the holiday. Or try SlimRAW transcode app. Uncompressed 4K RAW is always going to be challenging for travels and shooting a lot... It's meant for sparing use on an art project or short film.... it might even be better to shoot 10bit LOG when the next firmware update comes out because there are times when the sheer file sizes of RAW are just going to be a headache. In same way there will be times when an X-T3 gets a shot that the Fp's autofocus would be too much of a slouch for, but conversely times when the Fp will give you a wow factor that APS-C is too limited for. In terms of the stills I like the Fp as a gentleman's 'artist's tool' but one that is down to earth... practical.... taking it slow, not too showy. Bit like a Leica M, but way more flexible. In terms of the video I like how unique it is. A mini S1 with RAW. How great is that!! Cinema DNG 4K is real RAW, and it's full frame, and it's there on my SD card or SSD when I want it. I had the X-T30 briefly and it's a bargain. However, the X-H1 is so much more. The feel when you pick it up is amazing, really high-end, and ergonomically it's Fuji's best camera aside from maybe the GFX 100. The X-T30 feels REALLY cheap in comparison. I can nail manual focus all day through the EVF on the X-H1 even at F0.95, and I can reel off handheld shots as if it's on a tripod. For locked-down handheld shots the IBIS is even better than the best (GH5 / Olympus) You can tell the X-H1 was a narrow margin camera for Fuji and that they make more money on the X-T3... The way it is engineered, the springy almost silent shutter, the quality of the components is out of this world. It'll be a tragedy if it does not get an update in 2020 with the X-T3's sensor.

Really dig this adapter. Fixes the EOS R in my book. Here is my video test first look

We enthusiasts and pros are the success story of the entire camera industry. The entire DSLR filmmaking, and now mirrorless video revolution happened on a big downward slope for the a camera industry battered by smartphones. Now, with the not very passionate consumers gone, there's only us left...and now the central focus of ALL the camera companies, big or small. We are not a niche any more, and Nikon in their latest financial report expects enthusiasts, hobbyists, artists, filmmakers and pros to account for 90% of sales in the mid to long term. Going to write a blog post about that soon. We kept the passion up, when everybody else was losing theirs.

RIP my Aussie friend. May you enjoy the afterlife and start filming that Clive James Postcard wherever that may be... Here is his incredibly dry and witty portrait of Berlin, one of the TV shows that inspired me to go there in the first place. I ended up spending nearly 8 years there. Clive James was huge in the UK and his programmes were a weekly must-watch for millions of British people. I recommend checking out everything he did - be it the books, which are fantastic, his poems, his TV shows and documentaries.... he's one of my all time favourite writers and wits. He leaves a big hole in British culture, much missed. https://www.bbc.co.uk/news/entertainment-arts-13437293

Yes. I've shot from there a couple of times now and no one's approached me about it yet ?

I bought the Viltrox EF-EOS M2 and the EF 17-40mm f4 The adapter weights 140g and the lens is about 480g, so together it's just over 600g. It does look a bit odd but it feels alright due to the M6 having a decent grip for a small camera. Build quality of the adapter is good. There's no play on either end and it's not too tight either. It feels solid yet is quite light (most speed boosters are over 200g). The autofocus works really well. Pretty similar to the native 22mm, just a little noisier. It can be heard in video if the room is silent but otherwise it's not a problem. Central sharpness is good. Edge is poor up until f8. Weirdly, the edge sharpness at 40mm is worse than at 17mm. Overall the adapter makes a great cheapskate option for full frame but I've realised it's a bit surplus to my requirements right now so im returning it. And with lenses like these it's better to have a camera with a bigger grip. 17mm @ f2.8: f4: f8: 40mm @ f2.8: f4: f8:

https://www.bbc.com/news/world-europe-50571010

You'll notice an improvement in IQ on all those cameras, for sure, though the G7 is still has a very good image. What kind of work are you doing? For me personally I lean towards the GH5 because the IBIS and all of the video centric features. I do a lot of handheld work, and the IBIS allows me to get stable footage with a stripped down set up. It's kind of the Swiss army knife of cameras, it can handle pretty much everything you throw at it. The 1080p on the GH5 is also fantastic. Still if the X-T3 had comparable IBIS and didn't have the recording limit I'd be very, very tempted.

