Andrew Reid

Sorry to hear that. Seems to be a lot of bad stuff happening at the moment. I suppose when in hell, keep walking.

Thank you for all the thoughts and prayers so far. I wish I had better news to share. Can only look forward from now on, work hard on EOSHD and try and do justice to all the memories of my sister with some fund raising in the future, because as Mr Freeze said above - fuck cancer is a sentiment we can ALL agree with!

To all my friends at EOSHD I have some very sad news. My sister has been diagnosed with terminal cancer. She is just 38. I have just brought the news to the main blog page here, for the full story: https://www.eoshd.com/news/my-sister-zara-reid-is-in-end-of-life-care-for-cancer/ I might need to rely on my friends here to get me through this very difficult time and keep working. Anyone who pre-orders my Panasonic GH6 Shooter's Guide will really be helping. I am in financial difficulties too, on top of this. I want to keep this blog going even though I am a wreak at the moment. I am going to miss my sister enormously. She was at the heart of my family. Please don't hesitate to contact me if you wish to pass a message of support onto myself, Zara or my mum. My email address is eoshd.com@gmail.com In the future my aim is to get back to work and carry on EOSHD. Sorry it has been so quiet of late. Thanks guys.

Thanks, I'll ban this user I think as definitely a bit suspicious!

If these witnesses come forward and she wins the lawsuit, Atomos are finished.

Sounds like a big culture and personality clash going on. But the harassment claims are on another level of darkness. Assaulting the victim at an Atomos work event. Probably has a lot of witnesses if true.

There is some absolutely shocking stuff in the legal docs https://petapixel.com/assets/uploads/2022/09/8.15.22-Complaint.pdf Sir Hossein Yassaie I have actually met (man on far right of photo) Seemed like a very decent bloke to me. Surprised his name is in the lawsuit. Jeromy on the other hand I have always thought he was a complete tit.

Pure speculation on my part but I could tell something might be off when I went to their IBC dinner in 2019. Extremely odd behaviour by Jeromy. Then of course the way he parted ways so suddenly after being the figurehead of the company for ages, all points to potentially quite serious stuff. I see she cited CineD in the lawsuit. Wonder if EOSHD will get any links as well 😆

Only the Komodo is RF, the others have swappable mounts. For instance one of the best mounts for RED is EF, so completely incompatible with RF or mirrorless lenses. That's the Motion Mount with electronic variable ND built in. So what use is RF for RED users who want to use that? You are far better off with either EF or PL lenses for the vast majority of RED's bodies, especially the proper high-end stuff. Komodo is entry level.

That is incredibly soft.

I don't know of any successful long established camera system that doesn't have a range of third party accessories and lenses for it. So for Canon to be blocking this, and presumably companies like Sigma as well, shows they are prepared to harm their own ecosystem in order to protect the rip off pricing of their native lenses. It really just boils down to that. I am glad you like your 70-200 though

For me it makes no sense to compare a prime to a zoom! Of course a 16mm prime is going to perform better than an old zoom that was never even that amazing to begin with. The old EF 35mm F2.0 is better for a start! AF is internal, stepping motor. The RF 35mm f1.8 has a front element that moves! I found it to be one of the worst mechanical designs and noisiest lenses I've ever used on any system. Also one of the most plasticy. Also had the RF 50 1.2 and preferred the old EF lens. It has more character. No, it isn't as sharp. But it looks far less clinical. I also hated how the RF 50 1.2 picked up marks from the finger like a magnet. It has that horrible super-fine texture that just gets ingrained with dirt. You have to handle it like a lab techie. 17K is not exactly cheap is it. In fact $2500 for the 50mm 1.2 is completely nuts. For a lens that probably costs $200 max to make.

The Canon RF lenses are a big turn off for me. On E-mount there is more choice of native lenses. Sigma to name just one. Similarly with L-mount there are many ways into the system. The native Canon RF lenses are almost all massively expensive and enormously heavy, and not a single one is really much better than the EF equivalent it replaces. In fact if it wasn't for the popularity and dominance of EF & some very good adapters, I dare say Canon wouldn't have sold quite so many camera bodies. However they have always been a lenses company first and foremost, it's where the big profit margins are. It's just that they prefer to line the pockets of their shareholders, through us, whereas Sigma prefer to focus on engineering better lenses than Canon at half the price. Different company philosophies.

What about adapters with electronic connections, also banned by Canon? They are a very litigious company.

Maybe they just don't have the resolving power for 30 megapixels? So when you view it close up 1:1, you see more of the softness of the lens than you would on the A7.

It looks pretty good for an F1.2 lens at F1.4 Obviously would be much crisper at F2.8 or 5.6 I wouldn't have it any other way - don't like cuttingly sharp digital images. It's very un-cinematic. Which is the Minolta that showed the poor result on the A7 IV on other page even when stopped down?

How is the C70 mojo vs 1D C Dave? Just as good, maybe even better? Or does the 1D C still hold up pretty well

Well here is my test with the A7 IV Original RAWs are here: https://we.tl/t-6sae7A5zAH I compared it to the S1R. Same lens, Canon FD 50mm F1.2L @ F1.4 The A7 IV does look a little bit more veiled. Ignoring the difference between 30MP and 47MP, there is definitely a fraction more softness but it doesn't seem as soft as your tests above.

