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Well I can say I'm pretty impressed. It works in bright conditions as advertised and the files I'm now getting from my Z6 are blowing me away. More samples and impressions to come.

Brave

I am glad I ditched Sony and go back to Canon last year, all I need now is the tasty new body 😎 But man those new R5/R6 definitely make my R look like dinosaur for sure, but R still producing pleasing image with minimum tweaking. Now just need Tamron to port their lens to RF and that will be perfect.. not all of us need big expensive lens. My interest for Red Komodo 6K drop to 0%

Sounds like your blog name might finally start to make sense again, although the "HD" is starting to look a little small compared to 8K 🙂

Sounds like this is going to have a fully articulating screen. Fuji is going for the jugular.

Another one of my favorite Plastic Fantastic lenses is the Nikon Series E 50mm f/1.8. When the Series E lenses were released, Nikon was chastised for their poor build quality. But in comparison to today's lenses, they're built like tanks. About 6 months into filming my movie, life took a turn and I went through a rough patch that's really just beginning to smooth out. Unfortunately, that rough patch forced me to sell all of the lenses I was using to shoot my film. I dug deep into the gear closet and pulled out the Nikon 50mm 1.8 Series E. This is the result of that test... In some weird way, the rough patch I went through was a blessing, it forced me to look at my film in a different way and eventually led me to probably my favorite of Plastic Fantastic lenses... the Canon 28mm 1.8. I've posted plenty of shots from that lens, so I won't bore anybody with them, but that is one lens I will never sell. By lens metrics, it's not even that great of a lens, but its rendering oozes character and mood. In my opinion, it's probably my favorite lens of any lens I've ever used. Canon has a few Plastic Fantastic lenses. I would love it if Canon came out with a budget friendly cine lens lineup using these lenses' formulas in proper cinema housings.

Spotted this last night on Curb Your Enthusiasm. A GH5s being used as a prop deposition camera. It’s in a cage which makes me think this is an actual production tool. Maybe a crash cam or second unit. Pretty cool.

I was looking for some 50mm stuff in my test library and found this. Looks like I did the promo shot for the testing but for the life of me I can't find the test images themselves so I'm presuming I never actually did it ! I could do though if anyone is interested.

Historically Resolve uses GPU more and Premiere uses CPU more. I use Resolve so I'm not up to date on Premiere builds. For high performance, stay away from a laptop unless you need the portability. Even the best laptop components are designed primarily for small power draw, and the compact size has big thermal compromises. Building a PC is pretty easy if you put a couple hours into research. Get a good size desktop case with good airflow and plenty of case fans to keep it from thermal throttling, and to keep it quiet (large low RPM fans are quieter than small high RPM fans for equal cooling). Speaking of noise, SSD's are your best friend for audio work. A single 7200rpm hard drive is the loudest part of my PC. CPU: There's a lot of praise for the new AMD chips. After using Intel for 15 years, I'll switch to a Ryzen 3600 next upgrade. Benchmarks show it outperforming higher priced Intel CPU's for Resolve. Another plus for AMD is they they switch sockets less frequently, which gives a cheaper upgrade path (ie you can upgrade CPU without needing a whole new motherboard as well). GPU: I've been very happy with my GTX 1080 for Resolve, I haven't used anything RTX yet. But if you're going from a 1050 I'd go for a 20-series rather than a higher end 10-series unless you find a really good deal. My GPU really isn't a bottleneck for anything I do, which includes Blender, Fusion, and After Effects.

Will that be necessary for the EOR5 ? 😂

They are still working out a deal to get 24p in 1080 on the 1DX3.

I think that the most important point is: this time Canon provisioned the budget for the 24p modes licenses? (insert irony here)

This thread is for all of those cheapie, plastic lenses that shouldn't be as good as they are. There are a few well known lenses that carry the moniker proudly like the Canon 50mm 1.8 and 40mm 2.8, or the Nikkor 50mm 1.8 D. But there are some lesser known lenses like the Tokina 19-35mm that have a cult following and are often referred to as a "Plastic Fantastic." The first lens I will mention is the Canon 24-85mm f/3.5-4.5. For the price, it shouldn't be as good as it is. Here's a sample frame from the 5D Mark iii with ML Raw... I have a few more on my computer I'll add later today. Do you guys have any favorite Plastic Fantastic lenses? Please share and upload some sample videos or video frames.

Plot twist: once they release the great R5 and R6 cameras and get everyone hooked up an invested again in RF lenses, they'll crippled the hell out of the next release for 15 years to promote the new generation of Cxxx RF cameras. Evil !! #seeimpossible

Exactly the same I did ! Ditched Sony last year tired of trying to grade Slog on an 8 bits codec... Even C-Log in 8 bits is way better and more solid thant S-Log in sony mirrorless. I came back to canon and I really knew they would commit fully on mirrorless bodies. Tamron, Sigma and Samyang/Ronkinon will port their lenses, it's just a matter of time... Good times...

