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Showing content with the highest reputation since 12/19/2019 in Posts

  1. 9 points
    The great thing is, Speed Booster GH5S outperforms the 6K EF Pocket in low light as well. Unless you can get one of Luca's rather nice Magic Boosters. Who's for a GH5/GH5S Shooter's Guide?
  2. 7 points
    Sage

    Pocket 4K to Alexa Conversion

    Very nice. Soon to put this one on the website - That's the plan. Today I finished a major engine rewrite, to greatly accelerate supporting new cameras. Its the most ambitious work yet, that self calibrates and auto iterates. It was enormously difficult, and I discovered legacy code mistakes dating back to the very beginning.
  3. 6 points
    It is 2020, a year which marks 10 years of EOSHD this month! Those 10 years have flown by. I'm wondering how the filmmaking landscape for gear has changed since the GH2 days. What are you shooting with now?
  4. 5 points
    Geoff CB

    CES 2020 Announcements

    I hope Sony announces the full frame little brother to the FX9, or Blackmagic announces a camera with a Full Frame sensor.
  5. 4 points
    I occasionally watch this channel. His wife often comments on the lack of funds available to afford their own home due to his purchases.
  6. 4 points
    Andrew Reid

    Canon EOS 1D MKIII specs revealed

    The only tool here is Peter McKinnon thinking he needs a 2400Mbit codec for YouTube vlogs.
  7. 4 points
    majoraxis

    Which video editing software?

    I think Resolve is the future. The fact is that Resolve 16 is finally stable enough for pro users. I know people have been using it professionally for years, but having used all the versions starting with 12, it is finally ready for prime time, both feature wise and stability wise. It will become the industry standard in the next to 2 years, so learning it now will put you ahead of the game.
  8. 3 points
    Geoff CB

    ARRI's affordable camera?

    I think that Arri are currently quite comfortable concentrating on and dominating the high end market.
  9. 3 points
    EOS M for the win
  10. 3 points
    DON'T COMPARE LENSES WITH DIFFERENT MAXIMUM APERTURES ON THEIR "WIDE OPEN" RESOLUTION!!!! You wouldn't compare a 50mm F0.95 at F0.95 with a 50mm F3.5 at F3.5 would you? The f3.5 lens would kill the faster one, but that's just ridiculous. Lenses sharpen up when you stop them down, and the Voigtlanders sharpen up very well when stopped down. Lenstip is the only site that has measured both in a way we can compare, and you'll note that the Voigt is behind the Leica on sharpness but not too much when you actually compare them at the same apertures - here's the Voigt: and the Leica: The Leica is sharper, but it depends on what you're looking for in a lens. For example, here is a comparison between the Voigtlander 42.5mm f0.95 at F1.4 (RHS curves) and the Samyang Xeen 50mm T1.5 (LHS curves). The Xeen resolution is abysmal, yet it's on B&H for USD$1795 and those who shoot with it found it fine, and it didn't seem to really be that bad in tests... The Xeen at T1.5: and at T4: It sharpens up sure, but you're hardly looking at the first image and crying about how it's so terrible and unusable. We have to stop thinking like internet stills photographers who seem to only talk about sharpness, and start to learn from practicing cinematographers who love the softness of vintage primes and older lenses. @midloch I'd say go for the 10.5mm because you've said you like the less clinical look of your 17.5mm, and the 10.5mm lens should be the same. Also, 10.5mm is slightly wider. I have the Voigt 17.5mm and 42.5mm lenses and went with the 7.5mm Laowa F2 lens because I wanted the extra width, but otherwise would have gone with the 10.5mm
  11. 3 points
    IMO the D780 is DOA. It's a Z6 in DSLR form factor (but with no IBIS, Z-mount or ProResRAW). Still no internal N-log or 10-bit so you gotta carry an Atomos on top of it for any type of serious video work. At $2,300 this makes no sense whatsoever when you can already buy a Z6 new for $1800 or less.
  12. 3 points
    Thomas Hill

