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Showing content with the highest reputation on 09/23/2016 in all areas

  1. 7 points
    cojocaru27

    Your ideal NX1 Settings

    thank you so much for the kind words everyone. All i had with me was the nx1 body paired with 16-50s and a very unstable and cheap tripod, had to upgrade it btw cause i missed a lot of shots because of it. Sometime i used the tripod folded as a rig for better camera grip and stabilization. In terms of settings i have used Normal Gamma with sat -5, sharpness -10 and contrast -3. I had MB at plus 9. I did the edit in Final Cut Pro X where i just tweaked the exposure wherever was the case and apply an m31 LUT at 50% and warmed the overall look and feel by a notch. that's all i did. Thank you again for the support and the nice feedback. i put my heart to it and it seems that got to u which makes me proud. cheers.
  2. 4 points
    cojocaru27

    Your ideal NX1 Settings

    Normal gamma, and mostly Ricadro's settings. Enjoy :
  3. 3 points
    ttbek

    Samsung NX Speed Booster

    Luca: Sorry, very busy week at work, there's a competition we're participating in so we've been trying to meet those deadlines. I would look now but I don't have have the software for it on the WIndows side of this computer, promise I'll look before I sleep tonight though. carlic: I'm going to try, that's not a question of funding, merely of my free time, my colleague's, and if we have enough info to pull it off. We finally have the parts to get started but he is sick so I'm not sure if we will take a look tomorrow or put it off until next weekend. If all people need is aperture control, that is a much easier proposition than the full deal and I believe implementation is available online as code for something like an Arduino. I have no intent of doing any manufacturing, if I am successful I will post the code, a full component list, recommended tools, etc... so that others can easily do it themselves. I intend to modify a dumb Canon to NX adapter using contacts from the AF supporting macro extension tubes for both NX and Canon, so a screwdriver, small handsaw, some kind of hotglue or epoxy and those 3 cheap adapters should be all that is needed mechanically. The whole thing should be doable with < 100 USD even if you don't own any of the tools at the start. Miniaturizing components or packing it all neatly into a custom adapter body is a different story, maybe Luca would be interested in that portion if we reach that point. Don't get your hopes too high though, we haven't even really started and it may be quite difficult, we'll see. It's also possible that we face lens by lens challenges, in which case it's not exactly feasible for us to go through every lens on or own, so we would post what lenses it is known to work with and put the code on Github or the like so that others can contribute parameters for their lenses if they figure them out.
  4. 3 points
    hoodlum

    Dont forget Olympus (em1ii)

    A couple more tidbit. http://www.mirrorlessons.com/2016/09/22/olympus-om-d-e-m1-mark-ii-extra-information There is no sensor crop for both UHD and Cinema 4K unless you activate digital stabilisation in addition to 5-axis IS (8% crop). Continuous AF will be available with the same features as for stills. You can vary the exposure while recording.
  5. 3 points
    TheRenaissanceMan