I have been thinking a lot about the imaging pipeline and where the bottlenecks might be/where the lowest hanging fruit of the upgrade will be. I've been keeping my task manager on while I edit, and when things get laggy (lots of effects, h.265 files, rendering) typically the processor will be maxing out while the GPU is not overly taxed. The Ryzen 9 3900x does benchmark really well against the price equivalent i9 9900K for mulit-core tasks . The i9 actually does slightly better for single core stuff. My question is, and this shows what I know about computer processing, are most non-gpu video processes mulit-core or single core. My accountant 😉 is very leery of the value proposition of me building my own box, though I haven't ruled it out. I found a desktop/workstation build that has couples the Ryzen with an RTX 2080 super and the board can be upgraded to support Thunderbolt 3, so there's at least that option at the top of my price range. I need to look at the memory and storage (2 SSDs) to make sure they'll be up to snuff. It's a machine targeted at gamers, so it has all kinds of silly RGB lighting, but as long as I'm not paying any extra for it, not a big deal. Like I said, definitely sticking with Windows, so no need to discuss Macbook options. I have looked for Ryzen laptops, but they don't appear to have hit yet. I like the possibility of being able to port a box around to show clients work, but I don't know how important that will be to me in the future and other than that I don't have a big need for a mobile workstation. So most likely it will be a desktop/workstation.

I wouldn't count them out.

I think it would be a misstep to go back to 8-bit after showing the goods in the 1DX III.

We need someone to make a box with a sensor, processor and SDI/HDMI and fittings for water cooling. For studio use or external recorder. Just feed it 5V or 12V for power since you want to rig it anyway.

I felt seen, haha.

Nah, not buying any new cameras this year. I'm sticking with what I have. I'm fully aware that getting a newly released body would mean upgrading my PC as well, since it already struggles with 4K 10 bit files. Ain't nobody got money for that! Maybe I'll invest just a little bit into lighting gear: some reflectors, a softbox, a key light - a bare necessities for paid interview / corpo jobs. It's high time I began unleashing the true potential of my gear.

If this is true Sony and Panasonic are going to have a real problem with all the pixel peepers going back to Canon. For us that don't care we can get a good deal for a A7S2, GH5S, S1H or C100ii in the near future...

mighty interested in this as well. Heck, we have the S1H and XT-4 for anamorphic nuts like me already, i really wonder what Canon will pony up in 2 weeks. The canon really got one big advantage over the other 2 : the RF to EF ND adapter. that alone could sway me.

https://www.canonrumors.com/canon-releases-financials-and-lays-out-advanced-eos-r-plans/?fbclid=IwAR0p-iQG09dDym6CRrOc7mEW9Ek_xDZ6VJ9HCldtL3JTmtcicQcFDMzGXrA Looks like Sony might delay a7S III once again 😄

How could I have known that the aforementioned partner was male, hahaha? I though he was a she! But I'm not judging! Just keep doing what makes you and those around you happy.

I currently run Resolve on a MBP and have upgraded to an eGPU. Computer is: 2.9 GHz Intel Core i5, with 16 GB ram eGPU is: SAPPHIRE AMD Radeon RX 470 4GB Resolve splits the processing between CPU and GPU and I think the biggest challenge is getting the balance between both of those. When I edit the 5K h265 files from the GH5 it can only play them back (with no processing) at around 15fps. It's way less without the eGPU connected, but when I'm getting that 15fps the GPU isn't maxed out, it's actually the CPU that is at capacity. The behaviour is similar for the 4K h264 files. I've spoken with BM support and they said that the AMD hardware decoding of the files is pretty new, and so much of the processing is done by the CPU and not the GPU. I was planning on upgrading to the new AMD Radeon 5700 but considering the 470 isn't the bottleneck in my system there isn't really much point AFAIK. Now, if I start applying lots of effects to the footage, lots of that processing happens in the GPU, but all the decoding and other bits will still happen in the CPU, so it's about what is the limitation in your own workflow. If you are grading the footage within an inch of its life with many effects then you will need more GPU and if not then it'll be more about CPU. and the PITA part is that Resolve works great with external GPUs, and gets better when you add additional ones too, but you can't add an external CPU, and that's my current bottleneck. I'd encourage you to think about this as a processing pipeline and you're looking to put your budget into the things that will be the bottleneck for your workflow. I'd suggest doing lots of reading and try to pull together the little snippets of info from forums and YT videos etc into a (hopefully) coherent picture so that you can make sure you get enough capacity for how you work and the software you use.

thanks! I was mostly using Samyang 12mm f2 and a few times the Fujinon 35mm 1.4 with AF. I find that it works for me if I don't move to fast on the gimbal. I think I was arround 2.8 on the 35mm

Linus has seemed genuinely frustrated about RED at times. Excellent point! Why are they not doing this? Maybe the big makeup channels are secretly doing this.

Panasonic 25mm f1.7 is perhaps my favorite / most often used "plastic fantastic" lens at the moment. Quite tempted to get the 42.5mm version as well.

