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well its 4. 53 pm here also be aware, as masks go, option 2 isn't likely to cause any major panic

I've posted this idea previously, but for those that don't know, this is about trying to make a GH5 look like a BlackMagic Micro Cinema Camera. I have a few goals with this project: Learn more about colour grading Learn what makes the Micro have the reputation it has for image quality (and Mojo!) Learn what I can do to make my GH5 footage better The project was born out of the backlash of the P4K and the "it's too sharp" "it looks too modern" "they don't make them like they used to" and at that time I asked if anyone could shoot some P4K and BMMCC / BMPCC footage that I could play with, but it didn't work out. I began thinking about that, and I realised that one of the foundations of my film-making philosophy is to capture the best image I can but to try and shift as much work to post as I can, where there's time to optimise and really get the best out of the footage. Anything you learn in post can be retrospectively applied to all your previously shot footage, which for me as the family historian, has significant value. This project then became partly about proving my own hypothesis, that if you get a good enough image then you can do whatever you like with it. So, I bought a BMMCC, a cheap colour chart, a halogen flood light, an IR & UV cut filter, and here we are. Attempt #1 was shooting random footage and after I realised I forgot the IR/UV filter that was a bust. Attempt #2 was with a colour chart I printed off the internet, and gave me an interesting feel for what the footage was doing, with the various colour shifts that were exposure dependent and other squirly things going on. I learned some interesting things from that, especially that the Micro did a lot of the things that film-emulations do, like rotate hues into the warm/cool axis and saturate that axis a lot more than the other axes. Attempt #3 was with the same internet colour chart but starting again knowing more about the footage, and I learned a bit more about the nasties going on. Which brings us to attempt #4. This attempt was with the real colour checker, my face for some office-worker skin tones, and a different approach. BMMCC frame (graded with a WB, Colour Space Transform, and no other alterations): GH5 frame (attempt #4) : GH5 frame (graded via Colour Space Transform from Rec.2100 to Rec.709): One thing to talk about is that the GH5 was shot in normal 4K 10-bit HLG mode, but the HLG mode doesn't actually correspond to Rec.2100 or Rec.2020, and there isn't a clear specification that I could find that it actually aligns to, so there's kind of no standard way to convert it to Rec.709 that I know of. Certainly the above isn't the nicest colour grade, but it's for reference. The approach is based around a workflow that goes: Colour Space Transform from Rec.2100 to BlackMagic Design Film Gen 1 Simple curve to get the greyscale roughed in Main colour node, with a Hue vs Hue curve, Hue vs Sat curve, Hue vs Lum curve Fine-tune colour node with Hue vs Hue and Hue vs Lum Hue vs Hue and Hue vs Sat selectively applied to more saturated colours Lum vs Sat to desaturate blacks and whites Saturation boost on skintones Minor Gaussian Blur to match sharpness levels This isn't the only frame I am matching across - I took exposures 2 stops above the ones shown above, and another 2 stops below, and was matching those too. The +2 image matches pretty well too, but I have more work to do on the -2, although unless you are seeing them side-by-side then it's probably difficult to tell. The plan is to match: Colour Resolution Mojo / Motion Cadence / Coffee-making-ability I also shot the above frames in the 1080 10-bit ALL-I 200Mbps mode but haven't really looked at them yet. I'll also likely include the 5K h265 mode too. More to come.

It's amazing to me how dismissive people are of the benefits of M43. To me the only "insurmountable" negative of the system, at least on the Panasonic side, is the auto focus but even that, in my opinion, is overblown. Everything else can be pretty much remedied. Poor in low light? Throw a little light on your subject/scene! Need shallow depth of field? Just use the right lens! I understand why people love full frame. I really do! But you don't NEED full frame, you just WANT full frame. There's nothing wrong with that either but are you incapable of creating your vision using a smaller sensor? I doubt it. Two weeks ago I filmed a pro wrestling event with my 3 camera set up. My buddy did stills using the A7iii with the Sony 70-200mm. I blew his mind when I showed him the GX85 with the 35-100mm f/2.8. The two side by side was comical. Cost of his set up, by the way? $4,600. I paid $250 for the GX85 and $400 for the 35-100mm on the used market. Even if I bought them new though it'd have been $1,500. I know it's not the best comparison, but my buddy could've easily done his job with a G9 instead. Price of that new? $1,200. I'm rambling, sorry, ha ha, but hopefully some of that makes sense!

