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You're really holding something from 5 years ago against the dude? Because of Philip Bloom? I don't know fuck all about Ed David, but a basic Google search says he won an Emmy and was the DP for a Cannes winning film; why do you keep asking what Philip didn't do for him? Cause, idk man, the only awards Mr. Bloom has won are ones I've never heard of? Like, maybe dude really just doesn't like people accused by multiple women of domestic abuse and there is no other agenda? Either way, it's pretty shitty to accuse him of being "maniacal" or whatever other terms / words you wish to use to try and insinuate that he's mentally unwell, cause best case scenario you're attacking a dude dealing with mental health issues, which isn't a good look, and worse case you're trying to gaslight him and adding to the stigma surrounding mental health. 🤷🏻‍♂️

I'd like to welcome Kazuto Yamaki, CEO of Sigma and the product manager of the Sigma Fp and Cinema lenses, Takuma Wakamatsu to the pages of EOSHD for this long interview! I have recently been shooting with anamorphic with my Sigma Fp - the video you can see above is shot with the Rapido Technologies FVD-16A focus module housing a tiny Bolex Moller 8/19 anamorphic. I have more on this soon, as well as how ProRes RAW performs on the Sigma Fp attached to Atomos Ninja V. Ever since the Sigma embarked on the high quality ART lenses the company's factory has output higher and higher quality products, even industry leading lenses in fact. Now the Sigma Fp marks their entry into filmmaking cameras too with internal 4K RAW recording, external ProRes RAW and even BRAW - as well as being the smallest interchangeable lens full frame camera available on the market. Read the full interview: https://www.eoshd.com/news/the-eoshd-interview-kazuto-yamaki-ceo-of-sigma-and-takuma-wakamatsu-sigma-fp-product-manager/

Been reading and not getting involved in the convo, but this. Wow. Not cool.

I think I'd probably prefer to buy a €2000 GH6 and continue to use my compatible glass than spend €2000 on an S5 and have to faff about with lens options from scratch. I'm almost perfectly happy with EF glass and a Speedbooster XL which makes the 2x crop of M43 a 1.28x instead. That is a very sweet spot if you need to go wide or if you need narrow DOF. Then if I need reach or more DOF I can swap that out for a non-speedboosted adapter. This makes for a very versatile system.

This post says it all. how you really don’t know anyone as well as you think you do.

Hi everyone! As pointed out earlier, I am rolling out an Ed David Speaking Engagement Tour. I will be mostly talking about myself and how many likes I have on this forum, but I will also address the following subjects: 1. Canon R5 Overheating: Or is It Existentially Challenging Us to stop shooting millions of photos and video? In this discussion I will discuss the philosophy of the new Canon camera to try to limit the amount of shots one does, harken back to the film days: where each shot count! Or in terms of 8k video - to make sure you are not just rolling and rolling and rolling. To pretend like its 16mm film. To rehearse performances 2. How online forums amplify and ruin conversations You love your Aunt? With facebook, not anymore. And multiple that by a thousand when dealing with people on any online forum. How the stroke of a button and hitting "send" can cause incredible pain and anxiety on the other end. But who cares? You don't have to be in the room with said person to see them upset! 3. How the Covid Apocolypse and the Great Depression 2.0 makes us happier, better filmmakers We will chat about the end of the world. Whether its the Pandemic, or Fascism or the Great Depression- or all the above, that really makes us depressed - with massive unemployment. And how that affects us as filmmakers. Being happy and productive! 4. how to make money as a filmmaker without shooting butt paste commercials One word: you cant! How can you afford rent, you fool? Sell out now and sell out fast. Sell sell sell sell sell. Market market market. And if you dont shoot commercials, do your own youtube channel and do the bidding of sponsors! Or give up and start a podcast. 4. Just f*cking kidding - it will all be about me. I am a giant showboat. Come with me as we look at profile pics of me. We talk about my best posts. We trash my many, many enemies. Please respond to this to boost my ego and trash me so I can feel that rush of public humiliation - the meanest, most horrible response gets a free ticket!

