EOSHD

Welcome to the EOSHD forum. The knowledge-base for all mirrorless, DSLR and pro video cameras.

Subforums

  1. ANAMORPHIC

    The largest online community devoted to anamorphic filmmaking.
    Discuss lenses, adapters, workflows and post lenses for sale

    15,214
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  2. BLACKMAGIC CINEMA CAMERAS

    Raw shooting cameras - URSA Mini 4.6K, BMCC, BMPCC and more

    2,495
    posts
  3. SHOOTING

    Screening room and the creative side of filmmaking - share your ideas / stories

    2,828
    posts
  4. SAMSUNG NX1 / NX500 HACK

    Discuss the NX1 hack and more. Share your mods. Share your tests.

    3,619
    posts
  5. GEAR FOR SALE

    Post classified ads for your camera gear and filmmaking related kit!

    1,235
    posts

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EOSHD C-LOG and Film Profiles for All Canon DSLRs
EOSHD Pro Color for Sony cameras
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    • Its pretty simple, if WE can afford it, probably not a Cinema Camera!
    • Well, it's all about size. The Canon 40mm pancake plus a speedbooster is still pretty small. Other than that, you don't have many compact options for Canon and a speedbooster. I got a M43 Sigma 30mm Art specifically to use with my Aivascope, and it's super compact. There isn't anything in the 30mm range as small and light as that from Canon. There are plenty of high quality and speed options for M43 too. I mean, you can't really use the fast end of most lenses on anamorphics and wide lenses are usesless too. So using a Speedbooster to add speed and viewing angle doesn't add anything except the Canon look. If you're going to do that, get a m42 Lens Turbo and use classic/Russian glass. I think that will make more of an impact/change than using modern Canon glass. There are plenty of native M43 options in a wide price range. It all depends on what you need and what you want to achieve.
    • http://www.reduser.net/forum/showthread.php?157352-Canon-5D-MK-III-Low-Shutter
    • That is a difficult market segment, the corporate/wedding/b cam, because there's no positive euphemism for it. That said, the image on the camera itself (with an external recorder especially) is significantly better than many higher end cinema cameras (including for 24/1080p the Red and Scarlet MX, which are a generation behind in sensor architecture and more than that in terms of color processing, and far ahead of the F5 before Sony developed custom film emulation matrices and the custom SLOG3 matrix). I remember first using the C100 and C300 and thinking–wow! This is the first time I can intercut fearlessly with the Alexa. We had an MX on set too and it had a very similar image but harder to match for color and shadow noise texture. But then I spoke to an AC using the C300 on a Super Bowl ad and he HATED it. Why? Difficult to rig a pineapple into a proper cinema camera... The BMCC 2.5k is similar in that regard, punches way above its class for IQ but not for ergonomics. But you use it and the ergonomics are immediately wrong. So what do you say? I think anyone who has the money to shoot with a proper system knows what they're getting into, while wedding videographers know what they can and can't afford, and the rest of us just want a "cinema" badge on a grown up dSLR. The fact that you only need to explain the difference to people who don't even know why it matters that there is one is very telling! And besides that fact, there have been 7Ds on major features and national ads since they were first released so it's not like either IQ or ergonomics defines anything concretely. 90% of the image is in the lighting and set design anyway. That said, every network and client has its own rules that must be followed. Netflix banning the Alexa for 4k acquisition is just about the most annoying thing ever.
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