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I would say it isn't. OFF changes the color matrix in the DNG to sRGB while all other modes retain the camera native RGB color space. The other color modes have no effect of any kind in raw but OFF changes the DNG metadata which then affects the color in Resolve, for example.

Kye, i spotted one Russian lens that i own and a couple of takumars as well i think. Waiting for the moon to come out and play and I have some other ideas that I want to try out with the mirror lens as well. I did enjoy the link that iron films posted as well

New blog post: https://www.eoshd.com/news/which-camera-websites-spy-on-you-each-site-ranked-for-privacy-and-trackers-in-safari-14/

My R5 arrived yesterday and I'll be doing some Anti YouTuber style test against a MAVO LF, EOS R and Pocket 4K. Initial lowlight test the EOSR + speedbooster preforms better than the R5. Also, I don't know why YouTubers aren't mentioning how good the 8k 8bit IPB is and how easy it is to work with. smh....You DON'T have to shoot EVERYTHING in RAW, 10bit or Clog(8bit variant would be nice). I can record 8k 8bit IPB to a Prograde Gold SD card without issues.

When you compare the price of a Tentacle Track E to a Zoom F2-BT (which is a closer competitor than the non-bluetooth version) + cost of an Ultrasync BLUE (which is necessary for the F2-BT to work properly, unless you've already got a compatible bluetooth timecode machine such as for instance the F8n) then the Tentacle Track E is in reality very well priced indeed.

From update #5 received today, new enhancements include: Increased capacity for the calibration database for the AFX to now allow up to 128 lens/camera setups to be stored. Zoom lens files now have five “tracks” of calibration to compensate for focus differences in non-parfocal lenses at different focal lengths. Calibration procedure is now semi-automated. Multi Client/Server mode over Bluetooth LE to enable AFX to drive MMX units, pass range data to a PBC to act as an outboard distance indicator unit or even source range data from another AFX. New option for AFX to drive MMX over a wired connection through Port 3 of the MMX instead of over Bluetooth LE. Switchable user preference for metric or imperial display of distance.

Interview with a professional colorist at Dolby. Lots of tips and great info. At 24:40 about noise reduction. Also remember another interview with professional colorist, will try to find it where he said: "We apply NR to all material / video from digital cameras" https://www.youtube.com/watch?v=2K9oe7aEpdg

Resolve is great but Neat Video is still getting my job done.

So firstly, this is shot with an S1 instead of an S5, but since the sensor and codecs are the same (I have the V-LOG upgrade on my S1), I think it gives a pretty good representation of what sort of dynamic range you can expect from an S5. Please note that the sun streaming in the windows was REALLY strong as was the sunlight bouncing off the bay. Anyway, I have questionable grading skills and poor gimbal technique, but Panasonic V-Log with the new DaVinci Wide Gamut makes it pretty easy to get a lot of DR out of the footage. (Internal 4K 30p 10-ibt 4:2:2 slowed to 23.976fps on the timeline, and exported as 1080p) PS: If anyone knows why I have so much rolling shutter on my drone footage, please let me know... I think the shutter speed might be too high since I misplaced the ND filter for my drone camera (Phantom 3 advanced shooting in 2.7K at 30fps slowed to 23.976fps on the timeline).

Am I the only one here who got the A7SIII? If the A7IV is any good I'll get one of those too. Trying to finally leave the M43 shackles.

Totally agree! I'm already set for 2021 and beyond. I traded in my GH5S for an R5. The crop mode in the R5 is a hidden sleeper feature for those that care. Feels like a S35 GH5 w/ amazing AF without anamorphic and a few other bells and whistles. Oversampled 4.8K (in DCI) or 5.1K (in UHD) 4K up-to 60p. I'm more than happy with it. I have had zero issues with overheating after the latest firmware update and with taking the time to turn the camera off when I didn't immediately need it (reposition, brainstorming, etc...). The countdown timer is annoying and anxiety-inducing but I've just learned to ignore it. My M1 MBP arrived today as well. It cuts and edits footage from R5 wonderfully with no transcoding or proxies and with FULL playback quality in the viewer, even with Rec.709 LUT applied. I don't think I would have gotten an R5 if it wasn't for the new M1 Macs to be honest and I would still recommend a C70 to anyone that just doesn't want to fuss with the overheating potential. Wishing everybody a more productive and healthy 2021!

