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Has the employee responsible for their most recent release been fired yet?

A peerless medium format lens for the size. The images are lucid and autofocus superb on the GFX 100. New blog post https://www.eoshd.com/news/fuji-gf-50mm-f3-5-review-on-the-fujifilm-gfx-100/

1) Are they going to make a new DVX200 based on the GH5 internals ? 2) Are they going to make an L mount EVA1 ? 3) Have they had a refund from the market research company for that new vlogging camera ?

What specifically makes you want to go back to a DSLR (just DSLRs, or do you include mirrorless too?) for shooting with? As this is kinda odd to want to go backwards to a DSLR (especially as you're not into photography). What exactly makes you "regret bitterly" that you bought the blackmagic? If you can nail down these answers, it would be easier to figure out what is the best cameras for you to consider.

Questions that come to mind are the obvious, and a few not so obvious. What is the future of the GH line and MFT? Will there be a GH6, and if so, when? Will Panasoninc implement RAW in their cameras? Will we ever get great AF in their cameras? How will they respond to the R5 and the upcoming Sony A7S II successor? Why does the GH5 require a paid upgrade to receive vLog, when a much cheaper camera like the G100 gets it for free? Will possible future cameras like the GH6 and S2 require paid updates for extra functions? What is the criteria in selecting what is a paid upgrade and what is free. Given for example Blackmagic gave users a free upgrade for BRAW. How does Panasonic feel the loss of Olympus affect their investment in MFT?

Whether it was down to Nikon themselves, Atomos, the patent lawyers or all three, the delay in getting the ProResRAW functionality from announcement to actually being deployed has really set them back with the Z series. Then having to return the camera for a £200 hardware modification was adding insult to injury really. If they could have released it at the time of the announcement, it would really have given the Z cameras a massive boost as there wouldn't have been anything out there at that time to compete with it but it just lost all momentum the longer it went on. And of course by the time they finally did get it out, the world had moved on a bit and its just gone stale and it might be a long way back. I obviously have a ton of Nikon gear stretching back over decades of using them so I should've been the person to buy a Z6 or a Z7 but I've never really been that close to getting the credit card out for one. They don't need a complete change of direction but they could shake things up by diverging and making a small full frame cinema camera, particularly as the Z mount is very adaptable physically and electronically. They won't do it of course.

fuji xt-3 used are going very cheap at the moment, amazing video and photos, pick up the excellent 18-55 and a prime or 2 and you're set

When are ND filters coming to their smaller camera bodies, this seems like an essential but is strangely being overlooked by all camera manufacturers. Variable NDs are a pain, period

Panasonic in Japan have agreed to be interviewed for the blog. I'll ask some questions from the EOSHD Forum. Anything GH5 / GH5S / GH6 even. S1, S1H related and more Fire away!

Also hoping that the C-Log is also C-Log 2 and/or C-Log 3. Regular C-Log just doesn't have the DR that the others allow.

I have noticed actually that after ages of Squarespace, WIX and Monday.com plaguing me with ads on YouTube that most of mine in the past month have been from Canon so maybe they are really embracing marketing through the "Yo guys, smash the like button" avenue. To paraphrase Travolta, tomorrow might be a case of this.

GFX100 is medium format! 100 megapixel. 28ms in 4K is a small miracle. Also, doesn't look like 28ms to my eye so not even sure if that's correct. S1H 4K 24ms is also very good, given it isn't pixel binning or line skipping from the 6K. Sony A9 has fastest sensor in the business. Canon seem to give us great rolling shutter performance in 4K/60p but cripple it in 24p to protect the Cinema EOS line. It's same old, same old! Yes £4k new standard pro price for mirrorless cameras. It's far cry from the GH2 days isn't it! Companies have finally realised how much money pros have! Or did have until coronavirus. I think we'll be seeing some discounting quite soon after the initial hype and pre-orders have died down. The R6 is more interesting for most people. I may just review that and leave the R5 till later.

