Andrew Reid

Which cameras did you compare on your TV with same shot? Please name them. Didn't realise you had an EOS R yet? But is it cinematic? Or just a lot of fatiguing digital pixels fizzing around? What about when the camera moves? How's the motion cadence? Good luck with that 8K TV. I have 20:20 vision and from the sofa viewing distances it offered zero advantage over 4K TV of same size (65"). Even pixel peeped with eyeball up against screen it wasn't even that impressive, no "wow" factor and it isn't gapless, you see quite a lot of black lines between pixels when eyeballing it. This was the latest Samsung 8K TV in a store BTW. You can buy it right now if you're stupid enough! So we can be conditioned to love digital looking 8K 60p as much as 65mm film 24p? There is a difference in style needed between ultra-realism (which works well for documentary, for example) and suspension of disbelief required in narrative films, where you can use all sorts of soft light, dreamy lenses, anamorphic, etc. to serve the script and too much detail can destroy that. Not true. It's not just about colour it's about the luminance channel (green wavelength) giving you a chromatic image which is what largely determines the resolution. It's also about noise levels, micro contrast and digital processing on the LSI side, not just debayering.

Let's see an example of Unsharp mask in Premiere vs wavelet sharpen then...

That Bever is ace.

Problem is Vimeo have us by the balls and they know it. A far call from their earlier years, now they have an aggressive new CEO who wants to purge a bunch of users they 'accuse' of copyright infringement, to clear the company of any risk or legality issues in the prelude to being fattened up and sold to an even larger corporation than the one that already owns them. It stinks. I have never held in such low esteem a company that I depend on for so much. We should start our own Vimeo. And keep big business away from the running of it.

Wow nice info. Didn't know that. I have the 25mm F0.95 Xenon as well, It's a beast. A lot smaller and lighter than a Voigltander 25mm F0.95. Not quite as characterful as the older Schneider 25mm cine lenses but still very dreamy.

Yes absolutely true. When the picture moves, that's where the pixel peeping becomes irrelevant, especially with 4K. It explains so much. - Nikon D5500 looked so cinematic despite such soft 1080p. Lack of digital sharpness, lack of aliasing and little false detail made it calming and immersive to look at. - Canon soft 1080p used to also have false detail, tons of nasties and jaggies, moire, which is BAD. Valid criticism. However in 4K, all those problems are gone and it's soft enough to look cinematic in motion. When you freeze a frame and zoom into 400% like Max on YouTube, yeah it looks like crap - so what. In motion, at 100% full screen it doesn't look like that. - Canon 1D C another good example, it's not the sharpest 4K - you might even call it 3K - but it has a wonderful motion cadence - Sony A6500 - brittle - but you freeze the frame or look at DPReview's chart and go "wow, that's sharp". Meaningless. Listen to Arri instead. They know what they're talking about. Of course it's still helpful to do a review and look at blow-ups of the image, see how detail is, how it is rendered... But the conclusion you draw from that should be different to the obvious. I too am changing the way I do reviews from now on. Obviously you can take a very sharp and detailed 4K camera and make it look softer in post, or especially with lighting changes. That's fine. But if you are shooting "as-is" in natural light and not doing anything in post - just letting that full sharpness off the hook as is most people's tendency - it would be interesting to compare something like an A6500 and EOS R / 1D C on the cinema screen, to see whether all that sharpness on the Sony side would detract from the experience and pull you out of the atmosphere of the shot.

It will be interesting to see if it takes off. 3D has been tried relatively recently and there was a billion dollar marketing effort behind it from at least 10 major corporations, and a presence in every store. The not insubstantial effort failed and customers aren't particularly hot on 3D movies either, instead rather shoehorned into them due to a dominant number of showings. If RED want to seed 3D again, in the high-end smartphone market, and have it be successful, they have their work cut out I think because the smartphone market is so competitive and people are so satisfied with their OLED touting Samsung and Apple monsters. Calling it "Holographic" instead is really more like "we improved the quality" rather than "we revolutionised 3D". The other problem is the difficulties to show the effect online. YouTube videos about the Hydrogen just don't have that wow factor as they're unable to film the effect. In terms of the content, it needs to be easy to shoot holographic content on a regular camera. I am not a huge fan of shooting 3D the proper way, needs a bulky rig and mirror box to be done professionally. Remember those Fuji compacts with two lenses that came out a while ago? I wonder if they'll come back in mirrorless form? Two lens mounts one next to the other. I suppose it would be easier just to rig up two GH5s one next to the other.

The real story is that sharpness in 4K is a bad thing, not a good thing!

Come again?

The follow focus by Tilta is very good. I would also like to see a version of that design with a battery in the handgrip instead of the FF, which would make it more affordable. At the moment, the early power solutions aren't very elegant. The Hasselblad modular grip which doubles as a battery is a nice way forward especially if you have two handles either side of the cage. I am as sick as these shill YT vids as much as you are! I've learnt jack shit so far, aside from the fact most of them have no artistic cinematic sensibilities and just have one shooting style - ADHD glossy glamour

The GH5S and Pocket 4K don't do supersampling either. Crisply detailed enough for my liking.

