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Showing content with the highest reputation on 01/30/2015 in all areas

  1. 1 point
    Since mention of the price drop with used F35's, I've been meaning to compare similar shots from 2 different seasons of a show known to switch from the F35 to the Alexa (w/o a heavy grade), finally got around to it... Alexa on the left, F35 on the right. Season one and four are compared (or 4 next to 1). The color grading was less consistent with season one and these are final, so I'd say take it with a grain of salt. You can download a full size jpeg here to see at 100% actual (cropped).
  2. 1 point
    Feels like this is the price this camera should have been from the start.
  3. 1 point
    ​"These are not the cameras for video you're looking for." "These are not the cameras for video we're looking for."
  4. 1 point
    I really hope people dont go up in arms about the video on this camera. This camera is clearly directed at photographers. So video guys
  5. 1 point
    ​I think the 7DmkII was the harbinger of what to expect from Canon DSLR video for the foreseeable future.
  6. 1 point
    Apparently they'll also announce a new rebel camera (750D) next week - I wonder if the video specs on that are gonna be harbinger for the specs on the new 5d... it will obviously be lower spec'd but if it's just same old features that might mean the same old features on the 5d (for video). Who knows...
  7. 1 point
    Yep me too. There's even a chance the 5Ds will have no video at all.
  8. 1 point
    Andrew Reid


    This will have video quality like the 50MP+ medium format cams... In other words, abject shit. And a crop. At best it will do D810 standard 1080p! Hope I have to eat my words but that's how I see it!!
  9. 1 point


    Remember to grab an Otus and shoot 3 stops closed down to deliver 50mpx onto that sensor. And I hope they have the ability to read all 50mpx at once, without rolling shutter. I think not and as such the new 5d will be worse than the 5dmk3 due to line skipping of 3/4 of the pixels. Sony on the other hand will respond with a 50+mpx camera with a sensor size that actually allows such resolutions to be a design benefit. The D800E pushes even the Otus to its limits of resolving power, and that's the best (technically) 35mm format lens ever made. For more mpx you need physically more image area for it to be worthwhile IMO.
  10. 1 point


    Cool for photographers. Irrelevant for film makers. ISO sensitivity for photos is 100-6400...uh oh. I doubt it will improve on 5D Mk iii video.
  11. 1 point


    Yawn, I couldn't be less interested. The video specs will be underwhelming (is anyone actually expecting anythibg decent from Canon? Lol) They are notorious for protecting their Cinema EOS line so this is going to be underspecced for video with the same shitty for video DSLR form factor and complete lack of decent video functions.
  12. 1 point


    Yeah, you've been telling many things. Specs were already rumored, by no means does this seem groundbreaking either and what about lowlight... What about video? So I would say hold your horses. Also... ALL CAPS... RLY?
  13. 1 point

    40mm f/2.8 vs 50mm f/1.8 for video

    ​No, they're not. The only people talking about focal length equivalents are DSLR/mirrorles stills camera users. In cinema 50mm is 50mm is 50mm, no matter 65-mm, 35-mm or 16-mm film/sensor is used. Also in cinema world "full frame" is called VistaVision.
  14. 1 point

