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

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  2. BLACKMAGIC CINEMA CAMERAS

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

    2,331
    posts
  3. SHOOTING

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

    2,481
    posts
  4. SAMSUNG NX1 / NX500 HACK

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

    3,020
    posts
  5. GEAR FOR SALE

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

    875
    posts

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EOSHD C-LOG and Film Profiles for All Canon DSLRs
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  • Posts

    • Premiere CC 2017 proxy workflow is amaaaazing
      Interpreting footage for proxies seems to work only in AME, not in Premiere, and it doesn't seem to be limited to slomos created from higher fps footage: I wouldn't call this a workflow. A flow implies some ease, not this PITA. Instead of render queues via AME and attached reports, there simply should be a button PROXY. And Adobe should come off the stick and make their own proxy codec. 
    • Zhiyun Crane Users Please Share Your Videos (jitter issue)
      No, just going from a normal eye level shot to a low angle, twisting the wrist, in order to simulate a crane shot from face to feet of a talent. (sorry for my english if it is not clear)

      The first screw was made of plastic, the second one was like the one on Michael Ma pic.
    • Premiere CC 2017 proxy workflow is amaaaazing
      Well I am going from UHD H.265 to 540 H.264 so there is definitely a huge benefit to use H.264 proxies. I agree with you regarding space tho. Next time I think I will go with prores its just last time I made a prores file it came out 4x larger than the original so I was thinking I would end up with almost 1TB of proxies witch even for temporary files if too much space. I think I will have to just do some tests. Ya, the trans coding definitely took alot longer because I was using my computer while it was trying to decode Also my computer is really shitty as well so that definitely didn't help either. I also kept an eye on temperatures with CPUID hardware monitor and I did see some minor thermal throttling from CPU temps but again for my workflow I spend more than a week on a project so the added time upfront is worth the time saving on the back end.  I have heard quite a few people say this but I am not sure I completely understand what do you mean? I created a custom proxy ingest setting in media encoder that creates a 540p low bitrate proxy with the same frame rate as the original then just change the playback speed like I normally would without proxies. So if I ingest two files one UHD 30p and one 1080 120p the two proxies would be 960x540 30p and 960x540 120p respectively. You still have to scale up or down the footage to fit either a 4k or 1080 timeline as usual as well. Basically to me everything is the same the only different is when you have the view proxies turned on it plays the proxy instead of the original.
    • Premiere CC 2017 proxy workflow is amaaaazing
      I tried that, but it doesn't work properly with the proxies. My workaround video above is the best bet, I think. 
    • Low light shooting with GX80 - tips etc?
      I suggest you start shooting your subject and then decide what extra lenses you need (I bet they will be wide angles - you will need at least some establishing shots). For interiors / architecture 25mm or 50mm lenses etc are only really going to be good for details. And I wouldn't get too hung up on moving from f 1.8 to f 1.4. that's only 2/3 of a stop difference and you'll only be able to take advantage of that if you don't need depth of field. If I had just one lens for MFT it would be the Tokina 11-16 + a Metabones Speedbooster.