Did anybody get one of these? https://www.wexphotovideo.com/core-swx-powerbase-edge-for-canon-lp-e6-1671131/?mkwid=snhIsBCQd_dc&pcrid=227538603289&kword=&match=&plid=&product=1671131&gclid=Cj0KCQjwguDeBRDCARIsAGxuU8YcFA1nvfkkGPC-VsunH5VbGdcoLesIWUGWSLVq7jgeWrfpR28s_VcaAjqLEALw_wcB

What's so disappointing about the X-T3 120p? I can't see any other camera doing 1080/120p with that much detail for the price. The Sony A7R III and A7 III are a lot more expensive. GH5 and GH5S have smaller sensor and aren't cheaper either.

I think in 2020 they will go straight to 8K GH8. Their focus until that will be on full frame S1/S1R. A GH6S would not be due until around 2021... It would likely not be 4K in 2021, Panasonic want to push 8K on us ASAP

It's lot better than the Mavic 1. Maybe not perfect, maybe not RX100 VI quality, but they had to make the whole thing power-economical to stop flight battery going sub 15 mins. I'd rather have 30 mins of shooting, than a slight bit more detail for pixel peeping. So I am finding the Zoom is a bit more detailed, even maybe close on dynamic range with CineLikeD. No 10bit or anything fancy but the zoom lens makes all sorts of shots possible that aren't on the Pro 2. The Zoom remains a good alternative option if you aren't impressed by Mavic 2 Pro 1" image quality (which is kinda whole reason why you buy it over the Zoom!) It is a real dilemma which one to shoot with, if you can only buy one. For me the form factor of the Phantom is dated and way less fun than the Mavic. So that sealed the deal there. May as well get a used Inspire 1 with X5 if you are ok going bigger, and skip the unwieldily Phantoms

Nice video!

I agree! Here are those pictures AGAIN! Maybe we can reach page 400 sooner than we think!

Z7 is oversampling in APS-C mode. I guess they did bother. Still in the real world, that full frame 4K looks fine, just as it did on the D850, and the A7R III before the Z7 even existed. You must be some kind of Russian fake user or something. Yes I admit it. I am biased towards Canon! It's all true! The last 7 years calling them out have all been a PR stunt! They are paying me! How do you think I afford all these Sony, Panasonic and Fuji cameras? It's not fair criticism in Max's video and unlike you, I explain why using something called logic. It's as if you have never heard of a Sharpness setting in a Picture Style, or the Unsharp Mask in Premiere. This is basic digital filmmaker 101. You need to read a book. Why don't you go back to complaining about the GH5 and not being able to dial sharpness down enough. Go and do a test of your own, show some images. Go and adjust the picture style settings and try and re-produce Max's conclusion - yeah good luck with that - your results would be totally different. He's really only reviewed the picture style settings, and he doesn't even bothering to tell us what they are!

That looks excellent. I thought I'd quote the post again right under to make people scroll through 6 huge images instead of 2.

Well that is only typical of pro photographers. The D5 is a great pro camera. I am all for the 28-70 F2 and 50 F1.2, as pro lenses. They are an improvement on two of the most popular EF lenses for pros. That said, you are also entitled to have different preferences and I am different to Fro as well. I am more interested in the artistic side than the 'get the job done' mentality. I would suffer an old blurry manual focus Arriflex lens on an adapter or an anamorphic just to get a certain look. I don't think Fro would, because he's at the mercy of his clients. That side does not interest me at all. When Canon find out the cluster bomb crater the EOS R has made in their 5DIV and 6DII sales they will swiftly bring out a bunch more models and lenses. Canon have made their own bestsellers obsolete, which is probably why they put off doing this camera for so long in the first place. They didn't need to, as the previous obsolete cameras were still selling so well.

Interesting that it has electronic ND on-sensor. That's been rumoured from Panasonic. https://www.eoshd.com/2018/09/photokina-part-3-on-sensor-nd-fujifilm-super-full-frame-announcing-eoshd-tv-and-the-eoshd-podcast/ It works by lowering the voltage to the organic film layer Also as I think the yields will be very low and sensors will be expensive, it might come to a smaller chip system first like M43 and not full frame, which will give M43 a big advantage - 8K, global shutter, 20 stops dynamic range, electronic ND, film-like colour.

What about this and a USB powerbank? https://www.amazon.co.uk/Adapter-Replacement-Coupler-Battery-Cameras-ACK-E6-Dual-USB/dp/B07C3FP2FL/ref=pd_sbs_421_2?_encoding=UTF8&pd_rd_i=B07C3FP2FL&pd_rd_r=25e71acd-da33-11e8-b46c-414a8d7491cf&pd_rd_w=BRcL9&pd_rd_wg=6CtRz&pf_rd_i=desktop-dp-sims&pf_rd_m=A3P5ROKL5A1OLE&pf_rd_p=18edf98b-139a-41ee-bb40-d725dd59d1d3&pf_rd_r=W8FER72A81YVGJYW05TJ&pf_rd_s=desktop-dp-sims&pf_rd_t=40701&psc=1&refRID=W8FER72A81YVGJYW05TJ

Nice find on that - got to be worth a try for 30 quid! Better to have the wire going into the base of the camera. Too easy to knock the DC cable out of the side of it?

How's the Bluetooth LE stuff going?

Cheers for the kind words. These are inanimate objects to make art and technology with, it's usually more useful to be critical than to be naive, satisfied and positive... a camera does not need our praise, it does not cry or get hurt. Camera users on the other hand...