I do not have it anymore but the Canon 40 2.8 is one of the best value for money lenses going in any system for me (I think only the Sony FE 95 1.8 is better value and i do not have THAT any more either). The 40 2.8 works great adapted to M43 as a portrait lens, is nice on APSC and I like it as a slightly wide normal on FF. It even works ok on Canon DSLRs (not that i used it on mine much).

Last time I checked, my phone didn't have a fan and is extremely compact. Let me check again....Yup. Yet, RED has a heatsink on their sensors....and feels it's important to give you temp readouts for their sensor. MY guess, is that the DSPs they are using are still stuck on old process nodes, even as old as 55nm. Compare that to the latest Apple and Samsung devices at 7nm. A lot less heat and voltage at 7nm.

They are Exposure Pres, conversions made with the same interpolation system as the other conversions (converting color in the mix). Its a lot of fun to use in conjunction with the conversion. The P4Ka workflow video shows it in action in Resolve, though it applies to every NLE (and the Posts, which are an essential part of the picture): They may be stacked in order of greatest to least, and all may be used in conjunction with gain key/opacity to dial in an exact value (Post or Pre).

Sharpness at -5 for sure. NR can be a personal preference (some are noise averse and prefer the ease of NR in cam). Though -5 would be the Arri equivalent, from a purist perspective. Indeed, for VLog, 400 is the base. Then it goes to 200 for Cine-D, but this is just the labeling (200 really is 400, in VLog land) Yes; lately I've been recommending the simple rule of thumb to anchor everything around the center of the waveform (leaning higher rather than lower), no matter the profile. This is because all profiles share this middle 'cross point', and diverge from there (with varying contrasts), and 50-60 is generally where midtones should place (in exposure for EC709, not for post placement). The great news is that exposure/luma is about to become a breeze, in roughly a week.

Yeah, and then at the product announcement you read all the *** *8K at 30fps: Timelapse mode rendering only *4k120: 2.3x crop, AF disabled, 2 seconds recording limit, converted to 30fps only * 7-8 stops IBIS: when combined with 1.8x EIS crop, AF available $8995 That's being said, if they finally give us clean 4k60, no crop, full sensor read out, no binning or skipping, and not BS crippling, I'll order it right away at $3-4k. Hopefully with some sort of articulated screen and not the size of brick.

Disclaimer up there (for native speakers ; ) BTW: Business partner Hope this may help to clear up the whole thing... LOL : -)

Canon traditionally released under whelming spec’d cameras and now suddenly has the fastest readout of any sensor, better IBIS than Panasonic and Olympus, and 8K 30p RAW in a mirrorless form factor? Why isn’t that in the C500, their flagship cinema camera?

I’ll believe it when it’s released and in peoples hands. Highly doubt Canon would sell you an R camera with better specs and less money than a C500.

@DaveAltizer cool suggestion, but as much as I can appreciate RED’s workflow and IQ, I can’t support a company with questionable business strategies.

I shot a quick test this morning with my FD lenses on the Mini LF. It's dogs instead of cows. Not exactly what you guys are after but happy to share for what its worth... it's quite a nice DR test at least. I cut this in Resolve an exported without any adjustments. https://www.dropbox.com/s/lo9myfc9gbqh9ku/MILF_PARK.mov?dl=0 Format: Prores4444, 4.5k, LF 2.39:1, ISO 800, 60fps Canon FD: 28/2, 100/2 I wouldn't expect too much from the Alexa in low light. The highest ISO you can set is 3200 (there isn't even the option to go above this) and there is some noise present. So I will test at some point though.

I think the GH5 is a sleeper camera, along with many others like the UMP, C100, etc. These cameras are good enough quality so the images easily meet a professional standard, aren't fancy or odd enough to be bragged about, and aren't used on large productions that have interviews with the cinematographer. People talk when someone shoots a feature film on an iPhone because the perception is it's not good enough. People talk when someone shoots a project with a camera that is fancy or odd, or when the camera doesn't traditionally suit the project. and if a film has a huge budget and wins awards then everyone gets interviewed and there are four paragraphs about the lens choices and the phrase 'colour science' gets mentioned. But when someone shoots a documentary / ad / training course / low-budget series / short / or indy feature with a sensible and capable camera, there's no press about it. That's the GH5, XT-3, UMP, C100, etc etc. I would be very curious to see what percentage of all edited content consumed is shot on these types of cameras. I think it might be a quarter. But that's the point - we'd never know, because it's not remarkable. Therefore no remarks are made, and we don't hear about it. These are the cameras of the people quietly working outside the limelight and delivering good quality content.

That is great to hear! But also he kinda "hit the lottery" Your colleague was right to be concerned, that was an extremely unlikely result for how it turned out for his son.

Not mine but I felt like sharing this showreel since it's a nice reminder that cameras like the GH5 could easily be an A camera on a production.

Even 40mm f1.2 works pretty well on Fuji XT3 APS-C with Bolex Moller 1/32/1.5x. My new lens Voigtlander 40mm f1.2 VM