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If you are seeing this cat... Then it means the move to the new server has worked for you. Good news. No more cats. Bad news. No more cats? EOSHD now lives in the cloud. Faster speeds no matter where you are on Earth. Please let me know if you see any bugs. via GIPHY

Now the good news... That Contax Zeiss 28-70mm F3.5 is a stunner, a real gem. So small and light. Almost as small as the Zeiss 55mm F1.8 FE It does not seem parfocal but it has character. Amazing macro mode too and the Zeiss look. I have quite enjoyed putting it on the Leica M AF adapter on my Sony a9 too... Autofocus it Even the Sigma 45mm F2.8 is a fatter lens.

Don't forget about sound! I've got lots of videos on my YouTube channel about car rigs: https://www.youtube.com/channel/UCniNTuAtkFiSCQNfIaw9SJw/search?query=car And WiFi from the camera won't be a robust and strong enough signal to be able to always monitor from in your follow car.

Are people not entitled to their opinions any more, unless they are magazine published? That would be a bit harsh!

Sports shooters really don't need any more. (and neither do most of us!) It's just like us sound mixers recording at 48KHz for many years, as more really is not necessary. Heck, more megapixels can be BAD if it slows down their workflow of getting images uploaded immediately and instantly to their press agency.

Link your portfolio and link all of your magazine published editorial work.

https://ymcinema.com/2020/01/16/the-cameras-behind-oscar-2020-film-made-a-comeback-and-red-enters-the-list/?fbclid=IwAR2lAXUko0GOvqLPBPYrba9Or8PEoUEfFVA55xE68wUY5YUOFKREAVoxIRM Great article Arri still king of the ultra high end, so no surprises there - but the variations in Arri (and the lenses) are the interesting thing! And 50:50 split digital / film in 2020. Film making a bit of a come back.

I can also warmly recommend the Tokina 28-70mm/2.8 which is a bought-up and continued Angenieux design: https://cameragx.com/2018/04/11/the-truth-about-the-angenieux-28-70-af-zoom/

Can confirm I have same issue! In stills mode at least, not in video or cine mode. It only happens with a passive manual lens adapter where the aperture can't be read by the camera (F--) Sigma or Pana L-mount lens it is fine I also get a jumpy flickering of brightness in live-view, like the camera is trying to work out the metering I think it's a LV metering bug. Picture comes out same exposure as LV in cine mode... But switch back to Stills LV and exposure is brighter. Very weird. Can confirm the slight shutter lag as well. It's a lot longer than average.

Thanks, I've seen some Varizoom Lanc controllers but I think I just need to bite the bullet and buy the Ursa Hand Grip because that really has the simplicity I'm looking for. That paired with the BMPCC Speedbooster and the Canon 17-55mm seems like a great minimalist handheld set up. The problem with that setup is that the total cost would put me in the P4K price range and I'm unsure if it's a wise investment at that point and I don't know if the total size would be much smaller... OT - Do you know of any good 12-75mm c-mount lenses that cover the S16 sensor of the OG or the P4K crop mode? I have the Cosmicar but it vignettes heavily as I believe it's designed for 1/2in sensors. It was a beautiful little parfocal lens with the EOS-M in ML crop mode though. I'll probably just use my 5D3 for another few years... LOL. Seriously though, I think I can't conceive shooting in anything less than native full frame raw/ProRes. Completely OT - I don't know if I ever thanked you for turning me onto Samyang lenses, but the 50mm 1.4 continues to amaze me on my 5D3... So cheers... for continuing to be one of the most helpful members on this forum!!!

Yes it is, I'm still trying to love it, but for stills this makes me crazy. It all depends in what fixes the next firmware will bring. and the shutter lag, that also makes me crazy, because when I think I have the shot, it takes it a fraction later.

This from VariZoom might fit the bill for your LANC needs as it has all the functions you are looking for and is small enough to mount on most things. https://www.varizoom.com/product/vzstealthlx/ I'm not 100% certain of how much of that is supported by Blackmagic's LANC implementation on the BMMCC but I'd say it was worth asking VariZoom about it as I'm sure they'll know.

@Video Hummus The Laowa Argus lenses will be primes. @Stab There are a few longer S35 zoom lenses: Sigma High-Speed 50-100mm T2 Angenieux EZ-2 15-40mm T2 Angenieux EZ-1 30-90mm T2 Fujinon Premier 14.5-45mm T2 Fujinon Premier 18-85mm T2 Better off using a focal reducer with a full frame f/2.8 zoom lens. You get almost equivalent depth of field, longer zoom ranges, many options and much lower costs.

I just got a Mate 30 Pro. Very large sensor in the ultra wide camera, for a change. Quality is very good but colour can be hit or miss, prefer naturalness and consistency of the iPhone Remember it's not all about specs!

Thanks a bunch!

