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What you haven't heard? Canon Egypt gave the green-light for the R5 dentist undergrad beta test program! 🎬 🎬 🎬

Just throwing this out there... So the plan is - I will be putting some future blog posts out in Mattias Burling style, with the voice over, the artistic shots and camera gear reviews in video form. I really like this format and Mattias did it brilliantly. The other thought is around some kind of live streaming and online camera 'festivals' with a good atmosphere and lots of guests. Like CineGear but online. I'm open to advice and what you guys want from EOSHD on YouTube. It is actually going ahead this time in a big way and won't be a one off podcast or interview. Suggestions welcome and ideas even more so

Dude, its the shooters fault. You know you need an IR filter to avoid situations like this. Its like shooting wide open at 1.2 in the sun without an ND filter and then complaining in post see everything is overexposed. Not sure why this comes into play into a color discussion.

Examples like these should encourage filmmakers to question if pristine IQ is actually a benefit for one's movies. I know I have a good-ol-cowboy-western script on my shelf that, if shot, would be well served by lo-fi'ing the image a bit.

Meanwhile, this was made using original BMPC and a £12 CCTV Lens (Fujian 25/1.4). Not mine work, just sharing. https://www.reddit.com/r/cinematography/comments/gcnw74/just_completed_my_first_feature_clays_redemption/

Just popping in to say that I quite like Deep Impact. Coincidentally, this thread couldn't have been more destroyed if it had been hit by a giant comet either.

I call you out as a fake and liar. If you were a professional colorist, then you would know that in the age of RAW cameras, colors are what a colorist makes of them. A camera's out-of-the-box "color science" hardly matters to colorists if you work from 10bit/12bit Log or RAW; it only matters to quick turnaround-documentary and ENG video makers who rely on the camera's factory color profiles and do not have post-production colorists. Judging colors by YouTube videos, in highly compressed 8bit 4:2:0 Rec709, is ludicrous anyway. Any RAW cine camera today - even Blackmagic's $1200 Pocket 4K - covers more than the Rec709/sRGB color space. Difference in color gamut will only become visible in greater bit depths than 8bit, with better color subsampling than 4:2:0 and wider color spaces such as Aces, P3 and Rec2020.

I was actually thinking the same! this fella sounds dodgy claiming hes pro colourist etc knows his stuff but yet hasn't got a thing to present keep avoiding members questions by interpolating them.

...and posting no links to work or a reel. Does your first name happen to be Ebrahim?

I am sure a lot of bad footage you see online from blackmagic cameras is from people not using IR cut filters. All blackmagic cameras even the Pocket cameras need them. Another issue is just white balance that is off. Unless shooting RAW if you rely on a faulty auto white balance or simply don't manually white balance correctly you will have funky colors. I've seen plenty Canon footage that looks pretty whacky that I attribute to bad WB, same with Fuji. One of the huge advantages of RAW, probably the biggest for me at least. Honestly that is one of my big issues with Black Magic. Their reasons for not including IR cut filters built in are stupid. Thankfully you can install one in the Ursa mini without having to use ones you put infront of the lens.

I'm not going to debate anything with such a blatantly obvious Armageddon fanboy troll

I like Deep Impact too. Though most prefer the other asteroid movie from that year. Maybe we should switch discussions to an Armageddon vs Deep Impact debate. Would be more fun. 😂😂

It would seem so... see link https://www.eoshd.com/photo/shooting-with-the-canon-dream-lens-50mm-f0-95-on-my-sigma-fp/ I never knew Canon used a different colour science for Photography instead of the one they use for video. Wow... you really know things other people don't. 😂 I do have an opinion on it, but I feel you're not in the right frame of mind to receive it. So which Canon colour profile is the most accurate for colour? Do you know? I feel you're making things up about colour science as you go along.

Well color can be a subjective matter, if you post your work, people will be able to tell your skill level, if your work is out of this world then people will respect your opinion more, and if they find your work bad then they will render your opinion meaningless. So def matters a lot.

https://pdnonline.com/gear/cameras/the-best-cameras-for-color-reproduction-ranked/ Please please do tell us what is "bull sh*t" with the testing by Image Engineering for color accuracy? Explain with specifics and details, I'm all ears to listen and learn. Have a read of this first: https://www.tipa.com/_assets/pdf/TIPA_Camera_Test_Image_Engineering.pdf Have you done better scientific tests of cameras' colors than this yourself?

