Andrew Reid

The email with the download links is sent when you do the PayPal payment, but sometimes it goes missing on the way in cyberspace or into a spam folder, so email me your PayPal receipt and I will sort you out with the links. Nope, Pro Color 3.0 was the best out of the previous cameras that could possibly be, and the changes in V4 are tailored specifically to the new models. Yes absolutely. You can still add extra digital sharpening back in post anyway.

Shall we ask him back, by popular demand then? I must admit I do miss the guy a bit. But it was a bit like having a spambot around.

Are you using Resolve?

It’s not exclusively for an HDR TV. If you want to playback A7 III files directly on your TV, just shoot plain vanilla Hybrid LOG Gamma, which compressed the required dynamic range into 8bit and adds meta tags to an XML file so the TV knows how to handle it. This automatic conversion of HLG doesn’t happen with all footage, only the original files with the meta data. So you are better off shooting Pro Color for the wider dynamic range and wider colour gamut, edit your video, and enjoy the benefits on every display not just your TV with the camera plugged into it. It looks just as nice once it is on YouTube or Vimeo or a ProRes master copy that will give close to maximum dynamic range on a HDR TV display, with the added compatibility for everything else 709.

Only thing stopping me from using YouTube apart from the dire ads, is that the poster frame is utterly butt-ugly crap. Any way to change the quality and get a proper headline going with the text?

Sony FE 35mm F1.4.

Available to buy now - click here for details Cameras and displays have come a long way since the old standard definition Rec.709 standard came to be. From today, Sony's colour science now gets EOSHD's cinematic overhaul on the A7 III and A7R III. Read the full article

Just before I left Berlin the other month, I did some final work together with my audio friends there and the result is EOSHD Pro Audio. It's a group of presets for Adobe Premiere and Final Cut Pro X which you can simply drag and drop onto the timeline... - Clean up rough in-camera mic recordings (Pro Audio Primers) - Makes ambience more immersive and atmospheric (Pro Audio Colors) - Custom sound design presets to tailor your own atmosphere (Pro Audio Bricks - stack Warmer, brighter, wider, less harsh, less boom, etc.) We've tested these on our systems but I am also looking for around 5 or 6 beta testers to give their feedback. If you have Premiere or Final Cut Pro X, together with a relatively decent set of reference headphones (Sennheiser HD600, Beyerdynamic DT770, etc. or amp with monitors) and would like a free copy of EOSHD Pro Audio, in return for a few PMs or emails saying if you found any issues (and giving your feedback on whether you found it useful and enjoyable to have), I'd love to hear from you. Just PM me or email me the usual way. https://www.eoshd.com/contact/ ENJOY!!

Seems like a pretty common problem then. Thanks for chiming in people.

Vimeo would be perfect... If they ever got it working.

No problem. I try not to write fake news. I can't afford an X1D as well so it is a camera I know less well apart from online research and my experience my older Hasselblad lenses. I still love that H3D II form factor by the way. They should maintain it somehow into the brave new mirrorless world. Actually, just a very slim lightweight back would be a start on these cameras - the mirror box core itself is not that heavy, neither is the viewfinder module or the battery grip. It's the back that pushes it all past 2kg. Imagine a full frame camera in the form factor of a Hasselblad H6D too... Modular design, massive viewfinder, slimmed down sensor back and you could pick your sensor - low light, resolution, video - Sony could offer 3 modules! The GFX viewfinder being detachable is definitely a nod to Hasselblad. No doubt there is room for the slimmest, smallest, most beautiful X1D style medium format as well. Only thing that comes close to that in looks and build quality is the Leica SL. I recognise you Saw your blog and video on the GFX when I was researching into it for first time. Lovely shots in there. Really shows the magic that medium format brings to the image regardless of video quality. So the Helios covers in 16:9?! Nice. I didn't intend to get a GFX lens at first but as it came with my camera, I thought I'd try it any way and sell it if I didn't use it but turns out I am having a hard time parting with the Fujifilm glass. The 63mm F2.8 is a beast for a standard lens and I love the rendering, I thought it would be clinical-modern but it has character at the same time as astounding contrast and sharpness. It's incredible quality for the price vs Hasselblad.

I am thinking whether to halt EOSHD uploads to Vimeo altogether. Whenever I upload to Vimeo I can never get it to play smoothly but my connection is fibre optic. This is with auto quality. It seems their servers just don't have the performance needed and you get a stop-start experience. Interested to hear other peoples experiences before I pull the plug! And as an uploader, does a Pro account rather than Plus help with playback issues?

Yeah ok no need to go sarky on people.

