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

    945
    posts
  3. SHOOTING

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

    1,512
    posts

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  • Posts

    • Sony a6300 4k
      It's not about whose right or wrong. Sure, you could nitpick and fight over who is the 'most right', but really? You're both saying the same thing about something else and it's all good. People like the 1D C's 4K because it looks filmic. That's it. Quite capable of shallow depth of field, massive datarates, thick material to work with in post, excellent color. It just looks organic. Still 4K. Now you've got that D750... also capable of shallow depth of field, decent material to work with and excellent color here as well. Maybe not 4K, but also an organic look. It's not about not embracing 4K or getting along with the times. It's about the look... the quality, not the quantity. Take a look at MFT and we have Blackmagic and Olympus quite capable of nice organic rendering as well. Blackmagic even in 2.5 and 4K. But 4K on Panasonic and Samsung crop sensors, it looks modern and digital, contrasty (not amazing dynamic range) and sharp. The Panasonic GH4 in 4K has a 2.3x crop, sure you can speedboost it. And a lot can be done still to make it look more filmic. Samsung has no focal reducers availlable/possible, so you're stuck with S35. Not that S35 is a bad thing, I mean, c'mon, but a lot of people will contribute a filmic look partly to a shallowish depth of field. Colors on the Samsung are definitly nice. On Panasonic it takes a little bit of work and using the right settings and profile, perhaps even the right filters. And Sony, to get back on topic, well, Sony has always had awesome features... on paper, then the ergonomics/design, battery life, menu fiddling and most of all: color, left wishing for more. E-mount does have focal reducers, so you can actually narrow the gap between APS-C and fullframe. Never really looked that filmic or too modern, looks like... Sony, for lack of better terms. Their fullframe systems are nice, but I ain't looking to spend that kind of money on a camera body. And I will mostly want to shoot with S35 glass, fullframe lenses are to bulky for most applications when travelling a lot, but with versatile E-mount, you could still adapt some though when on close-by location and feel like rigging up. The A6300 inherits a lot of cool stuff we've come to seen on the likes of the RX10M2, RX100M4, A7RII and A7SII. Which kinda makes it an excellent choice, as now we have APS-C 4K in a mirrorless body with the option to use focal reducers (else I could've included the NX1). It packs most of the important features mirrorless cameras nowadays have and just seems like an excellent tool with good value. Sure I could see where they've could've upped their game even more... vari-angle touchscreen, headphone-jack, better ergonomics, better battery life, in-body stabilization. They could've included that easily and still come in at around half price of an A7SII/A7RII. Wouldn't have been a problem here. Now it's still exciting, but not as exciting as it could've been. Yet, for the money... being the only current 4K APS-C mirrorless on the market it should prove an interesting option for people who want to step-up from Micro Four Thirds and try the little up in performance on APS-C. As well as the possibility to get closer to fullframe and get shallower depth of field more easily. As well as more choice of wide (adapted) lenses. We will have to see how it will pan out. Seen quite nice things with both A7RII and A7SII, if the A6300 is anything like the A7RII S35 crop mode, we're in for a treat, I'd say?
    • Canon 1DX II - Video Camera Perspective - Mini interview on the missing details
      I will do axe grinding on anything that appears to be over-priced and under-spec'ed.  Speaking of motivations, you do seem to be intensely trying to sell us on the 1DXII; I have to ask, do you work for or get compensated by Canon or any of its affiliates ? That is a false statement. I've posted a lot of stuff on Nikon, Panasonic and other cameras lately.  You on the other hand have been trying to sell the 1DXII like it was the Holy Grail.  Very weird.
    • Aanamorphic lens for sale!
      Never saw single focus attachments from Century. Bump.
    • Canon 1DX II - Video Camera Perspective - Mini interview on the missing details
      Well - for starters - a better image than any of those cams, except probably dynamic range. If you like to pixel peep, I guarantee you will like the image of the 1dx II more than those other cams. The FS5 has that brittle 8bit image with artifacts and Sony colors, the FS7 is a great cam but it's usability is noticeably worse than the 1dx II. Two weeks ago I shot with the FS7 and the 5dmarkIII as a backup b-cam. Guess which was easier and faster to use? Yup, the 5d with ML. Funny. Though everything else was better on the FS7 but even it is not perfect. It's an old school wonky camera still with those effing 3 switches for gain but with a great image. Plus the stills. You like taking stills while you shoot? From the same angle as the main shot? During a shoot? I do. Good luck taking stills with the FS7. Even the a7s II can't take stills the way a Canon can and during movie shooting. This is just off the top of my head. But why are you mixing and matching these comparisons like a lunatic? The FS5, FS7 and the A7s II are completely different cams. The FS7 does things the A7s ii doesn't. Why are you comparing one cam to several? It seems you just have an axe to grind with Canon which is cool and modern I guess. If I go through your profile messages, they are the all the same subject. Canon this, Canon that. You haven't talked about anything else. Weird. Like do you even shoot bro?
    • Hiding Noise in FCPX
      I don't know fcpx very well at all, but I found a makeshift tutorial for hitfilm noise reduction which I assume would work in other nle's, in which you "find the edges" and hold onto them, then add slight blurring to the rest. It seemed effective, I didn't have a chance to test it myself. I doubt it would be easier than a plugin, maybe not even easier for your computer to handle. But other than crushing blacks, over exposing in camera slightly, or a plugin, Idk if there are really other options. If you use film grain, you could probably get away with just putting it right on top of the noise and save a step. If you're using like a gh4 (you said m43 right?) with a lot of settings in camera to deal with, it's possible something in there is messing with the noise, making it worse. There was a post on that.. a while ago on this forum. Doubt I could find it again.