If you ever decide to launch a hobbist camera project, I'd be willing to contribute some of my free time to designing the user interface module. I've been an advocate of real simple UIs (User Interfaces), however with a balance of the things you need most often right at your fingertips at all times. Today I mostly don't like any of the user interfaces on any of the usual suspects in the camera business (Canon, Nikon, Sony, Fuji, etc), and I think this could be much improved if these manufacturers gave us tools to create our own user interfaces and be able to share them with anyone else; heck, it could be something as simple as designing the UI with HTML, CSS and/or JSON and then providing javascript hooks into the actual functions, something similar to this: camera.setISO(800); camera.setSpeed(50); camera.setApperture(lens.getMaximumApperture()); timeToShoot = 300; camera.shootVideo(timeToShoot); etc

but if you have it, you may as well use it right 😉 as forest would say, life is like a box of chocolates 😎

well they use the same sensors to begin with... other than that I'm not really a fan of such tests it's like pixel peeping for color. thankfully there is no color accuracy category at film award shows

Please do a Sigma FP video review. I would love to see 4-5 minutes shorts, each show different aspects of the camera. 5 min about DR in different bith depth modes, 5 min low light against A7 III / S1 / etc, 5 min about color comparison. My favourite videos from you are the comparison shots between cameras. Or one big 20min+ long review, but it's a really big project

This is awesome! A raw action camera is what I'd like to make.

I've had similar IR issues with footage I've received from the Ursa mini but nothing as severe as the above with the P6k. @Super8 is right that by the time a colorist receives footage, it's rarely raw anymore, if it ever was. For instance any visual effects shots are going to be delivered in ProRes or DPX or something even if the project is shot in raw. I expect the IR pollution shows up in the monitors but is lost in glare. I saw it happen on a Red MX shoot too, but not nearly as bad. It's a real problem. Pro ACs and operators can pull focus better than you, but they're not necessarily knowledgeable about prosumer video. A few years ago I remember reading in ASC mag I think about a network series shooting Alexa in ProRes 422 1080p instead of HQ I think? As bad as your storage issues might be, imagine scaling them up across an entire series... A lot of the time amateurs and small post houses are way ahead of larger studios technically. You can afford to shoot raw. NBC can't. I suspect this has changed to an extent by now, of course, but it's worth considering what luxuries we're granted in different segments. It's also true that raw isn't the same across cameras. Disregarding the potential for IR pollution, etc. different sensors have different noise levels and different chromaticities based on the dyes used. I worked with a DP who was on the ACES board or knew someone on it–or something–and manufacturers would send in data from their sensors. There're all sorts of differences between them. If I remember correctly, Red, for instance, had green and red chromasticities rather close with its early sensors, so you got ruddy foliage but then the Panavision DXL fixed this with software and you could grade it to mitigate it pretty well anyway. Apparently the C200-generation Canons have a special Bayer array to capture a much wider gamut than their predecessor so they can be used in BT2020 workflows. Granted, raw footage can be graded with more flexibility than raster in general, but raw footage isn't necessary as interchangeable across camera systems as would be ideal. Of course the whole point of ACES is to equalize things as best possible so it's not entirely hopeless matching cameras. But the raw signal from an Alexa is going to be way better and way more flexible than the raw signal from a less expensive camera. I forget what the original argument was. But amateurs have advantages larger studios don't in all aspects of production. I talked with a grip who'd worked on an Adam Sandler movie and they had these massive nets and 18K HMIs set up primarily so they wouldn't have to wait on cloud cover. Not even because it looked better, but because it was too expensive to wait. Chances are you can afford to wait on cloud cover. Or even wait until golden hour. Likewise a GH5 will fit on a gimbal an Alexa rig won't. And on and on... This might be a lesson to me more than anyone else, but I think it's worth mentioning: play to your strengths. You might have better luck with a Pocket 6k than Warner Brothers does. Everything I've seen from the Pocket 6K indicates it's the best price/performance around. It looks a lot like a 6K Alexa to me. That doesn't mean it's the best for every workflow by any means, though. One of the advantages of the Alexa is how easy it is to operate if you're someone who's used to shooting film. The menus are minimal and interface relatively simple.

I just decided to pull the trigger on the Forza 500 about six months ago and be done with it, and have been happy with my choice. If/when the 600D is available I will re-evaluate, but I didn't want to wait, and now I have a nice, bright new light on every shoot.

Wow now your Pro colorist but also have connections with Canon! 😄 by any chance are you from Egypt?

