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I don't think you should be banned, but I hope that you really did learn a lesson. You're not a bad person, just insecure. We all seek validation to some extent, but don't try and create it artificially. In doing so you not only lied to us, but more importantly you lied to yourself. Have some pride, man.

You are absolutely correct. My apologies I was trying to address the rules that I broke and focusing on that. I should have lead with a sincere apology first. Im ashamed and truly sorry. Im used to dealing with people in person much more so than online. Not an excuse. I really want to work through this shame and prove over time I am a good person and eventually will have things of value to share. The integrity comment really hit me hard, and am reflecting on what I have done. I got wrapped up in the "unanimosity" and lost my sense of person and how my actions affect the group of people I am connecting with. I can only promise it will never happen again. But if you choose to ban me or what ever it is called, I completely understand. My deepest and sincerest apologies to everyone here.

I haven't tried the 24/25/30p so can't comment, theoretically it should give less heat than 4KHQ Well here is my thought on the R5 after the race day 1. AF The most reliable method for me is the Zone AF, tracking AF on cars can get lost when I also do the panning or when the car is down to certain area on screen or if there is a lot of cars which can block the view. Expand AF can get OoF once the car goes past and I have to use manual to get back in focus quickly otherwise it is really really slow to get back to focus. (with telephoto lens), There is still occasional focus hunt when I panning across to follow the car (from forward to sideway) 2. Custom Video Mode Major advantage over R6 is the custom video mode, currently I have set to FHD/4K50P/4K100P, so when I want to change I just press the mode and change. I can totally feel the pain for R6 user which currently doesn't have this, Canon should really update R6 for this feature. 3. Movie Crop Mode You can't set the movie crop mode to a custom key which is super dumb, I have to go to menu each time i want to do crop mode, on Sony and Panasonic you can set key for much faster access. If you shoot in crop mode and change to your custom mode it will still shoot in crop mode (unless in 4K100/120/8K). 4. NTSC/PAL Selector Much better done on Canon than Sony or Panasonic, just change the frequency and shoot, no need to format card (Sony) or restart camera (Panasonic), so if I need more slowmo I just change to NTSC and keep on shooting. 5. Battery Issue I had problem where it just suddenly give me error when using EF Lens on the adapter on the genuine LP-E6N battery, I have to use LP-E6NH to make the problem go away. I will need to investigate this more. Though I feel I might get more LP-E6NH at end and sell the old LP-E6N. 6. No CLOG on H.264 This is probably the most dumbest move on Canon, we get that HEVC offer twice the efficiency but the bitrate is quite healthy on the H.264, there is absolute no technical issue for clog not on H.264! Hope Canon can really fix this as X.265 is so awful to edit. There is HDR PQ to increase DR on H.264 if you dont want X.265 or Andrew's EOSHD Clog to emulate Clog on H.264, I used cinestyle as it matches up with the 1DX2 which also use cinestyle to help with edit in post as the video is due next day. My editor have no problem editing the 4K50P on H.264, though 4K100P is still lag feast on Ryzen 7 4800H. Other than that the editor say the video quality is definitely better than the C100MKII I shot on previous race, unfortunately we can't share our video as it belongs to the TV station (for subscriber only) but here is the video from the team's media team (some of my R5 footage is from 4:36 onwards)

Exactly, I always laugh at people who say IBIS is useless or real cameramen don't need IBIS. The reality is its great when its needed and the best part is it can be turned off when its not needed. When I am shooting real estate videos with wide angle lenses on a gimbal the last thing you want is IBIS on. It is much better to stabilize in post than to try to stabilize wobbly IBIS footage (i.e. impossible). On the other hand when I am in the middle of a big event and need to hand hold some b roll footage with a tiny GH5 then for me at least the footage would be unusable without IBIS. Even with IBIS, proper technique, a cage, top handle, and mic, my GH5 is simply not heavy enough to get rid of my shakiness. The C200 is a different story, I love hand holding it with the cage, top monitor, top handle, V mount battery, Canon battery, Canon grip and I added a second grip to the left side. After I tuck that battery under my arm I feel like I can shoot anything handheld. I think IBIS and AF are both very overrated for video but both are great tools in scenarios where they work well. I always like having more options (as long as I can also turn them off) then not having an option that would make my life easier in a certain scenario.