Mr. Yamaki is a really cool guy. It would be great if the Foveon video camera were released even without a high iso. Andrew, your video looks stunning to my eye. 🙂

Steinheil Cassar S 50mm f2.8. Running out of trees to photograph. 😞

For anyone about to start do more external recording, especially external RAW, I compiled a list ProRes Disk Rates, Consumption, and Usage Times. This time I added a section that has the number of minutes you would get out of 500GB, 1TB, 2TB, 4TB drives for your project estimations. Also adding in costs soon, so that you can estimate your costs/TB and costs/Minute for the different combinations. The spreadsheet I have will take in the size of the drive and the cost, and then calculate your costs per minute for each of the different codecs and fps settings.

User, hope you have enjoyed EOSHD for the past few years. You're no longer welcome here. I warned you before about the conduct towards Ed. It's because of reactions like yours that more women don't come forward in the film industry and more men don't call eachother out when the hear of alleged wrongdoings.

More to come from this beast!

I’m with @Emanuel on this as I have no real idea what this thread is even about... Is it serious? Or is it some kind of ‘in joke’? All I know is that tit for tat, back and forth sniping is just one big negative. At what point does anyone ever in these situations ever say, “OK hands up, you have me. I’m just a big fucking Muppet and I apologise”. Never is the answer but instead it turns into my gang against your gang. Let’s just get back to dissing Canon and Panasonic’s AF. All this personal animosity that most do not even understand the back story on just needs dumping. Be the bigger man and just let it go. Unless you are 100% incontrovertibly fact backed being attacked/abused and then it which case, defend yourself. But as for attacks... No place IMO. Just personal opinion.

Dude you're embarrassing yourself.

With S1 Sigma mc 21 and Tamron 24-70 G2 VC Control works nice together with the Ibis

You're literally the only person that has a problem with it in that link? If you're going by people's reactions from 5 years ago... Society has moved forward and learned a lot during the last 5 years. I wouldn't count on people being so willing to dismiss the accusations now given what we've learned. Of course, there will always be those that think women willingly lie about being abused, because who doesn't like admitting their victimization and receiving the inevitable backlash that comes with telling your story about a public figure who has legions of supporters? 🤔

Actually, I take back the insult to his cats, they never hurt anyone. But fuck his love of cats.

So your issue is over how he treated Peter Bloom? Because honestly, fuck Peter Bloom. I believe his accusers, especially after revisiting his statement that every abuse counselor/expert would rip to shreds. Frankly it reflects poorly on the filmmaking community as a, whole that the entire thing was hushed up, that anything referencing the accusations got deleted after Mr. Bloom used his influence, and that it was never re-examined following the #MeToo movement. Frankly, fuck him and his cats.

Ah, beautiful video. The art of making the seemingly ordinary visible as something extraordinarily beautiful. The unprentious rhythm, the photographic gestalt. Well, fantastic. Thanks for going the extra mile! Schloss Charlottenburg! Some shots are breathtaking!

Bloody hell. Well, whatever’s going on here it’s not healthy for anyone. All this odd drama because of R5 “overheating” coverage. Hope it works out and blows over.

I'm afraid that this thread actually approves something that Panasonic management is highly afraid of (although loudly claiming the opposite) - that hypothetical GH6 and S line indeed severely overlapped in most critical user/buyers base that is left to Panasonic as slightly comparative advantage. Most of us who'd buy an great-specs-provided GH6 will never look at unnecessarily expensive S(H) line for next 3 years... and actually we are the main targeted group of potential buyers whom Panasonic stuff mostly tries to allure to FF line. Unfortunately, from indefinite phrases as "we will consider", "we will see or still evaluate" etc. it seems to me that development of GH6 is not at all in progress, as also that they'd rather connect eventual/suspectful dying future of m43 to some low level type of camera for lighter consumer usage. Needless to say that I disagree with such decision even from economic side. And same as previous posters already noted their favorite alternative choices, without GH6 in plan I feel BM as main provider for my personal needs. Till now it is clear that FF line is total selling fiasco in Europe and not too better elsewhere. I simply can't understand why Panasonic don't choose rather to make and sell tones of swan song model of GH6, catch proper moment to attracts all Pocket 4k and/or Olympus users and keep enormous base of loyal GH5 users....

