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Was browsing TradeMe (NZ's version of eBay) for radio equipment, when I saw to my surprise a camera: Panasonic GX80 for dirt cheap! Yusss https://www.trademe.co.nz/electronics-photography/radio-equipment/amateur-radio/listing-2583819575.htm https://www.radiomuseum.org/r/panasonic_5_band_receiver_gx80_rf_1680l.html https://youtu.be/EoJ_okQl5vU Oh wait, that is indeed a radio! Not a camera at all. Interesting, Panasonic "reused" a model name?

A little vignette I fiilmed last week with the beautiful Canon FD 20mm and the awesome Vivitar 90mm macro lens plus 50mm 1.4 SSC for the slomo at the end. First shot is in BW and colored in Davinci, filmed with GX85. Arrow shots at sunset between 12800 and 25600 ISO, which worked impressively well in 4K, not so well in slomo of course. I am very, very impressed by this camera. Battery life is good. With two original batteries one should be happy for the day. Sorry for the sound quality and lack of sounddesign. All shot in L monochrom and portrait with manual color temperature, 8bit 4k and 125fps HD at the end. High shutter speed for the fans of motion cadence. cheers

Remember to use the FM codec, AM codec have a lot of noise.

Has anybody tried taking the IR cut filter out of their GX85 yet I did for the EOSHD low budget camera challenge I broke mine but second attempt went well on a body I found for under £200. Should really share that footage some day

Hello, Not sure you guys saw the stabilization on the FX9. But looks pretty great to me. Apparantly it saves gyro information in camera and the catalyst software uses it to stabilize it in post. (so kinda like the steadyxp, hopefully Blackmagic will implement this in their next batch of camera's)

Yeah, and you have to have an NVidia GPU or it won't work at all. I have a ballzy AMD Pro card with 16GB of VRAM and I am not allowed to play 🤕

I like the motion of the the Sony IMX253's Global shutter... I hope others will use this sensor in the future as well. Here's examples of the mono version. I imagine this is what 16mm film would look like if it was low noise without film grain. I like the look and think it would be prefect to shoot an indy horror film on.... this sensor series has a lot of potential and film grain can of course be adding in post, low noise and global shutter can not. Good job Sony - nice sensor!

Speaking of AI, you lose lots of it with any of them from a double attitude: either immersed on multiple AI suggestions flooded through your browsing or simply ignoring it. That's where a digest effort from a balanced research can help. To select the content. At the same time when you orient some external perspective on your picking up, you're always excluding the viability of digression. That's where the contemporary interactive media counterpart flows. Who here has predilection for Deleuze? : ) I honestly don't understand how people expect to develop themselves going on unilateral frame of mind. Really. These times are also exciting for the number of possibilities they offer us to evolve, not exactly for the most recent gimmick. Hard to neglect such powerful tool as YT is, obviously, as well.

Doc shot mainly on RED cameras (90%+ of the film was shot on the Epic MX/Dragon), I am professionally involved throughout my activity as film producer and this unique endeavour with my veteran buddy Andrew Benz (Executive Producer and Cinematographer https://twitter.com/benzdigital) over 8 summers in Brasilia (Brazil) and the producer Sebastian Alvarez. Directed by Yoni Goldstein and Meredith Zeilke. One of 8 films selected by 2017 Dok.Incubator. Top prize, the Finishing Award, valued at over €12 000,00 to have credits and 2K SDR and 4K HDR color correction & DCP done in Luxembourg at Espera Studios. North American Premiere at True/False Film Festival 2020. International Premiere at Visions du Réel in their Burning Lights International Competition. https://www.visionsdureel.ch/en/2020/film/a-machine-to-live-in https://www.instagram.com/amachinetolivein/ https://facebook.com/profile.php?id=673829559432300 https://twitter.com/AMTLI2020 http://blog.ultrabrasilia.com/

Unfortunately, YT is a mess flooded by the monetization mania and I concur, the participation on footage subforum here is underestimated, anyway. No new cameras in the horizon to launch nowadays follows, the talking heads live sessions on YT grow up as new hype... as well, brands seem to choose youtubers to promote their marketing as a sort of new internet shills. Even the ads we had to avoid from generalist TV channels are now transferred ad nauseam to YT each couple of minutes, well, a weekly digest looks like a great idea for a new website indeed, Andrew ; ) With the current quarantine, I'm afraid we'll have exactly what Kye has mentioned on his new thread, and a decrease on content quality until the crisis will last, so be ready yet for some months to come...

