UncleBobsPhotography

Kolari vision has basically copied this solution and now sells it either as a DIY kit or as a mail in service: https://kolarivision.com/product/canon-r5-cooling-mod-service/ https://kolarivision.com/product/diy-canon-r5-heatsink-overheating-kit/ And here is the tutorial: https://kolarivision.com/r5_cooling_mod-tutorial/ Has anyone tried it? $299 is expensive for a small piece of copper, but if it solves overheating for a $4000 camera it can be well worth it. I'm also a bit worried that the rubber grips will be a bit loose after removing and reattaching it.

It's not possible to get the GoPro7 frame-locked like the earlier GoPro. With 60fps i didn't really have any problems with time difference between the cameras, but I have mostly used it for next to static shots.

I have used 2x GoPro7 for 3D video quite a bit and have to say it has by far been the easiest way to make 3D videos with non-specialised cameras. It would not be hard to convince me that the 10 would beat it.

I've got a Voigtlander Bessa II which to me is the perfect form factor. It is pocketable in jacket pockets (but not jeanspockets) and still shoot 6x9. However, the pictures I've gotten out of it has been severely lackluster, missing focus, light leaks and general lack of crispness. TLR cameras seems a lot of reliable.

Cool 3d photos. It worked fine to watch them with google cardboard by zooming a bit. I've found a Viewmaster Personal Stereo from my grandfather's collection. It uses a crop of 135 film and you take photos in both directions (first like normal and then when you rewind). However, I haven't found a single photo or film-strip from it, so I doubt my grandfather ever got it to work properly. I haven't dared loading a film in it since I've had some problems with the mechanism to change direction. I've also been experimenting a bit with different analog cameras lately, small format, medium format and large format, and I've come to like shooting 120 film the most. It is not such a pain as shooting large format yet gives me a larger format and different experience than what I get digitally. I've had the most success with the 6x6 Rolleiflex, but I've got a few 6x9 cameras as well which I should use more.

The length of the "wings" on EF lenses are 23mm for 2 of them and the last one is 26mm. (According to my measuring tape) The lens on the picture seems to have 2 medium length wings and 1 short wing. Not very scientific, but the wing on the right hand side seems wrong for an EF mount lens.

The performance with EF lenses varies a bit from lens to lens. The EF 40mm 2.8 STM focus fast and smooth with little to no noise. Not very surprising since it's a tiny lens with modern autofocus. The EF 50mm 1.2 has been surprisingly smooth, but makes a lot of noise. On camera microphones will definitely pick it up, and maybe even boom mics. The EF 85mm 1.2 is a bit similar, but worse. The 85mm 1.8 has been the most jerky lens I have tried. I just got my first RF lens yesterday, the RF 100mm 2.8 macro, and it seems to be on a whole other level. I can hardy hear it, and it seems very smooth, however, I haven't had much time to use it yet and it's a bit early for a final verdict. I did try the RF 50mm 1.2 in the store and found it much louder and more jerky than my 100mm, so even among RF lenses there might be good and bad models. Learning to use AF well also takes some practice. I have assigned the M-Fn button to turning AF on and off. That way I can avoid all AF hunting when I want the focus to stay put. Focus pulling by using touch to focus also takes so practice, and I can't say I've perfected it yet.

The lens will be sharper per millimeter on the MFT since it's using the middle of the image circle, but will usually be softer overall since it only uses a small portion of the image circle. The image on the MFT will have less vignetting. and most likely less distortions. Will anybody notice? Probably not.

Those are some good questions, unfortunately my Premiere skills are not good enough to answer them. I am not aware of LOG exposure wheels in Premiere or how CST in Resolve works, but that doesn't mean Premiere hasn't got it. I am sure Premiere has some way to deal with it correctly. Using a different colour space while editing and then converting to bt709 (if that is what I need) in the end might help. I recorded these clips in bt709 clog3 which only comes with bt709 conversion LUTs from Canon, but if I record in CinemaGamut clog3 I'll have many more options.

I've attached an example. The video on the left is technically wrong, but has a decent highlight roll-off around her shoulders, the one on the right applies the LUT first, but ends up with blown highlights on her back. The clipping is obvious in the right histogram even though it's far from maxing out.

Sorry if this is a basic question, but I'm fairly new to log grading and couldn't seem to find a good answer. I'm colourgrading some clog3 by using the bt709 CanonLog3 to bt709 Wide DR 33 LUT provided by Canon. To keep the colour science correct, the LUT should be applied before any expose adjustments/contrast adjustments since these adjustments are made for adjusting linear values and not logarithmic values. However, applying the LUT clips my highlights, and I am not able to recover them afterwards. The problem disappear if I do the expose compensation first, but even though the results looks fine in this instance, this is not the technically correct way of doing it and might give funky results in different situations. What is the best way to solve this? Is there some setting to ask Premiere to use a wider value range during calculations? Or is the solution as usual to switch to Davinci Resolve?

After doing a tiny bit of research it seems like everyone recommends waiting for Alder Lake, so I adjust my comment and recommend following maxmizer's advice instead.

