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

    13,320
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  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

    2,395
    posts
  4. SAMSUNG NX1 / NX500 HACK

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

    1,778
    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

    • Sigma 20mm F1.4 ART review
      I think I'd rather get the Tamron 15 - 30mm with VC? There's also a filter kit which fits over the hood, can't remember who makes it atm? It is a best in class Lens according to all the Landscape Photographer reviews, even the angry photographer says so hehe!! Plus, you get some focal range!   
    • Canon 1DX-II vs. 1DC - Which one would you buy?
      Did a shootout with 1DX II and 1DC in a park today, had a quick look at the files when importing them. Here are the preliminary results: 1. Full frame HD video 24/30p they are the exactly the same quality in terms of sharpness and detail. 2. 1DX II 60P/120p are softer than HD 24/30p, but very slightly better than 1DC 60p. 3. 4K mode they have exactly the same quality in terms of sharpness and detail. 4. 1DX II and 1DC have about the same dynamic range when using neutral profile (0, -4, -2, 0), 1DX II has more chroma noise in the deep shadow but less pattern noise (vertical stripes). C-log on 1DC gives a lot more highlight headroom. 5. In neutral profile 1DX II is warmer and slightly desaturated than 1DC. Original clips from the camera will be available for download.
    • Is the Alexa still king? (Actual question, not an argument)
      Coming from editing H.264 files over the years, editing Pro Res from the BMPCC is a delight. I love the codec, and don't mind the size at all when you factor in the speed and smoothness of editing. I'm a huge fan of the whole Pro Res capture + edit workflow and I can totally see why so many shows still just shoot Pro Res with the Alexa. Agreed that the C300 .mxf files are a good happy medium. Higher quality but still cut like butter. 
    • Is the Alexa still king? (Actual question, not an argument)
      The Alexa is still king as the Alev III sensor is still the best tech available (designed by Cypress semiconductor, now part of On Semiconductor). It's heavily patented, thus not easy to compete via 'low hanging fruit' (e.g dual voltage sensor read out for high DR low noise). We considered the Amira and Mini, however Canon's PDAF is very useful for our kind of work, and frankly ProRes is ancient tech compared to the latest H.264 codecs (ALL-I and IPB). It's very useful for long-format live shoots to have lower bitrates with very high quality, which H.264 can provide and ProRes cannot. ARRI hardware is very, very power hungry, using custom FPGAs and perhaps not having Sony, Canon, and Panasonic's more advanced VLSI ASICs tech/fabs to reduce power requirements. This means when no AC is available, many large and expensive batteries are required. ARRI is kind of like Ferrari- top of the line, but with significant support costs to operate (don't ask what a brake job costs on a Ferrari with carbon-ceramic brakes (rotors & pads: $30K)). It's interesting to note that most external recorders don't support the Pro H.264 codecs (10-12 bit, ALL-I and IPB). Video Devices just added H.264 support: http://www.videodevices.com/products/portable-video-recorders/pix-e5 . This is a welcome addition, however the bitrate is very low (10Mbps, probably 420 8-bit). So cameras like the C300 II with PDAF are currently in a sweet spot: near ARRI color and DR, but with PDAF, much lower energy/support costs, and super-high quality 50Mbps 422 10-bit 1080p. The FS7 is also pretty good with color vs. ARRI, has small H.264 files, but no PDAF (the next Sony will likely have this feature). For low light shoots, the A7S II is currently an unmatched value (the Varicam/LT is probably the best pro-level low-light camera for the money right now).
    • Is the Alexa still king? (Actual question, not an argument)
      The D21 does indeed have a great image. The sensor technology is derived from the chips used in Arri's film scanners, so it's designed from the ground up to replicate the exposure curves of film negative. But despite the fact that it is so cheap now, it's just too cumbersome of a machine to be used practically. The F35 took off because it is relatively easy to plug it into a prosumer workflow. The D21 was always very proprietary in design and many of the bits and pieces needed to run it are no longer available. You had a limited choice of bulky recorders, out of which only the Codex M has any kind of support at all. Also, with a recorder and accessories bolted on, it approaches the weight of an Arri 535. And I believe the native ISO is 200.