Leaderboard

In case of you are not able to use a large camera bag to cover the camera and you are planing to transport it in a seat of the car with the seat belt, which I use most of the time, also use a blanket, a jacket or whatever you have available to cover the camera, you really don't want anybody to notice you are transporting a cinema camera.

My camera isn't built up at the moment. But the principle is get the camera as far back on your shoulder as possible, most builds I see are far too front heavy. And I use arri rosettes as much as possible, as they firmly lock into place. Edit: Just found this picture of me from four years ago shooting a short film with the F3, this isn't how I'd rig it up today, but gives you at least a rough rough idea:

So yeah, another example of cutting and pasting, pretending it's his own 'inside info'. Could be complete bullshit for all we know. PS - on a lighter note, the GFX 100 with f/w 2.0 and 50mm F3.5 is reducing my will to buy the EOS R5 by a factor of a lot. Perfect AF, enormous epic look, and Fuji's colour science in 10bit is just... Cinema on a stick.

No idea, I've been pimping them on here for years !

Ha! No, I think it might have just been the pressures and stress getting to me, of trying to shoot too many pages in too little time and the sunlight was going to rapidly disappear soon.

Saw this in the canonrumors comments...

What is getting ridiculous? There have been so many great firmware updates for the X-T3 over the past two years. At some point you have to expect the old cameras to stop getting new features.

Nikon 16-35 on Nikon Z6

Nikon 16-35 F4, 24-70 2.8, 70-200 2.8G (First Version) These lenses offer a great range and color with a matched look. For used prices they are a great way to cover a huge zoom range with full frame coverage. Do NOT go for the 17-35 2.8, overpriced with ugly distortion and bokeh. Nikon 24-70 2.8G on Sony F3

Looks like the power issue is being worked on https://www.eoshd.com/news/sigma-addresses-leica-sl2-battery-power-error-with-mc-21-adapter-firmware-update/ I'll give it another test

On the face of it, that 800mm f11 lens is a weird move as its more akin to one of those £50 ebay jobs but it is weird enough to make me curious. I still think f11 is going to be a drawback from a subject separation point of view though, even with it being 800mm. I shot a lot of sport with the Sigma 300-800mm f5.6 before it attempted to kill me at Le Mans and even at f5.6 the extra reach was often offset by the lack of separation. Shutterdial lets you search Flickr based on exif so if you look at examples of 800mm shots at f11 on this link https://www.shutterdial.com/#/search?s=Any&f=800&a=15 And then compare them to shots at 800mm at f5.6 on this link https://www.shutterdial.com/#/search?s=Any&f=800&a=11 You can see how, whilst its not impossible to get decent separation, you need to be a lot more careful with your backgrounds, which may not always be possible.

Do you mean 10K as in a sensor 10,000 pixels wide? I'm not surprised by 8K video but that's crazy! That would make it, what, 75MP?? Or go cheap and use FF lenses.. I use an FD 70-210/4 with 2xTC on MFT to shoot my kids sports games. Even the GH5 IBIS struggles with that - 840mm equivalent. Or here's the same optics on the Micro: I haven't used this setup yet, but when the sun starts to come around where I can see it hit the horizon again, I might return to my sunset project and record some RAW video. 1209mm equivalent!! At that focal length even the solid limestone wall I use as a tripod can't protect the image from people walking nearby. The GH5 in action.

I think it's for the better. The more space, the more efficient heat dissipation. This design really reminds me the good old Canon. Black bricks with funny buttons.

Why the hell haven't we all been using them then?!

Yes, the files remain on the card until you delete them.

From the full lens lineup image its definitely retractable. Given the body + lens weights I disagree about anything m43 being competitive, not with a 45-mp sensor behind the Canon lens, compared to 20mp max on m43, and the rumored high rez R body in the pipeline widens that gap even further. And these can take the 1.4x and 2x TC's that will be announced. Between the cropping ability and the TC's, this is an amazing amount of reach for such a small package. I spent a few months in Africa exploring wildlife parks, this would have been in my pack if available. Plus f/11 AF, the R5 will focus in much lower light. Personally I find the 100-500 with TC's more interesting. But a hand holdable 800mm lens, amazing. Chris

I'm currently planning to make a reel out of all the 1080 travel footage I've shot over the past 15 years. Big damn project that requires weeks of completely re-structuring my media storage, catalog management, and then some really long editing days. Good opportunity to learn a new NLE, new color grading, and practice some new editing techniques. Ultimately it's an exercise in production. Getting a video out of it to help sell myself will be a nice bonus.