Well I just took my S5 out on a proper full day's video job! I think it went quite well and will post up the result once I've edited the job. Takes a bit of used to with the familiarity of the controls etc and just the ergonomics/muscle memory coming from Fuji XT3 but looked good on the back of the camera. So far, so good...

Thick Negative sounds like two of the bullet points written on my school report.

Ah don't need the explanation after all. Better remember to log out of your shill account before posting with your main account next time @Hangs4Fun

Hi, everybody. I'm the author of this modification. It is currently only available in China, and will be released in November with a self-assembly kit that you can install yourself. The installation isn't complicated. You just take off the screen and don't have to take the device apart. The whole process takes about 20 minutes. No parts are damaged and can be restored to factory state. For $249, it's available through paypal for two to three weeks of shipping and $30 to $40. I would declare a lower value of the item to reduce the tax. Contact me at power_cheung@139.com

Yes, CLOG. On my 2016 MBP I have to create proxies. On the 2020 model, it's not smooth like butter, but absolutely usable without proxies. I shot my first event this past weekend with the R6 (mainly photos, I had my Ursa G2 for video) and it preformed well in 100º weather. The event was Subaru of America's Guinness World Record attempt in Los Angeles. I also photographed the 2022 BRZ teaser shots for them (those hit all the car sites yesterday), but I used my Olympus EM1X for that since I don't have the flash transmitter for the Canon yet. For video, I did use it to film a car in the desert the day prior. It was 110º and, as expected, video was near useless. It fell to only a minute usable after about 10 minutes of shooting various, very short clips. I do like the camera though, and I have lots of other options for video so I'm going to keep it anyhow. Just would be nice if it was a bit more useful.

Okay - I'm gonna say it... Can we please move this thread back on topic? 😉

Those of you guys doing wedding videos... don’t take this the wrong way.... but you are doing something wrong. I don’t know what you’re doing, but I know it’s not right. There are venues that are going as high as $50 or $100 per person. The average cost of a wedding as per google search is $33,900... are you telling me that couples are willing to forego the cost properly capturing those moments? Your telling me that people are not willing to spend at least 10% of their budget on properly capturing the event itself??? May be they don’t see value in it.... at which point skip those people.... But, you need to lean in on those that do see value in video and lean in hard!!! Which means.... package it properly.... and throw in a crap load of marketing behind it. Let me be honest here... I got married in 2010.... I hired pretty much a nobody... barely had a portfolio to show... he was fresh out of film school and he was recommended by the photographer. But, from the small portfolio that he did have, I was super impressed - my now wife... I had to convince. He charged $3800 (Canadian)... my mom complained stating exactly what you guys are saying.... “videography shouldn’t cost more than photography” - He made her eat her words by the end of it. BTW, photography cost $3200....this was at the cusp of the DSLR revolution.... he was running around with a 7D and 50mm.... But at the end of the day.... this guy came full guns blazing. He filmed with us for about 12 to 14 days... (that alone is going the extra mile) and created a 20 minute short for the wedding. At the wedding itself, he came with a 12 foot crane/jib (4 extra guys); had posters of the 20 minute short (all over the place) and a 2 minute trailer of the short (full video was shown at the reception). When he finished that day alone... FYI -there were 700+ people at my wedding (I’m Hindu)... 8 people signed up and he charged $5200 per person. Thereafter he signed way more by showing people the final cinematic cut of the wedding itself. And, he even packaged the tangible products properly - from the Blu-Ray/DVD menu to the cover and housing of the disc. I got the original disc in a leather case, and regular DVDs (however many I wanted) in a custom plastic case. Owning a camera and knowing how to edit the footage is not enough. Ask yourself how many steps ahead are you from the regular joe (owning the same or similar camera)??? It has to be visible differences though. If you’re going to talk about DR and noise reduction.... people don’t see that.... do you know why photography is more expensive??? And people are willing to spend money on it?? There are physical - tangible products at the end of it - a physical and custom album and custom framed pictures or canvas pictures <- people see that.... it’s visible... a DVD or USB stick.... sure it’s something... but it’s not framed on the wall or anything. Im hoping that you guys are seeing the visible products that pretty much acted as a marketing campaign for the guy that I hired. If you don’t see it, let me list it out: Camera jib (that’s something the regular guy doesn’t own), movie posters, trailer, 20-short, 45 minute cinematic cut (final product) and leather casing. Sure that seems like a lot of work.... and it is... but then ask yourself again how many steps ahead are you from a regular joe who owns the same or similar equipment that can do it for free?