    New year, New gear

    Then why replace it? -- The pot asked the kettle.
  13. 3 points
    MeanRevert

    Canon EOS 1D MKIII specs revealed

    Is that screen still small and immovable?
  14. 3 points
    Sage

    Pocket 4K to Alexa Conversion

    The XT-3 likely has better; DR and gamut are interrelated (i.e. where r, g, and b clip). Sensor determines how much of both one can have. At ISO 400, the Alexa has more than the GH5 (more saturated, higher brightness clip point). The GH5 and P4K have rougher blue clipping (like Alexa red clipping under tungsten WB) The P4K has slightly less than the Alexa at 400, or including HR range, slightly more artifacted range. If image quality is primary, the P4K takes the cake (completely smooth codecs). The GH5 is best for its IBIS, or little things, like the viewfinder in sun. I intend to support the XT-3 directly this year, sooner rather than later.
  15. 3 points
    I expect every screenwriter to give a co-writing credit to their youngest child to ensure the family get the maximum run out of it!
  16. 3 points
    IronFilm

    6K RAW is over-rated. Here's why...

    Is now 2020 and I'm still filming in only 1080 Heck, my last two YouTube uploads were in 720P!
  17. 2 points
    "camera: EOS-M with MagicLantern, lens: Angenieux 8-64mm Super 8 zoom, recording format: MagicLantern 14bit raw" :
  18. 2 points
    Maybe it will have a boutique carved ironwood grip?
  19. 2 points
    10bit is like 4K vs 1080, even if you're going to be filming in 8bit (or 1080) most of the time, it is really nice to have the option of 10bit for when you want it. Hopefully soon manufacturers will realize 10bit is just as important at 4K to include in their cameras.
  20. 2 points
    It’s no secret RED & ARRI share the spotlight in high-end filmmaking production. That ranking has more to do with budget and industry standards than anything else. When you’re on a high budget and can rent anything you’re going to go for that latest RED or ARRI. Maybe a Venice or Varicam if you’re going for a different look. The C300 II is by far the cheapest camera on that list. It came out in 2015. The fact that it’s even on that list is to me a testament of its long lasting appeal. It certainly isn’t a flop in other filmmaking scenes like docu where it usually comes up on top. BTW I don’t see Ursa Mini, EVA1 or FS7 on that list at all. All Netflix approved cameras that came out around or after C300 II. What does that make of them?
  21. 2 points
    Andrew, I agree that there ARE a lot of stills pros STILL with Canon and Nikon (I actually do not think the number with Leica is huge at all and many of those that DO actually use dual systems) but there ARE an increasing number using Sony (or rather an increasing percentage in a shrinking market). I also think a LOT of Pros that use Sony are also dual system users including quite a few Canon users who investigate Sony (while keeping their lenses still though that is dropping off a bit now maybe or some have settled on Sony and selling off their canon gear). Again though there is an increasing number, at least around here. It also depends on what you mean by "pro" as around here at least there are a LOT of people who hang out a shingle and shoot weddings on the weekend...many of those are still "serious" photographers and seriously good. Then there are those using APSC cameras to take Santa pics/portraits at the mall. I would also take the work of many high end "enthusiasts" over many pros too and are clearly "serious photographers". This is the bit i objected to especially... "Most of these users are not serious photographers or videographers either. If they do video then they know how much work goes into fixing Sony color. I've seen professional photographers that use Sony and post work with horrible unnatural skin tones that can't be fixed by shooting RAW. Sony is not being used by serious professionals." And THAT is as ridiculous as it would be to say that ONLY Sony users are serious photographers/videographers....it is rubbish!
  22. 2 points
    Yes. The idea is not to keep updating it. How often do Arri change their colour science? Once you get it working, once you get it looking beautiful, there is no need to keep tweaking it. Sony had it right in 2008 then fucked it up and tweaked it for past 8 years to the point where it's only 10% better than the fuck up. Honestly head should roll, but just like they doggedly stick to the same broken menu system, it seems they stand by their failures in people management too. My reading of the situation, is that most people are attracted to Sony by the high-specs. I am sure they have more enthusiast usage than pro for stills. I think most stills pros are on Canon / Nikon / Leica. If you buy a stills camera for the high specs you are not going to care about JPEG very much. You are going to care about the raw files, and have ample skill in Lightroom to do what you like to the colour and dynamic range. In video, it's a different story and you are at the mercy of the image processor to a much higher degree. It has to be right. I have had lovely results from Sony's cameras because they at least afford us a great control over the picture profiles, gamma modes, colour gamuts, etc. and enable us to mix up the settings to patch over any shortcomings in the default ones... of which there are legion. But it is still the case that my 1D C beats it every time for skintones and teal / orange shooting where you want to maintain a nice emphasis on warm and cool tones in a single frame. The auto white balance is also far better. I will do a comparison between the 1D C, Leica SL2 and Sony A7 III soon which proves there is a big difference in the ways the cameras handle colour and WB. The good thing like I said above is that Sony is not shy about giving us a lot of settings to play with. When you have the Minolta colour science to compare with (Sony A900), a Leica SL2 and a 1D C, or even an Alexa, you have the best industry reference for colour science in the world to act as a guide. This is what makes EOSHD Pro Color possible, so thank you Sony for allowing us all those complex options to diddle with while I compare. On the other hand if you are a non-technical shooter with a great eye and a job to do, but no time to diddle around and not a high level of nerd ability and nerd patience, are you going to have a spare 100's of hours to test settings or even the benchmark cameras to compare to? I don't think so. You just want the damn camera to deliver out of the box effortlessly like your last one did. If I were the latter, I would not let a Sony mirrorless camera within a yard of my shoot. It would be Leica SL2, Fuji GFX, or Canon 1D X III all day long.
  23. 2 points
    i kno rite. ive got my fingers crossed for fully articulated flippy ?
  24. 2 points
    For Micro Four Thirds fans https://www.youtube.com/channel/UCAu6iO8En48gGBcEzoUl-sA
  25. 2 points
    I think one thing to remember is that flashing/reviewing/showing off all the new gear is part of the business model some of these YouTubers use to make their living. It's the affiliate links. The key for channels like Potato Jet, Matti Happoja, Crimson Engine, Peter McKinnon, Kai W, etc, etc, etc, is to get reviews up as often as possible, especially when flashy new gear comes out, to pull in viewers. Yeah, they only make pennies per view, but they make a lot more through affiliate link purchases. The next $ tier up is the big brand deals that people like McKinnon get to fly somewhere posh like Dubai and shoot ~10 minute advertorial/blog videos about products. And the bigger the channel gets, the more likely big companies will loan or give away gear for a video review and little/new/Chinese companies will just send random product to them in hopes of getting a mention. Matti Happoja has mega swag-opening sequences pretty regularly on his channel that highlights this phenomenon. I wonder how much of brands' marketing budget has shifted from TV commercials, magazine ads and other traditional media purchases to social media placement. For marketing people, it's all about the impressions per $ spent.
  26. 2 points
    mercer