I love the guy, both of them, Sacha and his character... ; ) For a fraction of second, I thought he was in a sex shop! : D

Me in a camera shop.

Borat surely knows it best ; -)

Depending on which vintage of GoPros you use (the new(er) ones don't have the AV output), you can go the old school quadcopter route of using FPV transmitters and monitor on either a dedicated FPV monitor or one of the plug in receiver adapters for phones. The FPV transmitters are cheap, have a much longer range obviously and far lower latency than using WiFi. Whether you'd get enough channel separation to run more than a few in the same space is something you'd need to look into. As an alternative If you are going to use cameras that have live HDMI outputs then you could get something like this. This lets you put 8 different feeds in a variety of different splits (one big one with seven small picture in pictures etc) onto one screen simultaneous so you would put this in the car and then attach its output to a single Acsoon CineEye HDMI transmitter (which has enough range for the sort of distances you would be running) to monitor in the other car on a tablet or a phone. It runs on 12v so will be easy to power from in the car and small enough to put under a seat. There are 4 channel versions as well if you don't need to monitor everything. Total price including the CineEye would be under £300 and you'll get a lot of bonus use out of the CineEye on other jobs when the car one is over ! https://www.aliexpress.com/item/4000089013424.html

You can also use a 360 VR cam... Full thing: here btw (campaign is long over, but info can be found here). That's like the only VR 360 application I actually thought was a promising format. I could imagine a 'who dunit?' crime video/game, where you have to pay attention and catch clues of who killed who and schtuff. Otherwise I never found implenations of VR that interesting.

Are you that adamant on wireless monitoring? I'm quite into cars so I follow some automotive journalists if you will in the form of these 'cartubers'. Tim 'Shmee150' Burton for example mounts Sony FDR-X3000 action cams (with BOSS) in- and outside the car. So... that's the sorta thing I would do. The smaller the camera and the wider field of view the lens has got, the easier the rigging of course. So... Sony FDR-X3000... GoPro, Blackmagic Pocket or Micro or any other MFT camera perhaps (broadcast shows like Top Gear and The Grand Tour use Panasonic GH-range cameras most of the times). Set up your cameras, have a look at how they're pointing, hit record, fetch the recordings after the drive and put it all together. Have a trial run beforehand to make sure every occupant is clearly visible and audible.

I will be surprised if Resolves does rescale in anything different than the image native gamma, that is in whatever gamma the values are at the point of the rescale operation. But if anything, some apps convert from sRGB or power gamma to linear for scaling, and then back. You can do various transforms to shrink the ratio between extremes, and this will generally reduce ringing artifacts. I know people deliberately gamma/log transform linear rendered images for rescale. But it is mathematically and physically incorrect. There are examples and lengthy write-ups on the web with what might go wrong if you scale in non-linear gamma, but perhaps most intuitively you can think about it in an "energy conserving" manner. If you don't do it in linear, you are altering the (locally) average brightness of the scene. You may not see this easily in real life images, because it will often be masked by detail, but do a thought experiment about, say, a greyscale synthetic 2x1 image scaled down to a 1x1 image and see what happens. I have a strong dislike for ringing artifacts myself, but I believe the correct approach to reduce these would be to pre-blur to band limit the signal and/or use a different filter: for example, Lanczos with less lobes, or Lanczos with pre-weighted samples; or go to splines/cubic; and sometimes bilinear is fine for downscale between 1x and 2x, since it has only positive weights. On the other hand, as we all very well know, theory and practice can diverge, so whatever produces good looking results is fine. Rescaling Bayer data is certainly more artifact prone, because of the missing samples, and the unknown of the subsequent deBayer algorithm. This is also the main reason SlimRAW only downscales precisely 2x for DNG proxies. It is actually possible to do Bayer aware interpolation and scale 3 layers instead of 4. This way the green channel will benefit from double the information compared to the others. You can think of this as interpolating "in place", rather than scaling with subsequent Bayer rearrangement. Similar to how you can scale a full color image in dozens of ways, you can do the same with a Bayer mosaic, and I don't think there is a "proper" way to do this. It is all a matter of managing trade offs, with the added complexity that you have no control over exactly how the image will be then debayered in post. It is in this sense that rescaling Bayer is worse -- you are creating an intermediate image, which will need to endure some serious additional reconstruction. Ideally, you should resize after debayering, because an advanced debayer method will try to use all channels simultaneously (also, see below). This is possible, and you can definitely extract more information and get better results by using neighboring pixels of different color because channels correlate somewhat. Exploiting this correlation is at the heart of many debayer algorithms, and, in some sense, memorizing many patterns of correlating samples is how recent NN based debayering models work. But if you go this way, you may just as well compress and record the debayered image with enough additional metadata to allow WB tweaks and exposure compensation in post, or simply go the partially debayered route similar to BRAW or Canon Raw Light. In any case, we should also have in mind that the higher the resolution, the less noticeable the artifacts. And 4K is quite a lot of pixels. In real life images I don't think it is very likely that there will be noticeable problems, other than the occasional no-OLPF aliasing issues.