Unlike contrast based AF systems, the lock speed of the AFX system remains consistent across different lighting conditions. The benefits of this are particularly apparent in low light or low contrast situations where contrast based systems will have to hunt to achieve lock. These examples compare the performance of the internal BMPCC contrast based AF with the AFX to illustrate how each system deals with different challenging (too challenging for YouTube's shitty compression by the looks of it) low light and mixed contrast scenes.

sure, probably tomorrow, I want to finish adding the costs calculations first

Link to the Spreadsheet? Oh, and thank you.

I dont understand the whole concern about 12MP photos. 2048 pixels is the max res that the large majority of places that people publish their work. As far as the very few times most people with print their work, I have printed size A3 all day long from my Nikon D3 and even A2 (23.5" x 16.5") with simple upRes technology that most print shops have. Question is are the very few times that people are actually getting prints done above 24", then if so, ok.. Yeah 18MP or 24MP. But seriously, short of poor composition or not having long enough lenses, where crop is involved, but even then that is going to be rare AND rarer that they need to print that larger than 24". Don't even get me started on needing more storage space. For a very large majority, 12MP is more than enough for photos. So I dont get the argument

The GH6 will need to be an absolute monster now the A7SIII offers up to 4k120 10bit full frame with no cripple hammer, and ProRes RAW. I think they should use a Super35 sensor but with MFT mount with 6k60p 10bit, external RAW and internal ND filters for less than $2000. That would be very relevant and head turning enough.

If only any of us could write films that got people as excited as this thread has done. Hey ho. Back to Hove Beach for me.

I’ve never tried the Rokkor’s, so thanks for bringing that to my attention. I’m a sucker for imperfect vintage lenses, it’s like a crack addiction. Im with you on the Edge, not too bothered about that lens. I don’t find that effect useful. Check out the Sol45, that thing is nuts. Got some work to share soon using that and other Lensbaby’s. .

Dunno if PetaPixel is banner here also, but they have an article for a infrared conversion company in New Jersey that tore down a R6 and found a real time chip controller that is attached to the internal battery (they credited EOSHD there). Not much new info, but an interesting investigation path. https://petapixel

What format did you shoot in ? I did a 10 bit vs 8 bit comparison with mine a couple of weeks ago and to paraphrase Alan Partridge the 8 bit was certainly competitive.

Tripod eh? You radical bastard 😉

I would love to do an F3 challenge. No idea what the challenge would BE, but having an excuse to shoot something sounds great.

Agreed, the 30 minutes limits and micro HDMI are pretty bad cripples. There's also the weaker EVF and LCD screen and poorer IBIS to add into the equation (I've watched a few videos now and it definitely looks worse). It's definitely crippled quite a lot compared to the S1 although it adds loads of stuff too. I'm still impressed by the size of it and the price is more than reasonable (basically the same as I paid for my S1s).

In the a7SIII you can take the S-Log3 all the way down to 160 ISO 😮 though the minimum ISO when shooting S-Log3/S-Log2 is now native 640 but in extended can go from 160-500 So looking forward to no more minimum of 1,600 ISO. You should seriously consider shooting the A7SIII in S-Log3. Between this new min ISO and finally having the color range to support it, S-Log3 will finally be usable in a mirrorless.

yeah, Josh and I were commenting back and forth in the comments on that video. The consensus right now is, we don't care what they call it, we'll take it 😉 Proof will be in the 16bit RAW output what the heck is going on there. Can't wait to test that out. as info, my YT Channel is named the same as my user account here 😉 Hangs4Fun is my trail name, as I've been an avid hammocker for decades