    GH5 Prototype

    It's useful for hobbyists who want to shoot handheld with no additional rigging. I've used it once or twice for doc work and a couple specialty shots on narratives where we couldn't use sticks or a rig. It lets you be lazy and still get good results, so of course we're all dying for it.
  6. 2 points
    I do a ton of corporate interviews, musing about some doc projects if I get some free time... The #1, by-god awesome, holy-cow thing for me as an interview shooter and editor: freaking 4K. If you have a feel for narrative, human nature, drama, etc, you can guide and cut a great interview. But reframing has changed the game for me. You can hide cuts, and tighten up the shot for the most dramatic or impactful statements. When I come in tight, I can do subtle camera moves/pans which really just "work" subconsciously. I can shoot a little wider than usual for lower thirds or graphics and still have plenty of pixels for a wide range of shot changes, without moving the camera. That's my #1. I use the NX1 for all interviews now (the 4k footage is pretty astounding), with a Nikkor 28-70 2.8 zoom generally - that zoom looks fab and it allows me to adjust framing quickly, like I setup with a stand-in and then the subject is 7' tall. (#1-a? A morphing plugin for your NLE. When they work, they're lifesavers - get every f*cking UMM and pause and stutter OUT of your edit!!)(Unless those express the personality - for corporate stuff they're goners). Other MASSIVE thing for interviews - if it's not "to the camera" (which I generally dislike) - who is the subject talking to? If it's me, I'm in a chair with a monitor on my lap, but I HATE looking down to check focus - people instantly feel like you've got something more important on your mind. So I have to go deeper with the DOF and if the subject is really active or excited - you'll lose focus. So I try to get someone to be an eye line. I QUIETLY whisper questions to that person - if you're behind the camera and you ask the question, even if you say "tell her...", their eyes will shift back and forth and it looks shifty. I'd much rather be riding focus behind the camera. With a follow focus and a 12" whip, so no jitters. I only wear headphones for initial setup and first roll with the subject, they are too "distancing" for me, unless I'm not the interviewer. IF THE INTERVIEWER IS NOT IN THE EDIT - make sure they answer IN CONTEXT so the question is not needed. Most people understand this, and understand if you stop them and say "context, please" or lead them - "I'm sorry, could you start that with 'the reason I love what I do'..." #3 major thing for a great interview - a third person with an eye for detail and grooming - most any lady or your gay buddy will do - (not trying to be sexist, just my hard experience) - even the receptionist - to keep an eye on hair, collars, lint, wrinkles, etc. There's too damn much to be focused on (for my tiny brain anyway) - most ladies like to be asked to be the grooming police and watch for that lock of hair that pops up halfway through, to watch for makeup issues on female subjects that guys don't even SEE. Have them look through the monitor for issues like shining skin, too. (I KNOW this sounds sexist and generalized, but I've found it to be true!!! If a lady looks decent in her clothes, she'll see what needs fixing.) So for a doc, I'd think about your assistant - someone that can watch for those details, help setup and pack and carry, and either be an eyeline or can babysit focus. I also use the NX for steadicam b-roll, I just stick the cheap little 16-50 OIS kit lens on it, very small and light on a Came steadicam, and I use the same QR on everything so I can be on the steadicam in seconds. From there, b-roll, establishing shots, whatever you need... lenses, tripod, jib, sliders, shoulder mount, etc. Have an ND solution if you'll be moving in and outdoors. Good audio is a must, the DR60 is a great piece of gear, and the camera-out with its own level control means you can use it as a preamp and not need to synch (I use the NX1 and when gain is staged properly, no difference between the DR card or the camera). But you have the recorder files as a safety if you get an over (and the DR records a 2nd track at -6DB which can save your ass). Get some closed-back headphones (even cheap ones). You need a great mic, or at least a good one - Oktava, AT 4053, or at the least a Rode, but get a hyper, not a shotgun. For about $200 you can get one of the OST lav mics AND the XLR barrel converter, which converts phantom power to mic power. So you can use a lav and not mess with wireless and be all-XLR, no monkey-business 1/8 crap in the chain. There's a small OST that hides great in a tie knot. LIGHTING - for a big window office where you want to hold the exterior, you generally need a 575 or 1.2k HMI par. And with many angles, your diffusion frame will reflect in the window, so you need strategies for that. Often a polarizer will knock down lesser reflections. Or you can ND the whole window if you have all day. I keep a 575 in the truck, but I have a "one-rock-n-roller-cart" setup to make one trip in for most gigs. I TRY to use a quad biax - they're usually under $200, and I clip diffusion across the barn doors, instant softbox that's the right size for faces, small and easy to move, no cold-start issues, etc. I also bring an Aputure 672 LED for rim/hair, or background (probably will get another sometime)... usually a small 300 fresnel if I want warm BG light... I also have a 400 HID setup that works with all the photoflex softboxes, but that's a DIY grow light thing (it kicks ass and looks legit, about 1200 watts of nice daylight). I also have a 2" daylight fresnel with a 150 HID globe and ballast, again DIY but looks like actual gear, about 500 watt equivalent) handy little problem solver. And a bunch of CTB and CTO gels cut to size and ready in a big ziplock. Usually doesn't take many lights to get a nice looking interview setup. In a pinch I can be setup and ready to roll in 20 minutes, though that's kinda stressy! For overhead mic, I use a steel roller stand - it's heavy enough to not need sandbags but easy to tweak the position. Those are pricey, $180 or so, but worth it. I don't bring c-stands to most interview gigs, too hard to pack, too heavy. Use good quality folding stands though, the Matthews steel kit stands are good. Find a good solution to pack all your stands in. I generally bring the steel roller w/ arm - decent stands for key, LED, fresnel - I bring a couple black flags (18x24) for spill or if the hair light is hitting the lens as a flag; a cookie and grip stuff; a couple extra boom arms and heads. Usually 5-7 stands in a bag. An 18" and 22" popup reflector/diffusor, gaff tape, spring clamps, and A LINT ROLLER!!! There are LEDs that would make a suitable key (the Aperture doesn't have the kick except for very dark setups), but they're a grand and up, the biax quad is still a trouper for me. All of that on one cart - I use two motorcycle tie-down ratchets to hold it on the cart. That's my business interview setup, but I'd likely use the same for a doc interview. Last week, basic setup:
  7. 2 points
    fuzzynormal