I guess you'd have to know more about his project to see the links - certainly he can! I posted it as the Takumars are one of the famous vintage lenses that people like to collect, and the footage from the S1H should be top quality, so assuming that Mark did a good job filming (which I would assume he did) then the video should be a good example of footage from those lenses. I've got a few Takumars, and although they're not the SMC Takumars, they're still excellent and if I shot FF I think I would have just collected a whole set of them, they are beautifully made things and the images are very nice too. A great balance of being high resolution but not too sharp.

This is one of the coolest threads for photolenses on digital filmcameras on the web. I am always exited to read about your posts. It´s also cool to get answers to ones questions. Here is mine regarding the M. Holtze video above. What is revealing about it besides the advise to go the distance for pitches and to do testing ahead of the pitch? Footage seems tame to me and rather unspecific to the task of setting a 70ies mood. Maybe a large projecition of TV will reveal the use of the presented material to judge character and vintage flavour and consistent color rendition through the various primes? Thanks for putting this video up for discussion @kye

@androidlad I am going to ask that you put a link to your sources. I've let you continue for a long time as a lot of your posts contribute to our understanding and inform us about leaks. But we need more transparency from you and a better way to validate the info which we have no way of knowing if it's authentic. I also think if you are passing off other people's info as your own, it isn't really ethical (like with the Graeme Nattress quote) And if you are the source, leaking inside info from a company you work for then that is most likely illegal. So... the URLs from now on please, or a ban. It's up to you.

Nah they were paid to do a release video to show when the cameras were released. (At the time I found it strange that they hired Philip Bloom for it as he is more of a docu style shooter, but he pulled it off nicely)

I was also curious about the lag on HDMI cables, on both ILCs and TVs (especially as compared to SDI). It appears the lag is not due to the HDMI cable (or standard). It's due to the processing Before the feed. Which probably means, that if camera makers don't colour the output to the HDMI, and if the hardware linking the HDMI is sufficient enough, there really shouldn't be much of lag (not noticeable enough). I wish Panasonic would look into this for the next ILC (GH6?), as should all other ILC makers.

I hope for the best, but people are way too optimistic. There HAS to be a catch. It's Canon!

I recently picked one up too. Quite impressed with how cinematic it looks. Flare is a bit naff but apart from that... It's like LA7200 on steroids.

HAH good luck. Everything these days is “Full Frame,” except it’s not... because they always choke the high quality modes to 16:9, wasting precious sensor height.

fuji should release a decent update for the X-T3.. It is getting ridiculous by this stage... And with so many new cameras incoming, it will buy them a lot of goodwill, when new Fuji bodies come...

They’ll do both but they are smart to market this as a “creative lifestyle” product with YT personalities like McKinnon because it works! I bet there will be people with almost no skill or experience that watch Peter and drop $4000 on the R5 or $2000 on an R6 just because they saw it in their favorite personalities hand. Im also sure we will get the usual forgetful backpedaling about how 4K really matters now since Canon finally has it. How 4K120p is important even though when the R was release it was a feature not to have HD 120p because it makes you lazy... But forget all that. I just hope we finally get a camera from Canon that gives us 10-bit 422 4K, DPAF, capability for RAW video (even though it’s impractical for a lot of things; at least it is there), and perhaps a more serious tone about video. My first camera was a Canon. I moved on because I wanted more video features. I also didn’t think FF offered what I wanted for the size/weight of the kit. Maybe now it does with the Sony A7SIII or R5/R6. But I’m pragmatic and will wait to see if there will be a GH6 and what it will offer.