I fully understand you Márcio @Márcio Kabke Pinheiro, seems we have no alternative to look in any direction indeed. Well, you're welcome over here for sure! : ) We've fallen in love with your country, no matter the current nonsense panorama and how incredible the situation the country of Bossanova is living today... : X Remember Jorge Amado... Roque Santeiro? Universal language. Take a look on this other feature documentary financed by ARTE: It is ironic this great name of the Portuguese language and Brazilian culture died exactly last year, isn't it? ; ) In the same way, the feature doc A Machine To Live In praises Oscar Niemeyer's work but not only... One of the main themes of A Machine To Live In is Brazil’s dream of building a first world utopia and ended up dropping a nightmare into the Brazilian cerrado... The Citizens then took these themes of utopia building back to their satellite cities. These are their reactions so to speak to living in the Dream of the Others. shot from A Machine To Live In (2020) by the cinematographer Andrew Benz over Brasilia Rodoviária / central bus station

My partner's last feature to be currently distributed in NZ with the support of NZ Film Commission, Australia, U.S., Brazil, Europe, among more than a dozen of territories worldwide, shot on Blackmagic Production 4K camera recommended by me BTW @CaptainHook @John Brawley with more than 20TB cDNG native footage. Just my two cents... The feature is much more interesting than the trailer. Superb cinematography and grading BTW, without mention directing work and original soundtrack by one-man-show Bernie Rao:

Just a cheap chinese DMW-DCC8 coupler.

Awesome thread! For a camera this size it has very good ergos I must say. So in its own right, it is one of the coolest cameras for the cinematic moments on the fly. Almost a 4k pocket cinema like Andrew wrote in his review. It only lacks in super low light with mushy noise reduction and high light roll off for the perfect perfect "cinematic image". I think it produces a "rec709 cinema image" if one can say that.:) @Andrew Reid Hallo Andrew, like the posters before me, I would enjoy to see your IR footage with this camera. Btw, the black and white image is nice in L Monochrom, with extreme color temperature and a bit of Davinci.

So, it took me almost a year to grow into the decision, BUT I started to support Patrick (aka The Wandering DP) on Patreon last month and I wholeheartedly recommend doing so. It's a great way to learn how the different shots were created, what's the idea behind them and how were they lit - spoiler: it's not really about the strength of the light, it's how you tailor it to your needs. Every podcast / steam feels like an excerpt from "The Photographer's Eye / Mind" by Michael Freeman, except it's a video and you can follow along DP's way of thinking. Right now it's my e-learning site of choice, lol.

P.S. If my X-T3 shots don't look so hot, they were blow-ups from the full frame's view: and shot in available light in UHD at 60p but only 100mb/s, at ISO 10,000 since it was a quick and dirty lens test. Didn't know I'd be putting this online.

I think Fuji would do really well if they made a mini cinema camera (XC-15 or a bit smaller than C100) with a Super35 sensor since they have so many lenses for APS-C, people love their color science, they produce a great image with X-H1/T3/T4, etc. And, since they have no upper cinema camera to protect, they could put whatever they want into it, even some things that other manufacturers won't do at this price range, like internal raw (outside of Black Magic) and IBIS (though I know "cinema people" will complain, many many many people want it, especially on the lower end of the market (under $5k). And it's gotta have NDs and some sort of dual-XLR solution. I'd be very intrigued then.