    GH5 Prototype

    Aren't all cameras that capture motion picture images capable of this?
  8. 2 points
    Kubrickian

    Canon XC10 4K camcorder

    You can definitely match them as long as the XC10 has enough light. Go above 1000 ISO and really discerning clients may notice. Even in great light though, if you pixel peep you can see the XC10 is pulling from a smaller sensor.
  9. 2 points
    tweak

    GH5 Prototype

    I hope it has an over-sized HDMI port and on sensor swap-able pixels.
  10. 2 points
    Mark Holmes

    The 4K Fuji X-T2 is here

    Another test with the X-T2. 4K, Acros simulation. I like the look the black and white gave our scene.
  11. 2 points
    carlic

    Samsung NX Speed Booster

    Ok. So the possibility of a smart adapter will be considered if and when there is enough funding? And it is not in the developement at the moment? It would be great if you could buy a dumb adapter now, and later be upgraded to smart. It would help funding too, since the people would not be holding off for the possibilty of a smart one in the near future.
  12. 2 points
    Michael Ma

    Yi (Xiaoyi) M1 is Official

    Yi will definitely shake up this industry for sure. But keep in mind it's 1st gen. The chances of it having (or not having) something that's a dealbreaker is likely 100%.
  13. 2 points
    BenEricson

    Canon XC10 4K camcorder

    Hah, that's a C100mkii...
  14. 2 points
    If video AF only works in P mode, its not amazing, its unusable - or more to the point, its horseshit. I'm skeptical on a number of features, need to wait for real testers to get past the Sony hype. There's a video of the 12fps burst that clogs after a couple seconds just shooting jpeg's, which means the buffer/write speed really sucks. I loved watching the guy squirm in the Cinema5d video, he clearly didn't want to talk about the shitty video AF. Live view AF is supposed to be an advantage of the SLT, after all these years I find it amazing that Sony and its vast engineering resources hasn't been able to figure out how to make it fully functional. Some say its the BionzX can't keep up, its been around for a few years too, if that's the bottleneck it needs to be replaced ASAP. This camera feels just as half-assed as the original a99, just a bunch of pieces from other cameras cobbled together. UHS-II isn't anything new since its been spec'd on other cameras for a couple years now. If this camera is supposed to be the A-mount flagship for the next four years, it should have it. The d500's write speeds will completely crush this with some pretty amazing write speeds. You would think Sony would introduce faster hardware with the flagship, but that's just not the case. Its not even out yet and its already slow/outdated. People love to bash Canon here, but dual pixel works really well, and it works all the time. Canon also understands the benefit of a touchscreen to pull focus, something else Sony can't seem to figure out. Outside of A-mount users that want a new sensor, this camera is shaping up to be as much of a dud as the original a99.
  15. 1 point
    Just wanted to share my anamorphic experiences on the forum in one topic for simplicity. For now I have been using : - 50D (MLRAW in 1280 x 1058 for 1.2:1 aspect ratio) - ISCO UltraStar (gold one with 1.5m minimum focus) w/ RafCamera Clamp - Helios 44-2 58/2 - Practika 135/2.8 (Industar-9 and Mir-1B are coming soon) Next items to buy IMO are : - New clamps (front and rear) as I don't like the tiny tiny screws that come with the RAF adapter and would like my clamps to be tool-less - SLR Magic rangefinder for rack-focusing ability Workflow is the following (whilst I don't find a more efficient way) : - MLVFS -> AfterEffects (CameraRaw & VisionLog) -> Premiere (dynamic link) & Lumetri -> DNxHD 4:4:4 10bit Export As I have no front clamp (yet), everything is shot without ND filter. Which is not a problem atm as I love the super16 look you get in sunny days The second video was the first time I really got to shoot at night, I have to say I enjoyed it a lot A few shots are misaligned and I saw it on the computer :s The screen of the 50D is just too tiny shooting 1.2:1 with in camera desqueeze to notice it whilst shooting) If you have advices, please do not hesitate to tell me, I'd love to hear them
  16. 1 point
    The Chris

