Anamorphic lens flare – with fishing wire!!

I like this clip shot in London for a number of reasons. It isn’t perfect by any means, but first of all it’s a great scene (from a great movie), second of all the acting is pretty convincing and thirdly the anamorphic lens flare is from fishing wire! That’s innovation on a budget. Sound comes from a Zoom H4N, also good – considering this little gadget costs just $400 / £250. Soon enough even Homeless Guy will be making HDSLR movies! Read more on Vimeo

The death of full frame in video land?

As the Canon 5D Mark II and Nikon D3S show, full frame may be winning now – but do we really need it?

Rise of the compact High Sensitivity sensors

Recently I was comparing sample photos from the Canon G11 to the Panasonic GF1, I found that at ISO 3200 the G11 was almost matching the GF1 for resolution, detail, colour and noise simply through virtue of having a very sensitive imager and very intelligent noise control… from a sensor the size of a baby’s pinky finger.

Back in video land I rested easy… but then yesterday came episode 2 of the Great Zacuto Shootout (spoilers ahead)

Read moreThe death of full frame in video land?

German precision versus Japanese ingenuity – Zeiss Flektogon 35mm F2.4 meets Canon FD 35mm F2

Two of the ‘must-have’ bargain lenses for the Canon 5D Mark II and Panasonic GH1 are in the 35mm range. The GH1 needs a good fast portrait lens around the 35mm mark because the Lumix pancake is a bit too wide at 20mm, and a 50 is too much like a telephoto. 35mm is the perfect compromise and gives you shallower depth of field than the pancake for half the price. Remember 35 on the GH1 = 70 on the 5D Mark II in terms of your framing and field of view.

Read moreGerman precision versus Japanese ingenuity – Zeiss Flektogon 35mm F2.4 meets Canon FD 35mm F2

EOSHD Shootout Part 1 – 5D versus GH1 in Low Light

If possible please watch the test footage on a proper display via DVI or HDMI, not a laptop screen. It makes a HUGE difference in perception.

The results of EOSHD’s low light shootout between the mighty Canon 5D Mark II and the Panasonic GH1 are in! This is a real-life natural light test, this is what happens when you take out the cameras and shoot. There are no test charts. No technical waffle in the video (I left it for this article!). But I have selected the shots quite carefully to show a range of typical low light challenges.

I’ve also made sure that on-camera picture profiles are taken into account. They’re set quite neutral and to match the other camera as much as possible. I also included shots which compare different picture profiles and settings so you can get an idea of their effect on the camera’s footage relative to one-another.

Read moreEOSHD Shootout Part 1 – 5D versus GH1 in Low Light

Sending the GH1 into space for £500

A quick glance above and you’d think the photo was shot by NASA using a rocket, costing millions. Or maybe shot by an astronaut clutching a Nikon D3X orbiting earth from a space shuttle!

In fact, the snap above is from a Canon Powershot A560 in a polystyrene box attached to a balloon.

Read moreSending the GH1 into space for £500

The EOSHD Shootout GH1 versus 5D MK2 – GH1 Picture Profiles Note: The web levels the playing field. Full-screen it on a TV!

Welcome to Part 1, Video 1 – Low light and the GH1’s film modes

I’ve been conducting a shootout between the Panasonic GH1 and 5D Mark II, using everything I know about setting up the cameras and everything I have learned from others such as Philip Bloom. In the Zacuto shootout, Bloom said he couldn’t quite set up the GH1 as he wanted, and it’s clear the 5D Mark II has a less contrasty look with slightly more latitude (but not as much as 35mm film!)

I was determined to find the ‘perfect’ match-all situations film mode on the GH1 before starting the shootout.

Read moreThe EOSHD Shootout GH1 versus 5D MK2 – GH1 Picture Profiles