Hey Adl, The XLR-K3M is the new digital version of the XLR-K2M. The A7SIII will be the first camera that can actually record 4 separate channels of audio digital straight into camera at 24bit/48khz. Here is how I will be using mine. I have 2 pairs of Rode Wireless Go mic's and a Rode SC11 Y cable (that will take the output from 1 wireless go receiver and make it the left channel and the other wireless go receiver and make it the right channel > both now being in one stereo mic jack cable that goes into the 3.5mm input on the XLR-K3M https://www.bhphotovideo.com/c/product/1582563-REG/rode_sc11_3_5mm_trs_y_splitter.html (this is nothing new though, I have done this for many years using a similar Y breakout cable from hosa, that is around $5 and it doesn't have to be Rode Wireless Go, it could be a Rode Video Mic Pro on the left and a lav on the right). Any way back to the explanation of 4 channels. So if you are still with me, we now have 2 wireless lav mic's going into the 3.5mm stereo jack on the XLR-K3M. Next, for the 3rd mic, I will have my Sennheiser MKH-416 in the #1 XLR port with phantom power this mic will be boomed. Lastly, my 4th mic, will be the Sony ECM-XM1 that comes with the XLR-K3M which is supercardioid shotgun mic, and it will be oncamera as backup audio. All 4 of these mic's will have no cables going into the camera itself, instead they plug into the XLR-K3M. And yes, the A7SIII supports using all 4 of them and injects that stream as LPCM 4ch (48khz 24bit). See below which is straight from the production release docs. Now the XLR-K3M on the A7RIV or A9II, is only a 2 channel option, you have to choose XLR or the 3.5mm, you can't do both, but on the A7SIII you absolutely can do 4 channel. And now with digital audio recording at 24bit going straight into your media file, no more sync'ing in post, yet I can control all 4 channels separately. I did a Zoom session with Sony PRO Support and watched him do it, to verify it wasn't a typo 🙂

@Ed David did you actually make the first post? Wtf is going on in this thread?

Nicely done Ed. There'll be no trashing from me.

I already have the 24-70 f2.8 and waiting for the primes that will be released by november. And I also have a 5 lenses kit of Samyang cinema lenses that I use on paid projects on my S1H. But what interest me in the 16-35 f4 is that its aperture is constant and it's kind of small, matching the small size of the S5. Also for me, f4 (and sometimes f5.6) is the sweet spot for shooting video in Full Frame in manual focus, it has that FF look with a little bit of blur in the background without being too hard to pull focus. So perfectly fine for me. i'd rather compromise a bit on the size than on the constant aperture compared to the 20-60.

Lots of good deals on the S1 on eBay right now 🤣

Don't confuse sharpening with actual detail. When it comes to low contrast texture, the S5/S1/S1H easily outperform others while having the same amount of high contrast detail but basically no sharpening.

I have the Sigma with my S1H and it works really great. I think it's the best option right now.

Look at the resolution target in the center and you'll see the aliasing and moire on the Z6

Not the reason at all. Both Nikon and Sony do heavy processing on their footage. Strong NR creating all kinds of artifacts and strong sharpening with halos around corners. If you want a proper Sony camera which doesn't look like video, the FX9 and above are your only choices. While Panasonic starting with the S5/S1 and above looks really organic.

easier editing in an NLE for sure. But also, better reproduction of each frame. Same thing happens when you go from All-I to ProRes RAW and then from ProRes RAW to linear uncompressed RAW. Each time you gain slight improvements, and as anyone in an industry where you create something, as you want more and more control over the final product, you add more and more $$$ exponentially for less and less actual improvements.

