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I sat down with my friend Dave Maze for a podcast recently. We talk about the origin of EOSHD 10 years ago, and the start of the DSLR video revolution, my filmmaking adventure in Berlin, recent controversies and edgy camera opinions. Big thanks to Dave for taking the time to let me ramble and for listing to my waffling! https://www.eoshd.com/news/eoshd-on-the-golden-hour-podcast-with-dave-maze-in-depth-interview/

I can think of a couple of YouTubers that could be that third guest and you'd could probably then sell the PPV rights to Showtime.

Not to self promote but I think this is an underrated video on the quality standpoint. For whatever reason it didn't get many views for us. The Inspire 2/Zenmuse X7 with the 50mm lens combo is just...crazy. The parralax creates a look that's closing in on full size helicopter stuff. This was for a company to see how Inspire 2 footage upscales to 8K using AI for both resolution and framerates.

Amazing work👏🏼

Incredible interview @Andrew Reid!! Thank you for coming on!

Taken aback by the patina in your voice. Several octaves lower than expected too.

Really enjoyed this, from the nostalgic storytimes at the beginning, through the gear talk, to the little grilling Dave gave you. It felt candid and effortless, and it left me entertained. Thanks. I’d sub to your podcasts.

I really enjoyed doing this. Cheers Dave... We should do another one some day, and bring a third guest on.

I own the S1H and the S5. and there are a a whole lot more issues than you think! The 8-bit stuff is only 4:2:0, and it's still H.264, not H.265. The same issue exist for the S1H, but we don't care because we don't have time limits. The 1080p VFR stuff is completely wrecked. The 100Mbps 1080p MOV files have been replaced with 28 Mbps MP4 trash. The timecode feature is a complete waste. If you can jam sync it, or get a jam from it, what the hell is the point? The only thing between the S5 and the S1H that is the same is 4K 4:2:2 150Mbps IPB in 24p and 30p everything else is 8-bit 4:2:0. If you buy this cam, do it knowing you are going to add a Ninja V for ProRes RAW. Other than that get the S1H. Battery life is good though. But with the limitations, don't think that this is gonna be a killer B cam, because what it can do is too limiting. Maybe if you think of it as a FF GH5 with full V-Log for gimbal work, that will meet your expectations.

Finally, Lightroom 10! VERY impressed with the Panny raw files SOOC. I have done 3 full hybrid shoots (results on Instagram ‘Atelier Firehorse’ if anyone is interested) but this is the first time I have been able to process the raw files. Slightly limited on my most recent job as the kitchen environment meant 6400 iso at f5.6 on the long end of the 20-60. I could have upped the ISO to 12800 but it worked out OK. Just. Shutter speeds were getting a bit low... The raw files needed very little work. I pretty much did some minor cropping, leveled some horizons, adjusted a few exposures, sometimes a bit of contrast or clarity. No sharpening, no presets or anything else. It bodes well for when I can get some f1.8 lenses working on the system. Looking forward to the 70-300 for my landscape work as it should be smaller and lighter than the f4 70-200 and the f2.8 is just overkill for me. Hopefully that 85mm f1.8 shows up next month as promised! Anyone got their Sigma 45mm f2.8 yet? I have been added to a list in France so still hoping...

No it's the 12 Pro Max that has the most improved camera and 5 axis IBIS The 12 Pro and standard 12 are just very incremental improvements with small sensors.

Couldn't you just use epoxy for make it with with the Z axis stabiliser?

I know exactly how this feels. I went through a phase of suspecting that clicking on the buy button on any product on Amazon also triggered the press release for the release of the next version of it. With regard to this new version, I'm resisting it on the flimsiest excuse of the base of the body being a marginally different size so it won't be able to fit into my Z axis stabiliser. Of course, this stoic resistance to consumerism will likely dissolve as soon as the manufacturer of the Z axis makes a new version.

Nice interview @Dave Maze and @Andrew Reid!

I might go wild in the country with this myself when it comes out.

Looks pretty good for a phone. I'm having trouble seeing any improvements over the XS or iPhone 11 though. Is this the one with the supposedly larger sensor?

See, I knew this would happen. About a month ago I bought an Osmo Pocket, which I'm really happy with, but now this comes along. I obviously wasn't paying attention to the rumour sites. Sigh ... I'll just stick with my first generation purchase.

No, no makeup team for me! The people i'm filming have much more variability - more like in this image: That's also a useful image for testing LUTs and seeing what they do to skintones BTW. Nice looking images. The DB certainly had a cult following. Interesting. There were also some great sample shots from the UMP with skintones, I should look through them for good examples. I agree that thickness can happen with low and high key images, with saturated and not so saturated images too. A few things keep coming up, and I think i'm starting to fit a few of them together. One is the ability to render subtle variations in tone, and yet, we're looking at all these test images in 8-bit, and some in less than 8-bit, yet this doesn't seem to be a limiting factor. I wonder if maybe we're thinking about colour subtlety and DR and bit-depth the wrong way. I mean literally, that we think we want more of these things, but that actually maybe we want less. Take this image for example: This image is contrasty and saturated. In fact, it's very contrasty. If you were looking at this scene in real life, these people wouldn't have so much variation in luminance and saturation in their skintones - that baby would have to have been sunbathing for hours but only on the sides of his face and not on the front. In that sense, film and its high contrast is actually expanding and amplifying subtle luma differences, and when we increase contrast we increase saturation too, so it's amplifying those subtle hue variations. One thing i've noticed about film vs digital in skintones is that digital seems to render people's skintones either on the yellow-side, on the pink-side, or in the middle and not that saturated. Film will show people with all those tones all at once. This guy is another example of a decent variation of hues in his skin:

So would I if the hardware costs involved in providing real time AI face/object detection combined with 3D depth sensing allowed it.

Some nice highlights.

10 years just about EVERYBODY on the planet that can afford a phone will have the same motion picture IQ power we currently have. Best to question "what exactly do I bring to the table when offering video production services?" If your answer is "the camera" you need to start getting really paranoid. Most clients are not going to fret about DXO scores. If that's where your attention lies (and there's nothing really wrong with that) I hope you're aspiring to a much higher echelon of production than I am! I'm pretty close to retirement so my day in the sun with all this stuff is coming to an end. Looks like I'll be riding the imaging technical wave as it crashes onto the beach.

35mm Schneider Cine-Xenon Trees and windows.