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After firmware 2.0 I see less reasons to do so. Would love some more less cropped high frame rate options. Overall 2.0 is quite impressive for V-Log. Magenta tint seems gone Orange/yellow lights won't burst into noise anymore Sharpening seems to be turned off Noise reduction -1 fixes the motion related issues, also much nicer grain pattern which matches the framerate (temporal NR seems to be gone entirely) Here's a small test I did for an upcoming music video https://drive.google.com/file/d/1pUW5itKQn2Jjz1pqkqh4sPxB-IgnOWgE/view?usp=sharing

Remember it ? All the usual caveats of "absolutely not its final form" but thought I'd show a (very) rough glimpse of its (very) rough format. Things have been quiet on it publicly because as I said in the very original thread that what was first shown was merely a jumping off point and it pivoted into what is now a very different product. As you should now be able to guess from this image, it is doing something a little different and offers both AF-S and AF-C modes for, lets just say, more than one focus target The purpose of this thread, aside from the update to prove its not slid into Sony A7S-III territory, is to provide little updates on what is happening as we edge towards release of the actual product particularly as the previous thread is a bit defunct in terms of what its final form will now be. I'll put up some video samples soon, although @Andrew Reid has had some over the past month so should be able to vouch for it actually working I won't be getting too much into the detail about whats going on under the hood until later on and I will be doing a blog post with Andrew to provide more insight nearer the time of pre-orders which should be in August. FYI, the cables you can see are powering the PBC and not going to the camera so no camera mod is required ! So, for now, fire away if you have any questions if you have any interest in it but if you can please just keep it to general operational stuff.

After almost two months with the 1Dx III these are the biggest negatives for me: - No DPAF if FF 50/60 fps - Bad rolling shutter in FF 30,25,24. Now if it would have DPAF at 50/60 you could shoot RAW 50 fps with a 360° shutter and would be the best for me as you can have slow motion and you have a <16ms rolling shutter and RAW. 1.3 Crop the rolling shutter is good <16 so you have options but no RAW. - No live histogram, waveform or zebra (this is the most puzzling one but was always like this on Canon). An external monitor fix this but I hate to have cables and one thing more to power. - terrible menu to select the framerate, resolution, format, crop.... you really need to pay attention what you select. - no flippy screen - 1080 120fps is pretty bad same as 1Dx II But the DPAF is incredible even for sport and action videos. I can have somebody running, biking, galloping at me with a 200-400 with a nucleus nano as poor man zoom rocker at have almost perfect focus. With the various AF zones is much better than the 1Dx II that I used to own. I love RAW as the workflow it resolve is native if I'm doing short takes I always do it in RAW. 5.5 you can crop reframe stabilize with no loss of quality and pull picture out (this I'm doing quite a bit). And the video quality is very good. With all the modes with crop and not and all the various encoding option you have ton of choice for every possible situation from 8bit IPB to 5.5k RAW. Also the audio amp seems much better. I don't care about IBIS as for video is either tripod or gimbal. Also the EVF is not key for me as on gimbal is useless and on tripod not that convenient. I prefer OVF for sports photography. In Resolve you need better HW for 10bit LOG than for RAW. Also strange that IPB LOG are faster than ALL-I LOG. Not sure I would recommend it to video shooter only mostly due to the price but if you need also a sport/action picture body it is really amazing camera. Curious to see the R5 4k 60 if it is no crop and super sampled so <16 rolling shutter and the 4k 120fps. My plan is to own both as I need two body.

Wolfcrow tested out the 1dxIII extensively on a job and praises many things, but rolling shutter performance in 5,5k raw is not one of them. It’s really bad (which makes me cautious about both the R5 and R6) But the image is as expected gorgeous. https://wolfcrow.com/canon-1d-x-mark-iii-real-world-review-for-video-and-cinematography/

Film is still a desired medium for long time storage. Nobody knows the media of the future but film can always be digitized. That's why it's still a relevant medium beyond acquisition.