Mosiac engineering filter installed on the camera, tested with the kit lens ef-m 18-55 and the ef-m 22mm. MCM rewire, full sensor read out, upscaled to 4k Aliasing and moire is still present but reduced enough that I dont have to throw away as much footage.

Aside from what Kye said? Image stabilization, rolling shutter, lens adaptability/versatility, price, and the speed of innovation (that there STILL isn't a camera in this price range that can match all of the GH5's specs 3 years later is wild). OH, and the smaller cameras and lenses. 😉 Have you ever snuck into someplace you're not supposed to have a professional camera? With the GH5 and the 35-100mm f/2.8 I've gotten into festivals and sporting events that strictly forbid such things and gotten incredible footage. Try doing that with a full frame camera and any of the popular 70-200mm lenses. 😎 Or as Emily from Micro Four Nerds showed:

It puts buying the same lens twice because you forgot you already own it in the shade. That's for sure. Good job the shop owner in Barcelona was an honest fellow, he could have played it to his advantage! All the F1 stuff is done, and I've got race car fuel all over me... I am a bit combustable and face has gone red. That's what happens I guess when you have 150 laps each from 22 cars circling you for 3 days. The GFX 100 is worth its weight in repeat lens purchases. At least I can now stop buying cameras! It's the end-game* * For 6 months!

How about a smaller and cheaper C100 like camera (c1000?) with EF-M mount 😎

Really beautiful video on this post: https://www.fujirumors.com/fujifilm-x-t4-vs-sony-a6600-ibis-managers-explains-fujifilm-improved-x-t4-tracking-mini-documentary-shot-on-x-t4-and-more/ The paramotoring video is the one I'm talking about. If it's handheld I feel like it looks amazing.

To be fair, it is having a big impact here and two events I was definitely going to (CP+ obviously and New Order) have been cancelled but its because they are taking steps on an official basis whereas the UK and its absent leadership is basically just saying go home and take a lemsip.

It's 2020. Live streams.

Yes and given that he's off world, this Corona thing must have been bad.

His kind of goofiness and dipshittiness is nothing new and won't be going away simply because he just fell off the edge of the disc.

I think the main problem coming from these videos is that 90% are made from photographers that have limited understanding of video work. They think IBIS is a gimbal replacement or some sort of steady cam. It is not. If you add to the fact a lot of the footage displaying wobble artefacts are probably using the new EIS feature, well that just adds to the misjudgment of the IBIS. From the few footage that uses the IBIS correctly, it seems to me that it works really well. Nothing to worry about. Same thing for AF, even Canons dual pixel AF isn't flawless and won't replace a follow focus. There is actually technique to maximise a camera's AF sticky rate. Lens choice, lighting can also alter performance. That's not to say these pre-production cameras don't have issues, but until they ship these videos are just what they are: an early hands-on approach.

