Andrew Reid

It really is time this guy gets called out on other sites. Blog post? Is he still active on DVXUser?

We need to hound DPReview until they remove the criminal https://***URL removed***/members/9734214696/overview Tactics?

6K!

The most filmed tribesmen of the wilderness, ever.

The white balance seems better. The sensor is much cleaner in the shadows. Much less noise at ISO 800 and above, better colour saturation too. I think Ed's mention of the tube lighting is intriguing, it's something I've wanted for ages, much better form factor and softer spread of light than traditional rectangular LED panels, also the colour accuracy is meant to be superb on the Ice Light 2. Super portable as well. Just wish the pricing was a bit less hot! Ouch!

Blacks are crushed.

Best new camera is the one I am reviewing right now, the Panasonic G85. The new sensor is way better than the GH4 in terms of image quality. The stabilisation is amazing. The ergonomics just-so. The price a bargain. I love everything about it. Best Panasonic camera since the GH4 and LX100. GX85 earlier in the year also gets an honourable mention! Best lens of the year, hmm... so many to choose from. It would have to go to the Sigma 50-100mm F1.8 but it's just so damned big and breathes a LOT. So not that. Let me think... Sigma 20mm F1.4 ART... or is that last year?! Ice Light looks interesting. Worth the money? Do you have the Ice Light 2?

Is that a 4:3 aspect ratio clue Mr Neumann?

Furthermore if the sensor supports 6000 pixels width images and doesn't cheat, say upscaling 5K to 6K on the image processor from a lower resolution sensor, then this sensor must be different to the one in the Olympus E-M1 Mark II and with a higher megapixel count, which nobody really wanted or asked for as it comes at the expense of dynamic range and low light abilities. Also why would Olympus go to all that trouble to do oversampling from 5K and incredibly low rolling shutter on what is predominantly a stills camera, if that sensor wasn't also designed for Panasonic? Indeed didn't Panasonic actually make / or design the sensor in the original E-M1? The E-M5 was a Sony chip but I remember a tear-down that revealed the E-M1's chip to be a Panasonic CMOS.

People were referring to an 18MP or 20MP sensor, or even the 20MP sensor already out in the Olympus E-M1 II as being capable of 6K because they read this on the Panasonic website about 18 megapixel = 6K I suggest you check the aspect ratio of 6000 x 3000, which is indeed 18MP but heavily letter boxed compared to what is needed for 3:2 or :4:3 photography. In actual fact you will need to go to at least 24MP in total for 6K video AND 3:2 photos. Very few photographers will be ok with a 2:1 aspect ratio! So I find it highly unlikey the sensor will be a total of 6000 x 3000 in such a wide aspect ratio as it is also sold Panasonic's flagship 4:3 stills camera! If take the Panasonic 6K photo press release info literally you will be mislead as to the true nature of the sensor and megapixel count.

It is just recalculating the render time based on more information about how the render has been going so far, it has absolutely nothing to do with cooling. What kind of video is it - 2 hour with heavy FX or something?

It's all fixable! Don't worry about anything. Also you are not leaving anything behind just because you might switch from DSLR to a pro camera. EOSHD is about both and I was an FS5 owner earlier this year. I just prefer small cameras, for me they are LESS complicated and get out of the way of the artist, far more so than a big complicated cinema camera beast. Variable ND or standard? V-lock power is a major pain in the arse for pro cameras too not to mention having a heavy brick to haul around on the back of your not so mini URSA MINI GH4 is much more simple. Blackmagic were on the right track with the Cinema Camera and Pocket Camera, but they never got the internal battery side sorted out... the cameras were too hungry for juice, lacking the economical processors and sensor of the Panasonic 4K mirrorless cameras. Not much has changed with the URSA Mini and on the RED / Arri side it is the same too. One of the reasons why the C300 was so popular for day jobs... easy on the power, easy to power, easy to carry anywhere without so much hassle. You might try investigating the C100 Mark II with Dual Pixel AF if you want total convenience and everything built in. External ProRes 422 is always meh because the HDMI is heavily compressed, not real 422, not real 10bit in my opinion. The next step up from 4K 100Mbit 4:2:0 internal is the 500Mbit 4:2:2 MJPEG on the 1D C and 1D X Mark II, then you have to step up to RAW. When I use ProRes it is only in transcoding after the shoot to get files that edit smoother in 4K. XAVC-S and H.264 can be quite heavy going when you start grading them in Premiere and having multiple tracks going. Another reason to keep things simple and not bother with ProRes externally. Keep the GH4, lights and NDs, dump the Pocket Cinema Camera and extra power / monitors. Simply the shoot so you can concentrate on the content. Stop down the lens for easier focus and maybe see if you still need NDs when you have lit for a slower aperture like F2.8 or F5.6. Interviews rely on good sound so keep going with the Rode gear. It's very good quality stuff.

The hand of the artist is the most important and underrated thing in all arts and this is why I will always try to maintain as much control as possible over my own camera work. As soon as he takes his hands off the tool and gets the CG artists to copy his style, something of his personality gets lost in translation. Subtle things like whiskers, a fur, a few lines out of place... And then comes A.I. based animation...even worse!! A classic scene in this where he lets rip at the creators pitching the technique to him. Just goes to show, even with so much technology out there and even AI, CGI still has a long way to go to touch the human soul in terms of the visuals of the best hand-drawn animation (especially movement related aspects).

If you need help there are a few things you can do help me help you... What camera model? Maybe send me an email instead of a forum post? Eh? The image when you record a video is the final image. Why would you prefer the live view image with its crushed blacks and aliasing?

