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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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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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    • I would recommend checking out Resolve if you haven't tried it. The free version is great and even has compositing baked in (Fusion). I paid for the full version and the Noise Reduction fx has saved a lot of otherwise bad shots and hasn't been quite as much as a roadblock on the timeline as Neat Video was. But I'm sure the free version would be fine for most people. After years of hating premiere/ae it's made editing fun again. 
    • I've been reading you quite a lot for a year or so. I'm a junior DP based in Paris, and I'm just dying for anamorphic... like you guys ;). I would like to invest in some Iscorama 1.5 (need to decide between36 and 54 through)... My only concern is "Wide Angle". I absolutely need for my work a wide angle anamorphic, I used some vintage PL 2X KOWA  by Rehoused PS Technik on Alexa Mini a month ago and the 40MM (2X) was just great, kinda weird / dreamy wide open was sharp when closed down and has some heavy barrel distortion that I could definitly live with. Was a cool setup but as a "junior DP" is not often that I can shoot with those kind of toys ! What's the widest field of view possible with a 1.5X Iscorama ?  I know that rego check nsw Richard Gale at DSO has a wide angle attatchement, could it work ? It would be a very strange setup and stacking optics makes me a bit anxious... (reflexion, sharpness...) Would it be possible to mount this wide Angle Attatchement to an iscorama to match a "20-24mmish" spherical field of view (on full frame). Nothing beats an anamorphic wide shot to me (perspective wise !), I do often shoot in tiny appartement and set here in Paris. It's a must have for me. If you have any recommandation... I'm looking at a 3000-3500€ solution (adapter + wide angle). I'm mostly shooting in Super 35 (A7S, FS7) and using a speedbooster from time to time if Full Frame look is desirable.  Taking lens will be old time Zeiss JENA Zebra. Thanks a lot.  
    • Hello everyone,, I finally edited some shots I made during summertime in the harbour at Weymouth (Dorset, UK) in 2013, using my Canon 50D and an old version of ML -- better late than never, I suppose! Shot with just the standard Canon kit zoom, it was my first serious test shooting with ML RAW and I recorded wild audio for some atmosphere sound. Post production workflow was: import DNG sequences into After Effects to export small proxy files (H.264 MOVs) for the off-line edit in Premiere. Then reproduce the edit in After Effects for the on-line, which includes final colour work (invoking ACR) and enlargement to 1080p25 for the export. Almost any camera can pull off a decent close-up of something, so although it's a bit boring, I shot mostly wide views on a tripod featuring lots of detail to see how well it was resolved. It was a warm day and as expected the 50D got very hot. On a few occasions when I wasn't noticing the temperature warning turning orange, some takes were automatically terminated because the camera was forced to shut down -- sometimes the top of the pentaprism was actually too hot to touch. But turning the camera off frequently after a few takes was a reasonable working method for heat management and using a battery grip probably helped too. It's not a short film but a camera test - the leisurely editing style is purely to give a bit of time to see the RAW image character, though it's a shame something of the sheer luxury of the RAW look does not fully survive my vin check H.264 export followed by youtube's own secondary encoding. But I do like the character of these older Canon cameras with RAW shooting: almost incandescent colours are available in the files yet skin tones remain very natural. And the fact that the 50D can't normally shoot video at all makes it strangely rewarding.   Some technical info Date of shoot: 26th August, 2013. Camera: Canon 50D (no Mosaic Engineering VAF filter fitted). Lens: Canon kit zoom 18-55mm. ML build: 2013jul27.50D.109.go.unified.728e571a1276. RAW frame: 1584 x 662 x 25 fps. Camera frame AR: 2.39:1 (final export within a 16:9 frame). Sound recorder: Zoom H2 (wild sound). Export: 1920 x 1080 x 25 fps H.264 MOV (12,000 kbps).
    • Hello everyone & this forum friends! I am going to buy a video editing software, and I am choosing between Openshot and Filmora. Any thoughts or experiences with those two? Pros and cons? Thanks a bunch!revs check
    • er... i was wrong, Its actually 50mm metric, Any lens clamp with a bigger than 50mm hole would fit. Sorry about that was just looking at the elmoscope and thought i should recheck that as 49mm is a standard size.
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