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Yes, still lovin the treasure chambers of EOSHD. Btw, my Tevidon adapter arrived, calling out for a super small anamorphic setup with an Iscomorophot 8 1.5. Cosimo would just take that Tevidon and the Isco and combine it into the smalles anamorphic lens on Eoshd, right! 🙂 @Cosimo After 6 six monthis of ownershipe I finally put my Blackmagic Micro into action. But that is for the BMMCC thread. So no spoilers here. But that with a Tevidon + Isco 8 with a Micro digital S16 would make a worthwhile addition to the arsenal of video nerdism.:) Yes, Eoshd is awesome. And you all are the reason why. Now, off to the BMMCC thread. 🙂

The news shooter article says that normal retail price will be $3,500 or so, which seems reasonable. The price of mechanical and electronic components has plummeted over the lsat few decades thanks to centralisation in China. The factor that makes or breaks products these days is the design of the physical unit and the software that controls it. The proof is in the pudding, as they say, so I would reserve judgement until there are units in the wild, and of course, all PR materials that are real (it's common for even things like car commercials to be 3d renders now) will be under the absolute best possible circumstances. Anyone who has ever used a GoPro knows that you'd have to be luckier than a lotto winner to get shots like they put in their promos.

There was a pre-review a while back on Newshooter; see the comments as well: https://www.newsshooter.com/2022/01/16/snoppa-rover-camera-dolly/

Magic Lantern is hard enough on a camera that has been able to use it for years. The M50 is a long way from done. It may never be done. I would go with an EOS-M to start with. But maybe it is further along than I am aware of?? ML will make you cuss like a sailor I can tell you that.

Holy. In the subforums are gems of threads to be found. You, who posted them are awesome! Would be great, if these gems would get more recognition from us! Also, Andrew bought some super lowfi lenses putting out an image punching way above their weight, like the Soligor 35 70 2.5-3.5. Maybe some of these topics could be part of the main forum rather than disappear in the subforums. I know, old discussion. Just sayin. Now, enjoy the images. By the way, I didnt understand any of the science of Cosimos post. Anyway.:)

I add this video even if unfortunately I can not add anything in reality to the discussion, just to show the exceptional tracking that blendertrack manages to obtain with an embarrassing simplicity .., everything is then transferred as it is to unreal with the same settings of the camera and this is the result .... If there were no algorithm interpretation problems because the file is in low resolution (1080p from mobile) and bicycle etc and because the background is not homogeneous enough, you could really do anything with the minimum effort ... Unfortunately this type of tracking I can only use for a few and studied scenes ... I then tried to digitize my son with capture reality but even here I couldn't, I'll probably have to try again with other camera settings

yeah you're right I think, it's all very small differences now and most can be close to matched with another. I do prefer the S1H generally but as I say I'll switch come the next Pana body if AF doesn't improve. I use either Sgamut3.cine with Slog2, or HLG with Rec2020, I spent a few days playing with both and although the road to get there is different you can make them near identical. HLG is preferable to me cos you can expose normally, Slog2 still requires over exposure per the meters in order to look right which i find really annoying They do seem to have exactly the same DR once you post piepline them properly though, which says to me that DR is (logically) limited by the sensor really, not which flat gamme curve you slap on it.

Shoot sLog3 in Monochrome, it's pretty amazing.

Sorry, I probably should have been clearer with my comment. My point was that as much as I like the output from the S1H, it seems that the FX3/a7siii are highly capable of creating amazing images, especially with that Cinetone profile, so if you really like the AF, I wouldn't necessarily say that the S1H has a highly superior image.

This is from Facebook (from a reliable source). The streaking runs across the flag upper left. As others have pointed out this is a pretty extreme situation, but i do still think its a concern. Stuff like this catches you out when you're not expecting it.

If it helps, you can go to a hardware store and grab a bunch of highly-saturated free paint swatches with the brightest colours you can find (and grab some skin-coloured ones too while you're there if you don't already have a colour checker) and you can experiment with those. Assuming you're setup with a calibrated monitor and neutral studio lighting (I recommend MediaLight https://www.biaslighting.com/ and have lit my studio with their bias light and plug-in globes) then you can shoot some test shots (I recommend in full-sun for best colour accuracy, or a halogen / incandescent globe if it's not sunny outside) and then you can bring the switches into the studio and compare them to your monitor (if you have a portable high-CRI light you can light the swatches with that - keeping any spill off your monitor) and literally compare then side-by-side, which is by far more brutal a comparison than anyone would ever have looking at your work in isolation. Much easier to do that than convert your studio into a rainforest habitat! What are your thoughts on RAW vs Prores and how good Prores is at matching the capabilities of RAW? I ask because lots of folks here have only shot with h26x and RAW and the differences are obvious, but may not be aware of where Prores sits in that spectrum. lol.... Are you able to provide any examples? I've seen a number of tests that don't have these issues, so interested in seeing how people are testing this. I'm seeing random idiots all mouthing off without having any thought (or even fact) behind their opinions all the time at this point. I think I saw one person declare that the GH6 was useless because it didn't have PDAF and then raved about the S1 for a while, I was thinking "um.........??" lol.. I find that when shooting with the family on trips there's a few things that solve lots of problems. Unfortunately one of the ones that gets used most often is a credit card!!