I was after a 2.8 manual focus mid range zoom for years when using Pentax DSLRs and just occasionally, I would see this lens on Ebay. I have had a lot of mid range manual focus film era zooms and most have not been great, two exceptions being the Tamron adaptall 70-210 3.5 (model 19b), a lovely lens but very big and heavy and Canon FD 80-200 f4 L (this one I never had until a lot more recently). When I DID see a 60-120 2.8 lens, they were very few and far between and all from Japan and usually very expensive or had fungus or other issues. More recently i have given up on old lenses unless I get them very very cheap from the charity shop I volunteer at or likewise at a pawn shop i haunt but have gotten rid of most of them in the last couple of years. I was looking for an AF portrait lens on Ebay for my A7s but kept going down and came across this old lens (around 40 to 50 years old). $150 Australian plus postage is an absolute bargain and when the lens was listed as near mint condition, well I put off paying the electricity bill to buy it It turned up today (two days early) and I fell in love at first sight and want to marry it after a minutes use! There are very few reviews of it around but most say it is very good though some say it is not sharp...Well I think it may well be the sharpest zoom i have ever had and its bokeh is to me, superb. It is not quite mint (though looks like it was made yesterday), One touch and the focus works very smoothly but the zoom action is a little stiff (better that than loose though). Minimum focus distance is a fraction longer than i would like but that is just nit picking. For video, I will only use it to record single musicians either seated or not moving far just for the odd song (on a tripod and zoomed to the focal length wanted and set). For stills it will be a wonderful portrait lens (all I need are victims) but it might be a while before i can use it properly unless i stop random people in the park. I am sure it will have downsides (maybe if a light source is in view though yet to try it) and I get a new flash in the next few days that i want to try it with. IF you can find one in even half decent condition, from what i have seen so far, I would say BUY it (or kill for it but check the prison will allow you to keep it with you first). Some lame first shots. Any errors are MINE, not the lenses. All at 2.8

Please give us some more details sir! We need specific info... 1. Lens in use when power cut 2. AF mode in use, or was it manual focus? 3. Ambient temperture - roughly 4. Video mode - 4K/60p? or 24p? 5. Age of battery and did the problem only start occuring under same conditions as battery aged? Please help me reproduce the error with my S1. And I will pass the results onto Panasonic in the UK who will feed it back to Japan.

Yes, good plan! No conclusions until the fat lady sings. But it ain't looking great, is it? You spend in my case £5800 and find out the rolling shutter in 24p is worse than Sony's low-end mirrorless camera? These things should not happen. Not at that price. Nope. True, no other camera offers 5.5K 60p RAW. However the image quality must be evaluated to see if the massive file sizes make it worth shooting. Some cameras take a short-cut with the sensor output in RAW. Optimally, RAW is a 1:1 readout - the RAW pixel data, written directly to card. If the Nikon Z6 for example had an optimal ProRes RAW solution with the Ninja V it would be 6K. The sensor is 6K. Ask yourself how they get to 4K RAW. Look closely at the pixel quality vs 10bit 422 V-LOG on the S1H. It ain't a pretty picture. It is very special to have a cinematic, film like image, but then there is the question of getting the shot in the real world. What hinders you, etc. Superb image quality is nothing if you miss a shot, or the rolling shutter messes up the shot. Taking away AF in the high resolution full frame 60P modes really annoys me, but I am not going to unfairly throw the camera under the bus for it... The AF is still in a different league to the S1H, which is this camera's closest competitor for video quality.

It has arrived. Found another quirk. Max 1/4000 shutter in video mode. No shooting wide open outdoors without NDs. It is rare for an electronic shutter to have such a low maximum speed. Usually it is 1/8000 or even 1/16000. Ideally I don't want to use NDs for the 180 degree look and prefer to add that in post with the Resolve motion blur tools. Oh well can't have everything I suppose. So far the gut feeling is the GFX 100 and X-T4 are better for video, but I've yet to see the images from the 1DX3. The CFexpress card is coming tomorrow.

I film the aurora borealis so everything else is secondary to low light performance. I have used a P4k at iso 25k and 6fps 360 degrees and the images are good but they are timelapse and in that sense inferior to those from my A7S (which I stupidly sold anticipating the A7S3 last year). (P4K) (A7S) Yes, I’d like to improve 101 things about the Sony but if it still has the best low light performance then those things can be overlooked.