    Dont forget Olympus (em1ii)

    Lets slow the 4k/60 raw roll a bit. The em5mkII with its 14MB raws can do 50 before the buffer fills, the Pen F's raws are just over 17MB - even if they doubled the buffer size we're still only talking about ~80 frames before it fills. 4, 5 or 8 seconds isn't going to happen. And it's only S-AF, so you're only guaranteed to get one frame in focus. Thankfully its with the E-shutter, so less wear on the mechanical shutter. Still the 24/30p bitrates are pretty nice. Everyone is talking about the 4k stuff, but the 1080p does 202mbps. Since RS on all the current 4k cameras is significantly better in HD, this could be one badass handheld cam when you just need HD as well.
  17. 1 point
    Flynn

    Yi (Xiaoyi) M1 is Official

    I can't imagine them selling many in the US at that price. You can get established brands for less money.
  18. 1 point
    Caught Max Yuryev comparing the GX85, Fuji Xt2, 5dIV, and A6300... all of which are the hot cameras right now (especially the A6300 )... a nice video considering low-light, detail, and DR. The GX85 fairs well, especially at its price point.
  19. 1 point
    I finally had the chance to upload the C-Log onto a camera. Unfortunately it's the eos-m10... Probably the lowest level Canon camera, but it's the only one I have access to at the moment. I think the C-Log definitely helps with the shadows and I am really enjoying it so far. I've also been testing some of your other profiles. I love the look you have shown with Chrome, but with my footage it is SUPER saturated, whereas your samples look muted... Do you think it may be camera specific? Also Cinema 4 is very saturated as well, when I cut the saturation in half, it more closely resembles your description. But with the saturation knocked down a touch or two, it kinda resembles the Wide DR mode in Canon's C cameras. Nice job, it's really cool to breathe some life into these cheap old tech cameras.
  20. 1 point
    cojocaru27

    Your ideal NX1 Settings

    here u go : Normal Gamma with sat -5, sharpness -10 and contrast -3. I had MB at plus 9
  21. 1 point
    Lintelfilm

    Canon XC10 4K camcorder

    Exactly. They cut very nicely, but only at lower ISO's. The HD image from the C100 (mkII in my case) is superior to the XC10's image even in good light, but not that noticeably. But the C100 has the best 1080p 4:2:0 image below 50mbps by a very long margin. The XC10 has the characteristics of a smaller sensor - more noise, a hair less dynamic range, more depth of field. Having said all that, if you shoot 4K 305mbps 4:2:2 on the XC10, it outperforms the crap out of the C100 for colour and detail in good light.
  22. 1 point
    teddoman

    Dont forget Olympus (em1ii)

    DPR interview says dual quad cores for processing data, 2x RAM of E-M1 With all this processing power, seems like they could handle full readout of the sensor, but full readout is conspicuously absent from announcements
  23. 1 point
    I've got a 54 & it's all about the taking lens, nothing to do with the Iscorama. The 54 is less forgiving than the 36 or 42 (the sharpest Iscorama) & you really have to choose your taking lens carefully, if you want a sharp image. Not sure why anyone is stating that you can't shoot lower than f2.8 with an Iscorama because you can, but also not sure why anyone would want to shoot at f1.2. The Core-DNA is really for dual focus Anamorphic attachments. If you've got a single focus Anamorphic, you'll be better off spending the money on some good Diopters - achromatic doublets, not the singlets.
  24. 1 point
    Jimbo

    Documentary for TV broadcast with EOS M1

    Congrats @Frank5 on getting the job! I'm not sure I can add any value above what other people have said, but may I ask how the TV channel found/approached you? Hope it goes really well.
  25. 1 point
    mercer

