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

    7,255
    posts
  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

5,706 topics in this forum

    • 1,155 replies
    • 66,865 views
    • 92 replies
    • 8,874 views
    • 200 replies
    • 12,705 views
    • 37 replies
    • 1,985 views
    • 29 replies
    • 860 views
    • 272 replies
    • 16,036 views
    • 426 replies
    • 12,535 views
    • 11 replies
    • 378 views
    • 7 replies
    • 247 views
    • 113 replies
    • 3,211 views
    • 11 replies
    • 431 views
    • 59 replies
    • 2,841 views
    • 140 replies
    • 5,723 views
    • 2 replies
    • 42 views
    • 25 replies
    • 685 views
    • 2 replies
    • 96 views
    • 10 replies
    • 299 views
    • 19 replies
    • 626 views
    • 6 replies
    • 75 views
    • 57 replies
    • 1,182 views
    • 59 replies
    • 1,183 views
    • 90 replies
    • 4,063 views
    • 3 replies
    • 155 views
    • 14 replies
    • 1,075 views
    • 1 reply
    • 60 views
  • Popular Contributors

  • Forum Statistics

    • Total Topics
      8,463
    • Total Posts
      111,632
  • Member Statistics

    • Total Members
      23,044
    • Most Online
      3,616

    Newest Member
    Kerryboy
    Joined
  • Posts

    • A Tale of Two T2.0 Zooms (for A6300)
      Both.  The problem with medium format lenses is that they are by and large very slow.  As in f/2.8 on the fast side, and often way down around f/3.5-f/4.5, even for prime lenses.  After you add a focal reducer the speed is improved, but still just isn't very exciting.  I know there are a handful of f/1.9 - f/2.0 medium format lenses out there, but performance is not good enough to warrant a special Speed Booster IMO.  By contrast, the latest FF optics by Zeiss, Sigma et al are breathtakingly good at very large apertures.  The older medium format lenses just aren't in the same league, and I doubt there is enough of a market for them to ever catch up. At one point I thought about doing a Speed Booster for the Leica-S lenses since they're actually pretty good.  However, they're also very expensive and you'd have to reverse-engineer the electronics to control the aperture.
    • Sony a6300 4k
      No need, I did plenty of side by sides with both cameras to prove to myself that I liked the D750 way more.   Lol! Whats happening here is the same old story. You have to understand that you cant "Prove" that a camera is "better" than another. It all depends on what you use it for and your personal taste. All it proves is that its better for you. That doesnt make it better for me. Price had nothing to do with it since Ive used cheaper cameras that I also thought was better. Either way, this is all OT by now so lets just enjoy our cameras or start a D750 vs G7 thread.
    • Your ideal NX1 Settings
      Grades fine with a V-log curve as well. Great footage btw
    • Sony a6300 4k
      I could get much sharper and higher resolution images from the Nikon (D810 and D5300, - D750 identical). Your sample is so muddy, identical to 600D/5DII resolution with in-camera sharpening ON. Perhaps your scene or our subjects differ in actual sharpness in real life (air/heat-waves/foggish/dirty-lens-filter?).Or 0 PP sharpen SOOC?  Key is: poper DOF that covers the subject, pin sharp focus on it (not easy with a nikon SLR crappy magnification. and lack of any focus aids) and super sharpening in-post, it's a clean codec and responds to sharpening wonderfully. Plus super super sharp lenses (at ideal aperture/focal length) make the most difference even when I thought it would all be equal at 2mp. Here two 50mm G @ f8 and one 24-70 2.8 @ f8 , Standard PP, default contrast (contributes to higher sharpness), zero sharpness, and global sharpening added in-post (here Vegas Pro set to 50+ ''Sharpening'', not ''Unsharp-mask'' plug-in which just emphasizes edges/halos like in-camera algorithm). Colours turn out this punchy straight off the Standard PP with +2 saturation (was going for that colour look and Nikon knows how to do saturated!). No grading except for sharpness. I have personal terms I give to each camera much like a film stock to choose which one is best for mine/someone's project: Nikons give a ''happy'' look, best way I could describe it. Canon ''warm'' look, Panasonic/Red ''reality'' look, Samsung ''modern-future'' look, arri/f35/BM ''film-stock'' look, Sony, well, I'd rather not say Sony's it on an new exciting Sony camera thread :D Nikon is absolutely inferior to any 4K camera in resolution/sharpness, but even these Nikons are too sharp/realistic for me, so in actual shoots I add 10-20+ post-sharpening for an organic authentic hard-edge free look. Again, any UHD/4K camera's sharper, even my old Note 3 (god it's SHARP and detailed), but the Nikons have higher dynamic range, larger sensor aesthetic, greater line up with VR/AF, higher lowlight performance, less imposed in-camera sharpening (nx1/gh4/fz1000 I am looking at you), less rolling shutter, strangely cleaner codec, and better colours than many of these 4K ones, plus its downside (resolution) isn't that bad, it does a pretty decent HD/2K output, organic if needed and quite sharp if wanted.. I advice, look into the type of video you'll shoot as it's the only factor determining what's the ''better'' camera. Use these higher resolution smaller chip 4K cameras for landscape/fine-art/city/stock videography and the Nikons for narrative/music/beauty/film. I think of them as different camera types for different jobs, that can, with effort, closely replace one another (GH4 + SB + FF lenses + colouring + some diffusion to get a Nikon look & a Nikon with super sharp lenses at restricted narrow apertures and post sharpening to get a GH4 look - both get close to one anothers' image benefits but not quite) Actually a Nikon s35/FF for close-ups/ and a gh4/g7/fz1000 for the wides is a very good combination in the same project and inter-cut fluidly as far fetched as it might seem, taking advantage of both image benefits. Wide daylight exteriors with the GH4 + super sharp native m43s glass and actor flesh-tones indoor close-ups with a D750/810 + FF glass.  Or if this a6300 has it all (no in-camera sharpening, reliable recording, nice colours, great FF-like lowlight, no codec or aliasing artefacts, not excessive rolling shutter), with a SB XL at hand it would carry both jobs as a wide sharp and FF organic close-up shooter. 1000$ + 600-ish$ EF SB it would be a steal to replace the FF + m43s 4K set-up I do.. And without a SB, the next t3i budget defacto for stills & video. The selfie LCD is an extremely helpful feature for many new Youtube S35 4K channel upgrades too. Smart move.    ***Could you share some more frames from the D750 showing the resolution you're getting & share settings/grading/lenses so maybe we could offer help to readers?
    • All music at soundimage.org is now free for commercial use
      Hi everyone, I was under the weather this past week, but I did manage to create some new looping tracks. Free to use as always (with proper credit.) I hope they are helpful! “Sky Game Menu”_Looping (on the Fantasy 2 Page)
      “Horror Game Menu”_Looping (on the Fantasy 2 Page)
      http://soundimage.org/fantasy-2/ “They’re Here”_Looping (on the Sci-Fi/Space Page)
      http://soundimage.org/sci-fi/ “Sci-Fi Open”_Looping (on the Sci-Fi 2 Page)
      “Machine Madness”_Looping (on the Sci-Fi 2 Page)
      http://soundimage.org/sci-fi-2/ Daily updates are here:
      https://twitter.com/EricMatyas Have a great week!