I agree, it's probably pixel binning to produce the 4K from 12K but i was just quoting the cinematographer of that nice drifting video verbatim... that's what he said. Maybe it's not right, maybe it is... who knows Thanks for the corrections on the X1D. A fine camera system for sure, but I still think the GFX 50S has something special going on with the focal plane shutter, adaptability to so many lenses and Fujifilm colour.

That would be ironic. Well it certainly saves having to buy more than one expensive autofocus adapter. Even for Nikon G glass. The TechArt is mindblowingly good for stills and AF-S... but again same limitation as the Metabones for AF-C in video mode... And it's pretty noisy. Apparently it can focus larger lenses up to 700g The motor housing is tiny, much smaller than the motorised Sony A-mount adapter. Vogitlander 35mm F1.2 autofocus anyone?

Yeah they just don't work in video mode. Only Sigma's new lenses have the faster bus between the lens and camera for advanced protocols in video mode. The Sigma MC-11 really is wonderful for Sigma's own lenses and stills mode. I believe Metabones have made some progress with video AF on Canon L lenses although not sure if it goes from being unusable to great... I'll have to give their latest firmware a go soon.

Agree that would be amazing. Some things don't stack up there though... for a start, 100MP 44x33? The 100MP Sony medium format sensor with 4K is 53x40mm. That's what it is in the Hasselblad H6D any way, and it makes no sense to do 100MP in anything smaller. It's 12K for crying out loud. And how do we know a GFX100S is coming? Are we reading the clickbait rumours sites again?! By the way the H6D-50C with similar sensor to the Fuji GFX 50S does actually do RAW video as well. Just 2K. Would love to see what that's like. Come on Fuji get that firmware update out

My dear erstwhile member can you please stop attacking John Brawley now. I have long since given up on camera forum arguments so might not be completely up on who is right and who is wrong-evil / killed-a-kitten, but can we tone it down a bit. It's JB! We could be learning so much and having such interesting cameras talks with a film industry guy and I am sure one of the only people with a Blackmagic Pocket 2 prototype yet instead a handful of you are just bitching. It's pointless. Even if you disagree with him on certain matters, hold your tongue a bit for the benefit of the rest of us who are interested in what he has to tell.

Writing the page for it now and putting final touches to the edit. Tuesday or Wednesday this week.

Thank you bargain hunter. That is a superb price on the adapter, it is £650 new and WEX had it used for £450 I've gone and pulled the trigger on that and we'll see how the Hassy lenses do. Shame it doesn't have AF with these even though it has an electronic interface on the adapter, wonder why they didn't get it to work? I am keeping the H3D-II with it's even larger CCD, as I love using it. The optical viewfinder on that and the snappy AF vs the GFX is like a nice reliable DSLR in early days of mirrorless. Recently found the 100mm F2.2 HC for £600 at MPB's eBay outlet... Usually it is £1200 but this one had no AF and was being sold as spares... Manual focus on it works fine and it's actually quite easy to focus through the H3D-II's viewfinder. On the GFX will be even easier. On the subject of lens adapters, I recently got a TechArt Leica M AF adapter for Sony... Blog post coming soon on that. I am blown away by the AF speed and it works with everything manual, not just Leica M... And it more than halves the minimum focus distance of the Leica M stuff which is usually 1m. I'm impressed.

Check the DPReview studio chart 5DS vs 5D3 Slightly finer detail Then check it against the rest of the Canons... thrashes them all. 7D II, 80D, 1D X II, the lot. https://***URL removed***/reviews/canon-eos-5ds-sr/7 Also check the 42MP A7R II 1080p (pixel binned) vs 24MP Sony A9 1080p (full sensor readout) - something weird going on there as A7R II looks better.

All true It's not all about specs though.

It's flown under the radar for video but the Sony 100 megapixel CMOS sensor is doing amazing things over in the Hasselblad camp - 4K RAW to be exact. You can see a great video of that below but first - I present to you the humble Fujifilm GFX 50S. If I told you Fujifilm had a full frame mirrorless camera system to compete with the Sony A7R III, a lot of people would sit up and notice. However the GFX 50S is a medium format camera, and these don't really register on the same radar screen as others. Read the full article

But price difference?! And colour. And C-mount glass. And ergonomics & menus.

This is assuming they actually read out exactly 1920 x 1080 on the sensor. It is possible by varying the resolution very slightly to do a 3x3 binning on almost any sensor. The best Canon 1080p resolution is delivered on the 5DS funnily enough, at 50MP! Also it could be that Canon read out a lower than 1920 x 1080 image on some of their cameras to purposefully limit things - either for power consumption or heat reasons or marketing. The Magic Lantern raw video frame sizes from a lot of the 1080p Canons prove this. Sony have a very good 1080p (and 4K) image from their 42MP sensors. Sony again manage an incredible 4K image from a 100MP Hasselblad sensor (see below!) So there is not really any magic megapixel count, certainly not 22.3MP.