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Another year over and what a shit one it was, to be quite frank about it. We all deserve a bit of peace and happiness at Christmas after this, to get our spirits up so that's my hope for all of you - have a good one, and cheers for your EOSHD-ing all year through thick and thin, keep the passion and let's keep our heads above water! And I hope all your front rooms look as great as this...

Hallo dear friends, I wish you all happy holidays! This is a music video from a winter short we did this summer, which I dped with a friend of mine. A charming journey of roughed up singer Stella who is rushing through the city on Christmas eve, with Schmalz and Pathos of German Schlager music. I wish you all a peaceful time. It is family and friends we find most comfort in. But also some campy fun and vintage lenses in these harsh times. Lens used with my S1 is a beautiful and cheap Unitor (Soligor, Hanimex) 35-70 2.5-3.5. C300 performed with conventional Walimex lenses. Love from Germany. Stay save, dear friends! best, Marty

Merry Christmas to you too Andrew! Here's to a better 2021 for all of us!

There is now a SIRUI 24mm F2.8 1.33X Anamorphic Lens coming soon! https://cf.sirui.com/lens/Anamorphic/sr24mm.html I'll see how 2021 goes for me in terms of camera work / finances in general. But perhaps I'll get this 24mm, then the 50mm, and then finally fill out the middle gap in lens set with the 35mm somewhat later on.

GH4 is simply a great camera. It has massive usability with all the customisable buttons and menus. The 4K image is really nice. The battery life is simply insane. Use genuine batteries and it is actually difficult to go through two in a single day. Some shoot days pass without a battery change. I've never owned a video camera of any kind that managed power like that. Unfortunately the GH5 has not carried on that aspect. Only downsides - 8-bit internal only, and low-light performance, which is decidedly meh. Any other omission is just a matter of need / taste / luxury really.

Thank you, Mark! Now German Schlager music counts on you as a loyal fan! 🙂 But beware, our classy song is rather in the tradition of the french "Chanson" and is not typical for the average modern Schlager. Thanks you very much guys for your kind comments! I would love it, if people would share and discuss more of their work, exercises and tests. It would still get technical enough for the nerds among the Eoshd fans.:) By the way, I almost forgot to mention, the other lens on the S1 was the beautiful Tokina 70-210 f3.5, a low price one touch push zoom, with super light weight, high resolving and with splendid character wide open, as you can see at 2.29min, where Stella, our female lead and singer, is pointing the gun to the outside of the frame from left to right. Merry Christmas again, dear friends! cheers

No, there's nothing complex here. You just attach to the X-T3 (once TC box & field recorder are synced together), check you haven't completely screwed up levels, then you're done. Nothing more needs to be done while you're shooting, you don't have to do anything else when you're turning on/off or doing battery swaps or whatever.

Looking forward to using mine, although I expect it will perform a bit better in FCP. Not even took it out the box yet, not had the time! Have to wait til new year.

Finally got mine. Did a quick comparison with my A7III. I tried a few color modes: movie, still, sgamut3.cine, forgot to do pro on the A7SIII. Just lit myself with an LED panel in my room, very low DR scene. I did use the 10bit from the A7SIII vs the 8bit A7III. I gotta say, once graded using an x-rite passport match in resolve, and converting to arri log, I couldn't tell you which color mode or camera each clip was from. I was expecting something more but every clip looked very similar. I suppose it does mean the underlying color data is all there so that could be seen as a positive. Vectorscope definitely showed color was more precise and less splotchy on the 10bit files. Also means matching looks is trivial. For SOOC, Gerald suggested using neutral / movie. I think "Still" looks better than movie. Movie really shifts reds to orange. Still has less saturation and orange shift, but it does shift the reds slightly to burgundy (better than orange IMO). I think "Still" is closer to neutral than movie mode if you want something similar using picture profiles. Just need to add some contrast to the still profile and you're almost looking like neutral. Using sgamut3.cine with Cine4 looked fine after converting the color space to rec709, but of course looked wack SOOC. Without the x-rite or any CC on the skin, my skin with LED looked pretty bad. A bit too orangey with movie, luminance a bit too high. I do think with the x-rite and arri lut it looks decent though. Good thing about the x-rite is that if you forget to do it in the shoot, if you are in a similar lighting setup you can just steal the correction from another clip and it usually works fine. I can't imagine trying to get skin to look good without resolve, x-rite, and color transform. But with those tools I'm relatively happy with the direction my color is going. So expectations were definitely not exceeded for me. I will appreciate the 4K60p and unlimited recording times, as well as improved AF modes. Color improvements were minor but welcome. SOOC still trash to me but using the right tools, I think I can get the footage looking pretty good for what I'm doing. If the A7IV has unlimited recording and 4K60P, and AF with HDMI out, I might swap out one of the A7SIII for that instead as the color improvements were marginal if you were already correcting anyways. Waiting for a sunny day to test with good light...

Netflix's requirements is not only about having a minimum fidelity to the image, or even making it strictly easier in post, but having a standard workflow. They need to be able to send any one of their productions to any one of their post houses and have it be immediately workable, and that if that team gets shifted to a different project midway through, they can send that half done project to another post house and have them pick it up immediately, no questions. They've decided that TC is a mandatory element to their workflow, from capture through post. To be honest, if I were Netflix, I would specify a lot more of the technical and metadata requirements for my productions just to ensure that every piece is compatible across their entire billion dollar post workflow. On a much smaller scale we do the same thing at my work (outside the film industry). If the designer for one project is out sick and the client needs a change, other people on the team have to be able to open it up and immediately know how to make the change. We adopt standards, some of them because it's the easiest way, some picked randomly just to make sure we're all on the same page.