It’s a great deal used right now. I love the larger 1.4 crop S35 sensor.

Update: I’m completely loving the UMP and feel I made the right choice to buy. I’m going to need to sell some stuff to offset the cost, but the value it adds to my kit is extraordinary. Woo!

Said to myself I wasn't going to buy any new gear in 2021, but couldn't resist on a cheap original Canon C100 yesterday 😀

That's 80Mbps, which is nothing. At 80Mbps the extra detail in 8K footage from 4K or even 2K would probably be more than half just noise and compression artefacts. Potatojet did some good videos comparing 8K smartphone video with normal resolution video and the 8K image out of these things would still look like complete sh*t even if it was downscaled to 2K. Watch the YT at 1080 or 720p and you can still tell the difference. TLDR; don't bother. It's like a 65MP jpeg image compressed to 24Kb, lots of pixels but they're all crap. I did some tests yesterday on the GH5 modes and got pleasant surprise. Obviously one of the great features of the GH5 is that the image is downsampled from the 5.2K sensor, but I confirmed that the 2X digital crop is also downsampled, the 1080p 60p mode is nicely downsampled, and the 1080p 60p 2X digital crop mode is also downsampled! No Canon Cripple Hammer going on there! Also, the better I get at grading the more that I find that the limitation of the camera is me, and so when people criticise, they're just criticising their own limitations and trying to buy their way out. This was a quick test shot for highlight rolloff - graded in under 2 minutes so not perfect, but every time I look at the footage I forget about newer cameras..

GH5 with Canon FD 70-210/4 and 2X FD TC sitting on a packet of oats for lens support and stabilisation. I shoot a lot with long lenses for sports. Here's some random pics... I haven't been that enamoured with the FD as it's a bit soft at the longest end, although I'm being super picky as I'm recording on MFT, using a 2X TC, and sometimes using the digital 2X zoom or ETC mode to crop in further. This is equivalent to expecting the lens to have a resolution of ~250Mpixels, which is obviously ridiculous for a vintage zoom lens! I was contemplating getting a better L-series zoom from the same time, but have since re-evaluated and now I'm not so sure. My latest "long lens" setup is my Voigtlander 42.5mm / f0.95, which on MFT is an 85/1.9 equivalent. That's not a long lens for most people, but I've discovered the 2X digital zoom on the GH5, which downsamples a ~2.5K sensor area to a 1080p image, thus keeping all the downsampling goodness, and turns the lens into a 170mm / 3.8 equivalent, which probably is a "long lens". Of course, I bought the 42.5 in late 2019 in anticipation of the many trips we had planned in 2020, so naturally it's basically only done test shots in the backyard, so it's both an old purchase that I've practically forgotten about and also a completely new lens I haven't really used yet!

None. I've discovered that for 90% of the shots I want to get, an incredibly modest EM10III does the trick. If the other 10% is mission critical, I rent. If not, I simply suffer not being able to do certain visual tricks. So-mo, heavy grading, etc. Which, as I've also discovered are just tricks, not really a big part of fundamental storytelling/production. The burden of not being able to do something actually keeps me more visually "honest." Weirdly, I just don't fret about tech limitations too much anymore. Didn't think that was going to happen so suddenly, but for me it did.

Google's trackers for analytics on visitor numbers I will probably likely remove this weekend. With Cloudflare I can keep an eye on traffic demands on the server via their CDN (content delivery network) and save bandwidth too. With every free service like Google there is always an advertising or metrics related catch, i.e. we end up selling them our data. PS If everyone dumped shitty WhatsApp and Messenger, and instead used Signal we could do one on the social networks too. Let's hammer this subversive advertising industry.