Thanks for the input. yeah, i shoot interiors and dealing with white balance is one of the major challenges. And the thought of dealing with h.265 is a bit daunting (although I would probably transcode first). Thanks again.

I hope so, but if not I understand. Im feeling like such a schmuck. Seemed harmless at the time, but now I see that eoshd is a real community with people who watch out for and protect that community. And THAT is a real rarity online and one that I want to be a part of and make things right with. I will do what ever is asked to repair and make amends for what I did. I really appreciate the offer of forgiveness, that means a lot.

I'm no professional colorist. I do, however, shoot a lot of footage with my X-T3 and T4 using a Ninja V. I do feel that the ProRes 422 grades better than the internal backups. I hosed the white balance on an interior shot this weekend, but because I was shooting ProRes I was able to heavily push the temp and tint sliders in Lumetri to dial the color back without the image breaking apart. And here's another thing. To get 10-bit out of the Fujis, you've got to shoot HEVC. I would soooo much rather worry about storing chunky ProRes files than editing a mess of H.265 files. And my computer isn't old or slow, either. I built a 16-core Ryzen 9 machine with an RTX 2080 Super and multiple NVMe drives, so it's a reasonably capable machine. Also, as I've said before, I personally enjoy the benefits of using a larger monitor than the backscreen of the camera to help check focus and framing, and for all of the tools I get that the camera doesn't have. Heck, on Sunday I had my monitor boomed off to the left side of my T4 with a magic arm instead of on top on a ball head. I found I could use the arm as a grip, which widened my posture and made my shoots a little bit more stable. Nothing to do with color grading, I know. But there you go.

Forgiveness is in short supply these days, I hope we can revive it here. It's rare to see such remorse and humble honesty. Slap on the wrist and move on.

I agree IBIS and AF are very useful and for some almost essential to do their job well. But, it can also be a crutch for lazy Videographers to rely on when there are alternatives. I was guilty with the GH5 of abandoning my Monopod. When I brought it back with the P4K, I found I was getting better shots, and my back was a lot better for it too.

The places where cinema cameras tend to differentiate themselves well from lower end cameras is dynamic range and highlight roll-off. Obviously these are somewhat related, but it occurs to me that while the C70 seems to have big advantages over say, the C200, in shadow detail, it seems (from the limited footage available so far) to be less capable in the highlights. That's what I'm seeing in the side-by-side tests (CVP and Giannis Saroukos tests). Also, the highlight rendition in the footage so far is not stellar. But it's hard to judge because most footage is either not very highlight rich, or has deliberate stylistic overexposure (Saroukos), which looks pretty but makes it hard for me to work out how well the camera is handling that range. There is also a significant (though probably not problematic) reduction in sharpness compared to the C200 RAW (and obviously the C300III RAW). I'll be watching this quite closely because if I'm going to be spending £5K on a camera, and at this point it still seems quite likely, then it needs to have an image that elevates above the mirrorless cameras below it. We'll see.

Yeah that sucks. The trend is the same regarding wedding here in Hong Kong as well. That's why wedding videos in Hong Kong tend to look very horrible. Poorly exposed images shot with wide lenses, tons of unnecessarily gimbal shots... etc. Luckily I am in the event business where videos get paid more. It's only because of COVID I am next to jobless for 8 months. 😅 The S5 looks very nice and I actually like Panasonic very much. Hope you have a nice experience with the S5.

Yes I think the cell phone is really hurting this industry for events. My next least favorite trend is somehow in my area wedding photographers are paid more than wedding videographers. These days it seems like the videographers are hired as an afterthought and only with whatever funds are left over from the wedding photographer. I've turned down multiple requests this year because they had no budget and every one of them had already hired their wedding photographer. I'm with you for this year.....I cancelled my C70 order, I had so many low budget clients approach me in the past few weeks that I decided its better to wait and see. Instead I am getting the S5 as a gimbal camera / B cam and if I get a shoot that could use the C70 I'll just rent it.

Paid for with your own personal integrity? Shameful behaviour. Fortunately you’re not bright enough to have evaded the investigative eye of EOSHD...

Needs and wants are totally different things, for example; you need a camera to make a film, you don't necessarily need IBIS to make a film (although it can be a great tool for certain situations).