If I where to built a PC now, I would put more into the CPU (11th gen intel) and less into the GPU and plan on upgrading the GPU in a year or two. I built my new computer before the GPU crisis and did the opposite, getting a reasonable CPU (Intel 8700K) and a decent GPU (RTX2070) with the plan on upgrading the CPU when they come with new features I want. 9th and 10th gen didn't really give much of an advantage over 8th get, but with more video hardware support in the 11th gen it will make sense for me to now upgrade the CPU.

I have been shooting video and photo quite extensively with my R5 this summer and got some experience, but have in mind that I'm UncleBob and not a professional. I've been so happy with it I can easily end up sounding like a Canon-fanboy. I'll try not to repeat myself raving about the autofocus, but here are some new revelations: - 256 GB CFExpress cards run out fast shooting 8K RAW or 4k 120. It's tempting to get a 512 GB card. - I've mostly been shooting 4k HQ and 4k 120 and I can without a doubt say that the limitation in the image quality comes from the user (me) and not from the camera. - I haven't seen the overheat warning once, but I do live in a cold country. - The variable ND-adapter + clog 3 makes it easy to protect highlights and I haven't had any problems fitting the whole dynamic range within the histogram (unless I'm doing stupid stuff like filming the sun). - I love the variable ND-adapter, but it works so well for video that it also gives me some annoyances. 1) I'm hesitant to get RF glass since it won't work with the new glass. 2) It's bad for photos (except long exposures) and since I've been too cheap to get the clear drop-in filter I have to constantly switch between the filterless adapter and the ND-adapter. I would recommend anyone who is planning to shoot video with EF-glass to get the variable-ND filter adapter and the clear drop-in filter even though it's stupidly overpriced. - Although not perfect, the smartphone-app for the R5 is quite usable. It's miles ahead of the Sony app I used to use. - The R5 works very well as a WebCam. I set it to 1080p when I use it as a webcam, and I've been using it for 8 hours a day for months without any hick-ups.

Did you use a computer with a Firewire 400 port or use a Firewire to USB adapter? I've got 120 MiniDV cassettes I should have archived which I've been postponing for years, blaming it on lacking the right connector.

I prefer A since his face looks very slightly green on my monitor in version B.

One of the reason I got the R5 over the R6 was because I knew there would be some hidden crippling of the R6. On the other hand, I never use aperture priority for video, so I wouldn't really mind this, but I can see how it's annoying that they omit something they could easily include. What happens when you click the video record button on the R6? On the R5 I can program it to jump into exactly what video options I chose which is very useful. That does of course mean that I won't be able to preview expose correctly if I'm in photo mode.

Notice how they have turned the screen inwards on the GH5II to hide the only meaningful size difference.

Skip the background music or turn it way down. It's competing with your voice, and while it might work in a quiet room you have to remember that half of the audience will listen to it while on a noisy subway or in the shower. I am looking forward to seeing future videos. You've got the technique down (short and fairly well paces), but finding interesting topics will be key to keep the audience attention.

How bad is the picture quality of a telepromter? Doing teams-calls all day I've been looking into getting a telepromter-style monitor for presentations, but I would like to know whether they are: 1) Good enough to read text 2) Good enough to do powerpoint-presentations 3) Good enough to do write documents and do normal work without feeling handicaped(like a monitor) I am sure they are good enough for 1), but I doubt they are good enough for 3)

Oh my. I've been a happy eBay buyer for hundreds of items, and I've been surprised by how good service I've been getting from 99% of the sellers. This post clearly shows that I wouldn't want to be in their shoes. Fortunately my local classified ads have been working great for selling my gear with in-person delivery, and I will continue using that so that I'll never have to deal with something like this.

I found 8K RAW to not be as difficult to edit as I had feared. On my Intel 8700K/RTX2070 it wasn't exactly smooth in Davinci Resolve, but absolutely doable to edit.

With how fast Canon are discontinuing EF lenses, I can't see how they can release them with the EF-mount.

The variable ND adapter for EF to RF works quite well. The only annoying thing is that the clear filter is just as expensive as buying a non-ND adapter. If you get the R6 you would also have an excellent photo camera. If it's only for video use I wouldn't really recommend the R6 since many people have had problems with overheating. The R6/R5 has excellent focus though, and even the manual focus is better than other cameras. It will tell how far off you are from achieving focus, which direction you have to focus and the focus guide will snap to the subjects eyes if you want it to. I am extremely pleased with my R5, but if you think the image quality is 'meh' and you're doing full time video it's hard for me to recommend it.

In that case, the only real reason to use RAW CLOG would be to match it with other CLOG clips. I would rather protect my own highlights in ISO 100, and as long as nothing is clipping, ETTR with normal RAW should provide optimal results. I still haven't looked much into the different colour spaces. With RAW, I would guess it has no impact. Even without RAW (at least for rec709 delivery), I am not sure it would make much of a difference since the bit depth stays the same, but I would be like to see if someone could show some objective advantages of choosing one colour space over the other. I have found some YouTube-videos recommending shooting in Cinema Gamut for maximum latitude, but their arguments were not very convincing.