Just upgraded from the 4k to the 6k and thought i'd share some thoughts. I think they have updated the packaging again because my unit was significantly different than either version i've seen online. There was no scratches or scuffs to the body and the sensor was clean and clear. One of my main concerns with the 6K was how tight the fit of the lens mount would be but upon testing, my unit was great. It is very tight and holds the lens much better than the my 4k did. All ports/connections work correctly. The only issue I have a few stuck pixels on the monitor (not sensor). Its not a huge deal but not nice to see on a brand new camera. I have read that all LCD monitors have a few and often warranty doesn't cover it but i've opened a ticket with Blackmagic to see what they say. They have always been incredible in the past! I don't remember seeing any stuck pixels on my 4K (although I didn't look for them). Battery life appears slightly worse than the 4k. Approx 46m to 42m continuous recording in 4k ProRes to a Cfast card. Obviously requires larger and faster cfast cards mine are already on the approved list but I might pick up 1 or 2 more. Also the 6k feels much heavier than the 4k and is slightly louder although not enough to hear even in an interview setup. Don't block the bottom fans on the 6k, the camera expels a lot of heat during long recordings. These are only initial tests, i'll need more time with the camera to form a better opinion, I haven't used it on an actual shoot yet. I also didn't have the cameras side by side. I really see the 4k and 6k as complimentary cameras that both have positives and negatives. Price wise, it was only a £100 upgrade from the 4k & SB to the 6k. I also find it incredible that I sold my 4k & a speed booster for the exact price I purchased them for brand new almost 2 years ago. The Dynamic range isn't miles apart but is improved. The 6k appears to do much better in the highlights but might have a touch more noise in the shadows. Although this is offset when putting the 6k file in a 4k timeline. To my eye, the colour is very similar. Samples online show the 6k to have slightly more accurate skin tones but, without a side-by-side, you'll never tell the difference. It's worth noting that the 6k does have more rolling shutter, the 4k is much more controlled in this area. The 6k has a larger sensor (1.55x to the 4k's 1.89x) but a speed booster gives the 4k a much wider FOV (1.22x using the Metabones XL). However, I've found that speed boosters mess with the image too much. I personally wouldn't recommend one. Ive picked up a new sigma 18-35mm as my standard zoom. It would also work very well as a standard zoom for the 4k (non-speedbooster). The sigma isn't my favourite lens, but you can't beat the range and the speed and performance for the price. My Tok 28-70 was way too telephoto for the 6k (it was on the edge for the 4k XL). On a side note, the sigma Is MUCH contraster and sharper than the Tokina. I might try out a low-con style filter. Recommendations welcome!

To be honest i find it very strange most people here agree it's on the monitor/recorder side. I do a lot live projection with screens and beamers. Pre-made footage has practically 0 latency while my G85's have at lowest around 200ms latency. resolution or output format on the camera side don't change this, other hardware on the output side don't change this. Even at 720p30 it's always there. It's a shame.

I use showreels as a way to learn a new NLE. It's in my interested to make a good showreel, but there's no time limit, so you can really explore the tools and work out how to get the exact look you want. If possible, work from original material, not cutting scenes out of already finished work. That way you can also learn colouring in the new NLE as you can try to match the original final look. EDIT: Also, if you're making a reel from your own footage, it's a nice way to analyse your work and work out why this shot looks better than that one etc.

Well Canon 1D C was nice in 8bit C-LOG. But that was 422 and very high bitrate. I'd be happy if the EOS R6 has an image to rival that. It's not all about the specs on paper when it comes to Canon.

Just a little update to my Contax Zeiss journey. I created and sold a set. I ended up with a 25mm 2.8 35mm 2.8 50mm 1.4. I was planning on selling the 50mm and picking up an 85mm 2.8. When I found I buyer for the 50mm, he asked if I had anymore and made me a generous offer for the full set. I think I will build a new set up in the future. A few notes for people who might be picking up a few lenses. 1) DON'T sleep on the 25mm 2.8 MM. I returned the 28mm because it had an aperture issue and saw a good price on the 25mm. This lens has reviewed poorly and doesn't test well on the charts, especially in the corners, but wow what an image! It's bitingly sharp in the centre but does suffer in the corners a bit. It has very good subject separation and pop, pleasing flares and very good close focus. It was a bit of magic, by-far my favourite of the set. 2) The flares across the set are quite consistant and have similar characteristics. It's very easy to cut the lenses together. 3) Treat the 50mm 1.4 strictly as a 2.8. Possibly my least favourite lens of the set. The 50mm 1.4 was dreamy wide open and warmer than the rest of the set. Ive read that earlier versions perform slightly better. Although stopped down to 2.8 and it was very sharp but I tended to gravitate to the 35mm 2.8 and just move a bit closer. Maybe it's my bias as I tend to prefer wider lenses though? Many people love the 50 1.4. 4) I wish there was something fast, affordable and wider than the 25mm. The 21mm would have been perfect but prices on that lens are outrageous. I've read that the Zeiss ZE 21mm 2.8 is the same optical formulae and has almost identical performance, however you lose the aperture ring on the EF version and Focus Direction is reversed on the F version. There is an 18 F4 that would probably be the option I would go for if I was to buy the set again. 18 is about as wide as I would need on S35, you could probably get away with the 25mm as your widest on a larger sensor. 5) I wouldn't recommend a speed booster with these lenses (or any lens actually). Contax Zeiss requires 2 irreversible modifications if you use a regular speed booster or 1 if you use a cine lock version. Ive also noticed just how much speed boosters mess with the image, I very much dislike its effect on lens flares and the distortion it introduces (Tested on 2 different versions of the Metabones XL). They are good at what they are for, but they are not a magic fix-all solution. This process convinced me to sell mine and seek a solution without one. Although I will miss the positive EF mount, that thing is priceless! 6) Mint doesn't mean mint. There is a significant amount of dishonestly in sellers and people selling on behalf of there older relatives who don't know possible issues. Overall I purchased 6 lenses and 3 had to be returned. (Misting, Aperture actuation issue and lumpy focus ring) 7) Don't get too curious and start opening up the lenses, you'll drop a ball bearing on your carpet and it'll be gone forever and you'll have to keep ordering different sizes on amazon until one fits! (1.5-1.8mm will work as a replacement in the smaller MMs) I'm sure i'll pick up some of these lenses again in the future (defo the 25mm again), I do almost regret selling them but I made a bit of profit to put into other areas of my kit.

I might be kinda half joking :-P And perhaps it is a GOOD THING if the prices of the old Sony PMW-F3 bodies rise up by a couple of hundred bucks due to increased demand, as it will then make it easier for me to resist the temptation of buying another one myself. (which I really don't need! After all I can borrow the local Panavision F3 whenever for next to nothing when I need a second body for multi cam shoots, as I've done before in the past) Bingo. You've figured me out. Indeed, I think he's one of the "good guys" on YT.

Mark Holtze is pitching a Netflix show using his SMC Takumars and this video shows some footage from an advanced test he shot. Footage from the Takumars and S1H.

Great, thanks Andrew ! Now, let us hope Panasonic will do the same for the S serie !

Z-cam definitely needs a FAQ or knowledge base on its website, because the Facebook group can be very overwhelming.

I got removed from the RED Facebook groups years ago! Simply for mild criticism of them. Then again I've also been removed from /r/LocationSound/ as well for merely questioning the policies of the Mods of r/LocationSound..... :-/

This thread didn´t help to stop me. As some long time forum enthusiasts @IronFilm might remember, I have been thinking about getting a F3 for a while. The term "mini alexa" didnt help me much for resisting. So I just bought an F3 with the 444 update for around 750 eu. It was 200 more than I was dreaming on spending as max. But then I was thinking, when will a 444 model come around again. Plus my FS700 gives 2K aliasing parade over SDI, so I would have to record 4K output to really make it shine. But then again, how long will I have to wait to find a deal on a 444 recorder.:) Crap, 750, these days, for a 1080p camera! Well, better than spending all on toilet paper. This video gave me the last push towards my weird purchase. Such beautiful colors. Darn, some talented people on this forum can achieves this look with a GH3 or a 5D3. Right? Anyone want a F3 with 444 output? I should stay away from dangerious threads like this one. cheers:) By the way, no cheap deals on the OG BM Pockets anymore.

