DJANGO UNCHAINED – Anamorphic is Tarantino’s preference – how DP Robert Richardson shot masterpiece ‘spaghetti southern’

Django Unchained - Tarantino, Richardson

Thanks to Volker for spotting the info. Image credits and further reading: Django Unchained / Robert Richardson at The American Cinematographer Magazine ~ Django Unchained echoes spaghetti westerns at Kodak camera and television

Learn the ropes and unholster your gun – The EOSHD Anamorphic Shooter’s Guide

I honestly can’t remember the last time I was so gripped by a mainstream piece of cinema. For the first half I had a permanent grin etched on my face for at least an hour, and for the second half I was on the edge of the seat with the kind of tension and sheer terror that you rarely see with the pacing of most mainstream movies – Ridley Scott did it with Alien and Tarantino’s completely mastered it here. The first act is like the journey of a roller coaster up the tracks and then for the 2nd half it comes rocketing down and you’re terrified.

Django Unchained is a towering achievement – and here’s how it was shot.

Read moreDJANGO UNCHAINED – Anamorphic is Tarantino’s preference – how DP Robert Richardson shot masterpiece ‘spaghetti southern’

Forum hot topics – Anamorphic, Metabones Speed Booster, raw GH3 footage and more

“They each have their own unique character. Which image do you prefer?”

Iscorama VS Iscomorphot 8 2x VS Iscomorphot 8 1.5x by QuickHitRecord.

This is a new weekly series on EOSHD.

The forum is really booming at the moment. A while ago on the site I decided to redirect the article comments system into the forum and that has seen a big increase in the number of people using it not just to comment, but to add their own content. Some of it deserves to be given wider attention so the best posts will from now on be promoted to the front page.

Read moreForum hot topics – Anamorphic, Metabones Speed Booster, raw GH3 footage and more

ProRes vs ProRes – A first look at uncompressed HDMI with the Nikon D5200 vs the Blackmagic Cinema Camera

D5200 ProRes test

In the early days of DSLR video the codec was probably the weakest part of the camera. With the advent of uncompressed HDMI out – the codec is no longer a weak point but sensor sampling becomes an Achilles Heel.

Can the Nikon D5200 benefit from a hike in image quality from using an external recorder?

Read moreProRes vs ProRes – A first look at uncompressed HDMI with the Nikon D5200 vs the Blackmagic Cinema Camera

Nikon D7100 announced, gains headphone jack over D5200 but loses articulated screen

Nikon D7100

The Nikon D7100 is here and appears to be based around the new sensor and image processor of the D5200 which is proving rather good at video so far.

Whilst the D7100 gains a dedicated movie mode and headphone jack, it has a few things that may disturb video shooters.

Read moreNikon D7100 announced, gains headphone jack over D5200 but loses articulated screen

Nikon D5200 review

UPDATE: The HDMI output on this camera is uncompressed 4:2:2, for a leap in image quality over the internal 24Mbit codec! Check the forum for my ProRes noise grain sample shots

The Nikon D5200 is the best mid-range Nikon yet for video. What is more of a surprise is the relish in which it takes on the much more expensive 5D Mark III, Panasonic GH3 and Nikon’s own flagship the D800 and D4.

Read moreNikon D5200 review

Shooting guerrilla style in Berlin with Iscorama 54 and Blackmagic Cinema Camera

The Lens

Whilst Canon L lenses are like a fleet of company Lexus cars. This isn’t really what I want in my films. I need something different. Something with character.

For this reason I’ve long been using anamorphic lenses. I recently shot some test footage with the Iscorama 54 anamorphic. This is essentially an Iscorama 36 but instead of a 36mm rear element it is 54mm. Even though the whole lens is double the weight, not as sharp and almost triple the size I like it because it has character.

Read moreShooting guerrilla style in Berlin with Iscorama 54 and Blackmagic Cinema Camera