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EOSHD

Welcome to the EOSHD forum. The knowledge-base for all mirrorless, DSLR and pro video cameras.

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  1. ANAMORPHIC

    The largest online community devoted to anamorphic filmmaking.
    Discuss lenses, adapters, workflows and post lenses for sale

    16,592
    posts
  2. BLACKMAGIC CINEMA CAMERAS

    Raw shooting cameras - URSA Mini 4.6K, BMCC, BMPCC and more

    2,859
    posts
  3. SHOOTING

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

    3,582
    posts
  4. SAMSUNG NX1 / NX500 HACK

    Discuss the NX1 hack and more. Share your mods. Share your tests.

    4,721
    posts
  5. GEAR FOR SALE

    Post classified ads for your camera gear and filmmaking related kit!

    2,321
    posts

8,950 topics in this forum

  1. TERRA 6K Footage

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  2. EVA1

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  3. C100 mkiii

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  4. GH5 4:3 vs 16:9?

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  5. GH4 Lens Help

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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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  • Posts

    • We shot event with live switch/live stream/live projection + QA with couple c100mkii and gh5s, works really well, full size hdmi out is a must cause I break so many mini/micro hdmi out cables in the past. We also use 5D3 and M50 with C100 for some other shoots, they match really well vs other brand of camera. I wouldnt do C100 on Ronin, too heavy for all day shoot, the 6D2/80D will be better for that, especially with touchscreen autofocus. For stage event 30P is enough, i dont think i ever have to do a slowmo for those kind of stuff.  
    • Just got a gx7 with 14-140 f3.5, the grip on gx7 is more comfortable to hold than gx85, wonder why Pana went backward with it? The lens is just much smaller on M43 vs other bigger format. I have to get a bigger bag for A7III since my small bag cant hold it anymore with bigger lens.    
    • So out of all three of the custom PP's which ones do you guys like? I stick to PP3 and use the EOSHD Canon Color LUT to get me to a starting point. 
    • Yep, not even the FS5 does 10bit 4K.  If Fuji delivers, I'm not sure why people would be so dismissive of this camera. 10bit, great colours straight out of camera, 4k60p and the best lenses if you want to stay compact. It's what everyone wanted a year ago and all you really need today for 99% of the time.  Hey Fuji, now give us an FS7 or C300 style camera with XLR and TC inputs, high data rate recording (ProRes or Dnx?) and paired with your wonderful and affordable fujinon cine zooms, we'd have a great A and B Camera system.             
    • Hey guys, I'm new so apologies if I'm posting in the wrong place or if I seem... Confused, cause I am! My goal is to create content that is of the highest quality that I can generate today, which looks good with devices available to the masses right now and in the future ie HLG/HDR10/DV. I'm seeking NLE advise, specifically in DiVinci Resolve (15 Beta) as it is my understanding that Resolve is ahead of the curve in regards to working with and triggering HDR content properly for YouTube delivery, please correct me if I'm wrong. I've jumped on the HLG bandwagon perhaps without fully comprehending the nuances of HLG, but alas here I am... I'm shooting with an A7R III HLG / 8-bit Rec.2020 colorspace, GH5 HLG 4:2:2 and DJI X5s D-Cinelike -1/-1/-1 all ETTR. Most 4K/30p but some 1080/60p/120p to be played back in 30p for slow-mo. I'm using an X-Rite colorchart as a reference point to create my own LUTS. I have an HDR10 monitor that displays 100% AdobeRGB (Dell UP2718Q), running Windows 10 with HDR/WCG enabled.   My questions are: What should I be using for project settings? I'm assuming 4K UHD 29.97 timeline and playback, Divinvi YRGB colormanaged, Input/Timeline/Output Rec.2020 HLG ARIB-STD-B67. And will a render using that output setting cause viewing issues with SDR devices? Curiously I can't enable the checkbox "Enable HDR Metadata over HDMI", I can't find "Enable HDR Scopes for St.2084" and I can't enable the checkbox "HDR Mastering is for XXXX Nits" as shown in this tutorial, probably as I'm using an mDP cable to my monitor AND/OR because he's using Resolve 12.5... does this matter? My understanding of DP vs HDMI is that for monitor use, DP is the preferred connection method. I believe I'm dealing with mixed gammas between the HLG and D-Cineline, how does one work with mixed gammas in a single timeline? How does one handle Rec.2020 and Rec.709 clips in a single timeline? If I'm working in a Rec.2020 colorspace does that affect the appearance Rec.709 footage in anyway?  Does working and grading in an HDR sphere change the appearance of SDR content when delivered to SDR viewers? In other words, what looks good to me may be crushed when viewed in SDR/Rec.709, how to I know/prevent/deal with that issue?   Thanks for your input guys! As you can tell I'm still new to all of this... Photography came to me easy, but video... phew.  
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