IMHO you nailed it, @Andrew Reid - Nikon is going down the route of Olympus. Nobody is going to buy into the Z system except owners of Nikon SLR AF lenses, and that won't be enough to keep the company alive as a camera manufacturer. Nikon already makes more than 60% of its revenue with industrial and medical imaging. I wouldn't be surprised if they spin off the imaging division at some point, after which it will die sooner or later.

What do you suggest existing Z6 owners do? Bearing in mind our cameras cost $2500 new and are now worth half! Pony up the cash AGAIN for a few tiny improvements? Not going to happen! The Z6S rumoured specs are insulting.

I agree, the huge delay did mean the Z6 squandered the majority of the lead it had over its competition. And least the good news is that the Nikon Z6s should have this enabled (and no need to be returned to the factory either!) from Day 1 of the camera launch. (and if it doesn't, that would be a major WTF!)

I second the XT-3 or XT-30, those cameras are GREAT allrounders.

Big Brother (and other similar reality productions) have: A purposely setup set for filming on (so it will hopefully be fairly quiet! Unlike when trying to get stealth recordings in open busy streets, yikes, that's noisy) All the talent wearing neck mics. Additional, they've likely put in a massive amount of work in carefully placing plant mics throughout the set. All of this isn't a possibility for @Amazeballs . Go for the Tascam DR10L (if you can't wait for the Tentacle Sync Track E), it is better than a phone with a lav because: Locking connector. Dual/safety level recordings. Better form factor. Especially for your purposes, either of those first two factors might come in super handy to save your ass. Thus my (almost) "no budget" recommendation for you, as the best of the worst options is this: Get a Tascam DR10L (or the Sync Track E if you can at all wait!), plus a 2nd DR10L (or Sync Track E) that you use as a "plant mic" that the interviewer carries with them. Ideas of where you could "plant" it: Inside a fake coffee cup? (as even if they're only holding the coffee cup a couple of feet away from their body, and closer to the subject, every inch counts!) The edge of a clipboard? (you could likely get the far side edge of the clipboard even closer than a coffee cup would) The point of an umbrella or the handle? If you can handle hiding the bulk, then a Tascam DR10X (or Deity HD-TX if you need P48) with a better mic than a lav would be an even better solution! This would require a lot of ingenuity on your part, coming up with a stealth way to hide this "plant mic" carried by the interviewer that is congruent with the style of the shoot. Every production is different. Likewise, you're going to need a skilled interviewer who is on their toes and committed to this as well. No point craftily hiding a mic built into a clipboard, only to have them be holding the clipboard hanging uselessly from their side. That would sound even worse from the subject than the interviewer's own lav!! Zoom's crappy add-ons should not influence your decision. And the screen doesn't matter 99% of the time, as the talent is wearing the bodypack. You'll change your mind about the benefits of timecode syncing when you're got hundreds of hours of footage across many days worth of recording to sync up manually. That's a recipe straight from hell. Sorry but I guess your ivory tower medical research bias is showing, in the real world this methodology for production can be surprisingly common. Especially on the likes of a documentary (and other forms of productions too, there are adverts made like this, or news comedy shows). Quite usual to have a field producer (or even just a PA) run after a person to get permission from them. (and of course, if you don't get permission, then you can't show them) They'll chase them down even in circumstances when it was extremely obvious you were filming them, such as when a cam op with a FS7 is in clear view nearby (or heck, the reporter is using a stick mic!). The reason is because you don't want to interrupt the natural flow by stopping the action to get signatures on release forms, you let it play out first and then you immediately follow up. There would have been countless adverts made for many different brands exactly like this. Asking what they prefer, then getting permission after filming. (although yes, there would be productions too which ask beforehand. Just depends on the agency/director/brief/etc as to what works best)

The thing is, Blackmagic aren't busy laughing at their customers, so they have more time to respond.