    DSLR Video Quality Rank - January 2015

    Lol, this list was ridiculous.
  15. 1 point
    I'd probably also suggest to revise their typeface choice. Is that Arial? Especially the SLR MAGIC label looks kinda cheap...
  16. 1 point
    People are easily tricked by numbers when looking for something new. That is why you see cameras with 60x zoom, 24MP and tv's with 800Hz, this and that, etc. If his wish is 4K without even considering 'why', just because it's the latest and hottest issue... I'm not sure that's the right choice. Of course 4K has tons of benefits and I would be the last to say you shouldn't, but given you need to work with somekind of budget, putting everything in a camera body because of 4K... meh. Might want to reconsider that there. How about glass, fast cards, a tripod with fluid head, audio gear, tons of other accessories. But maybe he has been borrowing or renting gear and this is his first camera to actually own... and purposely has a use for 4K, then I agree with the above, the FZ1000 is one fine camera. It's like a lite GH4 14-140mm kit. The LX100 has great image quality and up to ISO1250 noise is really well controlled, but yeah, is a little less flexible to use. The 4K GH4 and NX1 can be bought as well, but remember you're gonna need glass, cards, et cetera. Not to mention processing power and storage solutions (although with the GH4 not as bad as with some other 4K cameras). You can get a focal reducer from eBay and some cheap vintage/legacy glass to not stretch the budget too much. But if there's no real purpose to having 4K... there are some great 1080p choices out there.
  17. 1 point
    FWIW, 24mm was the more common length in stills glass years ago (see Canon FD), and, I suppose, hits closer to FF 35 equivalent on a APS-C sensor than 25mm. That said, cinema glass typically includes the 25mm, rather than the 24mm (see, Xenon FFs, Zeiss Master Primes, Cooke, etc). For that matter, the 85mm is more typical in stills glass, whereas the 75mm is the more common focal length for cinema glass. Matching up to the Xenons (or Zeiss Master Primes), for example, we'd ideally want, in a six lens set: 21, 25, 35, 50, 75, 100 -- with a 135 next in line (and possibly more desirable than a 21mm for FF users). As an A7S/FS700/BM user, I can absolutely say I'd love to use the A7S with a set of well built, dedicated cinema glass (and intend to pick up a set of the Xenons - though if the SLR Magic timetable were sooner, would be very interested in those). Though the Rokinon DS's are a great value, they don't have nearly the build quality of more expensive glass. Camera bodies come and go -- lenses can last a lifetime, so paring up a long term solid, durable set of cinema lenses while swapping your camera body every few years is a sound strategy. Remember also, sensor sizes are getting larger (see Dragon 6K), so FF coverage may be very important in future proofing a set of lenses.
  18. 1 point
    ​Not a bad suggestion if he's just starting out. 1080p is much easier to work with for most home editing systems, and I was damn impressed by the quality from my little Sony A6000 when hooked up to a good lens. Shame it didn't have an external mic jack, but for the price the image it was fantastic.
  19. 1 point
    I see there are the most votes for a full frame friendly set starting with 24mm at the widest. So, I assume (wich is pretty logical) that of course the very big full frame crowd (A7s, 5d3, D810 maybe speedbooster users) did their fair share of voting. Thing is, tis set will cost slightly above 10k$ when released. I don't see any A7s user shelling out that amount of cash, when there is the samyang/rokinon cinema lenses option around. The uniqueness of the SLR Magic set is the PL mount. The cheapest new 6 Lens set that has PL mount starts at 20k + tax. So I see the real customers in those that are used to prices like 20k+ that are now very happy that they don't need to spend as much. Of course, not only those will buy, but I would say they should be served first. My preference would be (18), 21, 25, 35, 50, 85. Later I would add a 135mm
  20. 1 point
    Good news, anamorphic shop has included the FM collar 24 in the box when you get the FM, now you have the freedom to try different anamorphic lenses with your FM.
  21. 1 point
    Andrew, is it too late to suggest an 'option 7'? 18mm T3.1 - 25mm T2.1 - 35mm T2.1 - 50mm T2.1 - 85mm T2.1 This is just personal preference, but from my experience when folks want to shoot longer than 85 they use a zoom like a 70-200. I think SLR Magic should focus more on wide angle options because there are plenty of crop cameras being used for cinematography.
  22. 1 point
    I've had to realign plenty og shots caused by handheld camera and adapter on a tourist-promo I did a couple of years ago. Due to heavy vibration on the ferry I had to abandon tripods and pick up the rig by hand. Had no stabilizer of any kind. I the pulled the footage into after effects and used the pin-corner effects to drag/squeeze the corners of the footage to sort-of realign what was mis-aligned. Worked quite well. Check out the footage from the ferry on this: https://vimeo.com/71725984
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