If a 2500$ pro chart is the only way to see aliasing from this camera then I guess we're all ok haha

Imagine thinking that photo is straight out of camera? Imagine thinking you know how he setup his picture profile? Imagine being so self-absorbed you can be condescending and nasty in a community forum that’s purpose is to share ideas and help? is everyone here on their period? Is there a prerequisite for being a keyboard warrior to have had a bad childhood and shitty father that you lash out at people constantly? imagine being a forum of mean girls from the movie mean girls? i like the Colors from every single camera. I prefer slightly warmer tones that tilt red hue, I like that. I also like images that don’t have that. I like videos that don’t AB ad naseum or shoot brick walls. I like helpful people. I like that photo from SI, is like it better with a slide toward warmer. I hope to learn from the calmer and less mentally deranged members I’m talking to you cranky folks

His response to me was "Bad skin tone from a Professional Sony photographer. Let me in and I'll nail the shot and skin color with a Canon." "His photo's are bad. No anticipation, very bad composition , bad color, nothing dynamic, missed focus." I'm giving him the chance to prove himself. ?

Actually not... ? When the Sigma fp records CinemaDNG, it doesn't debayer the image, since a raw image is undebayered. But at the same time, I doesn't record the actual raw sensor image, but downscales the 6K undebayered sensor data to a 4K undebayered image - whose pixels no longer correspond to the sensor pixels and are a fake sensor pattern. Or, in less abstract language: the camera downscales the 6K raw sensor data into simulated raw sensor data of a virtual, software-made 4K sensor. Which creates all kinds of weird artifacts, as demonstrated above in the visual comparisons of the camera's 6K stills with the camera's 4K video.

Too contrasty and washed out, IMHO. It lacks the subtlety and gorgeous color vibrance of GHAlex.

I tell myself this is what I'm doing when I go shooting as well. All that video needs to marinate on my hard drives, right? ?

Apparently Laowa is developing a new f/0.95 MFT lens. Rumored to be in the 20-35mm zoom range (40-70). Would be awesome if they got closer to andrews 28-50. Doesn't need to be pin sharp if it’s going to be manual and a video lens. Venus Optics and 7artisans are doing interesting stuff.

They don't need to. Everyone using it on MFT with speedboosters anyway.

The Super 16 crop mode on the Pocket 4K is IMHO superior to the original Pocket, because it is in 2.7K which yields very clean downsampled 2K/1080p, as opposed to the moiré-plagued and IR pollution-prone image of the original Pocket, and because of the camera's dual gain sensor and dramatically better low light performance. Plus better codec (IMHO), much better battery life and much better display.

@Super8 Latest Sports Illustrated cover was shot with a Sony A9 with a 400 2.8 GM. But serious pros don't use Sony right? ? Sometimes its better to remain silent and be thought a fool than to speak and remove all doubt - Abe Lincoln

Seems to get good reviews https://www.amazon.co.uk/ExpoDisc-Neutral-Portrait-Balance-Filter/dp/B00GUQJZCW/ref=sr_1_3?keywords=expodisc&qid=1579208829&sr=8-3 "A must for colour blind photographers!" Or colour blind cameras for that matter!

Click the top one and make sure you have "color managed" selected.

That's really common, and why many photographers have someone else help them in selecting their best prints. Gary Winogrand was a famous street photographer and used to deliberately not develop the rolls of film he shot for something like a year, so that when he was looking at the images he wouldn't remember the situations associated with them but would only judge the image based on the image itself. We're all guilty of preferencing a shot because it was hard to get, rather than the finished product being good

Fake Identity forming in a internet forum, allright.

I'd be very surprised. Considering that I have very little to do with being famous, with people who are famous, or with people who know people who are famous! My Bacon score isn't 6, but it's not 2 either [Edit: after a bit of searching (considering I'm not in IMDB) I got it down to 4. Not bad.]

Thought I'd share some grabs from some 4K60 I did last year. These are graded WITH added film grain. It was too clean without it ? Don't mind the lack of sharpness - I was shooting wide open at T0.95 on an SLR magic

Add the term "cinematic" plz In my photo/video discord server we call bokeH cream cream lmao

That one video alone might stop ARRI ALEXA Classic prices from falling any further in 2020

No, they are dng stills. I've attached them if you want to have a closer look. Just pressed record in all BRAW modes with a Sandisk Extreme 128 v30 U3 10 SD card and it didn't explode. Archive.zip

Cleaned it up a bit with a little carbon fiber wrap and added a 58-77 stepping ring on front for ND filter ?