More spectacular footage from the Laowa probe lens.. and here's the BTS: I watch James Hoffman because I'm interested in coffee, so this is a completely unexpected foray into camera tech and slow-motion loveliness, but if you like coffee then I can also recommend his channel. He's a Barista World Champion, has a ridiculously nerdy interest in coffee, and is hilarious when he tries coffee products that taste terrible or reviews cheap and bad coffee equipment. You're welcome!

Think about it like this. FCPX, PP, Resolve, and other programs, will all exist in some way over the next decade. In all likelihood they will have new versions, new features, new bugs, various frustrations and limitations, and various performance levels doing different tasks on various hardware platforms. Over the course of the next decade, which do you feel would be the best total experience for you? ie, experiencing the ups and downs of PP for that whole time, going with an alternative for that whole time, or sticking with PP now but transitioning at some point in the future. Think about the hardware required, the whole package. If you feel you'd be better off with another package, then think about the best time to switch. Over the next decade you'll buy multiple new computers, cameras, and other equipment, so think about the best time to switch. Factoring in the next decade, switching platforms isn't such a big deal, especially if the grass is actually greener on the other side - you'd be eating better grass long after the scrapes from climbing the barb-wire fence have healed and long been forgotten. Changing software packages isn't a chore, it's an investment. You invest time, energy, money for the software, maybe new hardware even, but you would do so if the return was worth it over the longer-term. Think about the cost of your frustration. How it impacts your quality of life and creativity. How demotivating it is. If it's worth making that investment, then choose when is the best time. In the middle of a project with a deadline isn't that best time, maybe there are other factors to consider too. but if it's worth switching then schedule it in your life, then do it.

Congratulate them on making the first ever hybrid camera with a built in Timecode input! (the GH4 with its ugly YAGH doesn't count) This was the GH5S, although it wasn't implemented quite perfectly. (as the GH5S needs to constantly recheck the current TC input for every new file started, not just do it once then the user needing to manually redo it. As this been fixed yet via firmware?? Or was it strangely a hardware issue??) Hope the next GH6/S1mk2/G9mk2/etc also have timecode input support! (and done right too, not like the GH5S was at launch) Has Panasonic thought about working with companies like Timecode Systems Ltd or Tentacle Sync so that their cameras can have frame accurate timecode over bluetooth? Definitely many ultra-compact handheld shooters would appreciate having less AKS/cables on their camera. (and instead a Tentacle Sync E or a Timecode Systems UltraSync BLUE could be kept in their pocket) And on the topic of keeping things super small and compact, with a speedy setup, when will their mirrorless cameras get built in NDs? (at least 3 stages please! Or eND if possible) If their video focused bodies such as the GH5S/S1H had to drop their mechanical shutter so as to fit in NDs into the body, then most us would be perfectly fine with that compromise of no mechanical shutter. Also congratulate Panasonic on keeping the Panasonic DMW-XLR1 for the GH5 compatible as well with the GH5S/S1/S1R/S1H (the G9 didn't work with the DMW-XLR1 at launch, did a later firmware update fix that?). Ask Panasonic if they're planning on keeping the Panasonic DMW-XLR1 compatible with the future GH6/S1mk2/G9mk2/etc cameras as well? Lastly, the big question many of us want to know, is will Panasonic be releasing an EVA1 (or EVA2/EVA1mk2) with an L Mount or MFT Mount? Is sad that the Panasonic AF100 series was the last professional MFT video/cinema camera from Panasonic! This! Good questions. To give an example from the audio world, I was disappointingly saddened when Sound Devices had a change of tack with their product strategy, and started charging (very high!) prices for some firmware updates. Or when can we expect a "Varicam Mini"? (even if S35, that's fine) As the Varicam LT is still a beasty big beast! A Varicam in the form factor of an Arri Mini (or even smaller!) would be interesting, and help support the Varicam LT/S35 lineup as well. (yes there is the EVA1 which can arguably serve the role of a "Varicam Mini", but it's not quite the same thing)

Of course. A career that lasts 65 years is pretty cool. We all should be so lucky. Not knocking your appreciation for Ennio, just giving him credit for all the years devoted to the craft.