I'll do a proper post but for now here it is (obviously in a "project" housing) surrounded by clues. There is a bluetooth element to it. There is a single presenter/operator element to it. There is a control per feature element to it. There is certainly a customisable element to it. There is a no need to bring a computer element to it. There is also an optional expansion element to it. The main clue of its purpose is actually the Araldite ....

Yes, it isn't for me. When did I suggest otherwise? People overthink and overpraise raw format for video. For photography? Great. For video I think is overkill for the majority of us. Log and 10 bit 422 is a great compromise for quality and space. But anyway, to each his own. As I said before, no thank you.

It's not going to be treated like film on a shoot, because with digital you can quickly offload a reel to affordable storage via USB. However it is treated like film in the way you archive 8K RAW material. After a few years you will need a building the size of the Paramount studios lot to put the hard drives

Hiya! Another extensive post coming from me - brace yourselves! Long story short: I tried to minimize my 35mm eqv. setup and see what potential drawbacks would this bring. Left side: newly acquired Newyi 25/1.8 CCTV C-mount lens bought for astonishing 23$. Right side: Zhongyi Lens Turbo II + Nikkor 35/1.8 G (officialy it's a DX lens [meant for Nikon APS-C cameras], but it happens to cover FF quite nicely). Goliath vs David: Operation-wise, it's difficult to pick a clear winner. Newyi, being a CCTV lens, is so tiny that it's rather tricky to wield, even with my small fingers. Aperture ring is stepless and smooth, whereas focus ring is a bit stiff near infinity. Can't say a bad word about focus throw or focus zones overlaying one another - those are all good and allow to precisely nail the focus. Nikkor, on the other hand, isn't the most intuitive lens and is rather quirky to operate manually. There are no focus marks and the focus ring has little steps that can be felt while fine tuning. There is no aperture ring and the only way I can affect the aperture is via an AI - EOS adapter with built-in aperture lever. Having said that, Nikkor simply feels better in my hands. It may be bigger, heavier and not meant for manual use, but it is what it is. Newyi is advertised as a f/1.8 lens, yet it doesn't gather as much light as it really should. The same scene, shot in the same conditions, required a shutter speed of 1/60 when I used Newyi wide open, compared to a shutter speed of 1/105 when I used Nikkor (via dumb adapter, not a speedbooster). Speedboosted Nikkor gave me a reading of 1/160. That's a 2/3 EV of difference, which makes Newyi rather a T/2.2 (if not less) lens, not a T/1.8 one. Speedboosted Nikkor is almost a T/1.4 beast. Field of view between those two is almost identical. Nikkor has some serious barrel distortion, but it's due to it being a DX lens. Sharpness and contrast: Wide open Newyi is not only tack sharp in the center, beating the Nikkor easily, but also free of any noticeable aberrations/fringing. Unfortunately, it's less contrasty and introduces some ugly beige/red tint to the shadows. Some 100% crops. Those are my thoughts after owning the Newyi for 3 hours. I really wanted it to replace its bigger competitor, but to me contrast, color rendering and ability to gather more light is more important than sharpness and portability. Nonetheless, the fairy tale has a happy ending and Newyi managed to find a new host - Sony NEX-5. I hope my sister enjoys it, lol. Here is a photo taken with it on a NEX-5: And a 100% crop:

Well, it’s been 8 months since I completed this and almost a year since I promised @mercer to post it once completed I don’t really know what to say about this, it’s my first short and I wanted to try this medium after trying music, photography, drawing/painting and all sorts of writing in order to figure out myself and my depression. It took me months to complete due to my mental state and lack of energy and I intended to post this sooner, but life can be a little too much sometimes. Or very often in my case. Even though it was the hardest creative thing I’ve done in my life, (despite having a background or experience in most of the separate artforms that make up a film) I was really lost in the entire process and I developed love/hate relationship to it. I wanted to quit all the time when I wrote it, when prepping, when shooting and during the long, motivational drainage that is editing. But I guess that’s also where the love was born. No matter all the mistakes I made, I could somehow save it and make a decent first short thanks to the editing by re-arranging the pieces I had. Throw away most of it, stretching what was left of it, slowing or speeding up some of it, playing some of it in reverse. Dubbing in new sound (needed, cause most of it was unusable. Note to self: Don’t forget sound! I’ve tried to make another short since, but haven’t completed the shoot. I don’t know if I’ll finish that one, it’s just a silly comedy I made with my then girlfriend, now fiancée on my phone (This one was shot on the DVX200 before anyone asks, cameras are important on this forum apperantly, hehe) because she wanted me to make something less depressing, but I guess I’m just a gloomy guy, all my new ideas are based on my different malfunctions. Hopefully I’ll work up enough energy to make another, I really want to. Anyway, enough talking. I hope you’ll give this a go and give me some pointers, but go easy on me, okay? Now, pick you poison: https://vimeo.com/272702923 https://youtu.be/rsXdjH4I5YA

One of the best features of the 1D X Mark III for me on the first day I've had it, has been the full frame 4K/60p 10bit Canon LOG 4:2:2 with DIS and a Z-finder on the back screen for my "EVF". Yes, you lose the big AF selling point, so it's not perfect for shooting everything, but I find it very nice to use for handheld cinema in this mode. Slow-mo when you want it, adds to stability handheld. Loupe adds to stability, extra point of contact with the body. Then DIS rounds off any rough edges - gets rid of the micro jitter. It works well. In fact it works so well, I forgot it didn't have IBIS for a moment. There is a small 10% crop from full frame with DIS but no loss in image quality. Enhanced DIS has a loss of image quality and is more useful as an Ex-Tele mode than an extra stabiliser mode. Good if you need the extra reach. So the AF is there when you need it for 24p. And the DIS is there if you need it. And the slow-mo. If not all at once, then at least close to it. I am warming to it.

From the older lower resolution to this new higher resolution versions, all of the ARRI cameras have beautiful color rendition and excellent dynamic range. Just goes to show resolution should not be a dp's number 1 priority. That said if you can afford it, why not have it all and that pretty much sum up ARRI - you can have it all - for a price.

I would love to see a comparison between a few of the mentioned cameras against the A7s (both one and 2) at the same time and at various iso levels in low light. I have no doubt that a few cameras would win a blind test against the A7s pair at 12800 and below now and maybe at 25600 but am not so sure above that and i would still guess above ISO 51200 that things might favour the A7s. Edit Video frame grab A7s Canon FD 24 1.4 L at ISO 102400 1/25 at f1.4 just 8 bit (of course) xavc-s at 25p

Not quite my point. With the original film negative, you have the proof (of untouched "real" scenes). Doesn't matter if the edit is digital or not. If somebody questions if what they see is real, unaltered, the proof is there in the background, on a reel. All that is a form of manipulation and fantasy yes, sure... But computational photography goes through a phase-change into something else entirely different. One example - deep fakes. In the future we'll have AI driven cameras that can film in real time a completely fake scene, superimposing specific people and faces over anybody in the scene, in a way that looks so real you can't tell. Another example - news footage. In the future, AI driven cameras will be able to film statements and interviews which are completely made up from a script. You will never trust what you see again from a digital camera. Give it 10-20 years to reach this point, and suddenly the analogue film negative becomes incredibly valuable as a source of "truth".

Here is a collection of shots I took the last few days with Kowa Inflight 1.75x + Voigtländer 40mm f2. + Rectilux HCDNA + Redstan and Fujinon achromatic diopters. Tokina Cinema PRO IRND. All shot at f2.8 https://www.youtube.com/watch?v=mostLsNXB8U

Did the A6500 improve over the A6300? The A6300 was unbearably bad in 4k.

I'd go with a Z6 or S1 for low light performance if you want a more modern camera. The A7S2 is the best performing camera at high ISO's though. Probably 1-2 stops better than the Z6 or S1.

Never happened here Maybe something is wrong with the battery.

For lowlight I film at 4000iso with the Panny S1 and push it two stops in post. Massive low light quality for the S1 and probably S1H. Much, much better than ISO 12800! When filming with the rather slim 75mbit h256 10bit 420 codec, quality is even better. I was very surprised by that codec option.

