Leaderboard

Three days to go. The RAW shooting Sigma fp with the Baveyes 645 medium format speed booster is a little powerhouse. Particularly when you can now add ToF autofocus to that manual Mamiya 35mm lens.

In most settings outside of studios and other insider gigs, the more complicated the rig *looks* the better. It’s an external way to project a sense of mastery to your client, and if you deliver as promised, then the equipment helps make the price easier to justify **in the mind of the person paying the bill.** That’s good business. And if the work looks too easy and uncomplicated on the surface, then no amount of verbal explanation to the uninitiated will get them over that hurdle. Complicated looking equipment also tends to cut down on stupid questions from those who don’t know better. There’s lots of weekend photographers out there who know what an SLR looks like and does, and seeing one on the sticks will tend to invite curiosity. Turn up with a camera that looks like it came out of a studio (even if the capabilities are essentially the same), and you will tend to invoke awe, rather than familiarity, which will tend to keep your smaller budget clients out of your hair on set.

Whatever works in your region. For me its this camera and the day rate soars!(in LA)

Shot on the S1 with a 1/8 black pro mist (side interview shot is GH5) and some 16mm grain added in. Heavily graded but if you have a bit of color grading knowledge then the S5/S1/S1H is a big step up from GH5 (not to mention low light capabilities). I think the v-log on the S series has a more organic quality than any of Sony, Canon's, Fuji's current offerings (less sharpening). Just bought the S5 as a 2nd camera so look forward to testing that out.

In terms of visual post effects that can effect the image. "Sharpen & Soften" effect in Resolve and a slight drop in exposure.

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/

Exciting, I want one!

To rationalize charging more 🙂

We are shooting a car commercial and then a tutorial that’s like “How to Land a Major Car Commercial” or something. Will be using Cooke SF Anamorphics and shooting out in the elements. It’s a fantasy car commercial plot, so lots of cinematic lighting. Unfortunately we have to wait for it to snow so it might be a month before we film. Outside of that I’ve been using it on a project that I can’t share yet, which is a bummer as I wanted to post something fairly soon after getting it. And no, I don’t own Zeiss anamorphics, lol. That was a direct order from Panasonic as they weren’t happy with the IQ of the Anamorphot that was used for a previous video.

For anyone looking to have this functionality (and a bit more) without having to buy a specific new gimbal (or any gimbal for that matter), our AFX module launches a week on Monday. I'm absolutely not going to give the game away before then and say that it also supports manual lenses. Absolutely not going to spoil that surprise.

I don't know what all the negativity is about, this looks pretty good to me. Worse specs than a Z Cam E2, but you gain Panasonic Brand (brands aren't my thing but brands are worth real money), SDI, timecode without an annoying adapter, and you can use that XLR module if you want. Plus it takes SD cards instead of CFast. If Z Cam didn't exist I'd get this for sure.