I'm sure it's a lovely lens but Sigma and Tamron are putting out just as good lenses for a lot less. Hard to justify paying that much.

Has Panasonic’s plans for MFT changed or shifted direction with the news of Olympus selling its imaging division? How does Panasonic plan to be competitive in the mirrorless market now that we are seeing the competition coming to market with more advanced mirrorless cameras and competing on features like advanced AF technologies, 10-bit 4:2:2, and internal RAW recording options? Do they see advancements in computational photography possibly breathing new life into their crop sensor cameras? If phones can do it why not mirrorless cameras? Will we finally get full V-Log in a future GH camera that will help to unify the workflow and capture process across the LUMIX line? Has Panasonic considered offering internal RAW and/or ProRes recording in its cinema flavored mirrorless cameras (GH5S, S1H) , even as a paid upgrade? A fairly large number of people would be happy to pay for the convenience if the price is right. Panasonic has been the pioneer in bringing professional level features and capabilities to their mirrorless ILC cameras. What qualities or engineering strengths do you see helping push the LUMIX camera brand forward (especially since many competing cameras are all built around the same Sony sensor tech) in a very turbulent market? By far, the number one complaint about LUMIX cameras is the autofocus performance. Panasonic’s DfD offers best in class contrast detection type focusing but it falls short of what people have come to expect from cameras using flavors of phase detection. How does Panasonic plan to stay competitive in the AF feature arena? Anything exciting for LUMIX customers in the future that they want to talk a little bit about?

How does the situation with Olympus impact Panasonic's commitment to M43? Is there a reason why they've stuck with DFD for auto focus in video, even as competitors have moved away from it? Do they plan to continue to have two branches of the GH series moving ahead?

Looks legit!

I've been trying to report a bug to adobe since 2017. This is not my record. That goes to a bug between lightroom and photoshop that appeared in 2008. I tried and failed for years on that one. They say, don't they, the definition of madness is repeating the same futile action over and over... I'm thinking about making a short film about what you have to do to get adobe's attention. I've tried the forum, and the uservoice site (where they, in a Trump-esque stroke of not-testing-for-coronavirus genius, removed their bug-reporting form). I tried phoning them, and then doing a chat session. I was lucky to make it out of that one alive. Honestly If there had been any sharp object on my desk I would've been a goner. Recently I looked up a bunch of the senior devs and quality managers and tweeted them, or wrote to them on linked in. Just now I've been sending any employees who engaged in any small way a message via their forum. I have very very low expectations. I was thinking maybe I could pull some stunts to get their attention. Streak in their offices, or skywriting maybe? Yes I know i should move to resolve. But I'm deep in the sunk-cost fallacy, OK? Here's my latest pointless waste of time: https://adobe-video.uservoice.com/forums/911233-premiere-pro/suggestions/40860028-fix-time-remapping-ppro2017-ppro2020

The 20mp is the biggest thing that's giving me pause about the R6. I have 30, 36 and 42 between the EOS R and a couple generations of a7r's, 20 is a huge step back on the photo side. The difference from 24 to 42 with the a73 and a7r3 was tough to do when I shot both of them. Wonder why Canon is stuck on that one. Chris

What happened to the incredible new glass that was going to arrive, revolutionary, never-before-seen lenses that could only be done with the Z mount? We got the Noct of course and the others are (very) sharp but I was expecting something a bit different (a 24-105 F2.8 perhaps or at least something). It's been nearly 2 years.

I have the 1/4 and 1/8 Hollywood Black Magic filters and they are indeed very nice (I got them to reduce the harshness of the Sigma 18-35 and give it a bit more character, which they sort of succeed at doing but I think I just don't like that lens). The main thing to watch out for with these filters is speckly bokeh, which can happen if you've got an object in focus in the foreground with out-of-focus lights in the background. It looks pretty weird when it happens; you can find examples by typing "speckled bokeh" into a youtube search or on Google.