@Andrew Reid I assume you will love the quality of the image coming from this camera. Would love you to hear your impressions regarding the "cinematic" image, also in comparision to the Sigma FP or Lumix S1. cheers

Waveform is expensive in cpu cycles zebra is fairly easy so yes it could be added the problem is that canon rarely add features in future firmware updates although lately they are getting a bit better... see 24p even on entry level like m6 II etc..

Depends, I guess. Do you want to film in the dark, or simply have scenes with less bright lights? As long as you can control the lightsources the way you want, you don´t necessarily need a A7Sii. I myself use Blackmagic-Cameras ever since the first pocket camera was released. The Pocket 4k/6k for examp offer great lowlight capabilities. But Panasonic, Fuji and Canon offer great ISO-performance too. Maybe take a look at some out-of-camera-Samples and see, whether the codec, format and colorscience is what you´re looking for.

Superb news. A productive lockdown!

Yes, its the evolution of that concept. With a bit more fancy pants stuff thrown in

I am sure. Kdenlive, Cinelerra (GG) or Blender is what I would recommend. I have heard good things about Shotcut and Olive. Openshot would also work for someone who doesn't need anything fancy. One of the the great things about Cinelerra is the Blue Banana plugin -- a very unique and powerful color grading interface. I wish that somebody would port it to MLV-app. If one is okay with proprietary software, then there is Resolve, Lightworks or Piranha. All of the open source NLEs work on most distros. On the other hand, there are special media distros that are worth considering, such as AV Linux and Ubuntu Studio. I tried Resolve once, and I as I recall it was distributed as a tarball, and I had no problem installing it on my Debian-based distro. Not sure where you are from, but, as I recall, my current Ebay machine cost US $145. It has an i7-3770, 3.4GHz cpu, and it came with 16 gigs of ram, two mediocre graphics cards and a 500GB drive. I put an SSD in it and loaded a non-systemd distro. It's fairly snappy.

is this something to do do with that lidar thing you had going ?

I have no idea what you're talking about... I was once waiting for some friends outside a movie theatre and a couple of people walked in carrying something that looked very heavy, and after walking over to the front desk and very carefully setting it down they had a quick chat with the staff before leaving again. A couple of the rather young staff then tried to lift the object, but one girl wasn't strong enough to lift her end, so got someone else to come and help carry it inside. Bored and curious, I went and asked the staff what the box was, and it was a roll of projection film being delivered for a movie that was about to be released. I remember it being about 1m tall, 1m wide, and about 30cm thick, with very sturdy looking handles on each side.

I'd rather have 5K 60p RAW than 8K 30p RAW.

Going to wait for the final product. We’ve all been burnt too many times by Canon...

Thanks all! I will try to create 720 proxies as well as film 1080 vs. 4k and see if there is a noticeable difference on the a73. Worst case I will look into trading my 2015 MBP in for a 2020 13" MBP. I think I have a good game plan thanks to the suggestions here. Much appreciatd!

I like Linux (particularly fond of Linux Mint which I have on a few machines). And I LOVE saving money. But I am not sure that the OP could edit on a US $200 linux box. What would you propose as an NLE??? And would one need a particular Distro in order to run that NLE? (For instance, Resolve is coded to work on Cent OS and isn't really guaranteed to work on other Distros, although i have heard of people using it on Ubuntu). Of course, my vision might be warped because around here, people sell their used PC's for WAY MORE than the rest of the USA.

I know Andrew doesn’t want the forum to turn in to another way to browse YouTube content but here is a fairly throughly video that shows some problems with X-T4 IBIS. Hopefully it’s fixable in firmware. There is a lot to like about the Fuji system. I’ll personally wait for a future XH1 style camera before I would consider investing, especially if it’s video focused. If they want it to stand apart from the XT series that would be a great way to do it. Make it a mini mirrorless documentary camera with video bells and whistles and Fuji colors.

Sorry, I call that bullshit - and take (for example) Koyaanisqatsi over a reality soap opera any time - in fact, having to watch that reality show is my personal definition of hell. I really wonder where these voices are coming from, on this forum that is supposed to be about the beauty of cinematography.

