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

    15,671
    posts
  2. BLACKMAGIC CINEMA CAMERAS

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

    2,536
    posts
  3. SHOOTING

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

    3,031
    posts
  4. SAMSUNG NX1 / NX500 HACK

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

    3,940
    posts
  5. GEAR FOR SALE

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

    1,423
    posts

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EOSHD C-LOG and Film Profiles for All Canon DSLRs
EOSHD Pro Color for Sony cameras
EOSHD Pro Color for Panasonic cameras

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  • Posts

    • Nikon's CEO thinks the only way to survive smartphone aggression is pushing 8k video! https://headlines.yahoo.co.jp/hl?a=20170819-00000005-asahi-bus_all Is more pixels the reason people are supposed to upgrade from iPhone to dedicated camera? Even so I don't know why they think 8k is off limits for smartphone. Yes its too much for "one" tiny sensor, but soon they put "four" 4k camera modules close to each other and with some deconvolution algorithms extract a descent 8k video out of that. Then what? I bet old men in Sony and Canon headquarters are also thinking like Mr. Ushida. More pixels, higher frame rates, high bitrate files, many core processors, larger bandwidth.. that we enthusiasts love to see in our next gear, but they should know that.. this strategy is like having no strategy at all. 
    • They preferred color & skintones of the F65 vs. Alexa & Red (as a CGI/Green screen heavy film, "True 4K" makes sense too): http://www.fdtimes.com/2014/07/24/luc-bessons-lucy-described-by-thierry-arbogast-afc/ @Ed_David shoots F65.  
    • Try not to mix different brand lenses on the same scene. For narrative films is very important that the image is consistent. There are some lenses you can mix and match but try beforehand. The contrast can be super different let alone the color and the "rendering" of each. What looks close enough in the edit doesn't always looks good on a big screen (if you are thinking film festivals). There is a reason cine lenses are matched sets and have Tstops, cause even if you are on the same settings (iso/aperture/lighting) by changing from 50 to 24 can look so different that you will end up spending hours matching them (if the lenses don't match). And it can happen to you in your most important scene or the most expensive of the production.
    • Sometimes lenses of the same brand/generation don't even match. My Canon FD 35-105mm 3.5 lens has really low contrast compared to other Canon FD lenses of the same generation that I own/have owned. I think it's best to just test/compare all of your lenses side-by-side and figure out how they make you feel and use them to convey that feeling when necessary.
    • My nephew introduced me to Eminem and D12 around twelve years ago. The HBO documentary The Defiant Ones sparked my interest in films about hip hop music.