The X-H1 seems to be £699 brand new at the moment and I don't see how Fuji make any money at that price. It's such a well built and high-spec camera. The shutter mechanism alone is one of the most advanced mechanical designs in any modern camera on the market. If I were them, I'd have released the X-H2 already and bumped the price back up, getting shot of the old one. I thought it might have been discontinued at one stage, but I think they are still making them and sales seem ok? I'd argue with Fuji that the difference in design and operability alone does allow it to coexist quite happily!

I also use the GX85 as a b-cam / backup to my GH5S. Works really well. Gives me access to IBIS too! The image is very good. It's feature-packed. Obviously where it lacks is in overall ergonomics and usability as it's a little compact thing, and thus a bit fiddly. But I can squeeze it into awkward places, carry it on hikes and trips, and throw it into my camera bag as a virtually weight-free backup body. Awesome.

The X-H1 was nigh on perfect, Fuji should just put the X-T3 sensor & 10bit in it and get it out the door. I don't see the need for any complete re-imagining to be honest, although some sort of electronically variable ND glass over the sensor would be nice.

Oh I didn't know that... I'm lucky then (Nvidia GeForce RTX 2080 Ti) 🙂

Just an experiment really. I had a visible light cut filter for my lens and wanted to shoot the piece only in infrared wavelength Also had memories of taking out the AA filter from the 5D3 back in the day which let some more IR into the image, when mixed with normal light it gives you a nice warmth to certain colours and brings up the shadows.

I have not been able to tell, but what I can say is there is a distinctly worse quality coming from the S1H H.265 encoder vs the H.264 encoder. I was editing a music video I shot a few months ago, and I could really see how bad the HEVC stuff was when it was right next to the other codec.

Great images, Panny. The slow-mo sling shots are out of this world, they look very characterized - almost like from a 'Sin City' movie. ( : /OFFTOPIC: I love the fact that those kids still play outside and seem to have a ton of fun just being together. This is proper childhood - not being glued to a tablet screen.

I'm quite a fan of enabling EIS on post based on gyro and other metadata. Insta360 allows you to turn it on and off in post so you could decide what is best. For example if you have the camera on a roll-cage in a car you want to have it off but on a helmet you want to have it on. With GoPro's you need to select it first as it does on the camera itself on insta it does it on post. Also in post it could use more processing power of a PC, disadvantage you need to process the files before using it. It is very cool on the FX9 that you can do it in post, I hope Canon will follow as they simply need to add the metadata (maybe is already there).

This is the version and setup I have.

Please do. I'm quite interested to see how it looks like. What was your motivation to remove it in the first place?

A C100mk3 with 10-bit internal, clog, a decent screen, and 14 stops of DR and DPAF in all modes would do so well. No fuss, beautiful colors straight out of camera. I would rather have a solid 10-bit image than fuss around with 12-bit BRAW (good as it is) since most of the image content is consumed on compressed 8-bit streaming codecs over the Internet and viewer on phones, tablets, and laptop screens.

Those little Panasonics are great. I had the GX7 for years and later on had the G80/85 which is also really quite small and light. I found them to have particularly good images in woodland type areas. Nice shots, well done!

This is not the YouTube Video Digest Can we cut down on threads where there are 3 or 4 youtube clips in every post? How about making or OWN content rather than reposts?

I've always appreciated your digest research BTW for obvious reasons. YT is unbearable these days. Suggestions by AI don't fulfill the purpose at all. Hence I believe we can't wear all the same shirt for sure : -)

Of course, I will share the video. I agree with you. Though with AVCHD I did not see my image break apart nearly as fast as I am used to. But knowing the noise level I also tried overexposing 1 or 2 stops, so I exposed to the right while still trying to fill the histogram. Thanks Indeed I made a vibrance note, because it is a great way to increase the look without going to far. I used a key to pick the less saturated part, skipped the skin tones and desaturated the rest.