The videography industry is like any other line of work. You can work for someone else for an average / low salary, or work for yourself. If you work for yourself and you want to make money, you need to be "good" at business. Meaning you either need to be good at business yourself, be very lucky, or have someone who is either good or lucky to help and support you. If have none of this, good luck. You won't make much doing anything, much less videography. The better at business you are, the more you will make! Find your niche and go from there. I'm working my way up doing more and more corporate work. Just remember if you are freelancing you have lots of expenses you need to pay, so you can can't just charge $50/hr per project if you want to make money long term... Compensation ranges from $50 - $200 per hour per project. Not really worth it if you are making less than $100/hr, you have to pay for insurance, gas, gear, being stuck in traffic, sometimes assistants, computer gear, music licensing, software etc... All "hidden" costs you don't deal with when employed by others. Not to mention the work isn't steady and you have to find and make your own work. Of course this also depends on the level of your work and market. If you live in a smaller market and people only pay $200 for crappy videos... You will never make any money there. Freelancing is tough and you need to make a lot more to compete with the benefits from a salaried position (health insurance, PTO, vacation, steady income, steady income if you want to get a loan or mortgage etc etc) Currency above is Canadian pesos and not American gold (us worth 1.3x more). You need to find something that works for you. If you are a social media star go for it, but I am not one, so I had to find a more old school way, just growing organically (long personal challenging circumstances). Again like any other freelancing business, word of mouth is key! There are lots of ways to make money in this, I just prefer corporate because you can find good clients that won't stiff you on the bill and actually have some budget to make things look nice while not being full on Hollywood or advertising. I don't have experience working for a media company because tbh you won't make much, and from what I can tell the film industry side can be a bit toxic but ymmv. I spent most of my working life in an office so I'm more comfy with that culture. Pricing you learn from experience. There are some great yt videos on this and I'm glad others have talked about it. At first you take what you can get, then you realize you're not making any money, and you will need to figure out how to value yourself. Eventually think about your business like a business. If you hire a camera op at $30/hr can you charge a client $30/hr? Of course not, you're not making anything... You have to charge $60/hr for that expense... But start from step one. Do have a portfolio, is it any good etc. If you can't make it working for yourself there is no shame in working for someone else, it's just that it's hard finding a good (subjective) paying salaried job in this field. If I couldn't work for myself in this field, I would 100% do something else as unless you are in film and union your hourly is going to suck. Do not compete with Craigslist rates unless you want to be paid bottom dollar and never make any money. That's just my experience and opinion, I'm sure it does not apply across the board. Also dependant on living costs in your area and what you want out of life. Good luck!

Now Fujifilm has pulled out and only 3 remain - Sony, Panasonic and Canon. But due to coronavirus they are now in doubt, which means Photokina is likely now completely kaput! I think a good German camera trade show with a long history deserves better. Photokina has been mishandled for years. Sure, the final demise is virus assisted, but I don't see them coming back from this. What is the point of 2 or 3 manufacturers turning up every 2 years? The thing I enjoyed the most about Photokina (RIP) were the smaller stands, many of them from China. How many of those will be making the trip this year amidst a near-pandemic for a show that may or may not happen, but one that needs to be booked months in advance and costs an absolute fortune for exhibitors? Hopefully we get a NAB-equivilent for photo cameras soon, one a year, in both Europe and the US.

https://www.cbsnews.com/news/mad-mike-hughes-daredevil-and-flat-earth-theorist-killed-in-rocket-crash-2020-02-22/ How's this possible in the XXI century? Isn't there a limit for freedom of thinking? Flat earth theorist !?? Are they kidding me? Aren't there mental health authorities in US? I mean US, but could be anywhere else. Seems pretty clear to me, there's a border between common sense vs (plain/full) insanity. Why not to simply forbid this kind of acrobatics? Last time I heard there are rules for drones to fly... IMHO society (that is, all of us) represented by the State is responsible for such loss.

I have something similar and yep it’s pretty great. 18-200mm focal range with a mix of 1.7 and 2.8 apertures. I’m definitely made up my mind to get an EM1.3 with the 24-100 f/4 as a landscape/wildlife combo for those days I just want to relax and have fun shooting. Can carry all I need in one hand. Don’t need a tripod. Don’t need a gimbal. Can do landscape or wildlife on a whim, maybe even Astro. Don’t need to worry about weather or rain as the EM1.3 is probably the best weather sealed camera out there besides the EM1X. When or if we get a GH6 with GH5S lowlight ability and G9 or better stabilization then I’ll be extremely happy. In my humble opinion f/1.2 on MFT is all I need for shallow DoF. I think FF f/2 is the limit for me, anything shallower just looks like shite for video. And people use it as a crutch. Dont get me wrong. The GFX photos Andrew posted where really nice and creamy, but I consider that a special case for portrait photography. If that was a video, I’m sorry but it would be a party trick. It’s what I like to call “the FF fish bowl”. Great when you want to film in the toilet and not let the audience know where you are!

