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

    7,730
    posts
  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

    1,647
    posts
  4. SAMSUNG NX1 / NX500 HACK

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

    1,439
    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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    • Panasonic GX80 - 5 Axis IBIS works on video!
      Yeah, I guess it can't hurt to at least tell them what we want, but I can't help thinking that there's some marketing "genius" at Panasonic grinning every time someone asks for some little change to a camera (especially in firmware). Isn't that the reason why they get people people to buy the latest and greatest? If they offered the "perfect" camera, they would have a tough time selling the next one. Still, there has been amazing progress on the video front in the past 5-10 years. Canon has a great marketing team! Who else can sell virtually the same product over and over to the masses without having to actually innovate. They're in a unique position. Like most Japanese companies, the boss is viewed as a "god." That means big mistakes can be made. Companies like Panasonic also seem more Japan-centric. If they do well in Japan, they probably think it's "good enough." Also, Panasonic is playing a different game than Canon. I think they're trying to convince people to move to their system whereas Canon is trying to convince people to stay in their system. One is harder than the other and Panasonic probably chooses to put their money in places where they feel makes the most impact. But, then again, who am I to say?
    • The elephant in the room. Sony's operating income increased by 72,7%
      I don't know, may be on-chip ADC may be new tech. for Canon. May be 20.2MP in full frame in DPAF is new from Canon. But really, how is it dramatically different from combining 1DC and 70D? The 1DX II is amazing, no doubt... but they had the 1DC since 2012 & 70D since 2013. In fact, even the 20.2MP FF was in the 6D since what year now? Adding DPAF to that can't be mind blistering hard, can it? I don't know... Add 4K @ 60p & 1080/120p, but subtract C-Log. The only thing I will admit is that even if it is 10 year old tech. Its tried, tested and true... it will work and that's what matters.
    • Panasonic G7 and Metabones Speed Booster XL hands-on - Super 35mm 4K for cheaper
      Anyone have a favourite lens that performs as well as the Sigma 18-35 1.8ART for around the same budget or cheaper? Would love to get people's feedback, whether it be primes or zooms....
    • New Canon 1DX Mkii Footage
      YOU"RE comparing 4k DCI to 1080p 16:9. the 1dxii has a bitrate of 500mbps shooting 4k, if it used the same codec in 1080p it would be about 120mbps, compared to 600mbps on the 5D3raw. So it's not the perfect compression but it does reduce file size enormously compared to if it shot 4K 14bit raw, which the media\heat wouldn't even be close to handle. 

      The MJPEG 4K of the 1dx is not small filex, but they're incredibly high qualiry with very little compression artefacts and very thick colour information and detail, i'd choose these larger files to gwt this quality over a 100mbps h.264 4k files which is what the competetion lies around. The high bit rate and 4:2:2 and image quality advantage is 100% worth it. If one can't handle it , he can transcode to any smaller codec as the only solution or get a camera with a lower bitrate at 4k, like the gh4 or nx1  or a7s. Canon's official rrsponce on why not use the common 100mbps h.264 is ''it doesn't meet the quality standards set for the 1DxII and 1DC''. 

      I really believe that if one can't produce cinema-like results with a 1dxii or 1dc or say fs7 f5 c300 c100 they're doing something wrong because these cameras have standard s35 film image size, no aliasing/moire artrfacts, very thick and pleasing colours, higher resolution than most film, same and higher detail, fine organic grain structure, interchangeable lenses, I mean it's all there. No weird colours, no clipping DR, no over sharpening, no aliasing/moire, no small sensor , no telltale signs of digital aquisition. The only technical image quality part they haven't met film in, is rolling shutter with panning. 
      All in all these cameras can make filmic features in the hands of directors/cinematographers (1dc/xii/fs7/f5/c100/c300/BMPCC/BM 4K, and allthe s35 cameras without criplling issues in their image like a fixed lens, digital aliasing/moire/compression blotching/bad colours/bad noise with colours/very low resolution. No 24p, no lens mount, smaller image than s35, etc. And there are tins of all quality lenses available for the EF mount from high optical performabce to vintage softish looks and everything in between. I don't agree at all one must shoot on a PL mount lens to get an authentic cinematic image. 
       
    • Canon C100 MKII EF Mount - Helios 44 f2 - Adaptor?
      Can anyone point me towards a decent adaptor that will allow me use this lens on this camera?