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Another one of the “OMG Canon vs Sony DJI RS5327 cinema lut pack matti special sponsored by square space why aren’t you subscribed” videos. Sickening.

Hi there, fellow EOSHD forum members. I wanted to talk a bit about Virtual Production (hope there are a few interested people). Setting up a VP studio can be quite overwhelming, especially when choosing a tracking system. There are several options to choose from, and we've made this quick demo to show how to use Antilatency with Unity. You can track cameras, objects and even body parts. In this case, we have used a tracking area attached to the truss system, one tracker for the camera, and two trackers for each leg. All tracking data was transmitted to Unity via proprietary radio protocol, and was used for real-time rendering. We didn't use any post-processing or cleanup — only real-time data. I would love to hear what you and Andrew think of it - this demo and Virtual Production in general. We’re also open to suggestions on what demos we should do next!

I’d definitely go with 2 (or more) AIDA cameras fed into a BM Atem for this. They are cheap and capable and the setup is easy to use (either live streamed or recorded - in the latter case there are, of course, multiple options either to record each camera separately and mix in post or simply to record a single output from the Atem). I use 2 x HD100A but there are other more expensive options.

Reading the leaked sensor spec sheet, it is a special mode designed for shooting cinematic B-roll of the legendary and ubiquitous Ikea bookcase.

*40mm 4mm doesn’t exist for FF…lol

Yep, that's the same rumor... "According to foreign news sources", ie, absolutely no one, - this 'news' was something lifted off a rumors site and is doing the rounds. And anyway, what's "and supports 16:9 Billy 4.8K60P video"? And what's this 15mp sensor? Sounds a bit of a weird size to me and they can forget all photo credibility if they wish to market anything like that as a genuine hybrid. Half the size of a new 30mp if anything? Not because 15mp is not enough for stills for most people most of the time, myself included, but because for marketing purposes, if you are not at least even competitive... A 15mp sensor coupled with DFD AF smells like disaster to me... But I doubt the credibility of this rumor anyway and it's far from being credible. I do believe they are working on something, but until anything comes from a reliable source or is official, I'm not going to be holding my breath. I'm all for any successor to the S5 or S1 line. In fact, I am waiting on it because until anything is confirmed (and it ticks my boxes), I am both sticking with what I am already using and have no concrete plans to switch to any other system. Thought right now, I can make arguments for; Fuji, Canon and Sony...

To be fair @kye I was answering @leslie question about what it was he had seen. And also saying that it would not be sufficient to cope with that amount of movement you are describing which by extension would not be able to protect the camera. Back in the mists of time when dinosaurs and DJI Phantoms without integrated cameras roamed the earth, we all used a product called MoonGel to try and offset the vibrations coursing through the direct mount to the GoPro. MoonGel was originally a dampening solution for drums and when placed between the drone and the mount was quite effective in reducing the jellovision produced by the GoPro getting vibrated to within an inch of its life during flight. If you are fashioning/modifying a mount for the scooter then you might want to look at incorporating a similar solution to reduce the vibration transmitted to the camera. With regard to the GX85, the big danger will come if you ride along without the camera being powered at any point as without power the sensor will be left to flop about which will potentially cause a problem. Worth remembering that the GH5s came about in large part, apparently, because shows such as Top Gear wanted an IBIS-free version of the GH5 to deal with the vibration issues shooting in cars causing a problem with the image of the IBIS version so if you have got a non-IBIS camera then I would probably look at that as an option.

In my video there is a section where I create a 100Mbps H.265 file from a 3584 x 1730 5D3 raw source and compare it with the 400Mbps Fujifilm file. While it's slightly less pixels than Fuji's UHD, the 100Mbps one is close to indistinguishable from the raw and the Cr channel is very detailed. And I didn't use some well optimized x265 encoder, I created the 100Mbps file in Resolve with GPU acceleration. When you put this next to Fuji's recording which has 4x the bitrate it becomes clear that there must be some purpose to the chroma smoothing other than preserving bandwidth for the luma channel. And I also mention in the video that I checked many files from other manufacturers (some of them have the same amount of luma detail and less bitrate) and didn't see this kind of chroma processing.