To be honest, sounds like the “lowly” GX85 punched above it’s weight. There is much more to photography and videography than the fucking sensor size. “Oh, buts it’s not Full frame”. “Oh, it doesn’t have that FF look”. M43 isn’t trying to be Full frame. It’s a lovely system. It’s very capable and can punch above it’s weight in many categories. It’s a FUN system with lovely cameras. Ask anyone that goes out with their EM1 or G9. You get to pack a light pack and leave the tripod at home. The new EM1.3 can take 50MP handheld Astro photography. Think about that for a moment. Are they as good as a FF camera with a tripod and some expensive lens? Probably not. I bet it was still fun as hell for the M43 user. And that’s why people like Tony Northrop need to shut the fuck up when they don’t know what they are talking about. Like somehow M43 is inferior? It’s actually pretty amazing and flexible system! Take a look at Chris Eyre-Walker or James Popsys. Think they care that they aren’t using FF? Nah, they don’t give a fuck. They see the virtues and trade offs and then just create and capture some nice stuff, all most all of it handheld, with a small kit, in challenging conditions. They leverage the virtues of M43. But they aren’t using professional equipment because it doesn’t have a FF sensor in it? Phhftt. And as we can see fromTony Northrop the full frame look can be highly over-rated. Thanks tony for the great memes.

I usually take a GH5, GH5S, 10-25 1.7, 12-35 2.8, 35-100 2.8, sound gear, monitor, maybe even a LED or 2 in a Lowepro 400 flipside backpack with a tripod strapped on the side. It's be difficult to take a similar 2 camera set up with FF. The more I think about it what I really want from a GH6 would be GH5S performance with IBIS, some kind of ND, punch in to check focus whilst recording (don't think they can do that though), G9 evf, S1H lcd screen and slightly better ergonomics. The GH5 pair are already 2 great cameras. A 35-85mm 1.7 to go with the other 1.7 zoom would be great. And maybe a double battery attachment thingy (instead of 1 extra battery).

Hey Glenn, I will just do that now!

If he got what he needed at the show then any advantage the A73 has wasn't needed.

Well, my friends, these are too obvious and even kinda tame, just like asking for a kickass underground hit and naming Bevore Sunset. :) Eoshd has awesome obscure posts and articles. Check this one out: https://www.eoshd.com/anamorphic/mystery-camera-revealed-sony-nex-5n-in-cine-housing-with-cooling-mod/ BTW, Linklater is awesome though!

Since I had and thoroughly used whole sets of Leica R and Zeiss Contax lenses, maybe it's not too unworthy to mention that there are also pretty big differences between lenses in either of lines. Precisely, above quoted Leica R 35mm f2 is indeed, without doubt by far the best lens between R's (even not just at pixel peeping level), following, I'd say not so close with 60mm f2.8 and 90mm f2 - but such combination of sharpness and mellowness at the same time is unique even for R's. (Even every last revisions of famous 50mm's need higher aperture to avoid noticeably even center softness on modern sensors.) So, comparing best of the best of whole line, with edge focal distance of an zoom, actually is compliment for Sigma 18-35. Interestingly, from my experience, if I have to choose similar unique character for one single Contax lens, I'd choose Distagon 35mm f2.8, even rather than Hollywood 28mm. (Also Contax 35-70 is surprisingly great, but for me not as much as its cpair Leica 35-70... Also very 'cinematic' SOOC result with modern cameras could be achieved with pretty underdog cheap, but mechanically brilliant R 28-70.) R's also have lesser focus breathing than Contax's. Another similar remark is that R line is mechanically on level upper to Contax line, and age deterioration with proper care even with intensive usage is remarkable close to zero, which couldn't be said in term of 1:1 for Contax's (although they are at the same high league in comparison with often confection-type of modern lenses).