You absolutely missed my point. But it's ok, I still understood what your point is and respect it. Just watch Gerald's S5 review video after 23:00 and you will understand why I feel punked as an S1 owner. He says at the end "(S5) has basically rendered the S1 obsolote because the S1's advantages aren't worth $700" and that is exactly how I feel. At least they gave S1 owners a firmware upgrade with the improved AF but this doesn't change how I feel. It even has quite a few extras borrowed from S1H which S1's don't possess. Gerald Undone's S5 review: https://www.youtube.com/watch?v=-hepPjpE0C8&feature=emb_title

SMDH... Well, I just read the part that I copy/pasted from the doc and it clearly does say that those Creative Look settings are for BOTH stills and movies: A selection of new Creative Looks makes it easy to create interesting moods for stills and movies right in the camera. 10 Creative Looks are provided as presets that can be used without modification or customized by the user, based on the currently selected camera mode. So most likely, this is where Brandon set the highlights to -9 and the shadows to +9 and it was in the standard creative style. In my a9 I only see Contrast, Saturation, and Sharpness in my standard creative style (would guess the same for the a7III), so the highlights and shadows setting must be some new options only in the A7SII.

The Sony PRO Support person I have been working with, replied back that he had to ship back his A7SIII. He is getting his production model in the next week'ish before the bulk starts shipping. He is going to do another zoom with me once he gets it. Currently all of Sony PRO Support is working from home, so they are not driving into a common place where all the gear they normally have access to. So they request specific hardware based on the customers they work on. There's no data set yet on when they return, so for now, until he gets his unit, he has not way to verify where those settings are and if they are in there. I did however, find a small blurb listing in the final production document he shared about a shadow setting (I assume the highlight would be there next to it). I'm beginning to wonder if Brandon confused a photography setting with video? He is the first to tell you that he is not technical, like the opposite of Gerald Undone, lol (he's modest though, he knows some technical, just not deep) "Use Creative Look to create moods in camera" A selection of new Creative Looks makes it easy to create interesting moods for stills and movies right in the camera. 10 Creative Looks are provided as presets that can be used without modification or customized by the user, based on the currently selected camera mode. The [FL] preset, for example, has clear contrast and an interesting blend of subdued but impressive colors. The [IN] preset has a soft, matte look. The presets provide a wide range of variations with different combinations of color, color depth, brightness, contrast, sharpness, and more. Eight customizable parameters including contrast, saturation, shadow and others can be adjusted while viewing the resulting image via the monitor or viewfinder. Customized Creative Looks can be stored as Custom Looks for later recall and use. So, maybe Brandon customized this Custom Look with those shadow and highlights adjustments. My understanding is that these creative looks are only for stills and don't apply to movies, but I could be mistaken. The other part of your question to do with firmware update to the A7III to add this, will depend. If my above guess is right, that wouldn't help you if you want those adjustments for picture profiles (video). Will update this once I hear back from support (may be 7 to 10 more days).

No, I'm just getting it from B&H. As it stands I only have one Sony body and two lenses, the 12-24/4 and the 24 GM, I'll need the s3 and I think another Sony lens to get pro support - but I'm probably getting the 35/85 1.8's so that should get me there unless I go Batis 40/85 instead. My order was processed just a few seconds after it went live and this is such a niche camera its not going to be in short supply with almost 2-months of lead time from announcement to ship date. IMO if it had 24mp or so it would be far more appealing to more photo-centric users because of the EVF and AF advancements. But that just means we'll get it faster LOL! Chris

Did you by any chance jump on the "prioritized shipping" that Sony PRO Support offered? First time I have seen them do that, and can't find much on what it means. But when I filled out the form (seconds after they sent out the email, lol), I had to provide where I pre-ordered mine from, my order number, etc. I'm wondering if they are working with each of their vendors to drop ship directly to us? Which would cut out the need for Sony to ship it to B&H, then have B&H receive it, box it back up and ship it to me.

I'm just on the phone with Shill-U-Like arranging the flights and accommodation for Hawaii for their top 20 influencers so I'll let you know as soon as the date is fixed.