I’m still very intrigued by the Canon 70D. That organic ML RAW image, but with DPAF.

ML with Canon truly is some special images. If you can get over the lower DR, poorer lowlight, and lack of stabilisation then the images can be truly excellent. I found the grain from it on my 700D to be spectacular as well, very natural feeling. The other camera that seems to get forgotten is the 700D. When I last checked it was at the cutting edge of the ML development as one of the most active developers had one, so it got every new feature basically immediately. The limitation of the 700D compared to the 5D was that the 700D only had ~1700 pixels across the sensor (IIRC that was every third pixel) and if you wanted more horizontal resolution than that then you'd have to crop pretty severely into the sensor, but 1.7K RAW upscaled to 1080p didn't look too bad, especially if you were going for a slightly more organic look. The image from the 5D is nicer of course, but I'm yet to see images that the EOS-M can do that the 700D couldn't.

Ha, an influencer making videos about how to be an influencer. He said "What do you struggle the most with as a content creator?" and I was thinking - obviously it's editing and sound design. Then he talks about cropping to post on TikTok. Umm, no. I mean, I get it. If you're an influencer then you want to shoot in 8K RAW so you can record everything and if something wonderful happens then you want to be able to crop and post on all the socials and make an edit where you crop from a wide to a mid to a long to a nasal close-up etc, but I'm just thinking - at what point would concentrating on writing and ideas be more beneficial.

I have 4x units... Don't ever think to come to ask any of those, no way! ;- )

I believe you already made a very good move with your Panasonic, BM are more specialized cameras for video. What they did to the industry is very significant though, a 4K is dead cheap and can mount almost every lens ever made, and the 6K Pro is an amazing tool with the ND and the bright and movable screen with the most popular lenses in history (EF). Internal ND is the holy grail for cheap video cameras and tick that box also. But IBIS and good AF are very helpful tools to have and for some people must have, so they have to move to other options. No perfect camera for everyone, but so many great ajd varied choices at the moment. Good news for all of us.

Good point. My Panny's are all 150Mbps 420 10 bit and my grade is fairly mild but a lot of 50% Slow mo. I tried very briefly (once) jumping up to the 400Mbps option...but never again. I didn't see any benefit and it chewed through cards at a crazy rate. 150 therefore is Goldilocks for me.

Use however much you need, but be aware that how much you need can vary radically depending on what you're filming. 50Mbps is tonnes if you're filming a talking-head with a blurry background, but point you camera at a tree while there's lots of wind, or during rain or snow, or at the ocean, or from a moving vehicle, and the 50Mbps you were loving before might make you cry. Also, if you're filming in higher frame rates and then conforming to normal speed to make things appear in slow motion then your bitrate will get stretched accordingly. 50Mbps is 25Mbps when viewed at 50% speed on a timeline, etc. You can't add bitrate in post!

It also depends on the specific flavour of codec, not only related to bitrate but its "magic" as well. The S1 without the VLog and 10bit 422 update it had a h265 10bit 420 codec in HLG and with 75 Mbit. It had definate flaws in homogenously coloured surfaces such as painted blue wall fi. In these areas the material was full of artefacts, specifically cluster of blocks, which were easily revealed by a strong contrast curve. The 4K 150mbit h264 422 10bit codec, as well as the 100mbit 10bit 422 HD flavour are pretty much seemingly unbreakable. I assume one could film a valid cinema project with it. The 4K8bit 100mbit codec was not shabby at all neither for its proposed use in 709, though paling in comparision to its fantastic 10bit counterpart. The 4K 8bit 100mbit flavour on a Sony A7S2 on the other hand sucks pretty much for more elevated grading needs, even in comparison to a tiny GX85. GX85 flavour of 4K 8bit 100mbit is no slouch if not overwhelming it with the task of serious low light, like above 800Iso under Golden Hour fi. Then mushiness will sneak in, also with noise reduction set all way down to -5. cheers