This Jamie Windsor's video is probably the best video about composition I've ever watched. Seriously. He mentions the most important rules but it's just to lay some foundation for a discussion whether one really needs to rely on them every time. And I really like his motion graphics. There is also a book I can't recommend enough: The Photographer's Eye by Michael Freeman. Very thorough but still easy to read and comprehend. Lot of diagrams, explanations, etc.

I miss that too! Very annoying. The posts still merge together, but only if you post them only seconds apart. While before the limit was much longer (so long as nobody else had replied yet), ten minutes perhaps?? Wish we could go back to the old way? @Andrew Reid

Yes, but look at the cost of an Alexa Mini / RED Gemini / etc with any of the mainstream anamorphic cinema lenses. You may find Tom Antos' setup doesn't cover even a tenth of the budget of those. Exactly! I'm excited by all these new "cheap" anamorphic options which are hitting the market. No anamorphic zooms yet though. Heck, I'd just like to see more affordable spherical cinema zooms hit the market as well!

The bottom line with all small businesses is not so much about how good you are at your actual craft, but how good you are at making your business work. I know plenty of mostly photographers who are great at their craft, but not so interested/good at the business side. And they wonder why the phone isn’t ringing like it used to... There is no real ‘industry standard’ because the variables are too great. It boils down in the end to regular employment with benefits as perhaps the ‘safer’ option, or being self-employed where it is down to you 100%. I sometimes think I’d like the former option but the reality is I am better off on most levels, though perhaps not financially, ploughing the field myself.

What I'm getting from that is that I should just stay here and buy more shit, right? Gotcha.

I landed in Tokyo about 90 minutes ago, my body clock thinks it 4:30 am and I'm off to buy a Sigma FP. So pretty much normal addiction service is ongoing but the only difference is I'm wearing a mask. Which looking at me after 24 hours with no sleep will come as a relief to the shop assistants.

I was supposed to be flying to the Geneva Auto Show tomorrow, but it was just cancelled this morning due to Covid-19. I expect that most major events will probably be cancelled until a more effective treatment is in place.

I'm working up to this. I find that the GH5 viewfinder has served me well with good visibility in bright sunlight, but I've moved to using the flip-out screen as I can't see nearly as much and have to develop other ways to got framing right. I hope to progress to being able to use a camera without any video at all one day, and that's why I bought the Micro - at some point I just know that I'll have to take the plunge and leave the house without any monitor for it at all and then I'll be forced to compose, exposure and focus blind. It might take me some time to really build my skills that way, but it's worth it in the end I think.

I suspect coronavirus is probably going to put the kibosh on pretty much everything for awhile. No matter what area your involved in. May be a good time for england to pick up the pieces in couple of months if things get back to normal. Scrap that europe business idea, get it happening in england. Surely england could put on a good trade show. Get the queen down there signing a couple of fuji's perhaps, you could even flog btm_pix a stall for ten pounds 😉. It would work for a couple of years at least but i think mirekti is right things are changing, peoples are looking for cheaper options.

You have to post that just as I decided not to get a Leica R 35mm f2, don't you lol. That looks so good. This is why test charts are not a good metric of performance imo. I suspect the Leica is worse on a chart but the look of it overall imo is significantly better. And I really really like the Sigma 18-35mm as modern lenses go. It's a personal favorite. But the Leica is juts spot on. Looks good without any overt "vintage" feel, which I tend to chase excessively. I'm sending in an old 28mm f2 Contax Zeiss to get serviced and the technician tells me that even an apparently spotless lens will slowly develop invisible oil deposits as the helical grease ages over the course of a few decades. I wonder if part of the lower contrast "vintage" look is just oil deposited on the glass. Not always desirable when you're shooting film, but when you're shooting digitally it could take the edge off? What do you all make of this?