I didn't actually say it was better or worse, just that it was different. Virtually all of the signage being in kanji being just one difference that made it more foreign to me then than it does now. Funnily enough, despite having the same love of the place, it feels a lot less exciting to me now than it did then because they had stuff so far ahead of when we got it in the UK that you'd go in a shop and see something genuinely new but with global launches and the internet everything is much more aligned and known now. But yeah, nostalgia ain't what it used to be

Would love to see some footage. Have been experimenting with the special BW mode and high Kelvin numbers. Then grading the bw footage. Looks like Bela Tarrs 35mm film stock. In my imagination.:)

Your Tokyo-Blade Runner short is still one of my favorite videos from the older times of large sensor camera craze. It is still making me wonder, if I should get a GH2. Your Digital Bolex video you filmed in Schoeneweide, supberb... Hard to believe how Berlin has changed even in last five years. Always gives me chokes when I talk to about it. My buddy and i did a minidoc about a our friend who was selling poems in Mauerpark, a short piece with a twist. I was gonna send it to you, when the heat was on in the corona thread. Anyway, I would be very happy if you would allow your compositions to shine with more than just one frame and if you would film your beautiful compositions with the FP and the Dream Lens.

Didn't know that, but that's not the real thing because digital backs only go up to 645. I really want 6x7.

Found this guy's channel and its quite fascinating for a few reasons. The first is that the areas he is visiting are far more representative of the "foreignness" that I remember of Tokyo when I first starting working there a couple of years after this was shot rather than it is now. Secondly, is that if you plough through his videos you'll notice that there is pretty much no one in the background taking any pictures which shows the relative lack of popularity of photography and videography had fell to at that time and I've always felt it is quite possible it could return to that "man in a shed" type of hobby for enthusiasts. In point of fact, you can see a lot of people recoiling at seeing someone wielding a camera. The most interesting thing though is that this guy was doing the YouTube travel selfie style 30 years ago ! Its littered though his stuff but is illustrated in this one from 4:10 onwards. https://www.youtube.com/watch?v=vqQS_j-UrTY (Embedding isn't allowed for the video so you'll have to click the link) I don't know what handicam he's shot these on but obviously it will have been CCD which you can definitely see the advantage of on some of the whip pans and especially on his other stuff featuring rides on the metro ! I suppose one "upside" to the current situation is that it will put the brakes on tourism for a pretty long time and perhaps that pause might allow some of these places to regain some of their own original identity, particularly when combined with a retraction of the globalisation march that has homogenised so many of them. Then we can go and visit them and moan that no one speaks English we can't find a Starbucks

Maybe we should debate which movie has the more accurate colour science and is easier to grade. Deep Impact or Armageddon.... 😂 I'm joking... let's not.. 😱

Would be good to have another cheap camera challenge. Going back to an original Pocket cinema camera could be fun. The GH2 stills holds up today. Berlin, Japan and Taiwan were really special places to film in those days. A lot more gentrified looking now with a lot more shitty street furniture, e-scooters, adverts, etc. I find that a challenge which is hard to overcome. Filming round the countryside isn't great, because nothing moves. Better for photography. I'll find something to do eventually after the lockdown ends. Until then, all I have is the trees and blooming of spring, like Hockney sat in his French garden with his canvas, it's not all bad... But it ain't exactly Blade Runner

Yes with adapter. Canon has a VND adapter that I would go for if I had EF lenses.

i'd like too see some footage from that dream lens you got, with a flare or two Mattias Burling does do a pretty slick sort of presentation, i always enjoy his stuff. Youtube seems abit slow at the moment, corona virus has pretty much put the kibosh on nearly everything. So new content would be welcome

Stop changing words and post your work like everyone requested here.

@Django Check out this list https://pdnonline.com/gear/cameras/the-best-cameras-for-color-reproduction-ranked/ TBH I am really confused as the Fuji's are up at the top directly followed by Sony. How can they both be super color accurate while both being very different?

We are here to share and learn...But lately i see just complete bullshit from fake users that claim their pro colorist with their science Post your work and talk.

I gave my opinion about my A7s which happens to BE made by Sony but I would have got it if it was made by Lego if it was the same. The best camera I have used (my opinion) IS my A7s (on my second one) the WORST camera i have owned was ALSO a Sony. I have a heap of little P&S cameras from a range of makers and the Sony I have is the worst of them with a Nikon the best (none are great)....I am no Sony fanboy, I am an A7s fanboy if you like because i can use it walk around at night with a Canon f4 TS lens and just shoot among other things The A7s WB is easy to change (who would have thunk it). I love Canon gear (MOST of my mainly used lenses are Canon) and i am considering getting an RP for using some of them with AF over MF on my A7s (either that or an AF Sony portrait lens) but if I DO get the RP it will NOT be because "Canon colour is more accurate" because i do not think it is. As for the R5, it may well be what it is being hyped as (I hope it is) but on past history I can understand people being sceptical.

