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SHOOTING AND FOOTAGE

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

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  2. Japan anamorphic travel video

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EOSHD C-LOG and Film Profiles for All Canon DSLRs
EOSHD Pro Color 3.0 for Sony cameras
EOSHD Pro LOG for Sony cameras
EOSHD 5D Mark III 3.5K RAW Shooter's Guide


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    • If I had to choose between 6K - S35 variable, or 4K full frame, then I would vote 100% for 6K-S35. More than 1 reasons! For economical reasons a S35 sensor makes far more sense. Lets see the Z cameras that are more a sensor in a box than a more traditional deaign. The price difference from m43 to S35 and full frame is "huge" and huge. Also, I believe the market here are people buying 1/3,2/3,1" camcorders, anything more will be just heavenly to them and ,maybe, good enough for some of us.
    • I think it will be a simple Upgrade to the Original x1d, The only Problem I see is the Lack of Capture One Support
    • Wouldn't 50i only read half the lines on the sensor for each interlaced frame? If so, that can be done at twice the speed of reading every line.
    • Thanks. If we take 400 ISO as the BMPCC 4k base ISO, the revised numbers put base ISO over (highlight dynamic range) at +5.5. That's just behind the newer Reds at their base 800 ISO (numbers are unpublished, but similar to UMP 4.6k in practice), URSA Mini Pro 4.6k (+5.8, I think), etc. and just ahead of the C300 Mk I (+5.3). C300 Mk II is +6.3, guessing Varicam and Venice are around +6.5. Alexa is +7.4 to +7.8 depending on model...  Or if you shoot at 640 ISO (+6.1) or 800 ISO (+6.5) then you've got highlight dynamic range competitive with big name cinema cameras. But you can also push other cameras a stop. Apparently Panavision rates the Red at 1600 ISO to get an extra stop. So then it's around +6.5, too, with more resolution. Did braw also improve the highlights on the 4.6k? Couldn't find a manual for that. I agree. The "under" part usually seems exaggerated, especially at high ISO. Canon claims something like 15 stops at 100,000 ISO and it's not even close.  But the original specs on the BMPCC 4k indicate highlight dynamic range close to a 5D Mark III or a GH4 (+4 stops over 18% gray) and the new numbers are closer to high end cinema cameras. Maybe that explains the debate about highlight detail, and if the new numbers are accurate, it's pretty darned good... Of course it also depends on how good the shadows look. I think the F5 and A7S both have +6 over at base, but their shadows are so bad in SLOG 2 you need to overexpose them by a stop. So it's less in practice.  @docmoore Do you know if the revised over/under is only for braw or is that for ProRes, too?
    • I think they'd looked at what Leica were up to with Panasonic and sought a similar path with Sony but unlike Leica they used the same mount which kind of gave the game away that it was a NEX-7 with an overcoat on ! As is often the way with these brands though, if you picked a Lunar up during the fire sales that went on with them then you'd be sitting on a profit now from collectors whereas with "real" Hasselblad digitals from the same era you'll have lost most of the original price. I'm fascinated by where they will be going with this new camera as Fuji have given them a bit of a caning with the GFX but as the first new Hasselblad product post DJI then there could be some surprises not least in terms of price.
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