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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...

Shot 70% shot the C70 and 30% A7SIII. More coming soon!

Merry Christmas @Andrew Reid and everyone.. Thank you for providing us with this space for information and debate.

Merry Christmas, dear friends! Have a beautiful time and transition to 2021! Thanks Andrew and everyone for this community!

Have a beautiful festive break, and kick some ass in 2021!

Merry Christmas everyone. Hopefully 2021 will be a better year than 2020 and we all can make films again.

Merry Christmas vignette from the R5 .... https://youtu.be/3vYaZpx4lOk Best wishes for a wonderful holiday and a better New Year ....

And to you all - here's to a healthy '21!

Merry Christmas to all, and to all a good night 🙂

Merry Christmas !!

Merry Christmas people, all the best to you and your families!

Merry Christmas @Andrew Reid and everyone.. Just think how great it will be once we're all able to get out and actually start shooting again!

Merry Christmas to the Eoshd massive!

Back at you Andrew and to all.

Merry Christmas from the future! Am eagerly looking forward to 2021 & filmmaking.

To you too and everyone, much happier with that post-Brexit agreement as well ; ) Thanks (E :- )

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

Hey guys, my C70 arrived just in time for Christmas so I took it out for a spin.. here's some test footage: https://www.youtube.com/watch?v=_v9wE9ReaAc&ab_channel=ManavS 120p out of this camera is really nice!

M1 goes back to the ARM1 in 1985 which is a chip I brushed shoulders with as a young kid familiar with the Acorn / BBC Micro computers at the time (and in the early 90's) in British schools. RISC architecture was showing some serious strengths way back then. When you take Moore's law and many years of Apple investment in efficient mobile silicon you get this... An actual 64bit CPU core occupies a tiny part of the die, and the integrated GPU about one quarter. The DRAM is pretty much on the same die and is accessed extremely effectively by both CPU and GPU. I took delivery of the MacBook Air M1 last week, from Amazon for £999... It is an ultra thin / featherweight class affordable consumer laptop. With a motherboard the size of a small TV remote control And probably only a little larger than what's in the iPad Pro. So I booted it up and put something very intensive and demanding on... Top-end PC game designed for Nvidia RTX cards and Intel CPUs. It runs via Steam, via an interpreter (Rosetta 2). Not even a native app. First signs this is not a normal fanless ultra thin laptop is I easily get 60fps with good looking graphics, nothing turned down all the way. The resolution looks so good, as if there's either upscaling, some A.I involved or some new kind of display scaling magic going on. Yet this is with the performance hit of Rosetta (about 20%), on a PC game port running x86 code with integrated graphics!! It smashes... demolishes... everything else in the same class. Intel, Nvidia and AMD should be extremely worried. When / if Apple scale up this architecture to 32 core high-end consumer territory with a fan and dedicated Apple GPU, the rest are in trouble. There is so much custom silicon in the CPU... video editing, encoding, image editing, all buttery smooth so far and this is the least powerful Apple silicon machine they will ever make.

The M1 has more transistors than Emanuel has YouTube videos in one thread

I received a New Campaign Update from Indiegogo regarding the The AFX - Autofocus Adapter: "Holiday Greetings We would like to send our warmest regards to all of our backers for this holiday season and thank you for your support of the AFX. In terms of the project itself, we are pleased to report that we are starting to receive the scheduled production samples of the main AFX and MMX boards and accessories. It goes without saying that 2020 has been a challenging year and we wish you all a safer and more prosperous 2021." @BTM_Pix Happy Holidays! Great news that things are moving a long. I can't wait to receive my AFX and MMX early next year! Happy New Year! Mark

One of the better/best ones out there...and most are awful. I’m going to give the -2 +3 a go next chance I get and see how that works out.

Great news. Well you know what to do 🙂. footage!!!!!

There are gear rings included with the 35mm. Not for the 50mm though. I'm planning to shoot weddings with them next season (if there ever will be a wedding again, who knows). And I just finished writing a 20 page short film that I might make in the next months if I can find enough people who are enthusiastic about the script. And if the fekkin virus and the government let me... Really would like to work with the Sirui's on a real set and project. Which seems like not many people are doing yet. I know that you can put an oval insert at the back of the lens, but that's apparently not so easy to do. I'm also not quite sure if I would like it. Yes, it would look more 'anamorphic' but I kind of like the 'in between' look that the Sirui 1.33x provides. Makes it more suitable for more types of shooting whereas 2x lenses look instantly more like a (vintage) Hollywood blockbuster. Let's see how I feel about that after I used them on an actual project.

I get what you mean. It's no vintage 2x anamorphic look with beautiful flares. But, let's look at it another way. I recently received the lenses and they really surprised me. The build quality is outstanding. All metal. Smooth rings. Nice weight to it. Amazing. Ok, you won't get the extreme oval bokeh that a 1.8x or 2x lens offers, but since you would use these lenses on 16:9 in stead of 4:3, the horizontal FOV is similar to using the lenses with the bigger stretch. You get a 33% increase in horizontal FOV. That's really what anamorphic is all about. Put a 50mm 1.8x on a 4:3 crop of the same sensor as a 50mm 1.33x on 16:9, and you end up with the same FOV. So no difference there. The horizontal flares are there. Ok they are blue. And the oval curved bokeh is there, especially on the sides of the frame. So while I get the critics of die hard 2x lovers, I think these lenses don't get the credits they deserve. They are very well built, handle nicely, single focus, plug and play kind of lenses. And when used on 16:9 you get a nice 1:2.37 ratio with a 33% increase in FOV for a given focal length including some anamorphic characteristics. Just saw a testvideo that really looks great.

And that's reflected in their price! Their MFT are nearly five times the price. And their FF are over 10x the price.