    Canon XC10 4K camcorder

    I don't have the 80D yet. I was waiting to see how the M5 matches up to it. Since it was sharing a sensor, I thought they were going to include the higher bitrate video as well... They didn't. Plus I wanted to do some tests on a cheaper camera to see if I can match Canon LOG and Reid-LOG. So, I just picked up a dirt cheap M10 to run some tests with. Plus plus I will probably wait for a Black Friday sale and try to get the 80D a little cheaper. But your points about close ups are very valid. This is why Canon DSLRs became so popular in the first place... Shallow depth hides the inherent budgetary and time restraints common in no budget filmmaking. Good point about M4/3rds as well. The problem I had found with every other brand of camera I have owned, other than Canon, is that the colors require more tweaking to look "good," and I am not that great with color. I think Panasonic is getting closer with their newer lines, but it still takes some time in post to acquire that "organic, cinematic" look and texture that comes naturally out of the box with Canon's color science. A couple months ago when I bought the XC10 and shot some footage with the 1080p C-Log, I realized in the first moment I looked at that first clip I don't even need 4K or actually want it in a lot of situations. I think 4K takes a naturally gifted colorist (which I'm not) or a good dose of FilmConvert to get footage to look "organically cinematic." And this is my fear... Even with the 100mbps from the 80D. So let me ask... how close is the 1080p C-Log from the XC10 compare to the C-Log from the C100? Are they indistinguishable? Can you intercut the two, without any noticeable difference, as long as the correction/grade matched?
  26. 1 point
    Narcos drone shoots are made with a GH4 (read so in IMDB) and they look gorgeous.
  27. 1 point
    Lintelfilm

    Canon XC10 4K camcorder

    No doubt. The C100 image is beautiful. But the extra sharpness, cleanness and higher bit rate of the 80D - combined with shallow DOF, a log-like profile and some nice glass - is going to look a great deal closer to a pro image than a Rebel ever could. Personally I still like the 5DIII's native H264 image quite a bit (esp for shooting people). The 80D is arguably better in some regards. I'd be interested to know what kind of DR can be coaxed from video on an 80D with the EOSHD c-log profile, as the sensor is rated at over 13 stops for RAW stills (much better than the 5D3).
  28. 1 point
    They're rather quick, what. Ok they're a bit pricer than sd cards, but you could pull em out, and edit on them. (And makes getting raw 4k a doddle ;)) http://www.anandtech.com/show/10698/samsung-announces-960-pro-and-960-evo-m2-pcie-ssds
  29. 1 point
    Kubrickian

    Canon XC10 4K camcorder

    I see what you're saying but I still feel like I could pick out an 80D versus a C100 in a blind comparison test 100% of the time. Canon 1080p DSLRs have a softness that is unmistakable at this point.
  30. 1 point
    Lintelfilm

    Canon XC10 4K camcorder

    Don't you have an 80D? Using Andrew's Log profile, fast lenses (e.g. Canon 50mm 1.8; Sigma 18-35) and sticking to shallow DOF (i.e. what you want it for) by ensuring subjects are within a few meters of the camera, you'll get results very comparable to a C100. The benefits of clean, high res cameras only really come into their own for deep DoF shots with loads of detail. The old Rebel cameras, 60D, 7D, 5DII, etc were always fine when shooting portraits etc because A) out of focus areas negate moire and B) the codec & processing that caused those cameras to be soft struggles much less when large parts of the image are out of focus - allowing bitrate and processing etc to do more in the in-focus parts of the image. Also the contrast between OOF background and in focus foreground makes the subject appear sharper than it actually is. Besides, if you're shooting people you don't want them to be too sharp. As the 80D is significantly better than any of those cameras you should be getting shallow DoF results that cut perfectly well with the XC10's wider shots. Something that doesn't get talked about much is that 4K actually makes far more sense on small sensor cameras, because you're always going to have deeper DOF and therefore far more detail to deal with. So for Panasonic it makes sense for them to have led the 4K move because (apart from the fact they want to sell 4K TV's) they have the smallest ILC sensors. Even their HD cams were much higher res than APSC counterparts - and really they had to be, because the MFT sensor always meant more detailed scenes (less OOF areas).
  31. 1 point
    According to Andrews review, the automatical reporting of Sigma lenses works flawlessly, he tried it with the 18-35 f1.8.
  32. 1 point
  33. 1 point
    fuzzynormal

    GH5 Prototype

    I concede.
  34. 1 point
    fuzzynormal

    GH5 Prototype

    Are you suggesting that a visually subjective cinematic choice is actually not subjective? If so, I'd argue that reality is subjective.
  35. 1 point
    little upgrade of 35nap 2-3m. lighter weight, 3D-printed mount lens. test shots exact proportions only, no sharping. single focus in search. sony a6300, helios 44-2 f:2 (open aperture)
  36. 1 point
    TheRenaissanceMan

