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

    13,637
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  2. BLACKMAGIC CINEMA CAMERAS

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

    2,255
    posts
  3. SHOOTING

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

    2,491
    posts
  4. SAMSUNG NX1 / NX500 HACK

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

    2,160
    posts
  5. GEAR FOR SALE

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

    569
    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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    • F3 in 2016
      From what you posted I prefer it to what I've seen from the 1dx/1dc and bmpcc/bmmcc, but hard to know how muchof that is just your mad skillz.
    • What can Canon be thinking?
      Competition forces change and Canon have none... Before i start ducking the tomatoes I mean COLOUR. Red and Arri can top Canon but in 8-bit littlecam land Canon rule. You can spot a modern pro/am Sony shot a mile off most of the time, especially if it has people in it, because the colour is so thin and anaemic. Sony can release a 4K 120fps full-frame if they like, but as long as it's their "I love blue, except when it clips, ooh let's have some magenta faces" sensor/ADC architecture and processing squeezed into 8-bits I'm not touching it. Also the Sony menus and build quality are a pain and they depreciate quicker than Pokemon cards. The RX10 ii lost a third of it's value in a few months, long enough for me to realise it took ages to match to Canon, still didn't look as nice and I couldn't bring myself to put the shots in an edit. I got an XC10 instead.  
    • An adventure into the Panasonic GX85/80 begins - and a look at the Leica Nocticron for Micro Four Thirds
      Well, let me start by saying, I really liked the G7... but so far, I love the XC10... but I miss interchangeable lenses. But this is a long story for me... and it may be boring for you... Last year around this time I had just my eos-m, then the lure of 4K and a ridiculously cheap price tag brought me to pick up an NX500. I had a love hate relationship with the camera. By the time I started finding it's sweet spot, the G7 went on sale. Since I had a small collection of c-mount lenses, and the bundle came with a Rode VideoMic Pro I jumped on it. The NX500 was a little sharper and shot in Cinema 4K, but the ease of use and external mic plug in led me to use the G7 way more than the NX500... so I sold the Samsung. Shortly after that I decided to pick up the FZ300 for family stuff and I liked a lot of the features... I loved that camera. Without a doubt it was the most fun camera to go out and shoot with, but the IQ just wasn't there. Still happy with my G7, and my lenses, I just went on writing some shorts and planning some shoots. One of the shorts I wrote required some slow motion. I had read that the Nikon D5500 had really nice and clean 1080p both in 24p and 60p... all of the videos I saw online confirmed that. And since I had a small collection of Nikkor lenses, i thought it would be the perfect option... it was out for over a year and I figured the price would be well below $500 for a body only... even if it was grey market. Well it wasn't... the cheapest I could find at the time was refurbished for $600... which was a little more than I wanted to spend for a camera I would probably only use for one short and then I realized the BMMCC had come out and was getting glowing reviews for it's 60p... Once again I was lured in by the promise of natively shooting ProRes and Raw, so I sold a few things and bought one. For the first month I loved the camera... I was able to use old Kern Paillard lenses and the Raw image is just stunning... as is the ProRes... but it is literally the most unenjoyable camera to shoot with. I prefer to shoot handheld or with a monopod and the form factor of the BMMCC is not suited for handheld once you rig the camera up with even just the bare essentials. And the battery life is simply horrible. You cannot leave a battery attached to the camera, because it will drain almost as fast with the camera off as it does with the camera on in standby and the batteries take 2+ hours to charge, so you really have to prep your kit the morning before a shoot, so you can charge half a dozen batteries... But the image is just damn gorgeous. After a while I just got burnt out using it. It wasn't any fun rigging it up every time I went out to shoot... or break it down if I was moving to a different location. Since I consider myself a run and gun shooter, all spontaneity ran out the door because it was such a hassle to quickly reset shots... for me. Other shooters who are more used to rigs and the proper way of shooting narratives are probably fine with it... but for me... it's just not an option any more. Then one day I was reading eos hd and I came upon Andrew's review of the XC10. Now mind you, I was in love with this camera when it was released... I may have been the only one. Over time, every negative I had about the camera faded away as more and more footage emerged.  Basically my buying and selling of cameras and lenses over the past year put me in a unique position to afford the XC10 this year. So, after a little more research, I jumped in head first last week. I have only shot with it for a couple hours, but I enjoyed every second of it. I have been mostly shooting with the 1080p C-Log, but the couple test shots I did do in 4K... I was pretty impressed. Now I just have to learn how to expose C-Log properly... I'm starting to get the hang of it and how to grade it properly... I'll probably never get the hang of it. Finally, I originally intended to keep the micro and use it for really small, contained shorts. I have a few short film ideas that are only a couple minutes long. But after using the XC10, I don't think I could go back to the Micro, I think I would feel stifled. This leaves me without an interchangeable lens camera... Hmm? I love my lenses and I know eventually I will want to use them again. If I had to purchase another camera today... which I won't... I am leaning towards either the GX85 or maybe I'll stay with the Canon family and pick up a used C100... I actually bid on one the day after I used C-Log for the first time, but I didn't win it... maybe next time. Sorry for the long post. Basically, 5-axis ibis and IQ trumps the G7... even with the ability to change lenses. I also think the internal 4k to 1080 downscale, of the XC10 is better, to my eyes, than the internal 4K of the G7, with post downscale to 1080p. The G7 wins in the shallow depth category and with that in the lowlight category. The GX85 seems to have a better image than the G7 and it has 5-axis... but no mic input. It seems like there is no perfect camera out there, but the XC10 is the closest i have come to thus far. It seems like the GX80/85 owners feel the same about that camera... if it had the mic input, I may have chosen that over the XC10. Again sorry for the long, and boring, post but these things are so subjective, I wanted to give the history of how I got here... which may help people understand why I inevitably chose the XC10 over the G7, GX85 and BMMCC.
    • Cameras With 4:3 Anamorphic Mode?
      We'd probably aim for renting an URSA Mini 4.6k or RED. Cost is obviously an issue, but I'm going to tinker with ML a bit more to see if I can get the flickering to stop.
    • First Short Film
      Thanks, that's really thoughtful. This short is a lot better (and a lot different, stronger performances), but I think it's sort of a similar idea just done professionally: https://vimeo.com/98601226 I did get the note that it as too long. For the woods exteriors, we just had nice light. We actually added grain. The grade was really simple. Shot neutral and then just warmed it up a bit. The snow and overcast light give you a pretty flat image to capture if you just let the skies blow out. I shot in the same area later without snow and in direct sunlight and it was a challenge to expose well. I think the lenses were the 18-55mm II and 55-250mm II for that sequence. We just had good luck on light and when we didn't we waited on better light. It's mostly close ups of people and that camera makes people look good.