Shell64

Don’t forget the Peter McKinnon cinematic lut pack!

So then do you only have to be very specific about your exposure levels when shooting in a controlled scene or in a log profile? Cause I always hear people say for s-log “2 stops over exposed.” So how do I get to the perfect exposure? Or do you just try to get a good exposure and not worry about it being perfect?

Get the z6 unless you can really benefit from the higher resolution stills. The z6 will give you better lowlight, more dr (especially with an external recorder) future external raw video, and better af with Nikon glass. God bless you also.

I’m going to try this. Honestly though I’m still new to this. How do you determine the “proper” exposure? I don’t have access to a gray card at the moment.

Thanks. I will try ETTR. I’ve heard good things about this method.

@mercer thanks for the advice!

Do you guys rely on. The histogram or exposure meter more?

I usually rely on my histogram and set zebras to either 100% or 70% for skin. I don’t really rely on my exposure meter.

No the new Sony’s have wickness. They implement a candle wick to prevent overheating

How do you guys nail exposure when shooting in a standard or “flat” picture profile that is not log? I am trying to find the best way to expose when shooting cined or natural on my g7. Do you guys rely more on the histogram, exposure meter, zebras? Thanks everyone.

Please don’t sell your kidney! I hope you are joking about it. If a laptop is worth it so much that you are willing to put your health at risk you have issues...

Honestly full sensor normal raw mode on the 5d mark II is super cinematic, even with the moire and aliasing. I actually prefer the image to my g7 4K output. The only reason I’m not shooting on 5d mark II with ML is because while the raw video looks really cinematic, the h264 image is crap. To get even decent IQ I would have to go through the RAW workflow, while my g7 in 4K or 1080 gives a good image without crazy file sizes or a long, lengthy workflow.

My most expensive lens is a Meike 25mm 1.8 MFT for $80. Lol.

I was being sarcastic lol. I really don’t buy your guys’ license agreement explanation. Canon crippled this deliberately. Clear as day this is the answer. Paid canon representatives trying to change EOSHD viewers opinions! A hill to die in indeed!

Unfortunately canon has already been using 480i in the canon t2i through the canon 80d. This has been “interpolated” to full hd. To truly save money canon could very well perform a 240p sensor readout and then upscale to 1080p. Fortunately, this leaves enough money for the encoder to process 24 frames per second in h264 compression, but moire and aliasing is generated as a result of canon not paying for the high quality h264 license and so they have to use a low quality codec. This however is the only way they can afford 24fps.

Mokora, how do you keep doing this argument when ALL of the evidence is against you? Canon really must’ve lost a ton of money on the t2i.

Exactly. Huge respect to you Andrew for giving such honest camera reviews. They are my favorite. And there is some really good information on this forum, which is why I’m glad to be here.

Excellent explanation. This is why every camera that uses a Sony sensor can do full pixel readout no problem. Even an $800 xt30!

It’s that canons technical flaws are disappearing so canon has to give people a reason to go higher

The canon t1i saves even more money. It had an all plastic body PLUS only 720p at 24fps, which must have been substantially more cost effective than to compress 1080p at 24 frames every second. Of coarse canon decided to take a risk and lose some money in order to be innovative once again, so they added 1080p 24 to the t2i. Sadly this cost canon so much money that they nearly went bankrupt, and so they unfortunately had to remove 24p from the M6 II. Then scientists discovered that the earth isn’t round, nor flat, but actually is shaped like an octagon. We just don’t realize this because alien nebula waves in the earth’s atmosphere inject pathogens into our brain to trick us into believing this false view of a round or flat earth.

I turned “TruMotion” off on my LG tv and didn’t say anything. No one complained about it. It’s honestly hilarious how companies try to sell consumers on “this tv will do fake 240fps in 28K, which is why it’s better.” Same with, “Canon is used by NFL sports photographers and Peter McKinnon and Potato Jet told me to buy a Canon T7 instead of a Panasonic g7! Canon must be the best.”

The s1h is amazing except the price tag (s1 with vlog is also really good.). Fuji is leading the way with innovation. Sony is becoming canon, canon is desperately trying not to become Sony, and Blackmagic somehow gave their cameras a video look. Weird world.

If the a6100 was around the price of my g7 it would be really nice even without s-log (my g7 has no log but is still awesome.). The actual price is pathetic. Sony is doing the same thing canon did in 2011 when they recycled the 7d sensor for 4 years in a row.

@Mokara said this: “The 5D series have an additional processor in them to handle focusing/exposure for example,which the 6D lacks. That means the 6D has tohandle those functions with it's primary processor, and that in turn affects performance when it comes to things the primary processor normally does. Presumably the codec options are one of those things impacted by that difference. That is in fact an example of how cost saving measures (one processor instead of two) has a direct impact on specs.” Here’s the thing. All-I is SIGNIFICANTLY LESS PROCESSOR INTENSIVE than IPB compression. The encoder can simply save the entire frame instead of trying to detect every difference and synthesize the difference with non-changing areas of the scene. Sorry bro but your logic makes no sense.

@Mokara I respect your opinion but you sound like a canon sales person right now. Canon is removing 24p to protect their eos r and cinema eos cameras. There is an abundance of evidence to prove THIS is why canon removes features. Why did the 6d mark II have no All-I codec? Why did the M50 have no DPAF in 4K? Why did the 5d mark iii have no MJPEG 4K when the sensor can read windowed 4K? P R O D U C T S E G M E N T A T I O N !