OK, I'll give you some feedback then. You created an account which was not only being used to boost the posts of your main one but was actually interacting with those posts as though it was a real person. That wasn't done accidentally or unconsciously was it? You were then caught red handed and would no doubt have just continued with this deception if you hadn't been. Your response to this deliberate shithousery being exposed was a six paragraph post in which the word "sorry" didn't only not appear but it wasn't even implied. That complete lack of contrition is as bad as the initial deception.

So breaking forum rule is ok without remorse at all? Doesnt seem fair to us who try to follow the rule?

Even with the GH5 I put a monopod first. I rarely use IBIS. And do not even mention the new fashion of NOT bringing a tripod/monopod because of IBIS, I see a lot of "kids" doing this.

I got less time on S35 in 4K50P than FF 4K50p (20min vs 30min), FF 4K50p/60p is not oversampled. 4K Screengrab from R5, I think i can just grab stills from video.. much easier this way., rolling shutter is quite acceptable on R5.

Yeah, and for those who put videography first and only needed very casual stills uses out of their hybrid (some party shots on holiday, perhaps portraits of a friend as a favor, etc) then the Panasonic GH5S is perfectly capable! 10 megapixels is heaps for casual sharing on social media. Heck, heaps of major ad campaigns have even been done in the past with cameras that are around the 12 megapixel mark! Yup, once again Panasonic was being a leader!

Can anyone walk me through this sequence of events ?

If its got 4k 60p 10 bit I'll be down. I am more onboard with Nikon colors and of course the usable auto focus.

IBIS is a godsend if you're filming sports, documentary, etc. When I first started out I used big S-VHS and VHS cameras; stabilization was never an issue because of the weight and the cameras were shoulder cams. As cameras got smaller, stabilization became more and more of an issue for my kind of work. I can't just stand still, I have to constantly be on the move. When you're rushing to make sure you get a good shot of the action, you NEED good IBIS otherwise your shot will look awful. If everything you do is on a tripod, gimbal or monopod then that's different, obviously. But if you're doing real run and gun, stripped down handheld video then IBIS is huge. I'd much rather have it than not.

IBIS is one of those things that gets lots of hype, which means that many people think it's great and then they get past the hype and think it's worthless. I think IBIS is a thing that some people really do need, and other people think they need but haven't really explored all the options and when they realise they didn't need it then assume no-one else does either. I've shot with and without IBIS on the same lenses at the same time (doing camera comparisons) and I also regularly shoot in situations where the IBIS gives normal hand-held looking motion because it's turning footage that would be completely unusable into footage with some motion in it. IBIS is like everything else in film-making, and in life more generally. It's neither good, nor evil, but somewhere in between, and is context dependent. Anyone making sweeping generalisations just doesn't understand the subject well enough to realise that everything has pros and cons.

It looks great! I like the colors. The A7s3 is too much for me and my needs. What are you going to do with it? Are you going to put this video on your website, maybe as a video background of sorts? Where was that taken? It looks like there are some good trails and photo/video opportunities.

Hey John, here is the updated video with the 5 different video settings in camera (as it should have been the first time, lol) https://vimeo.com/464041748

If you want a cinema look, ibis is not necessary ... It might be a joke, but a certain movement of the camera is due to its high weight !!!

When they add the lower bitrate Canon RAW Lite to the R5, it would be great if they added it for the APSC mode (5.1K) and up to 60p.

Wow, no love for IBIS today? I couldn't go back to a non-IBIS camera. I shoot lots of B roll of people who've never been on camera before and will be gone away in a minute, doing things. IBIS means I can shoot handheld and get three different steady shots from different angles while directing the person(s) in the same amount of time it would take me to get one shot on a tripod. I don't use it as a substitute for a dolly, slider or gimbal. I still remember my horror at the shaky jello of my first handheld shots on the 5D Mk 2!

I use my GH5s more than the GH5. IBIS is one of those tools that can be overrated in its importance. I found it made me lazy with my shots as I relied too much on it. Its no longer a deal breaker for me in choosing a camera.

Those are great shots, if I shot sports or fast moving objects the S5 definitely wouldn't have been my choice. I look forward to seeing how you like the S5, I plan on using it as my GH5 gimbal cam replacement and as a b cam to my C200 on bigger shoots. I'm even cautiously optimistic that it may serve as my A cam on smaller hybrid photo/video shoots. Never thought I would say that about anything other than a Canon camera but like @Andrew Reid stated....it seems like Panasonic is one of the few companies offering everything people want (except AF) and I don't use AF at all for video. Everyone raves about the Canon's AF but it was shockingly bad when trying to film a dance group this weekend with the R6. It kept getting lost when they did certain moves and would lock onto an audience member in the background until I tapped the screen. I switched to MF after the first take. I think good AF definitely has its place, but for most of my work every time I've tried it it fails.