Thanks Kye, Not a coffee fiend but that was fun. Had to look up the cameras and the Veo 1310 model is only 1.2 (one point two) mega pixels but can shoot at speeds up to 423,350 fps at tiny sizes, 10,860 at full size. They have a few 4k models The Flex 4k is a cinema model that shoots up to 1000 fps in 4k https://www.phantomhighspeed.com/products/cameras/4kmedia/flex4k These are all crazy things that in some cases would cost more than a house. GULP! Just noticed their flagship high speed camera shoots at up to one million FPS though just over a mega pixel sensor.....That is insane! Still, that video gives me some ideas for my little RX100 iv (just mucking around 1000 fps is not that great but can be fun but 500fps is ok as is 250fps...all upsized to full HD in camera).

Getting pretty exciting! I gotta say, despite my belief that the EOS R had just awful UI, these cameras are looking very exciting and maybe (finally) everything in one package. Sony has tried to pour lots into their mirrorless cameras, but never got 10-bit and their color is dreadful compared to Canon/Fuji/Panasonic. Panasonic S1(H) is close to being perfect but they are large and don't have good AF at all. With the R5 and R6, we get Canon's color and IQ (perhaps both best in class), Canon's AF (seemingly updated), internal Raw, 10-bit codecs, high frame rates, option to have a variable ND "in-camera" (see: adapter), IBIS, and all in a pretty compact mirrorless package. Not to mention 40+ megapixel stills and Canon's amazing RF glass. Frankly, anything at or around $4k for the R5 seems like a pretty darn good deal. It's a very, very impressive list. I love my S1H as I think it has IQ that rivals cameras double (or triple) its price point and has the dual XLR adapter. And I love Fuji for photos due to their compactness, but perhaps the R5 could replace both those systems and match better with the cinema cameras I usually use (Canon C series). Pretty impressive and excited to see what tomorrow brings.

Personally I'm a fan of Tiffen's warm black pro mist filters, I alternate between 1/8 and 1/4 depending on whether I'm using vintage or modern lenses, I love the warmth and I feel like it helps me nail skin tones better, and of course the soft, subtly blooming highlights are lovely.

I been hit by artist.io on every freaking youtube video i seen in the past weeks, make me want to boycott them instead!

Well we know when the embargo lifts, so there will be insane blogger hype from the moment its announced...

I bought the Studio edition of Resolve and logged a support question some time back, and they directed it to a support partner of some kind here in Australia (I think they were a dealer or something - they had a different business name), who then emailed me back and forth to diagnose and help me out. I was trying to work out how to optimise my MBP + eGPU setup and at one point they checked with a BM engineer about something. It was a very positive experience overall, and I was kind of surprised because I'm used to being a customer of other brands and basically you get their forums or it's impossible to even find a phone number for them, so customer service isn't something I'm used to even thinking is available, let alone getting help from really knowledgable folks.

I don't have a broad enough overview of the industry to say which specific flavor would be most common (444? XQ?). Ask a DIT instead, or a 1st AC etc. And it also depends on what you mean by "high-end". (for instance I did the sound for a small series which was "merely" less than half a million dollars for their production budget, and they shoot in only ProRes 442, yes 422 not HQ, due to budget/space concerns) They might even pick and choose codecs depending on the scene. For instance do the bulk in ProRes HQ, but then switch to a higher codec for a scene which will have substantial VFX work.

Wow, I missed that, thank you! This is good for me, as all my MFT lenses are manual (Veydra, SLR Magic). I'll have to give this a try.

Kazuto Yamaki is admirable. He recently agreed to be interviewed on EOSHD, and I hope to bring you that soon. I think we should think more about the corporate vs private business philosophy of camera companies. Sony just released the 14-24mm F2.8 GM for $3000. At a time when a lot of pros have less work due to the pandemic and downturn in the economy, I think this pricing is sheer greed. Meanwhile Sigma have their own 14-24mm F2.8 of similar or even better quality - $1200. And their affordable 16mm, 30mm, 56mm primes for APS-C - all F1.4 and exceptional performance. Sony and Canon will likely want $4000+ for their latest cameras. A reminder that all large publicly listed companies exist purely for the benefit of making as much money as possible for shareholders, and it's also about moving manufacturing to where labour is cheapest - with all the environmental and social impact that brings to the planet too. Sigma are different and we should support that.