You left out the most important department: craft services

@Jimmy G I understand your desire for raw files, once I started shooting raw on my 5Diii, 5 years ago, I was hooked and every new camera release since, although tempting with their new features, always seemed lacking. 14bit Raw is very addictive. Since this is a thread on the GH6, I won't waste too much space pushing other cameras, especially since the ProRes HQ files should be pretty juicy, but since you also mentioned macro shooting, I figured I'd mention it... have you seen this 5Diii macro video posted on the Footage forum by Zero Landscape? Since you mentioned owning a 5D at some point, I figured it was worth mentioning. On another note, since you're already invested in the L-mount, why not be on the lookout for a used Sigma FP for some uncompressed internal 12bit 1080p raw, or 4K raw with a small and unobtrusive SSD? Anyway, sorry for the detour... GH6.

Can't help with the hat or jacket. If you branch out with into wedding car rental, also doubles down as crowd control. I know a guy... 😉

Plus an S1R 😉 MrSMW has considered the Sony A7iv (hybrid use) and the Canon pairing of R5 (stills) and R6 video and I cannot deny there is some appeal… Just not enough. If AF was my primary requirement, then sure, I would not just switch to either of them, I would already have been with one of them. But nah, neither tick enough boxes for me and the few compromises that I have with L Mount ie, the size and weight of the S1R and S1H and the less than stellar tracking AF are the choice I made. And as always, it’s ONLY forward tracking AF that is not completely reliable. The rest of the time for video…95% of my work, it’s more than good enough and for stills, isn’t even a factor. Slower than PDAF, but not by much in the real world and actually more accurate. But back on the Sigma FP, straight out of the box, it’s ergonomically a bit crap, but add the smallest native grip or the Smallrig wooden one (which looks quite ye olde schoole cool), it’s transformed. Based on the Z9 performance, as a 51% photographer, I’m actually OK now with e shutter only, just not with Sigmas at this time as it’s not quite there yet. As above, that is the ONLY real dealbreaker for me for stills use and the lack of internal 4K 60p for video, the ONLY real dealbreaker in that regard. A rangefinderesque L Mount camera would be fanfuckingtastic IMO as 2 of my favourite cameras of all time have been the X100 and X Pro2, with which I have done a ton of work. Hopefully, one of the two, Panny or Sigma will bring one out but my money would be on Sigma. I have always had a thing about slightly left-field cameras when the herd are using something else. Sony? It would be too easy. And utterly boring 😉

Everyone pisses about crappy AF on the Panasonic cameras. Heck don't buy one or give the one you got to charity. 😃 Then buy a Sony or a Canon. 😮

Thank you so much, PannySVHS! Really like your comment, especially the filmmakers nerdom pleasure part 🙂 A teasers sounds like a brilliant idea! Thanks!

I know. Have been preaching that too. Now, the thread above is really something. Cosimo is putting different anamorphics into one new housing. Results look beautiful. Would be awesome, if people feel encouraged again to post this kinda stuff on the main forum again or if it would find more traffic some way else.

Some months ago I switched from focusing on new cameras to understanding lenses and colour science, and you'd be surprised how many times I was looking for compatibility between some lens format and some other camera and EOSHD links kept coming up in google. If you put in "bmpcc c-mount" into google the EOSHD thread talking about compatibility and vignetting is not only the top hit, but also by far the most useful. It seems that EOSHD is the centre of the internet for a number of very specific things in video-making, especially topics that focus on the benefits and modern use of vintage or older technology rather than just the relentless regurgitation of specs of new cameras. When I post here, I am often thinking of these threads as a panel discussion where there is an audience of people who don't post or aren't registered who are looking for information on the topic.

Sorry, I did not mean to sound mean. But this is not how internet works, I am free to voice my opinion. I see a BS post and I call it out. OP pretentiously talks about "galilean action" and "horizontal artifacts", yet the images are highly uninspiring home shots with some of the ugliest flares I've seen. Then he proceeds to post lenses that look butchered. It seems he just took a hacksaw to some schneider cinelux lenses, then butchered some other lenses and randomly paired elements until he got a useable image. Using pseudo scientific terms to describe this process does not make it anything different. Just pure lens hacking. Pointless exercise, because no self-respecting DP will use something like this to shoot anything remotely important. Sure, if you want to learn by destroying lenses – go ahead. They don't make them anymore though. But what really worries me is that I see at least 4 different kids in these shots. I don't know how old OP is, and I don't want to assume their gender, but this is not normal.