I've been considering the Panasonic FZ2500, and have also tried out the long awaited EOS M5 that nobody was particularly waiting for. Read the full article

A lot of blogs to feed with affiliate link commission!

Just shoot both in LOG mode and apply the same LUT to both, then tweak any differences. But here's an even better suggestion... if you want cameras to match, buy two of the same cameras. The main problem here is it it seems like you have been convinced by online marketing and advertorial that you need all this extra shit. On the GH4 you don't need a v-mount battery for interviews... Unless you consider changing the GH4's battery every 7 hours to be an unsurmountable problem. You also don't need a cage or to attach anything to the GH4 at all, like a shotgun mic. For interviews you should click a wireless lav mic onto the subject. Not use a mic on the camera. XLR is also overkill for an interview. 3.5mm jack just fine. Problem solved. You also don't need a monitor... the screen on the GH4 is just fine for interviews. Works as well as the screen which comes with the FS5, does it not? It's even a similar size! Guess that solves the cables part as well. Speed Booster - I fail to see the hassle aspect of that. Attach lens. Film! ND filters - for an interview? Were you filming it on the surface of the sun? With such a small amount of movement if it is a locked down shot you wouldn't even notice if it was shot at 1/2000 anyway. Keep it simple. Keep it simple and try again. Relax. Don't buy a C300.

I know. Terrible...

12-60 kit zoom is not a $495 lens and if it is then it is overpriced. Speed Booster with Canon glass or super fast Panasonic primes are the way to go!

Still using it. Not an ultra-wide monitor but one of the best cinema 4K displays (4096 x 2160).

There are a few usage issues I'm spotting on this thread The pronounced lips - You've got crazy magenta reds, from using the wrong settings. This comes from a Sony bug with S-Gamut that was fixed on the newer cameras. Are you using the original A7S Stefan? If so try switching to the A6500 settings in the updated guide and see if that gives you proper reds and not purple lipstick. Also make sure your white balance isn't too cool. That seems to be what triggers the magenta S-Gamut bug on the A7S. You're welcome to email me directly from now on if you have a problem and I'll be happy to help. By posting these broken images in public it only makes the whole thing look broken and it may put people off. I don't want that to happen as I know the results are absolutely fantastic looking when used correctly. It is up to the user to grade EOSHD LOG correctly. I've taken it out of the updated guide because it conflicts with the main purpose and aim of EOSHD Pro Color which is to fix colour! With LOG it is too easy to break colour again in post. Also it is confusing and people think it should be used as some form of alternative straight out of camera colour profile or look... NOPE No they're not. "After some corrections". It's LOG. Of course you have to grade it! Don. It is almost as if some of you are going out of your way to pick out problems that don't even exist! You seem to know about scopes so surely you do realise the whole purpose of a LOG profile is it is supposed to be graded and colour corrected, so running scopes on the ungraded raw LOG footage makes no sense and tells you nothing about colour / skintones at all. It just isn't meant to be viewed that way as a final result. It is not the out of camera look. The "EOSHD CINEMA" profile is the out of camera look. The "EOSHD LOG" is a colour patch for S-LOG 2. I will do something else with a Sony LOG profile soon and it is exciting. It is not coming back to the EOSHD Pro Color guide. Wait and see...

Cinema5D seem to be engaged in a huge charm offensive towards every manufacturer at the moment, flying out personally to Japan to lick arses and generally cozy up. It makes me want to wrench. If ever there was a self serving portion of the DSLR video community this is what it looks like. The review is just a means to an end, to get views, get advertisers and get cozy. Johnnie didn't even know about the manual focus clutch ring design of the Olympus lenses until he tried to engage AF on the shoot and nothing happened... they've been around for years. Several of my Olympus Micro Four Thirds lenses have this basic feature. We are not looking at enthusiasts or artists here. Instead we are witnessing the career manoeuvrings of the video-as-a-business trio who fired Jared Abrams from his own blog, and whom closed one of the biggest DSLR video forums after DVXUser, because it became an 'inconvenience' (not before they sold it to Planet5D, mind, before forcefully taking it back and closing it)

The IBIS is only best in class with 2 lenses. Specifically, Sync IS on the very expensive Olympus PRO zooms. And they are F4. F4 looks terrible on a Micro Four Thirds sensor. Flat and clinical. Whereas the GX85 and G85 performs dual IS with the Leica Nocticron 42.5mm F1.2 and 6 other lenses. I know which I'd rather have. As for rolling shutter, it's about 14ms on the G85 in 4K and certainly the E-M1 II is an improvement but it won't usually be noticeable on 95% of shots. The G85 is cleaner at ISO 1600 than the GH4 is at 800. It does very acceptable 3200 and colour saturation doesn't die. Nice and contrasty. ISO 6400 is the limit. Not bad. The E-M1 II is similar, no improvement for your $2000. It's hardly going to be Rode Videomic X standard but I did notice on the E-M1 II when I tried it, that the stereo mic built in was above average. Exactly! $2000 for the E-M1 II just for the stabilisation is not worth it.

No, 6K is ONLY a measure of horizontal resolution not the total MP count. A 5208 x 3916 sensor cannot be 6K. It is 5.2K. It's a common misconception it seems. Not surprising as the cinema terminology is usually bollocks Please NOOOOOOO don't let this be true.

Doesn't this hurt the image at 2500k and 8000k? For example under candle light for the former. And cloud cover for the latter. It would be good to show some examples of what you're doing, and for us to see if it works or not or whether it is too big a compromise to image quality and colour. Maybe with 10bit ProRes you can get away with a bit more adjustment in post but a full 4000k difference in white balance is nuts... you're not shooting RAW