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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

    17,557
    posts
  2. RAW SHOOTING CAMERAS

    ALL THINGS RAW! Cameras including Blackmagic and codecs like ProRes RAW and BRAW. Accessories like external recorders and workflows including raw compatible NLEs.

    3,579
    posts
  3. SHOOTING AND FOOTAGE

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

    3,927
    posts
  4. SAMSUNG NX1 / NX500 HACK

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

    4,928
    posts
  5. GEAR FOR SALE

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

    2,917
    posts

10,181 topics in this forum

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  1. Lenses 1 2 3 4 250

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  2. GH5 to Alexa Conversion 1 2 3 4 57

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  3. Sony a6300 4k 1 2 3 4 39

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  4. Your ideal NX1 Settings 1 2 3 4 42

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  5. GH5 Prototype 1 2 3 4 32

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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

    • I'm not sure about the F1 example, but I've worked on the broadcast for an international sporting event series where Red cinema cameras are integrated into the broadcast. There's essentially two camera teams working side by side.  Broadcast cameras (including specialty slow-mo cameras) cover all the action & interviews for the live stream. Red cameras get better quality coverage for heat highlights/daily highlights, promos, sponsor/partnerships content, athlete profiles, social content, archival etc. The Red content is ingested and edited on site so packages can be integrated into the live broadcast, sometimes with very fast turn around times. I'm talking really fast - eg following a good match-up, an interview plus some b-roll & might be shot and within an hour edited into a package (including action highlights) and ready for broadcast. I'm sure there's plenty of sports leagues around the world doing the same thing, and I've definitely seen plenty of Red's and Arri's in the background when watching sports broadcasts. Anyone who's worked in a live sports broadcast knows that a lot of content that appears to be live is actually delayed, (eg post-match interviews might be recorded during a commercial break immediately after the final buzzer and played back "as-live" 20 mins later after lots of post-match commentary/breakdown) so it's quite plausible that this sort of content could be shot on a Red, ingested, and played out as-live without anyone even realising.
    • hi there, I have a simple question related a massive difference between braw and cdng (or other raw formats): is the sharpness embeded/fixed in braw? I know that I can modify it in blur tab in resolve but I mean using it in initial debayer settings. thx in advance.
    • Lossless zoom not optical ends in an advantage for the 7T version with 12MP, especially going along some extra accessory such as this one when available for Androids, only on iPhones side so far:   Or this one, they announce as fitting Android smartphones like the OnePlus devices, even though I guess only dual lens based:  
    • I'm a madman. Do as I say, not as I do.      
    • The crazy thing is that, even though I'm sure this is happening, the used market is never flooded and the price for used cams is barely less than a brand new one. Right now it's cheaper for me to buy a Hero 7 new rather than used, because with a brand new one from a retailer I get the 10% GST rebate (because I am also a GST registered business). It does seem that GoPro control the market for older models very carefully. You won't ever find a 2-years old model in the bargain-big at any big retailer, and it seems like the day a new models comes out the old one is taken off the shelves. They must do some sort of buy-back program with their retailers where they get all the old stock off the shelves, giving people no option but to buy the newer models at the higher price (and also keeping the used market price up because the msrp or street price never goes down before all the stock disappears (unlike, say for example, Canon, who seem to build price drops into their pricing strategy over the life-cycle of a camera).
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