And Happy New Years😁🧦🎬

Sadly that is true across the spectrum of various interests, for instance ramps/jwsound are not what they were in their heydays, because of Facebook groups instead. I do worry that a decade or two in the future, none of those Facebook groups will be anywhere near as searchable as eoshd/ramps/jwsound/dvxuser/etc are

Have loved the Panasonic G6, such a big upgrade from the original Panasonic GH1 which I started this filmmaking journey with (although technically it was my girlfriend's Nikon D90 or my sister's Canon T2i that I borrowed for the first handful of shoots), but in recent years I've been considering an upgrade. First to the Panasonic G7, simply to get 4K, but as the price of the Panasonic G85 kept on coming down on eBay that tempted me instead for the better low light, the live HDMI out, and of course the IBIS! But this is a slippery slope, because as I wait... then the Panasonic G9 got that big 10bit firmware update, and their prices were coming down with time too. (& more firmware updates came out too, such as better AF for the G9, and being a USB webcam for the G9) Never really seriously considered the Panasonic GH5 or GH4, as they always got the most attention, thus I felt they always kept up the highest prices on the secondhand market, compared to the value that the Panasonic G series offered instead. But I still kept half an eye on the GH4/GH5 sales, just in case. Even considered a few alternative options such as Fujifilm, or for instance the Panasonic S1 that I bid on last week until the price shot up far too high for my tastes. In the end I kept on coming back to Panasonic MFT as offering by far the best value for money. (& the fact I already owned MFT lenses helped too) However, today I won an action for a Panasonic GH4 for only NZ$417! (less than US$300) That was a price too good to ignore (but I doubt I'd have bid a penny higher), thus to my surprise I find out I've settled with the old Panasonic GH4 as the upgrade from the G6 I'm going with. Even though I'd like the IBIS / better high ISO / etc of the G85 or G9, it isn't such a bad thing to have settled for this cheap deal of a GH4 because it is just going to be for casual vlogging usage to create simple content for my YouTube channel. One very small benefit of going with the Panasonic GH4, is that when the price of the Panasonic G9 finally tumbles down to sub US$300 (right after the Panasonic G12 gets released?), then I'll be able to use the same Panasonic DMW-BLF19 batteries in both! (which wouldn't have been possible if I'd got a G7 or G85) Now, how many more years until I upgrade my "big camera", the Sony PMW-F3? The F3 is a truly fantastic camera! I still think there isn't a better 1080 camera at this price point (but the world is moving onto 4K). Had it a fair few years, unfortunately the F3's popularity didn't last too long because the Canon C300mk1 got released shortly after and the C300mk1 just *dominated* the low / mid end professional work for that generational cycle. (interesting how the secondhand F3 has seen a bit of renaissance in 2019/2020 thanks to Caleb Pike & others) Been wanting to do the natural upgrade to a Sony PMW-F5 for a while now, but can't justify it because as a Sound Mixer I don't do a high enough volume of camera work. The FS7/FS5 or even a secondhand FS700R might very well make more sense! (I like for instance all the work done with the FS700R by this guy: https://vimeo.com/paulbates However the FS700 isn't as nicely ergonomic as the FS5! That compact size is fantastic) Just keeping my eyes open for the right secondhand deal, in absolutely no rush whatsoever. (as I'm still primarily by far a Production Sound Mixer, as what I do day to day)

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

So, here goes a Musikvideo to our shortfilm we shot this summer, Christmas in summertime:) I was DP with a friend of mine. Additionally I did the lights and my buddy will hopefully exchange the favour in doing a splendid edit. Nothing interesting about lensing in this video, besides one lens I had mentioned before and which Andrew bought afterwards as well. We filmed with C300II and Walimex lenses and my S1 with the beautiful Unitor 35-70 2.5-3.5. Really love this lens only thing to dislike is the vari aperture. Soe even filming in 3.5 it will change on the long end. S1 was running the slim 10bit h265 codec with 420 colour and 75mbit. The lens is a real keeper. Used in FF and APSC crop. It has nice resolution and colour and a soft quality to it, very nice mechanically. It was pretty high regarded back then under the labe of Soligor. You can find them also under the Hanimex and other labels. So here we go and Merry Christmas, dear friends!

Don't know where you live and what you do all day, but I find myself either doom scrolling the news or hanging out on forums like this and developing a serious case of GAS. I suspect that I am not the only one doing so. Plan on taking the S1 out tonight just to shoot some Christmas lights displays. I still have footage from LAST Christmas that I haven't edited together yet. Oh well... Anyway, it gives me an excuse to spend time with the S1 and my Minolta MD 50mm f/2.

I own a mac with a nvidia card and the latest IOS platform doesn't support nvidia drivers anymore. Basically, program obsolescence is a problem for many mac owners. I don't see myself with a mac in the near future. I also have a PC, all the pieces can be replaced. For a environmentally friendly workflow, it makes more sense to repair and reuse. Mac is in the philosophy :" Buy expensive product every 5 years and throw away via there buy back option and start again."

part of my devious plan is to exploit that lightness and pair it with a small light weight camera then mount said contraption on a astro tracker i have. I presume stars will be out of " reach " with f8 but i 'm more interested in catching moon rises and sunsets with some foreground object and time lapse the whole thing. I do have two canon fd 2x teleconverters from the days of film. Been watching for a fd 1.4 teleconverter but their a fair bit pricier than the 2x. Oddly enough, donuts don't seem to bother me, yet i don't like swirly bokeh, go figure 🙄

I got the Decklink and hooked up the Inferno. Holy shit there's a night and day difference in NITs and shadow/highlight detail. I'm a little bit worried about using the HDR monitor as a reference until I start delivering in HDR.