For me, you buy what you need when you need it. For instance, I might buy something like this if I had a particular client on deck that would be put at ease seeing me run around with a "real" camera. (That's still a thing in the circles I'm in) Obviously, you need to know if you're served by playing this sort of game. I've rented camera gear just to impress clients, not for any particular production need. If I was in that situation again, heck, might as well buy a package like this for the same cost. Also, wouldn't be the last time I'd buy gear only to sell it again quickly. Which is kind of like renting, just with more flexibility. Once, a few years back for a client, I borrowed a bunch of unnecessary cinema rigging from a friend/colleague and buried my LUMIX camera under it. Looked cool, but was incredibly gratuitious. All that nonsense just to do a talking head interview. Whatever, the client enjoyed the spectacle. Afterwards I bought my buddy a nice 18 year single malt scotch for that one, which we shared. Win-win-win.

If the camera is stationary latency is not going to really be an issue, so one can cut corners and purchase a cheaper monitor. However, if you are moving the camera on a gimbal, slider... Etc, or doing some sort of selfie, like a vlog, then the latency can be problematic. In such as use case, you might be wise to cough up the extra bucks and get a good monitor that does not exhibit latency issues.

I can't see how the delay on the GH5 itself could vary depending on the monitor/recorder used. I think it's just that cheap monitors add some additonal delay of their own.

After a fall where broke his femur a few days ago... : ( With his gift, the music he made cinema is not with him anymore, belongs to all of us. (in a personal note, unforgettable to have seen him personally in a live concert... in Rome, a decade ago) https://www.bbc.com/news/entertainment-arts-19626787 https://www.mirror.co.uk/3am/celebrity-news/breaking-ennio-morricone-dead-legendary-22307636 https://www.washingtonpost.com/lifestyle/style/ennio-morricone-wrote-the-perfect-soundtrack-for-a-time-when-we-miss-movies-more-than-ever/2020/07/06/3da3926a-bf8f-11ea-b178-bb7b05b94af1_story.html https://www.hollywoodreporter.com/news/ennio-morricone-dead-prolific-italian-composer-was-91-858358 https://variety.com/2020/film/news/ennio-morricone-ten-essential-scores-listen-1234698965/

Fuji giveth and fuji taketh away... IBIS jumping have been replaced with micro jitters in the 1.02 firmware and it ain't pretty. XF35/1.4 with IBIS only, no DIS or boost. 25 fps h264 200mbit. Watch in full screen to better see the jitter.

I agree. You got to the heart of it there. And on top of that mindset he displays absolutely no learning, no knowledge, no talent for photography or film. A consumerist twerp in a baseball cap. The primitive dumb humour really is on his audience's level True! He does seem to be a genuine, authentic weirdo. What I have come to like about it is he does actually get it right. The actual camera musings are really solid. I even learn something from it. I have not learnt a single bit of knowledge from Kai. And Chris / Jordan just state the obvious... what could be written down in one paragraph stretches to over 10 minutes. It comes down in the end to why people watch YouTube Is it to learn about cameras and be entertained. Or is it to just be entertained only and indulge in some warm, fuzzy, consumerism? The way most people treat YouTube is same way as going shopping with friends for a new pair of Nike. Kai treats people with distain speaking from personal experience. At the last Photokina he was shooting with Blackmagic P4K. So I DM'ed Kai to see if he'd be up for a shoot. I always try to meet in person if I want to figure out what somebody is like. He said a vague yeah, totally uncommitted... really disrespectful. A day passes, nothing. He then actually started teasing me with photos of his BM P4K, while dodging the meet-up for a coffee. WTF? Then I pushed again to meet up and he ghosted me till the end of the show. He was literally in same show hall as me. And this is a guy who has not once reached out to EOSHD or used the forum, or referenced me in his work over 10 YEARS of being in same camera community!! So he can fuck off as far as I'm concerned and take his shitty videos with him.

Honestly if you can't handle a little lag when using an external monitor you probably shouldn't be using anything with an HDMI out because there will always be a little lag, no matter the recorder / monitor. Either learn to live with it or use a camera with SDI out. I film a lot of action stuff, so I only use an external monitor for interviews / corporate / commercial work to nail focus and see things on a larger screen. I'd never use a monitor for my wrestling or other sports work.