I will rant a bit, sorry! I miss when clients knew they didn't know anything and they told me: "Do your job". And they payed 5x what it is payed now. Now in this world of influencers-wannabes everybody has opinions, no idea what is needed to do what they want and ridicule budgets. Dream of escaping up, becoming a great documentary filmmaker!

The EODHD forum's toughest pill to swallow: even the best image quality, the best low light ISO performance, the best AF, the best lightning, the best sound, the creamiest of bokeh cannot sell shitty/niche content. You need a good story/performance or at least a gripping reality soap opera (which can be told by a workhorse HD camera, that has been forgotten by GAS).

Those were quite gorgeous 10 years..

Here's a test I did with the S1H using Mamiya 645 medium format lenses on a Kipon Baveyes 0.7x speedbooster. Shot in 6K H.265 using the whole sensor area which works really nicely with the medium format lenses as it maximises their field of view. The resulting equivalent speedboosted frame size is approximately 51mm x 34mm - slightly larger than what you'd get with 70mm film (definitely taller due to the 3:2 aspect ratio). It's still quite a bit smaller than IMAX though - equivalent to around half the surface area. I mostly used a Mamiya 645 Sekor C 80mm f1.9 lens and also a 35mm f3.5. I had an SLR Magic variable ND filter on at all times as it was a very sunny day. This is shot in V-Log and edited in Adobe Premiere which is able to handle the H.265 files pretty well. Would have preferred using Davinci Resolve Studio but it struggles a lot with these files even though I have a fairly good computer (AMD 3950X with an RTX2080 graphics card). I have updated the camera to firmware version 2.0 and set the noise reduction to -1. One of the shots was done at 180fps / 1080p. The IBIS works pretty well, but can get quite jittery - it's difficult to keep the camera stable handheld when pulling focus on the Mamiya lenses as they have quite a long focus throw. I composed the music using a virtual version of the Mellotron instrument.

A few stills from a shoot last night all on the Pocket 4K XL and CZ 35mm 2.8.

Expecting the worst shooting into a light source after some of the ( few) posts about this lens around the internet, I was pleasantly surprised and it seems no worse than most lenses in that regard (and if i am shooting right into a very bright light up close, it is not going to be pretty regardless of the lens). It also seems ok as a general purpose lens at longer distances. For close in at 2.8, it does seem to have some magic and much more than i expected. A couple at 60mm at a distance 2.8 and f8 and a couple into a light at 2.8 and f22 (another surprise, this lens produces pretty much ZERO sun stars). I really can not wait to use this for both video and stills at a gig (indoor pub or outdoor concert) though with the current climate that might be a while. Portraits hopefully will be a lot earlier.

Found some shots taken with this lens on a old CCD sensor. 48x36 crop

They are not as bad as they seem. A friend of mine bought a similar set (this one exactly) and shared some photos taken with them. It's not a bad idea. Keep us updated. ( : You're welcome.

It finally happened

Really interesting that all these B&W films were at 720p and they look great. I think it adds to it more than takes away. Now if these were all in Color I think they all would suffer at 720p. It is nice to know you can use a lesser camera in B&W and still project the feeling you want to achieve. Cheap thrills in a sense. Well done. Food for thought.

Nice shots you did mercer, especially kaylee - I really like the Ansel Adams feel to it. Here are my shots with b/w in it w/ BMPCC - Sigma 19mm and Cosmicar 25mm lenses. I've always wanted to do monochrome stuff. They're so nostalgic.

B&W video can look beautiful for the right subject...especially portraits of interesting faces and documenting everyday life. Without the distraction of colour, often the viewers attention is drawn closer to the subject and can give a timeless feel. Without the luxury of a monochrome sensor, it’s always best to monitor in B&W - since the composition often benefits from contrast in lighting and tone that is not easily noticed when viewing in colour. @mercer MLVFS is now working with the most recent nightly builds, making post processing very painless...especially when combined with Resolve for export. Here is an early ML video that made me upgrade to FF Raw a few years ago...something magical about it. This music video also looks great in B&W: