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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

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  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.

    2,892
    posts
  3. SHOOTING AND FOOTAGE

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

    3,644
    posts
  4. SAMSUNG NX1 / NX500 HACK

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

    4,759
    posts
  5. GEAR FOR SALE

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

    2,395
    posts

9,122 topics in this forum

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  1. Lenses

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  3. Wedding videography advice

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  4. GH5S or X-T3?

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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 am saying this for years. Let's stop pretendind and create a super video camera on a hybrid form. A dual ISO 35 sensor a la JVC LS300 would be the sensor to end all video sensors! BM4K solve 2 basic issues with the 5" monitor and the mini xlr, the other - and most important in my opinion is an e-ND and that's it.
    • I think this is¬†the concern from pocket and micro users that the P4k doesnt have that BMPCC factor that made that camera amazing.
    • That's what the network ask for¬† practicality and image quality. Many people don't gasp the amount of data which goes into a production. I am doing a reportage now which will be between 21-25 minutes. Just the interview is between 2-2.5 hours, in total it might reach 5-6 hours of footage. No one wants to deal with 4x the data for just marginal gains.¬† ¬†¬†¬†¬†¬†¬†¬†¬†¬†¬†¬†¬†¬†¬†¬†¬†¬†¬†¬†¬†¬†¬†¬†¬†¬†¬†¬†¬†¬†¬†¬†¬†¬†¬† I
    • I consider the Varicam LT, Varicam 35, Sony F5, F55, and Venice, Ursa line, and both C700s cinema bodies (needs to be rigged for use, not ideal for a 1 man band) C100 - C300mk2, FS5, FS7, and the EVA 1 high end video cameras - ready shoot straight out of the box, all and all you need is a lens.¬†
    • Actually, I think this question will get easier to answer over time. It used to be that a cinema camera had lots of features (NDs, dedicated buttons), connections (SDI, XLRs), and high IQ (resolution, codecs, DR, colour science). So when hybrids got good, it was confusing because they also had much of the high IQ and some of the features. Once hybrids have all the IQ and features, then it will be down to the connections. ¬†This is as it should be, as no-one is going to run a 20-person crew with a hybrid and rely on the HDMI out - they will pay the extra and get a camera that can integrate into the wider architecture of a professional film-set with multiple monitors showing multiple grades to different people, audio mixing and wireless sends,¬†etc etc. ¬† If your film set is $20,000/hr then the difference between hiring a $5K camera and a $50k camera is negligible. ¬†Unfortunately the product lines from most manufacturers seem to indicate they are clueless about this. ¬†I don't think they are clueless about it at all, I think it's the middle-managers playing corporate chess for survival coupled with organisational cultural inertia that's the real reason behind it.
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