The yellowish cello is with the Jordanwright lut, the reddish is the same fram with the standard p4k to extended video lut. I can disclose that the real instrument is quite yellow, but I am not sure about the hand. No other grading done on these shots, straight out of camera.

The future.

If what's wanted is an "immersive experience", and anyone's deadly boring life - you know, the one preoccupied with video equipment -- is insufficient, try hallucinogens. Mushrooms can be grown at home, natural and organic, and there's evidence that they have long-term therapeutic effects. Beats 8K any day.

Even in VR, especially in real-time video games refresh rate and pixel size is still way more important than 8K. 8K won’t mean shit if you get motion sick. They are already optimizing VR rendering, for games, that takes into account that humans don’t see detail on the periphery. So why waste time rendering detail? 8K+ VR action cameras are the future though and I’m pretty excited for that. The perfect action camera is the one that captures everything.

The Zoom F8 when it came out 4 ish years was a MASSIVE GAME CHANGER for the sub $1K price point, but *not* just for audio quality like many people think, and not just for how many tracks it was (ten!), but also for it feature set! Nothing else beforehand had all those features which the F8 now has: metadata, bluetooth app, affordable dedicated fader panel, USB keyboard, automix, ambisonics, TC I/O, and more and more it goes on... plus all in a very very small size! With a low power drain. Unfortunately the F8 came out at a bad bad time for me, as: a) I had just recently invested in a Sound Devices 552 / Tascam DR680 combo (arguably for its time, the "best" low low low budget setup??) & b) I was VERY skeptical about anything from Zoom (due to their horribly poor reputation) But the users and reviews of the F8 turned my opinion around, so I got the F4 when it got launched. And wow, what a big leap forward that was for me!

Choice. There really is something for everyone.

I’ll try it. Definitely some kind of DfD frame sampling mumbo jumbo.

Ah yes, the old 'hit it with a hammer' test. From memory, most lenses do quite poorly with that one...

It's definitely a great time to be a film-maker.. One test that I think it useful is the "If I knew then what I know now" test, as it shows how much knowledge and skill count vs the other factors. In film-making, yes, going back a decade (or two!) we would all make much better films (well, those of us who have made lots of films in the last decade!) but we'd have been doing so with far inferior equipment choices, and apart from memorising the lottery numbers before we went back in time, pretty much nothing we could have done about it. Of course going back in time we'd have looked at the camera options and decided to spend the money on lighting and other things, which is still great advice, but tech is tech and (capable) cameras per year that someone can afford when adjusted against minimum / median wage is an equation that has tipped radically.

Its the time to be alive for Indie filmmakers. Cheap high quality audio equipment is also abound. The Zoom F6 has so much dynamic range its almost impossible to set the levels wrong all in something smaller than a loaf of bread. High powered high CRI LED's are also becoming affordable. The Pixel video light has a similar output to a 1500w fresnel and its only $450.

And another one: https://docs.google.com/spreadsheets/d/13WruS37PBu9MH3RI-AsNClNsaLoS49IvRlLKx0uVuD4/edit#gid=0

Do not touch the Kowa Prominar 16s (I think that's what it's called, it has a narrow protruding rear element which is silver/metal) - it's not suitable at all, as its for super16 & vignettes like crazy. I mention this as some sellers try to pull fast ones with people mistaking it with it's bigger namesake. Seen lots of Elmoscope I lenses for cheap - same as 16D, but slightly different body & normally has the nice blue flares! Get a good copy & it's hard to beat. And yes start with something not too expensive first - I started with a 16D and was very happy. I then upgraded to the Kowa B&H & then it just got a little silly from there on! The list to end all lists: http://super8wiki.com/index.php/Anamorphic_Lenses#2x_Anamorphic_attachments

16H and D, the difference is only view angle. the front and rear glasses size are almost same. I never own S. But looks it is close to D. might be a little bit wider.

cheap storage is big one for me. ssds and sd cards are really coming down. even c fast is starting to kinda

