In this FAQ a number of sources fill in the blanks for the 1D X Mark II’s impressive video capabilities, especially Ebrahim (thanks) on the EOSHD Forum via his official Canon contacts. Why MJPEG and not H.264? What are the crop factors in 4K mode and 120fps slow-mo? Is Dual Pixel AF the next generation or the same as the 70D? Read on to find out.
Disclaimer: the full specs aren’t out yet and nothing is officially announced New 1D X Mark II specs (via Canon Rumors) have just come out which reveal it to shoot DCI 4K in MJPEG format (4096 x 2610 and likely 8bit) just like the 1D C. However the maximum frame rate for 4K is now 60p! However at first glance there appears to be a glaring omission – that of Canon LOG.
Comment on the forum Last week I had an insight into just how responsive Sony are becoming in rolling out support for their cameras. As users like myself and Paul Antico discovered soon after the FS5 was released the image had some issues. The very week I bought my camera Sony were in touch by email – I was then tasked to shoot some tests and send the XAVC footage to their…
The Revenant is an obvious candidate for one of the most cinematographically poetic films of the past year. Director Alejandro G. Iñárritu had a documentary crew following him from the start of principal photography in October 2014, following a gruelling shoot, 20th Century Fox have uploaded the entire 45 minute documentary to YouTube. Watch it above and have your say on the EOSHD Forum.
In this FAQ a number of sources fill in the blanks for the 1D X Mark II’s impressive video capabilities, especially Ebrahim (thanks) on the EOSHD Forum via his official Canon contacts. Why MJPEG and not H.264? What are the crop factors in 4K mode and 120fps slow-mo? Is Dual Pixel AF…
The Sony FS5 is a miniature version of the FS7 cinema camera and Sony’s competitor to the Canon C100 Mk II. It’s also one of the most capable slow-mo cameras, with a 10bit 4:2:2 internal codec at 240fps.
Not just vinyl for hipsters! The return of Ultra Panavision 70! Film is back with a vengeance with The Hateful Eight and Tarantino has a behind the scenes look for us
For his upcoming snowy western Tarantino unearthed special cameras and 1.25x anamorphic lenses at Panavision which hadn’t seen the light of day since 1965. The film was shot on 65mm film and will get a ‘Roadshow’ release on Christmas day in amazing 70mm.
SLR Magic Rangefinder footage – kiss goodbye to lens breathing AND Kowa anamorphic goes single focus
I have been out shooting with the SLR Magic Rangefinder. Key features: It completely takes over focus from any lens Solves lens breathing (reduces to such low level it isn’t noticeable) Adds cinema standard 240 degrees focus ring with FF gearing and hard stops Reduces minimum focus distance of all anamorphic lenses…