    Yi (Xiaoyi) M1 is Official

    Preview footage looks interesting. A little over-sharpened, maybe. The colors are interesting. They remind me of the NX1, in that they're simultaneously somewhat muted and a a tad too much. That US price is just silly, though. This thing ticks a lot of the right boxes, but only at the initial launch price; cost being equal, I'd rather have a G7 or GX85 any day of the week.
  37. 1 point
    Marco Tecno

    Your ideal NX1 Settings

    Agreed, incredibile dr, also, in that point.
  38. 1 point
    Tried eoshd-log on the eos-m10. I used a canon log LUT from Color Finale with no other adjustments...
  39. 1 point
    MountneerMan

    Your ideal NX1 Settings

    Just watched it again. I really like the contrast, sharpness, saturation and everything else in the shot at 0:40. absolutely incredible! Please reveal your secret to this exact shot lol.
  40. 1 point
    MountneerMan

    Your ideal NX1 Settings

    I really like this as well. I love the detail and sharpness. I also would like to know the lens. To save time from looking through the forum what are Ricardo's Setting you used and did you use any LUTS in PP or just graded it yourself?
  41. 1 point
    webrunner5

    GH5 Prototype

    How big is your Hat Andrew! The only way I see them getting 6k and that sort of MP is if it has a Super 35 sensor in it. Or, if they have come out with some really Magic electronics jumbo mumbo that is new to everyone, even them. I think it Has to have some oversized sensor in it to pull this off. They have done that with the GH1 GH2. So they are not new to doing it.
  42. 1 point
    Marco Tecno

    Samsung NX Speed Booster

    The real "deal" would be an intelligent "canon lens to NX body" adapter (non speedbooster), with a good AF speed, for a price comparable to that of Metabones (which is 399$, about 350€). I'd buy one at day ZERO. Of course, the choice of having an intelligent speedbooster for canon lenses at a higher price would also be welcome, but I wouldn't probably buy it, since I'm more a still shooter after all, and the APS-c crop is nice for the kind of lenses I'd like to use on my NX1 (mainly 300mm and up).
  43. 1 point
    cojocaru27

    NX1/NX500 Hack Test Footage

    hey guys, please find below my first serious attempt of shooting with samsung nx1. It's just a travel film but i wanted to be more like a manifesto for the people in Nepal that stood straight before a cruel fate. Did my best to put the edit together and to grade the footage the way i saw it. Comments are much welcome :
  44. 1 point
    Agreed. Nx1 is often 'forgotten' in such comparisons (I'm not talking of EOShd alone).
  45. 1 point
    IronFilm

    That hollywood voice

    Yeah, but switching between boom and lav can be a little tricky as they could sound different. But is better to have the option than not have the option. Indeed quite a few productions will have everyone lav'd up plus a couple of boom ops! But sadly sound is often treated badly, so while camera + G&E might have 3, 4, 6, 8+ people... the poor sound department has one person who is booming and recording it at once!
  46. 1 point
    Google Ruslan Pelykh. I have a Sony RX10 II which I use along with an A7R II. It has limits, mainly do to with Sony's menu and the small sensor. Deployment somewhat slow.Considerable advantages too: shared profiles with other Sony cameras, making matching easy; takes the same XLR attachment; good range fast zoom. (Most of) this was done with the RX10 II over the summer, testing out some of its features.
  47. 1 point
    Kisaha

    Documentary for TV broadcast with EOS M1

    C100markII or C300(I or II) seem like a safe bet, very easy to use, the C100 is rather small as well (not M1 territory, but still), but you have to be specific with your codecs, C100 par example has a much lower bitrate than the afforementioned one. You have to ask specifically what cameras do they accept, it will be a petty to create technical obstacles for no reason, and M1/2 are rather bad video cameras, you can easily surpass them and got better results. Do you have a site? Your story sounds really optimistic and worthfollowing. Goodluck!
  48. 1 point
    Hanriverprod

    Canon 5d Mark IV Video

    Autofocus with Tokina 11-16 2.8 Dutch Videographer I think talking about whether a focus puller is needed with Mark IV. Maybe somebody can give a short synopsis of what he's saying.
  49. 1 point
    Oh man, if the FS5 had the A7S II sensor with IBIS, that would be brutally fantastic.
  50. 1 point
    I use a Speedbooster Ultra on my A7RII in Super 35. Super 35 image quality and I get what amounts to FF when using my MF Contax/Zeiss MF lenses + gaining a stop ... so a little better low light capability.
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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