Just bought an A7iii. Not because I really want it or rate it. I had a last opportunity to discount VAT (IVA here), the camera with a 50 1.8 cost 2100€ but with a 400€ cashback from Sony. Then discounting the VAT it comes in around 1350€. Why the A7iii? Because I have a new client and they only use Sony so hopefully it means more work (I've been told that if I had had a Sony I would have had several shoots in October and November). I just informed them of the purchase and they've just confirmed the first shoot of the year, so seems a good choice. Seriously thought about the A7Siii but I don't think this year is the time to splash out. To finance this I have sold my GX85, Sigma 18-35 1.8 and a Sigma 50-150 2.8. I'm also selling a Canon 18-135, 2 Voigtlanders and 2 Edlekrone sliders. This will give me enough to purchase a Tamron 28-75 2.8 or a Sigma 24-70 2.8 for the Sony. I might well sell my 10-25 1.7 Lumix as well if I like the Sony enough. I will keep my GH5 and GH5S with the 12-35 2.8 and 35-100 2.8, XLR adapter etc for streaming and long form recordings. Lenses are easy enough to rent cheaply in Madrid if I need one. So for me it's about rationalising my gear choices. If the Sony works out well for me I'd consider a A7iv depending on needs, specs and price. P.S. What I really wanted to buy was the Panasonic S5 but I couldn't justify it rationally!

I guess we're getting into tricky territory here, but I have the rather unpopular opinion of only caring about the user experience and the image. My passion for the size of the sensor is about the same as my passion for the number of letters in the part number of the audio processing chip - both have virtually no impact on the end result!

Exactly....you simply cannot have it both ways. Panasonic knew many users would not miss ALL-I and had to make some kind of tradeoff to get the body so small; also we are talking 10bit here not 8 bit or line skipping. The ONLY tradeoff that I wish they hadn't made was using a micro HDMI port instead of a full HDMI port which is funny because I never used the HDMI port on the GH5 anyway but knowing its not useable especially when it can output 5.9K raw is still a little annoying. I tried the R6, it was without a doubt the worst camera for me that I have ever held in my hands. There simply is no scenario where the R6 is the better option. Despite all of its other shortcomings. the simple fact that it does not do dual slot video recording and the level meter turns off when recording (level horizons are critical with real estate and wide angle lenses) those two factors alone make it a terrible RE video camera. Should I even mention the overheat timer.....? I can imagine a nightmare scenario where I am filming a big all day commercial real estate project and have to quit half way through because the camera has "overheated"....some of the properties I have filmed have AC problems or large outdoor areas in direct sunlight and are all day or multi-day shoots.

I personally believe that one of the reasons / the main reason that the S5 doesn't have all-i is because it just can't handle it... maybe the processor is different, maybe it is just a heat dissipation issue. I mean, the S1H has a fan and weighs, like, 27 pounds for a reason. Sure, the GH5 has All-I but the sensor is half the size of a full frame sensor, and with the S5, Panasonic has somehow managed to fit a full frame sensor in to a body that is slightly SMALLER than a GH5.

The problem is designs like that won't work with lenses made for APS-C of FF sensors. The PD150/170 had 1/3" sensors, and the lenses required for such sensors are much smaller and much lighter. Most of the weight of these cams was at the back right near the handgrip, so they balanced well when hand-holding. Most cameras these days end up with the COG pretty close to the lens mount or sensor plane once you put a typical photo zoom or small cine prime on., so any grip/handle behind that point is going to be poorly balanced. If you were to hold a camera like you describe up to your face to use the viewfinder, your arms would give in after 30 seconds because all the weight is at the very front. And using the top handle to shoot lower angles would lead to RSI after a day of shooting. Plus this design would be no good for gimbals which would instantly discount it for a large portion of potential buyers. To achieve proper balance, you need to either (a) make the camera body bigger, longer, and heavier (eg Canon C700, Sony F55), or (b) put the handgrips further forward (like Sony does with their grip/arm combo and slanted top handle on the FX6), or (c) make the body a simple block shape and let the user solve the problems on their own (eg red, Alexa Mini, Z-Cam). Those cams of the 90's-00's were very convenient and ergonomic, but the same designs do not translate well to large sensors and large lenses.

"the lack of internal ND filters is just stupid! How long is it going to take before we see the basics of exposure coming to a mirrorless camera near you?!" This is 100% on target. That, and stupid recording cutoffs at 29 minutes and no option to upgrade to a video version with longer recording options.

already made 400% on silver, let'ssss gooooo!

I really hope this and the Ursa 12K drive the prices of the Ursa g2's down to be honest.

This is my experience with the Zoom F2. Please understand that I tried so hard to love it. This video was meant to be a full review of the F2 but frustratingly I gave up and published my babble up to the point where I conceded. I call it the unfinished review. I don't think Zoom will be sending me products for free any time soon. But, if they solve the issues then I'm happy to revisit the review. https://youtu.be/86K8xH3MfCM