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New blog post https://www.eoshd.com/news/pro-camcorder-ergonomics-are-overdue-a-big-change/

I now have my Panasonic S5 rigged to meet every type of project that I shoot and I know how much time it can take to get your gear rigged up in a way that works for you so I figured I'd share my setup in case someone else is looking for ideas. Every rig is kept as simple as possible, I can go from one rig to another within less than a minute and none of the rigs require tools to put together or take apart. Also, all of my handles, lenses, rails, tripod plates, audio equipment, and even the V Mount battery is interchangeable with my Canon C200 which is what I wanted for simplicity. For each set up I provide a parts list and what I use that setup for. All Setups - Parts SmallRig Cage for Panasonic S5 Camera 2983 SMALLRIG Quick Release NATO Rail 1.6 Sigma MC-21 EF-Mount to L-Mount Adapter Andoer Rapid Connect Adapter with Quick Release Sliding Plate Setup 1 - This is my setup for when I am shooting video only and have the talent wired for audio via a wireless lav mic or a wireless microphone. The extra weight makes handholding easy and I can rest the back on my shoulder or chest for short interview type work. I also shoot content for some YouTube influencer's channels and this setup lets me shoot hand held while capturing their lav audio. With this setup I think I can shoot for about 10hrs without running out of battery life Equipment Canon EF 24mm-105mm F4 Panasonic DMW-XLR1 XLR Adapter Sennheiser G4 receiver Sennheiser to XLR cable SMALLRIG Aluminum Side Handle with NATO Clamp SMALLRIG Tripod Mounting Kit with 2x plates and 2x 15mm Rod Clamps SMALLRIG 16 Inch Rods x 2 Bebob Factory GmbH COCO-15V III V Mount Battery Plate V150 Bebob Battery USB A to USB C cable 2 x Andoer Rapid Connect Adapters Setup 2 - Same equipment as setup 1 but with the addition of a Manfrotto Video Tripod which also has an Andoer Rapid Connect Receiver plate mounted on it. In the picture I show how I can slide the S5 off of the rails and slide the C200 onto the rails within seconds. Setup 3 - This is my long form event setup. If I just need a static camera and natural audio this would be my setup. Although I show an external monitor here, I don't actually use one but I showed it anyway in case someone wanted to see where a monitor could go. Equipment SMALLRIG HTN2362 Rotating NATO Clamp Handle SMALLRIG Aluminum Side Handle with NATO Clamp SMALLRIG Tripod Mounting Kit with 2x plates and 2x 15mm Rod Clamps SMALLRIG 16 Inch Rods x 2 Bebob Factory GmbH COCO-15V III V Mount Battery Plate V150 Bebob Battery USB A to USB C cable 2 x Andoer Rapid Connect Adapters Video Tripod Setup 4 - Same equipment as Setup 3 but without the tripod. This is my handheld setup when I am shooting video only and do not need high quality XLR audio. Setup 5 - This is my handheld hybrid shoot setup when everything gets crazy and I am shooting a mixture of video and photos and will not use the onset audio at all. Equipment SMALLRIG HTN2362 Rotating NATO Clamp Handle SMALLRIG Aluminum Side Handle with NATO Clamp Setup 6 - Same setup as 5 but on a monopod. I use the top handle for additional stability and additional points of contact. I also can use the monopod as a light glidecam if I need a little forward or backward movement. Setup 7 - This is my gimbal setup for everything from real estate to music videos. Equipment Canon EF 24mm F2.8 Ronin S with Inverted Handle Sling Grip

While shooting an semi long feature film latest days of this summer, I took a breath and one day climbed around and casually recorded some used locations with lovely Pocket 4k. Maybe it would not be too boring, so just little bit оf reminding of of the beauty of not so distant nature, so happy living out of our - so often desperately and absurdly busy - human world...

https://www.bhphotovideo.com/c/product/1433714-REG/canon_rf_35mm_f_1_8_is.html What about this one? Small, light, I.S, macro and 1.8f. That would be the one I would get, everything else in EF.

I sure wish camera manufactures would embrace brighter and larger LCD or OLED displays. This camera keeps growing on me. It’s a bit ugly in the back but I find the mirrorless / cinema form factor much more practical than a smaller version of a C300 Mark III (ie see FX9-FX6). @Oliver Daniel any plans to try out the speedbooster with EF glass?

Yes! This is exactly what I want. Handicam form factor with large sensor and interchangeable lenses. EVF on the back, flippy screen on the side, handstrap for comfort. Winning combo.

What a song! This video probably deserves a good remake.

It’s the dreaded “worse is better” that pops up in every industry. Ill throw my hat into the “prefer C70 design camp”. For as much as Canon fucks up, they’ve been a real innovator this round. I love Panasonic but they seem to be unfortunately running out of steam.