My personal conclusion - it's great. Well worth. Image quality is amazing, the image "thinkness" I get is great for grading. Just shot a project were we risked using 3 different cameras to capture simultaneously. Z6 with prores RAW, bmpcc 4K and GH5. While all are realtively easy to bring close ( I use Sage's Bmpcc and GH5 to Alexa LUTs and convert Z6 prores raw to logC to apply Arri Alexa LUTs further), Z6 image stands out imo. Yes, it's pixel-binned, not pixel-for-pixel full readout, but there are only very specific situation where you'd notice some artefacts. Never in normal shooting conditions. That's my experience.

Many many big budget productions are recording directly to ProRes

Canon is obviously going after enthusiasts/amateurs with these new lenses, smaller, lighter and cheaper outside of the 100-500. The first lenses were fast primes and the zoom trinity with the 28-70 halo zoom, the only budget lens was the 35 macro. People complained about the lack of a pro level body or budget lenses, now with the R5/R6 they have that base covered and a few cheaper primes. I'm sure their research shows a demand, otherwise why develop these lenses at all? IMO they will sell well, rumored price is about $1000 for each. There are plenty of people that want reach and aren't serious enough to pay $12,000 for a single lens. Lots of amateur birders and wildlife shooters, parents shooting kids sports and so on. Those long lenses combined with TC's the punch-in capability of 8k will turn the R5 into a telescope. I don't shoot wildlife enough to justify that kind of purchase, but I see a ton of birds, dolphins, gators and turtles while out shooting landscapes that a 70-200 with TC can't reach. I looked at renting in South Africa, but I didn't want to do a round trip to return it as I went from SA to Namibia, Botswana, Zimbabwe and Zambia. Plus a 600mm would have doubled my pack size. So I find the small 600/800 lenses appealing, I bet lots will too. As always YMMV. Chris

Here's some test footage I shot last year with the Tiffen BPM 1/4. As you can see, the look varies pretty widely depending on whether there's a strong light source in frame or not. Some shots are probably a bit too drastic for corporate work. For my taste, I like to see the obvious effect. Otherwise why bother? 😄

Weissman score 2.89, highest ever recorded. Amazing.

In fairness though, I've only gotten good results with IBIS on X-T4 with IBIS Boost On, I never turn it off, even if I am panning.

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.

When you shoot prores externally on Z6 the quality of the footage is remarkable. I don't think that you can get anything better image wise for under 10k.

I received the modded Helios 44-2 today, from a Ukraine seller who mods them for both anamorphic, declicked aperture, and cine gears. Looks less swirly than my other Helios, but I think it also looks more convincingly anamorphic. Massive flare at f/2.0 (wide open), but thankfully lots of it goes away if using a filter (any filter) in front of the lens. I loved the results.

Reasons that adding the effect in post is better: It's free It works on all your cameras and lenses without adapters It works on all your past footage It works on all stock footage You can control the strength of it shot to shot You can control it within frame (you can have the nice skin smoothing effects on skin and not have it go nuts from a direct light-source also in frame) You can change the colour rendering like the Warm Pro Mist filters, or any other tint you care to make (even ones Tiffen doesn't offer) You can change the characteristics to emulate their other filters (Black Pro Mist is only one of the filters they offer - https://tiffen.com/diffusion/ ) You can even have hybrid effects like light sources glow green with a red outer ring around them, all adjustable to taste Real filters can have reflections under certain circumstances Reasons that adding the effect in post isn't better: It doesn't work properly if any channel is clipped It doesn't work with any light-source that isn't in the frame It isn't an exact match to the look Things that aren't good reasons for doing anything: That's how they do it in Hollywood