There is a reason why people (real people not on video/photography forums) say they like Canon for VIVID colour. The same with Fuji and Velvia and it was the same in the film days

Don't worry about the R5 bashers. Haters gonna hate. Watch em come around in couple months.. CS is a tricky subject, there are a few dedicated threads about it here. Most of them don't end well lol.. Canon is known for their warm skin tones and Reds that pop. Clog is also pretty easy to grade. RAW 14-bit is glorious. Pleasing CS doesn't necessarily mean accurate colours though. Strangely you will often find Sony on top of color accuracy rankings. In the real world however, Sony are often last in the CS preferences. doesn't help their WB craps out as soon as mixed lighting comes in. That said I love Venice CS and shoot almost exclusively with the Venice LUT on my FS7. I haven't worked with recent BM cams but generally speaking the ProRes & RAW footage from them grades beautifully. My problem with BM is they can be unreliable cameras. Some Ursa Mini 4.6K had magenta cast issues for example. Very difficult to get rid of.

Did ANYONE said that? What people ARE saying is that GOOD colour is subjective. As for ACCURATE colour, well that is an ENTIRELY different argument and to me (my OPINION) the cameras with the most ACCURATE colour that I have used (accurate to what I saw when using them and not grading) was Sony and Canon has been close to the LEAST accurate (especially since people seem to like vivid colours from Canon..I pretty much always put lower Canon cameras into vivid mode) though no camera has had BAD colour. I keep looking for high end colourists saying what you have been but can not seem to find any. Lastly, I find it funny you say you think people should use what they want, then in the next breath putting down their choices.

You weren't technically, but with you, the word argue just seems to fit when discussing your replies.

I think the strawman in this argument is you. You've been consistently arguing with other members on this point. Some of my replies to you have got likes. Yours are not so well received. 😄 In fact one of your replies was to argue why a forum member wasn't using the viewfinder in a DSLR camera when recording video in sunlight. Whereas we all know such a thing is impossible for DSLR cameras as the mirror is up when using the camera. So remind me again, which of us is foolish. Now I'm not arguing cameras like 1DX Mark III can be better than the Pocket cameras for colour grading. I can't, I don't own the 1DX. My only issue is with your blanket statement that Canon Colour Science is easier to grade. Whereas I feel it is wholly dependant on the camera and codec being used. My point about how our eyes can see colour differently, is one of the reasons why I feel colour is subjective, even accurate colour. I'm sorry it went over your head. 😄

Blimey I come back a few days later and you are still arguing with yourself pretty much - not being funny but you seem to have gone down a rabbit hole and killed whatever interest I had in this thread. Anyway sorry to interrupt, as you were...

Not at all. Owned 550D, 5D III, C100, C300, GH3, GH4, a7S, A7S II, bmcc 2.5k, ursa mini pro, pocket 4K, pocket 6K (and shot with FS5, FS7, fs700, Arri amira, alexa mini lf, sony venice, F55, ...) All camera's have their strenghts and weaknesses. One has better color out of the box, one is easier to grade, one has slowmo, one is too light, one is too heavy, ...)

Deep Impact is a 90s flick, it was shot on 35mm film with an ARRIFLEX. Strange example to bring up in a CS discussion about digital cinema. I wanna say CS isn't an issue in Hollywood. They shoot the flattest log or RAW footage and then send it to a pro colourist who will dial it in. Recent Canon Cine Log tries to copy ARRI's Log C. Sony FX/FS have Venice CS. S1H/EVA1 I'd assume aim towards VariCam CS. Those are the industry standard. On most consumer cameras, picture profiles & log follow other standards. One of the reasons why cine cams rule imo is they can load custom LUTs and you can also paint in camera. Very practical when you're going after a specific look and don't have time/budget to grade log/RAW footage.

The creamyness of the image and bokeh i like it

Totaly agree S1H Dr crushes even 1dx miii and for some reasons i prefear colours of S1H .

An used GX85 with the @BTM_Pix Cinelike D hack and a good LUT is an interesting option. Used mine with Leeming LUT, color are MUCH better than stock profiles.

Ive wanted the 35 1.4 ais forever. I love the way it renders out of focus areas.