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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

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  3. SHOOTING

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

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  4. SAMSUNG NX1 / NX500 HACK

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

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  5. GEAR FOR SALE

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

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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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    • Blade Runner 2049, shot on the 1D C... That's exactly what I'm talking about in the recent pro camera article, they are all doing it even on mega budget feature films, because small cameras are creatively liberating and don't need babysitting as much when left unattended on some robotic arm. As you can see it has a simple LAN cable connected to it. No whacking great cables coming out the back of a DSLR for a start. Maybe they modified it for remote control. The lens might have AF motors to control focus wirelessly, but it doesn't look like an EF lens that is for sure. Canon were so stupid not to fully exploit and develop the 1D C concept over the last 5 years.
    • It's better in low light than the 5D Mark III, so ISO 6400 and even 12,800 you can get to look pretty good, but only in 4K. The 1080p mode is worse than the 5D Mark III. So think of the A6500 as a 4K camera only. There is no 1:1 crop mode for HD. But you can achieve this in post with the 4K by cropping out a 1920 x 1080 centre window.
    • It kind of scares me that people can't work stuff like this out for themselves... "Oh no, my hotshoe is blocked, it's impossible to mount a microphone now, better throw it in the bin!".
    • I am very honored by Andrew's review.
      Some fast Aps-c lenses could work on NX-L without vignetting.
      I think the Sigma 30mm 1.4 Art lens could work fine, getting a nearly 35mm 1.4! But I did not test it.
    • I actually liked the effort it took to shoot content on film (back when I shot on film) because it felt like you were using a precious limited resource, a physical and tactile medium, and you had to treat it as such and with respect. The effort to get a great image and the delay between shooting and seeing the dailies put you in a different headspace… counterintuitively, it put you in the moment. I think it puts your audience in the moment, too. I love film. I will never love digital as much. But that era is over. Even when shooting film, it’s difficult to stay in the moment when shooting on a difficult, restrictive medium  when your brain is constantly reminding you that there’s an easy, better-looking, and cheaper alternative… that you already probably own. And we’re an ADHD-addled generation, anyway. Transformers coverage distracts better than Jaws coverage. Art is, unfortunately, of its time. :/ There’s a place for film. It’s nostalgic and will grow more nostalgic. For a Christmas story or WWII drama or throwback you might get some beautiful physicality and nostalgia on film that even well-processed digital couldn't possibly give you. The different process contributes to that. But it’s a regressive choice for those reasons, too. So I do agree that the Alexa (which, don’t get me wrong, is the best camera ever) is the worst of both worlds in a way. Works like a film camera (ACs love it); looks like a film camera; isn’t a film camera. It’s the I-Can’t-Believe-It’s-Not-Butter of cinema. Thing is, sometimes I actually can’t believe it’s not butter. See Yedlin’s Nuke script. That's not inherently bad. Twin Peaks the Return, shot on Alexa but with thoughtful film-like coverage and lighting, is amazing. The Alexa is an amazing camera, even if it’s a weird stopgap camera. (Whereas Red is innovating toward a “high end digital” experience and look rather than “film replacement” one.... and it’s working...) But to me the cutting edge is on the consumer side. Trash the C200 all you like, but the image is closer to an Alexa than you’ll get with anything cheaper. MUCH more importantly, the ergonomics are A+, the low light is amazing, and the autofocus is bonkers good. This is the camera that lets you fire 2/3 of your crew and replace your HMIs and generator trucks with LEDs and batteries. It’s a good Ronin camera too, and the Ronin itself is a pretty genius innovation. Yes, I want to use a Fisher dolly and steadicam and technocrane instead. Shooting on a Fisher dolly is so gratifying and I prefer the result. But like… I get that it's outdated. You won’t take the Fisher dolly out of the closet most days. Or actually ever, since it’s rental only lol. It’s of another era entirely... but man... I can tell one when I see one. Just from how it moves (or maybe it's a PeeWee, but same idea). So I think the C200 is the ideal middle ground, and not the GH5 or something, but that’s fine and that’s me, and yeah, I’d want a GH5, too, and would use it more. But to me the perfect middle ground between restrictive and empowering is the C200 or similar.  There’s one missing piece, though, and it’s funny you mentioned it prominently and defensively in your article: audio. There’s yet to be a game changer in audio that equals the Red One or 5D Mark II or Movi in innovation. There are cheap mics that are okay now, but the 416 (40 years old) is the golden standard. Still. You can buy an iLav that sounds remarkably good enough compared with a real lav…. but ingesting, logging, syncing, hooking that thing up to an iPhone. It's the worst. Not that using timecode sync via slate is exactly reliable or fun, either. But while I don’t want to put my sound operator friends out of business, sound recording needs to be next. Sound Devices just released cheap mixers that can compete with the big boys. Just this year. For the first time ever. That’s HUGE. That’s the 5DII. What we're missing is the DPAF or the Ronin or low light equivalent for sound. Something that makes good easy. Good sound is still hard, no matter what camera, XLRs or not be damned.  Not that I follow post as closely, but post seems to have changed as fast as video has, so sound is next. (Great direction and art design and acting will forever remain elite and exclusive because the mis is physical. This fact favors porn but also storytelling.)  But for non-porn, that difficulty seems to help. Shooting dual system sound on an Alexa still results in something with more intention and focus than your average snap or even youtube video. Even if that Nagra and Panavision Millennium just brought out every drop of genius and the Alexa is kinda hacky. So if someone made a camera that was nearly impossible to use, would it produce the greatest content of all time? Is art just doomed to get worse? Who cares. Do your thing. That's all that matters. Don't do someone else's.