Yeah, the only problem I have with using custom modes is whenever I change something it reverts to the preset settings whenever I exit and re-enter that mode. So having to dive in and save the new changes every time you tweak a setting is a bit annoying. The good thing with the 5K is that it has a dedicated codec setting (MOV) and the full frame 4K/60 is MP4. So tapping between those two (ignoring AVCHD of course!) on the function button I found the quickest way to toggle between them!

Well one is 4:3 and Super 35mm The other is open gate 3:2 full frame. Other than that, both very nice. Dynamic range is better on the S1 in 6K due to V-LOG. I feel the 5K on S1R has more to differentiate it from other cameras, and the different sensor gives a certain mojo and colour science. I am familiar with the 5K S35 before as Leica SL2 did it too. That was an absolutely fantastic camera but it had the power issues in video mode and lack of articulated screen plus it cost 5 grand. No such drawbacks on the S1R for £1500. The S1 can indeed use the full sensor with no crop but for me there is more to play with on the S1R. I think audience will notice if you conform 60p or 48p to 24p for dramatic effect where warranted. Whereas the 6K 3:2 mode on S1 either looks nigh on the same as the 4K unless pixel peeping it, or needs an anamorphic to get the most out of the 3:2.

Yes HLG works in 5K 10bit. HLG needs 10bit. So it doesn't work in the 8bit 4K modes. Bit rate is 200Mbit in H.265, so rather good. That compares to just 75Mbit on the OM-1 in 10bit. 200mbit is a good sweet spot for me as 400Mbit I find to be a bit on the large side in terms of file sizes. I have configured the lever on the front of the camera to switch between Rec.709 and HLG. Which is quite fun. The way it works is whenever I need extra DR in 5K I just flick that lever. Boom. And when you don't feel you need it and can't be arsed to grade the HLG, flick it back again and your originally selected picture profile is re-enabled automatically. Meanwhile on a button near the shutter release I have made it a one tap to go between full frame 4K 60fps and S35 5K 10bit. So all these unusual options triggered within a second during the action, rather than diving into menus for them. The only thing that takes a bit of menu diving is the Super 16mm pixel-pixel crop mode. As for rationale for selling S1... Which is a very good tool... Well with S1R I was wanting something a bit different. My S1 has been great but I mainly see it as a full frame 10bit 4K/24p camera or the 6K mode which gives you rather similar end result, and so it doesn't have the same variety of creative purposes. The S1R has the resolution to do that unusual 4:3 5K mode and Super 16mm crop 4K. I also like that it is 4K/60fps full frame and would take 60fps over 10bit creatively speaking. The other thing with the S1 is that now the EOS R5 is working more reliably and I have the Sony A7 IV, my full frame 10bit 4K needs are covered - with the Sony handling 60fps and the R5 120fps whereas S1 maxes out at 30fps. Also on the stills side I prefer the sensor of the S1R to the S1, it has more mojo and a lot more resolution. Undoubtedly the S1 in V-LOG has better dynamic range though but I am not a dynamic range fetish person. I like to see a strong contrast in my end result and shoot in a what-you-see-is-what-you-get fashion. This way I get to experiment in the moment. Does a bright area look better if you let it bloom outward, or should you box it in, preserve the detail there, and darken the other areas of the shot? I find it is always more fun to make that decision during the shoot rather than in an endless post production nightmare divorced from what you felt during the actual shoot, which also has other impact of distracting you from editing! With S1R I feel like I have the best camera for manual focus glass, along with the Fp-L. With Sony E-mount and Canon R5 I feel those have all the AF lenses covered. They are not as much fun to use as the S1R though. The Fp-L also has that uniqueness about it, which more formulaic and generic mainstream cameras lack. The Cinema DNG feature, the extensive 4K crop modes, the tiny form factor, articulated tilt-EVF and external SSD support. There is no point me duplicating over and over again other high-end do it all cameras like the R5. I need creative features and different mojos! Undoubtably though, if you just want full frame 10bit that new 6K mode on the S1 with V-LOG is a total bargain for what it sells for used.

As the DR guide covers, it might be a hardware decoding issue with the codec.

It is important to have a nice smooth roll off to overexposed areas of a shot. Even with the new Alexa which has endless dynamic range, sometimes you want to blow stuff out simply because it looks better or a large amount of detail in, say, a window distracts from the overall shot. I will make this available for free for a few hours for anyone to try https://www.eoshd.com/uploads/private/customerlinks/03062021/EOSHD_DREnhance140621.zip Give it a go on the R7 footage and see if you get a smoother roll off, as it could be all about clipping too early in the NLE / OS.

Interesting technique https://ymcinema.com/2022/08/17/shooting-anamorphic-on-vertical-sensor/ Get that "Passing" look on your 3:4 S1R 5K or S1H without cropping.

The reason they work well on the Z6 is it has one of the thinnest filter stack on a full frame digital camera. The thinner that glass, the better for old lenses.