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

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  2. BLACKMAGIC CINEMA CAMERAS

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

    973
    posts
  3. SHOOTING

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

    1,646
    posts
  4. SAMSUNG NX1 / NX500 HACK

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

    1,428
    posts

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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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    • 5D RAW for large screen projection of a doc?
      I'm gonna start a thread soon "Squig's apocalypse" with some behind the scenes tech stuff, and I'll show some snippets of 5D raw stuff from the film there. Workflow is a breeze now using MLVFS; you can just load up the MLV raw files in Resolve or Premiere without any transcoding. I get realtime playback in Resolve with up to 12 nodes on my 2010 6 core 3.33GHz Mac Pro with a  GeForce GTX-980. I've got 4 x 4Tb internal drives running a 12Tb raid 5 with SoftRAID 5, and a 1TB SSD system disk. That's enough storage for around a 40 day narrative shoot (75min per day) filming a 2.39:1 aspect ratio, and backing up to LTO-5 tape. There aren't really any drawbacks I can think of, there were so bugs but they've been squashed and stability is really good. There's analog gain added to the signal past 1600 ISO but I'm comfortable with the IQ up to 6400 ISO, but I expose to the right and blow the highlights a bit to keep the fixed pattern noise at bay. Highlight recovery and rolloff are good, better than the BMMCC. I shoot 60p 720p 1.5x anamorphic and stretch it to 2K. I've still got my A7s but I'm only using it for production stills. From what I've seen the A7sII has much better skin tones, and is better in low light, but the rolling shutter is too high for my liking. I really like the D750 image, and I might have a play with one; I like the C series look too, but I love how raw grades and I'm not sure I could go back to compressed codecs.
    • 5D RAW for large screen projection of a doc?
      Looks great squig! Check out the A7S II- can cut well with 5D3 RAW, with more DR and much better low light (+IBIS).
    • 5D RAW for large screen projection of a doc?
      Thank you Squig for your continued discussion of the 5D iii raw. I've put off Canon for so long, I just haven't really paid attention. But I am finally considering this camera for raw. It's images are gorgeous. What are the drawbacks, other than large file sizes and obvious raw workflow stuff?
    • 5D RAW for large screen projection of a doc?
      I wouldn't be worried about projection at all. I haven't bothered to do any projection tests; Magic Lantern IQ looks great at 2K. 14bit CDNG is the gold standard for digital filmmaking.
    • 5D RAW for large screen projection of a doc?
      I watched 70D internal H.264 projected on the big screen (major theater) and it looked fine. 5D3 RAW will look even better. After a bit of matching the A7S II to the C300 II in 4K, 5D3 RAW is finished for me. I can now get better skintones with less effort (and tiny 100Mbit/s files) on the A7S II with SGamut3.cine+Slog2+16 Saturation and ARRI Alexa SL LUT in PP CC (plus additional tweaks which are easy once learned). The C300 II is of course better, but not by much for YouTube delivery (AF, RS, audio, and post gradability are vastly better on the C300 II. A7S II can't AF any Canon lenses in video mode (also not usable for stills: the 5D3 rules for stills)). For ultra gradability in post, 5D3 RAW is still a player with amazing performance for the cost. It will look great on the big screen (full 1080 ML RAW capture).