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

    13,312
    posts
  2. BLACKMAGIC CINEMA CAMERAS

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

    2,207
    posts
  3. SHOOTING

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

    2,394
    posts
  4. SAMSUNG NX1 / NX500 HACK

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

    1,759
    posts
  5. GEAR FOR SALE

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

    376
    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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  • Posts

    • THE BEST OF CANON 5D4 IS THE CANON 5D3
      Ebrahim, Why stop at 14 bit? Surely, the Sony F5 is "better" with true 16 bit RAW. I'm sorry, but paper specs mean nothing to me, just as if you put the FS7's 10 Bit 4:2:2 S-log3 image next to the 12 bit RAW you get from the same sensor in the FS7 or FS700, you will see that the S-log3 image has far more dynamic range. Not all RAW is created equal and the implementation of RAW can vary dramatically from one camera to another. The 1DC 4K image in C-Log is for me the most amazing video image I have ever seen from a DSLR. Perhaps the Leica SL with its 10 bit 4K 4:2:2 external will give it a run for its money as it also has Log, but I've barely seen any footage from that camera at all. The 5D 2K RAW is fine for HD applications. However, I would never choose that above the 4K 1DC. For future proofing, at the very minimum you must shoot in 4K nowadays. My personal view is that my next camera should shoot in 5K (for effective downsampling to 4K, as a CMOS Bayer sensor should only be rated at 75% of its listed resolution) or that it should resolve an amazing level of detail in 4K such as with the 1DC and 1DX II.
    • Sony a6300 4k
      Has anyone done a side-by-side comparison of the various lenses available for this camera from the point of view of the quality of the stabilization? I have plenty of decent MF lenses for more cinematic shots, with or without speed-boosting, but hand-holding these small cameras without in-body stabilisation is a nightmare. Obviously a gimbal would be a good idea, but you can never have too much stabilisation.
    • An adventure into the Panasonic GX85/80 begins - and a look at the Leica Nocticron for Micro Four Thirds
      To be fair, that moire is only appearing in 1080p with pretty harsh circumstances. And the a6300 has a really soft image at 1080p.    Haha, we will nitpick at anything these days huh. 
    • action shoot, what kit?
      Pop-out viewfinder on the RX100 Mk4 will be fine. Use the slo-motion liberally, but keep in mind the camera is a brick for almost 30 seconds after each shot (as it spools to card.) Autofocus will be pretty much useless for action so don't "focus" so much on that aspect of a camera. Action can mean many things, but when I shoot motorsports lens reach is everything. In fact I rarely shoot with anything less than 150mm equivalent and often venture out to 350mm. One of our B-Cams is an FS700 (you can get them really cheap now) that shoots with a Sony 24-240 (36mm - 360mm equiv) and we find it's a very useful combo.
    • Canon XC10 4K camcorder
      Looks really nice. How smooth are you able to get zooms on this camera? Is it possible to get a motorized zoom look? The color and detail is really nice, the quality of the lens shows when it is pointed towards a blown out light source. This could depend on the f stop, etc, but wide open towards the sky doesn't look so hot.