Raven was definitely a more introductory model, but it had a huge flaw compared to Komodo - namely, it was still a part of the DSMC2 system. Which means that even if you could get a cheaper Red camera in Raven, you still had to spend loads of money to get a working model: Red proprietary media ($2-3k), large and expensive V-Mount batteries and chargers ($500-900), Red modules to get any sort of audio ($2k), a Red monitor ($2k), and a few other needed accessories. So while Raven was fairly cheap ($6k), it costs close to $14k to get it rolling on an all day shoot. On top of that, it had an old sensor with a 1.8x crop and bad in low light. And then it was also just as heavy and intense to use as any other Red DSMC2 camera. Whereas the Komodo may be just the price of a camera for a lot of people. Many users probably have a few CFast 2.0 cards, the Canon batteries can easily be found for $25-$40 a pop, lots of people have a good SmallHD or Atomos monitor (and if not, they are only $250-300) already, and the camera uses a brand new sensor that is supposed to be graet in low light and only has a 1.33x crop (or no crop with a speedbooster) - and you can get a variable ND with it with the Canon mount. So, the Komodo really may only be $6-7k to get a full working package up and running (price pending, of course). Big difference between that and the Raven's close to $13-15k. Plus the Komodo seems like it will be a much better, smaller, lighter camera.

I would like to thank those who provided feedback, which helped make the app better. Below are codes for 2 months free use for the app. Thank you again, and happy holidays. ? https://play.google.com/store?code=Y1ZP8G4ZX46M6HUM313CZ1U https://play.google.com/store?code=BS1MU7731LR9189K183BFA1 https://play.google.com/store?code=V1F10FDPNCJJ4Y5BJFAX0NX https://play.google.com/store?code=V8S2V8AZ08YE0MUVDZH0MWV https://play.google.com/store?code=8MA5U9PGC9QKDZRJANRYMF1 https://play.google.com/store?code=HM4SJUHK43CG7NNJX39JX1G https://play.google.com/store?code=PRYFRF1WWHJWBFK7Z7JZEQC https://play.google.com/store?code=5XTXJ33K0Y72EJZSRJPRQ1M https://play.google.com/store?code=904KNSU0KS10TMJ3FUR7WR1 https://play.google.com/store?code=9TFQCMUFKE4SL2LLJ2UQ7N0

Sony only competes with RED on Venice level. Sonys mirrorless offering is imo in awful shape for serious videographers & filmmakers in late 2019 with one of the lowest bitrate 8-bit codecs and no clear competitive video oriented solutions (cough *A7S3 AWOL*). And even when you step up to the FS/FX line, Sony has no direct internal Raw options unless you fork out for a $2K add-on device. In short, Sony shouldn’t even be mentioned in this discussion imho. When you think of RED, you think of their game changing compressed RAW. REDs move into sub $7K cine cameras is mainly to counter BMD, Z cams, C200/1DX3, and all the other cams that may offer RAW, BRaw, ProResRaw etc for under 10 grand. As compressed RAW patent holders, REDs main concern is that if they can’t beat the competition in court, they can try in camera shops with something like the Komodo.

This is exactly what I was after, thanks so much. I actually found a good deal on the 50 1.4 and it has a lovely clean look from f2.4 and above, below the sharpness really takes a hit.

From John Gruber (Daring Fireball): “This is how Apple chose to unveil the packaging for the Mac Pro — in a poorly-shot overexposed propaganda video by the White House, scored with bombastic music that sounds like it came from an SNL parody of a Michael Bay film. Think about how it feels to work on that team at Apple.” “A low moment in Apple’s proud history, and a sadly iconic moment for Tim Cook. I hope avoiding those tariffs is worth it.” BEAUTIFULLY GRADED! Apple’s latest ad is a brave new direction for the Cupertino tech giant’s brand. To celebrate, I have created the EOSHD Tim Apple LUT. The favoured look of the US President is perfect for factory tour videos or nationalist propaganda. The LUT has a muted, washed, bleached contrast with no life and no joy in it. So if that’s what your scene demands, be sure to use the EOSHD Tim Apple LUT today. Download the Tim Apple LUT (.cube format, free of charge, but at cost to your soul, 100% tested with Final Cut Pro X, Premiere and Resolve) "I Can't wait to see What you guys creates [sic] with this fantastic LUT" - Donald

https://www.ebay.com/itm/Canon-EOS-C100-Cinema-Camcorder/133229384806?epid=135918181&hash=item1f05171466:g:kucAAOSw74RdwItS I see the c100 sells for about $800-850 now. Pretty much a steal. Yes, only 1080p, but the IQ, file sizes, built in nd, preamps, canon log, are crazy good at this price point. Good alternative to buying a current Canom DSLR for video. I may buy one.