EOSHD

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

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  1. ANAMORPHIC

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

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  2. BLACKMAGIC CINEMA CAMERAS

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

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  3. SHOOTING

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

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  4. SAMSUNG NX1 / NX500 HACK

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

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  5. GEAR FOR SALE

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

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EOSHD C-LOG and Film Profiles for All Canon DSLRs
The EOSHD Panasonic GH4 Shooter's Guide
The EOSHD Samsung NX1 Setup Guide
The EOSHD Sony A7R II Setup Guide and LUT Pack
The EOSHD Anamorphic Shooter's Guide - Second Edition
The EOSHD 5D Mark III Raw Shooter's Guide
The EOSHD Sony A7 Series Guide to Full Frame Lenses

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  • Posts

    • Which Quick Release Plate?
      If you're looking at that expensive Satchler system, why not just go arca-Swiss or the cheap Manfrotto QR Andy linked? Seems like they'd do the same job. 
    • Canon 6D vs 5D MkIII vs 7D MkII for filming with EOSHD C-Log
      The Micro is definitely better, but I just don't like the ergonomics... I really, really don't like the ergonomics.  Now the 5d Mkiii ML Raw is as good or better than the Micro. And the benefit with that camera is, you can take the ML card out and use the regular Canon with Reid-Log if you're looking for a quicker workflow.  I also don't have the G7 anymore, I sold it when I bought the Micro. Then I bought an XC10 and a GX85, but I am selling the Micro and the GX85 and will replace them with either an 80D or maybe a C100ii. Oh yeah I also have an eos-m10, which is what I am currently using Reid-Log with.  As far as my G7 settings... I used Noam Kroll's settings but with Natural instead of CineLikeD. 
    • An adventure into the Panasonic GX85/80 begins - and a look at the Leica Nocticron for Micro Four Thirds
      Though I bought the GX80 1-2 months back, I didn't really get to use it until yesterday cause I was travelling. Quite a seriously impressive little camera. I wish they didn't act so stupid by not putting a ($5) mic socket and not having Cineline V and D. The price difference between this and the G80 isn't really big considering the weather sealing, the magnesium front, slightly quieter shutter, 3 times faster buffer and the kit lens. If all those are considered the GX80 may be overpriced. And if they incorporate the 8-bit 4-2-2 internal recording, it would be stupid. The kit lens is actually pretty sharp. Maybe as sharp as many of the primes. Though having a faster prime is a necessity. I wish there were a lot more choices for fast glass (f1.2 and faster). I love night street video and photography. A lot of cities really come alive at night.  Panasonic should incorporate the Cinlike profiles, the Saving Mode and the Focus Bracketing in the firmware update, and not merely focus bracketing. I found the grip a little ackward and uncomfortable at first. It takes a while getting used to. Though, overall, I actually like the range-finder kind of body and semi-articulating screen. They make the camera less conspicuous. I could put the camera on a wall right next to a cop, tilting the screen upwards, and he wouldn't know he's part of a guerilla shoot.   
    • Small lighting (& some other kit) advice
      I generally use a small monitor and for critical setups, I use the camera's LCD for framing and color, and use the montior at 1:1 with peaking on, and look for eyelashes/eye catchlights/pores/ to get best focus. Most people seem to have found that even if a recorder can do 422, if it's getting 420, the benefits aren't always worth the extra gear and cost and hassle. Metaphor alert: I can record a tiny AM radio into ProTools with an Apogee preamp and killer mic - it's still gonna sound like a tiny AM radio. The recorder isn't getting a raw signal, it's getting a visually-compressed feed that hasn't been compressed data-wise. Yep, NX1; it's on a set of rails I cobbled together out of various bits - I really want two risers from tripod-to-rails and two risers from rails to baseplate - I find heavy lenses cause the whole rig to sag with just one riser, which is a nightmare. It has a Manfrotto 577 QR on top - everything's manfrotto QR so I can pull the camera from the rails (steadicam) or stick the whole rig on a crane or slider. The rig itself is 577 and the camera is 577'd as well. I can stick front handles and shoulder mount on it in a second, too. Decent 2-stage matte box without the flags that day (that Matthews flag in the shot was blocking the LED hair light from hitting the lens); Fotga DPII follow focus (amazing value, that thing!!) with whip, Nikkor 28-70 2.8 (known as "the beast" in some circles) with a rubber hood - I use rubber hoods vs donuts or knickers, very fast to squish 'em against the matte box. if I'm doing focus pulls, I add a lens support and "lift" the front of the lens enough to kill any play - DSLR lenses tend to jump up when you start a follow focus pull. I use a 90° rail block and an extra piece of rod to mount the DR60 next to the camera, found a 1/4-20 adjustable rail piece on eBay that lets me tilt the recorder. The recorder has a 90° headphone jack extender to get the headphone cable clear of the recorder controls. That's an Anker USB battery which powers the DR all day. The monitor is a Marshall 5", has 1:1, peaking, and blue-only to check color with a source of bars. The mic is an AT 4053b in a Rode blimp. Killer mic, really detailed and worth every penny vs. a Rode or cheapie. Tons of presence. I use an XLR on-off barrel switch to get the mic right to the front and gain a couple inches (the blimp is expecting a shotgun...) I don't use a cage, don't really need to bolt the kitchen sink to my camera and I like to be able to go from tripod to crane to steadicam very quickly. I have a simple railblock cable lock that holds a short HDMI cable and a short 1/8 headphone extension, so I plug the monitor and camera-synch-audio into those vs hunting for tiny ports with a flashlight, less cycles on the ports, protects from snagging, etc. I really try to minimize change-up time. Tripod is a Manfrotto with 503 (no panning at this gig) - it's taken a hell of a beating from sticking an 8' Kessler on it for years and will someday likely explode in a pile of springs and oil, but a decent head. I have a couple smaller tripods as well, nothing super-pricey (I got my film-school son one of those "fancier" fluid tripods... and then got myself one, amazing for $150 or so. Still want to get a sachtler or something...) Cases are ever-changing and I pack per-gig to try for the "one cart in" thing - pelicans, eBay pelican knockoffs (saves some bucks!), and I got an amazing deal on a used 4x5 view camera custom case that the entire rig can go in, completely assembled, with room for 4x4's and lenses and so on - AWESOME to just lift the rig out and click it onto a tripod and roll. It's a very big case though so only goes to bigger gigs. I have a wheeled case from Cool-Lights that was the only thing I've found to reasonably pack two quad biax units, or one and a bunch of stuff. Generally takes one quad and also the HID softbox and ballast stuff, I know when I walk in if I need the bigger kick of the HID. But the quads are just the shit when 1k will do, I use metal binder clips and stick a sheet or two of diffusion across the barn doors, instant softbox - in fact, the barn doors will fold up with diffusion clipped on, talk about fast! it's not a "real" kino and needs 1/4 CTB and 1/8 minus green to hit clean 5200k or so, I just leave that on. Lately I've been thinking more about popping faces from backgrounds - if there's a window with greenery, say, I'll put more magenta on the key and manually WB - the camera kicks up the green, and since the BG isn't affected by the gelled light, it gets greener and more saturated in the greens. You'll blow the gag if your key hits other visible stuff in the shot, but overall, I've been working on cooling down backgrounds more, since faces are warm-toned - gets more pop, more 3D look, and our brains tend to say "warmer=closer, cooler=distant". If someone is really pale, I might go the opposite, bluer key and the BG gets warm. Sometimes I manually white balance through1/4 or 1/8 CTB (actually I have an old 77mm camera filer that's very mild cooling and use that) which slightly warms the whole scene. Kind of feel like that's me "next step" for some of this stuff. Whew, hope that helps!    
    • Canon 6D vs 5D MkIII vs 7D MkII for filming with EOSHD C-Log
      Mercer, I looked at your vimeo channel and I saw we used the same cameras: G7, BM Micro etc.. 
      I cannot test Canon in these days since I'm far from my father, but in your opinion is the EOSHD C-Log as good the "film" profile on the Micro? 
      Which setting do you use on the G7?
      Thank you!
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