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

    2,284
    posts
  3. SHOOTING

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

    2,600
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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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    posts
  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
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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    • GH5 Prototype
      The BMD Micro CC was marketed with global shutter... in the end... they couldn't deliver on that promise and pulled it from the (seemingly finalized) specs (which made me order it). I was rather bummed when I found it was going to ship without the feature, which goes to show I'd rather have them release specs that they know they'll do, rather than making a prediction as a hard statement and then hopefully manage to pull it off somehow. Also... Craft Cinema Camera... But yeah, I do get that they had to say something at Photokina. I was expecting them to! We all want to know: is it in the making? When should we expect it to hit the market and what can it roughly do? I do think it's going to be a significant step-up in the way the m43 crowd shoots video! Like the hacked GH2 and GH4 were! In between the GH4R and (paid) firmware upgrade... and the G7 and GX80... I think we're going to be in for a treat. But you've got to be realistic. The GH5 is going to be the most productive and allround video tool in the DSLR and mirrorless market and have the best bang for buck. Yet sensorwise... it's not going to rival fullframe. Then again, that's only logical. Light gathering ability for each pixel is just not the greatest. But you know... isn't that the case with actual movie cameras either? If you look at Blackmagic and Kinefinity for example... you're expected to light your scenes and manage. Shooting ISO6400 is just not something you would/could go and do. That doesn't make fullframe options less interesting, especially for the run-n-gun type who shoots a night scene with just the camera on little to no budget... because then you can't deny the benefits of its flexibility. You can put it in any lighting scenario and it will cope with the conditions (to a certain degree). If that's the most important thing to you, look no further and get one of the Sony A7 series cameras (with their own issues; really comes down to the game of: pick your poison). I think it will be another one and a half year perhaps (2017?) before we see the new tech (organic photoconductive film (OPF CMOS) sensor with global shutter) hitting the market. That you may rightfully call a 'gamechanger'. But we're not there yet. It's a step up, as said, with V-LOG L and an anamorphic mode as firmware upgrades... with the GX80 sensor performance and stabilization however... we've seen that we can expect the GH5 to be a significant up from the GH4. And that is just how you need to see it. Still gives you struggle for wide focal length lenses. Isn't magically going to see in the dark with no noise or create crazy shallow depth of field by itself. But it is great value for the money and it certainly will be a treat to use stand alone as well as rigged up. Secretly I was hoping for something between the GH-line and the Varicam, because getting a cinema tool step up from the GH4 and end up between 2999~9999 you'd be looking at the Sony FS5/FS7 (or something older 2nd hand), Blackmagic URSA Mini/Production Cinema Camera, Canon C100/300/500, Kinefinity Terra, (2nd hand RED package perhaps). In other words... a lot of people learn with the GH-line and when it's time to step up, their native lenses are probably useless and they have to look at different brands. If I were Panasonic, I would want people to stay in my eco system (and keep their money coming my way), hence create something Kinefinity/Blackmagic style that keeps in mind users coming from a GH4. Something like a true successor to the AG-AF100 but adhering to the modern standards and expections as well as being more compact and affordable. I mean, at around 3000 USD you buy a body only A7SII or A7RII. Can you imagine the things Panasonic would give you for that kind of money?! Something like JVC did (somewhat out of the blue) with the LS300... but done the Panasonic way with the GH heritage. Unfortunately the GH5 won't be that. I thought... ok, the G80 is now roughly the ultimate hybrid camera for stills and video. Maybe they make the GH5 really premium and focussed on video like that. But from what it seems, this is another ultimate hybrid camera... instead of what I was hoping, something in between the GH-line and Varicam (or as I've called it before 'the VC5' (a more serious cinelike approach to the stills hybrid GH5)). Doesn't make me less excited for the GH5 though. Might tick all the boxes anyways (with features that are now well implemented, ditching the YAGH-brick for a more viable solution and still being nice to use as-is, as well as being discrete on the streets and affordable to purchase).
    • Canon XC10 4K camcorder
      Yeah I've used them in the same video a few times but they're not really cut together as such so not much use as a comparison. My Durham Cathedral Lego films use both. I'm working on something atm that requires them to cut seamlessly and I'm not worried abut it. They're very similar in terms of colour.
    • Now available - EOSHD Picture Profiles brings C-LOG to all Canon DSLRs including 1D X Mark II and 5D Mark IV
      A quick and dirty test of my Canon EOS-M10 and Andrew Reid's Custom LOG. Since this camera is Canon's most basic interchangeable lens camera, I cannot guarantee that others' experiences with other Canon cameras and EOSHD-LOG would be similar or different, or better or worse. So, basically, this is my quick test with my modest equipment and skills. Your mileage may vary... Equipment Used:
      Canon EOS-M10 
      Canon FL 35mm f/3.5
      Magnus 2XM-2000V Video Monopod 
      EOSHD-LOG Picture Profile Impulz LOG Kodak Elite Chrome 200 FPE LUT
    • Canon C500 Is it worth 7K new?
      Yes, ISO and WB are set or "baked-in" to a certain degree, as seen in Canon's white paper:  Of course, WB can be easily manipulated in the RMF files in post as with any RAW format. As for ISO, like the Panasonic Varicam, the C500 employs analog gain control (as Policar already mentioned on page one of the thread). Combined with its noise performance, this allows for outstanding low-light abilities for a cinema camera. I'm not here to defend Canon's, Sony's, RED's or any other manufacturer's definition of "RAW." I would only point out that Canon's Cinema RAW offers some unique features: Compared with conventional approaches, this image processing chain results in improvements and advantages in the following areas relevant to the four color data streams: color separation, demosaicing, resolution, and anti-aliasing. This is why some have noted that the C500's 4K resolves a very high level of detail per pixel (something that is also true of the C300 II). Moreover, like ARRIRAW, Canon Cinema RAW reaches an insanely high data rate. In fact, a Canon RMF file delivers more data per frame (over 11 MB) than almost any other 4K RAW format with the exception of ARRIRAW in open gate, which matches Canon’s data rate of 11 MB per frame, but at a lower resolution than 4K. For these reasons, and despite fixing ISO at the time of shooting, Canon RAW is a formidable format that was apparently designed as the antithesis to Redcode, which has relatively low data rates, no analog gain, poor ISO/noise performance, and high compression in the green color channels. In this way, you can think of Canon RAW as diametrically opposed to Redcode. The latter has its own advantages of course in terms of reducing storage and unlocking 5K, 6K and 8K recording in a very portable camera package and easily manageable RAW format for editing. Nevertheless, I would say that RED has a lot more to answer for than Canon when it comes to defining its format as "RAW," considering how much sensor data is discarded in Redcode compression.  
    • SLR Magic Rangefinder footage - kiss goodbye to focus breathing / Kowa anamorphic goes single focus
      Well if I knew the Rectilux was much better in this area I'd get it in an instant. I can still return the RF.  I really wish I could shoot without it but I'm not great at all with dual focussing. If it's a stationary shot I'll definitely go bare.