Probably they see the video embedded feature with some different use? I think Andrew nailed it with the digest concept. As written up there, it doesn't seem a bad idea at all after all since I guess it is consensual the overload exists from the origin on YT as our contemporary video hosting mainstream or am I wrong on it? ; ) What seems pretty clear to me it is that despite the repeatedly calls from our webmaster here, the footage subforum on EOSHD keeps going overrated as it has been well observed in this thread. And I continue seeing a few people who present themselves as professionals but I can't find a single work or gig they had worked for years I am reading this website in any way other than as their customary blah blah they'll buy the wishful list of next camera to come...

What C300 guys? we still do not have a C100mkIII a bazillion years after the II. I do not need C300 size/weight/price, the C100 was our workhorse for so many years, C200 isn't even close. Last 3 internet jobs we did we used a 5Diii that is available in the company for pictures, until recently we were using a C100mkII all the time, now, we did a few jobs with a C200, but the head of the office doesn't find it necessary to rent a C200 anymore, so they do not rent at all, while lights and sound have the same budget as before. For years we are crying out loud for an XC body, even if it EOS - M that would brilliant, a few dead cheap M lenses and perfect EF adaptation. If Fuji does make a video centric camera in ergonomics/desing/features, not only in description, I would go all in Fuji, now I am not very impressed with a lot of things (lenses, ergonomics/menu). Noone can really make a body with internal ND? Is that so complicated to achieve? This is mainly the only issue I have with smaller cameras, internal ND filter and a few sound ins/outs, are what we really need for our video cameras, and I do not need a C300 style camera, if I want a bigger camera I can rent, but a smaller one will be my everyday workhorse. Fuji, do it already..and have some more videocentric lenses. I really respect the opinion of lenstip, and says for the 16-80mm, a lens a lot of us were waiting https://www.lenstip.com/571.11-Lens_review-Fujifilm_Fujinon_XF_16-80_mm_f_4_R_OIS_WR_Summary.html "We expected a lot and we got much less. We found out the Fujinon is optically a sensible lens with a universal focal range, fast and accurate autofocus and a very efficient image stabilization. Unfortunately there were some flaws and their number, taking into account the price tag of $800, we consider to be definitely too high. To sum up I find it difficult to recommend this lens if its price doesn't drop fast by at least 25%. I hope it will happen soon and the fans of the X system will have more reasons to get interested in purchasing the tested Fujinon." I will stay with my Olympus 12-100 for the moment as an all around lens, and my 16-50mm 2-2.8f NX. I do not shop only bodies, lenses have to be the right ones.

Great piece, thanks for sharing! It's a really mesmerizing / hypnotizing trailer, reminds me a lot of 'Baraka' (1992). Something that at first looks like a montage of abstract, unconnected shots depicting us and our behavior, but after watching it in full, you are surprised you didn't grasp the whole idea earlier. What truly makes it shine is sound design and editing - those are top-level and keep the viewer engaged. Congrats!

They did at IBC 2019 before the ghosting fix on the S1 was available. Was talking to some engineers over there, they even knew who I was and knew the samples I sent. Sadly nothing really happened. Did a collab video with Gerald Undone on this issue and did some promotion for my HLG Lut as well, since HLG is the only way to capture the same amount of dynamic range and color volume using the S1H without having an image which breaks apart quite easily but isn't easy to work with on the other hand without a proper Rec709 conversion to begin with. 55M Advanced Lut for S1H

Not mine but very well done. Thought it kept the spirit of @mojo43 film above.

You need to download the beta version of Premiere Pro to use the ProRes RAW files. Open your Adobe Creative Cloud app and it will be on the left column. For now Premiere only support the exposition changes for the RAW files, neither the ISOS, WB or highlights/lowlights can be changed. Little to no advantage to use ProRes RAW for now. Resolve RAW development module has always been my favorite, hope it will support it too !

Considering you're stuck at home and using the wife and daughter as crew and actor, it goes to show what creative people can do. Well done .

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