They're worse... Every camera in the 90s and early 2000s at least had a viewfinder and was usable for extremely long periods of time handheld. I think the C70 a better design than the FX6. At least you can throw a loupe on the back and have two points of contact.

I agree. I had the EVA1 for 2 years, which I gradually got frustrated with as it had a hideous way of changing the frame rates. The camera would have to reboot and sometimes crashed. Then, the crew would be waiting impatiently to get the next shot. I’m disappointed to see this in the FX6, which is otherwise an excellent entry for Sony. I agree with the huge amount of buttons being a pain in the ass. I agree that it’s very silly to rig your camera for the sake of rigging. I like to use it as bare bones as possible. It’s more liberating, speeds up the process and allows more creativity. I don’t give a s*it what the client thinks, I’ll do it my way. The C70 is a massive step in the right direction. For my use, it’s simply the best video camera design I’ve ever experienced. It’s just very quick, nimble and easy to use. It doesn’t reboot when you change to slow motion. You can do it in seconds! Also the sticky out screen bit is fine, and my battery doesn’t stick out. I’d love to see the FX6 in a C70 body!

It is a slippery slope! For only slightly more money than a G5 you could get a G6 😉 Which is a greatly improved camera. But if you're going to buy a G6 then why not spend just a teeny bit more for a G7? And get 4K! But then a G85....

I had the original 4.6k ( so with a Dual Gain Fairchild sensor) and a a7rii at the same time few years ago, the a7rii actually had more dynamic in the highlight in slog2. Of course the codecs on the 4.6k were a lot more solid, but nowadays with 10 bits 4.2.2 in most cameras, something like a a7siii do clearly better than a ursa mini pro. Out of the camera, the images from Blackmagic are more pleasing because of the colour science , but purely in term of data quality Sony sensors are doing much better. If you know what you are doing in post you can make very pleasing images out of Sony cameras, the problem with Sony is that their official LUT are just crap overall ( the most usable one is the typeA IMO), and most of the profiles have way to much contrast making the images look very harsh. The real value in an Alexa for me is that you can put whatever lens on it, shoot log C, just slap the official lut and it look great, you pay more for the camera, but you could technically pay less in post.

Will do. Comes between Dec 11-18. From what Apple and reviewers are saying, the 16GB RAM performs much better as it’s “unified”. I do hope they are right, as I would never buy a machine with 16GB.

I mean I work often on low budget indie projects, often where its 100% volunteer, with a very low budget for anything that requires $$$. Its always a race against time. At least in my experience.

I'm actually not so sure about DR anymore. I compared the HLG mode vs Cine-D (709 equivalent) modes on my GH5 and the HLG has a couple of stops more DR (IIRC) than the Cine-D, but in real-life the differences weren't that much, even in extreme situations. The only time I missed some DR in my comparison shots was when the sun was in the shot, but even then it wasn't much. I used to shoot and think about DR in terms of making sure nothing was clipped, and then grading it to control everything. Now I realise that I don't care about things with that much DR. If I'm shooting inside and the outside is blown out then I can choose which thing I expose on, and if I care about the relationship between both then typically I can get a silhouette, and times when a face is important on the person inside (maybe they're looking out) then their face will be much better exposed and I can get the outside and their face. I'm not saying there are no situations where extra DR matters, but I'm saying that with, say, the 9-10 stops of DR that most cameras have now in 709 modes, that's enough for most situations. Also, the situations where 12 stops isn't enough, you might find that the 15 stops of high-end cameras is also not enough. Things with high DR that are common like fire, welding, the sun, any night scene where there is no ambient artificial light (eg, moonlight with torches, or moonlight with headlights) etc will be more than 15 stops of DR, so there's no point lusting after an Alexa in those situations either. In terms of lighting, I think maybe you're underestimating how much skill is involved in getting the highest quality shots that top-end shows and movies have. Give someone who is clueless an unlimited lighting budget (and an Alexa and great cine glass) and you'll still get something that looks awful. Lighting budgets only make a difference after you have someone with the skill to know what to do with them.

A portrait of a dreamer, who moved to the arctic archipelago, Lofoten, to unite his love for nature with his love for forklifting. In this heartwarming documentary he also tries to tear down the stigma he feels is attached to his craft. A story about life and its ups and downs. And forklifting.

The pitch: We're going to make the most epic music video ever! There are going to be torch jugglers in slow-mo while singing, a flashback in a query involving child look-alikes in bathrobes at a make-up table, motorcycles in a parking garage filled with water smoke while playing instruments, Daft-punk style helmets in front of the drum set, singing while moving on the motorcycle, and as a grand finale, a bulldozer knocking over a building and then torching it with a flamethrower. With that kind of production value, what could go wrong? Take a look: