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

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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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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

    • Canon 1DX-II vs. 1DC - Which one would you buy?
      Exactly. It is proven time and time again that color is more important than sharpness. It would be sharper with the A7S, but the color would be "pure shit."
    • THE BEST OF CANON 5D4 IS THE CANON 5D3
      I have NEVER really figured this one out. 

      Nikon images seem to be far more acceptable to heavy grading. I suspect that the 14-bit is limited to ML, and for photos, most Canons are still 12-Bit. Some serious f@ckup with Canon's image processing team. 

      Also, I am curious whether the Panasonic Cameras (especially the 4k ones) will be able to handle RAW (Atleast 12 bit), with a hack. I don't know why, but I find that the Panasonic cameras seem to have a lot more potential than the Canon ones. IMO. 

       
    • Is the Alexa still king? (Actual question, not an argument)
      It's still king in my opinion. I"m blown away at how close the UM46K can get though. I think if you pick up any of those cameras you listed, you are good to go.
    • THE BEST OF CANON 5D4 IS THE CANON 5D3
      The raw hack of the 5D is something unique, simply because the company will take at least two or more geberations of the 5d to reach what the 5dIII is capable of in terms of pure video QUALITY. 

      The next generation will definitely have more resolution, as in improve on one element of quality leaving the rest intact (colours, 8bit, codec, grain, dynamic range, rolloff) while the 5D RAW still will have superior colour, 14bit, codec, grain, dynamic range, falloff, just better iverall, aside from one element, less resolution. 

      Think about it, if 2K is enough for you, you donlt need moore detail, then there is absolutely no other camera on the market todsy or tomorrow that will give you the 5D 14bit enormous 16+ thousand gradations of each colours they will all give you 256 gradations of colours but more pixels. 

      The differebce is HUGE bdtween an image element containing 16 THOUSAND coloyr gradients vs one with 256, the 8bit image will always have that special plastic signature that's immenselly apparent and non filmic when viewed side by side 14bit, the green leaf looks more natural, not a green block, but has all those tiny tiny variations of green and brown and yellow that you can touch and see with your hand when grading the RAW image, much much more realistic and natural and filmic feel, because that's what film had, tons of gradients and we associate it in our minds with film, while 8bit is well, compression, a digital substraction of colours to reduce your file weight, while it can look very good when performed on the final delivery stage after all your manipulation and after you've chosen what to put in that final 8bit container, it's very destructive when perfornaed on the initial shot files and grading and recompressing just destroys the natural colour rendition. 

      After all these years of technologic advancement even by CANON I see no other camera making the filmic colours and image structure of the 2009 5d II image in raw. Why does it look so unique and identifiable ? Because it's started with 14bits of colours. Not a coincedense that the only other camera giving the similar filmic image is one that shoots 12bit, blackmagics. 10bit? Not so much, it's nearly identical to 8bit. Welre talking about 256 gradients in 8bit, a thousand in 10bit, 4000 in 12bit, 16000 in 14bit, it's not that 10bit is similar to 8bit just because it's more than 8. Something many forget or don't know. 

      Want a camera with an image that can go to theatrical projectiom in cinena, be viewed side by side the 2k Alexa, kodack film? A used 5D MKII with a mosaic Aliasing filter and ML RAW s the cheapest way toget there. You can buy a sony a6300 at the same cost and it will give you more resolutiin, but it will look absolutely worse projected against these cameras at 2k. However, for nature stick footage to be put in a UHD store, the more resolution of the a6300 will be much more desirable than natural colours or lack of compression blocks or fine grain structure. Just saying ts different cameras for different outputs. 

      I am shooting the 1DC for what, 2months now? I have shot the 5D III RAW for a similar period and i can definitely say the 5d pure image is the one I would choose to shoot with a narrative feature film for prijection, while I LOVE the 1DC image for everything else, yes it can nail narrative, but the 5d FF RAW image is just one step ahead of the 1.3x APSH 4k 8bit image, it's exactly, exactly the same difference you see when shooting photographs in RAW VS JPEG on a canon DSLR (The 5d shoots the same image 14bit raw format and the 1dc shoots the same 8bit jpeg format). While i think JPEG can look BEAUTIFUL , RAW is simply a higher league of film quality. 

      All the camera manufacturing companies and all the consumer audience are chasing one mesely element of image quality and abandoning the many other ones that actually make a bigger impact on quality. Image quality is proven by the 5D III RAW to be WAY more than just HD+ PIXELS! It's lack of digital compression that destroys fine colour gradients (bit depth), high dynamic range that lets us see MORE OF the imsge being projected, the smooth roll off to highlights and shadows, the noise amount AND noise structure and fine size and randomness vs Fixed pattern digital noise, it's bit rate and how it destroys the moving element edges msking blocks around their edges hoping viewers don't see , it's the lack of chroma subsampling that cuts colour information in half and in quarter giving stair stepping pixels on each colour subject in the image again hoping the viewer won't notice, it's the sensor size and depth of field amount, it's thr lebs rendition of detail and background/foreground, the lens bokeh look, flare look, colour temperature, distortion, fringing, 

      and we leave ALL OF THIS and just improve on one element? Higher resolution? What genius came up with that decision? ENOUGH. 2K is enough (see alexa and c300 and  5d raw resolution at large size screens and determine by yourself)) 4K is DEFINITELY more than enough. STOP right there at 4k. Now improve upon the long list of image quality elements you've been ignoring for years!