That should come as ZERO surprise to anybody, because early adopters always pay the price, no matter what it is we're discussing.

Couldn’t really say on 2 counts... First, I have never owned a GH series camera, though I have had an Olympus 5ii four years ago, but used it on a monopod for video. Second, depends how and what you use IBIS for. For me it would be for ‘tripod’ mode, ie, no movement. Not even a gentle pan. From what I have seen, 99% of IBIS tests seem to be vloggers walking and talking to camera or trying to replicate gimbal moves whilst stating that IBIS is not a replacement for a gimbal. But I can say that compared to a tripod, for my needs (elements within my framing move and I do not), it’s pretty bloody good!

when you are in the field you want to be able to work fast and reliable. There are reasons some cameras cost 2000 and others 5000. First of all I have spend hundrends of euros for Tilta cage/powering/CFast/SSD/Nano focus/front ND and IR filters (just order a Hoya for that) that are not convinient to work with, and still searching for a better vND than the ones I have/sound options/weird body, e.t.c With the C70, just add another battery, 2 SD cards, and you are ready to go. No need for building anything on the field, or worry that everything will work, and I work H265 since 2015-2016 with my first NX, so it is nothing to me.. I will say it again, professionals want to worry LESS on the filed, less is more, less is safer, less is better. I never use my Pocket, because I do not want to worry about hanging cables, SSD drives and USB C connections (I bought the CFAST back then for 500euros because I didn't want to worry about loosing footage), then I have to add the NPF adapter, a Focus monitor, various things on and in and around the Tilta cage, and other stuff.. Working with - cheap- cine cameras is liberating, even if it is 2 or 3 times the price of a GH5S or a P4K. Building setups like Lego are destined for huge productions at the top of the industry, or exactly the opposite on the lower end. Where most work happens, in the middle, people prefer all in one solutions, yes, even camcorders, mind you, imagine the C70 has the price of some of those camcorders!

For video I personnally super 35/APS-C is the sweet spot. I really like micro 4/3 too for video. But I can't really appreciate taking stills on a crop sensor. For now I only use mirrorless bodies for my stills business and for my filmmaking business (except when I need to rent a certain camera for a project). But if I would buy a proper video camera, I'm pretty sure I'd go for a super 35 camera like the C300 MkIII for video and keep a full frame camera for my photography.

And maybe the Ursa mini pro 12k...

The description of clients is so true. Many simply don't value the skill of a videographer. They think they hire us because we own a camera and if they do, they can easily do our jobs. How hard can it be, when they're already making videos or taking stills with their smartphone? To convince a client the value of quality gear and skillful videographer is very hard until they can see the result. I have a client who thought I charge too much so he decided to hire his friend to film the next corporate event. Then he knew I didn't get paid because I owned a big and bulky FS5. 😆 Anyway, I don't own any camera at the moment because the lack of work. I sold many lens as well. I can't justify having them sitting on the shelf, collecting dust, while I am struggling to pay rent. I go to rental house when I have a paid job to do.

No products or services to sell. I only mentioned Leeming LUTs because I thought they were considered neutral corrective LUTs. I don't care what LUTs people use, but do want to communicate what I have chosen to start with. I shared a Vimeo link because its better quality than YouTube and no commercials. I just want to share what I could on a camera I've been waiting a long time for and learn and work through the new options. Its hard starting out on these bigger forums and getting any feedback. If you look back over my posts, I think you will see how much I've shared what ever I could find and put a lot of time into it. Right now I'm trying to work through my new A7S3 so I can get the most out of it. Im new to 10bit and RAW, so was hoping to get these new workflows dialed in. Along the way I was planning to share what I learned. Sony agent? Now that made me chuckle. I do have a Sony PRO Support account and try to get info from them to share here, and have. Even taking questions from here and getting accurate answers from Support. I do have mostly Sony gear, kind of stuck now, too much glass and time with the system. In the past I just made hammocking videos and published to my tiny YT channel, named after my trailname Hang4Fun).. But this year I am starting to do paid shoots. Been trying to learn the ropes and share as I go.