He's from the future. Around late-April to mid-May, firmware 1.01

"An Elephant sitting still".... Beside profound and tragic tone and breathtaking (and technically quite indie-achievable) cinematography, one of the most exceptional usage of tracking (walking) shots for cinema/story language, as also totally natural lighting. About both these aspects, maybe to someone could be interesting interview with DOP https://filmmakermagazine.com/107340-at-the-mercy-of-the-sun-cinematographer-fan-chao-on-shooting-an-elephant-sitting-still/#.XllD1KhKgxv https://filmmakermagazine.com/107089-its-inspirational-that-he-creates-a-language-to-tell-a-story-thats-his-own-hu-bos-an-elephant-sitting-still-discussed-by-dps-ed-lachman-and-philippe-rousselot-and-critic-adriana-prodeus/#.XllFb6hKgxv https://www.imdb.com/title/tt8020896/

You have an interesting idea of fun

Hadn't you mentioned it was shot on EOS-M, I'd be pretty certain it was shot on actual film. Congrats, it looks really convincing and beautiful. Sometimes it's good to listen to / see some lo-fi works. It somehow clears the mind and lets you see the message / feel the vibe more clearly. I hope that makes sense. ( :

I wonder if Coronavirus might kill the chances of some announcements happening at NAB this year :-/ Or ten years...! Oh do please share! 😉 (would count as "prior art", thus if someone did try to patent it, this forum thread could help strike it down!) Something to write on their tombstone? True! So many people think of MFT's sensor size as a "disadvantage", yet at times it is an ADVANTAGE

And if you can't read this story, as sad as it is, and acknowledge Mad Mike was a bit of a dipshit and a sign of the weird times we're living in, I'm not sure what to say. P.s. I miss when it'd automatically merge posts together. Sorry for back to back posts.

People give Emanuel way too much shit for silly reasons. English is a second language for him, chances are any slights are accidental and a result of that.

Plus it's great for low light - with f0.95 lenses we get exposure around T1.0 but DoF at FF equivalent of F2 which is much easier to maintain focus. I'm not attached to MFT but that one is a pretty significant aspect to get past.

Yosuke Yamane has said there won’t be 8K soon from Panasonic, wether that means this year or not until after the Olympics. I believe the only contenders for 4:3 STARVIS sensors that @androidlad has hinted at is a ~42 MP sensor and a ~54 MP (quad-bayer design?). With the Covid-19 heavily affecting production of parts and supply in most manufacturing sectors, I feel like we will get an announcement but may have a much later launch. When you look at the GH5 today, a 2017 camera, I find it absolutely amazing it’s still a top tier camera. 5K open gate, 6K anamorphic, 4K60p, 10-bit 4:2:2 internal, unlimited recording, waveforms, great audio, dual UHS-II slots, 400Mbit All-I, built-in time-lapse, and the list goes on! Even a fucking stop motion mode! Hopefully Panasonic continues the legacy and truly gives us something special. I love MFT and as you can see, it makes trades offs that give us all of the above I listed in a weather sealed, relatively compact, workhorse of a camera. Meanwhile Sony users are STILL waiting for 10-bit in a A7 body...

Hey, you are free to post whatever you want... obviously. I do. But instead of the "favorite" threads... why not advance the conversation in these specific threads? It could bump the threads and perhaps push the conversation in a different direction. Just a thought... carry on.

https://www.eoshd.com/comments/topic/20260-how-i-got-scammed-through-ebrahim-saadawi/

Come on bros. Deep down, you know the Canon R5 is more like this: I will be honest here, the only "rumor" that I was excited about in the R5 is the 4K/120 - that wasn't mentioned in the announcement, and there is a possibility that the cripple hammer will land on the rumor itself.... so it is what it is... lets have a good laugh and move on.

hadnt seen any S1H samples with the FD's but heres a S1 video with Canon FD 55mm f/1.2 Canon FD 85mm f/1.8, and Angenieux 28-70 f/2.6 Angenieux 70-210 f/3.5.