    Magic Lantern Raw Video

    It really is an amazing camera and although I sometimes think I need an upgrade, I really couldn't be happier. I have the 50mm 1.4 Samyang and for the money, I don't know if there is a nicer 50mm lens around. I think my next lens purchase will be the 24mm but I hear that lens suffers from copy variations so it may take a few tries to find a good copy. Which Samyang lenses do you have? Also do you prefer the 5D2 more than the eos-m? A friend of mine recently bought an eos-m based on your videos. He left 4K and IBIS behind with the change.
  27. 2 points
    An in-depth look at the white paper and 1D X Mark III codec https://www.eoshd.com/2020/01/canon-1d-x-mark-iii-finally-canon-get-serious-about-dslr-video/ Certainly the best DSLR (note... "DSLR"!) for video on the market at the moment... But those file sizes are media costs are eye-watering for the 5.5K RAW. In region of $500 for 13 minutes. The 4K 10bit is more tempting and it's 60p, no crop. Still, it is in the wrong form factor... Needs to be in a mirrorless camera. I think the 1D X Mark III will be a great shot getter and sexy gimbal camera though.
  28. 2 points
    kaylee

    I Have Filmmaker's Block

    sometimes, when you're making a doc, a NEW LEVEL OF NARRATIVE reveals itself as things move along...! keep an eye out! ?
  29. 2 points
    I (and many others) think Sony's color has improved considerably. I've done color work on a couple films shot with the A7 and A7s2, and those were the worst colors I've dealt with, especially SLog2. From what I've seen on the web, the A73 is a significant improvement. I don't think there's anything wrong with modern Sony color anymore.
  30. 2 points
    Been away over the break and also shot a bunch of scenes for a longer form thing whilst at it, i'll post some frames later but now i've spent quite a bit of time with the sigma. I'm liking it more as a stills now, i left a summicron 50mm on it mostly and that combination is lovely - the leica is better on it than the A7s - perhaps the lack of OLPF and filter stack has something to do with that. It's the perfect camera for M mount lenses for sure. I brought a limited lens set with me, just what i needed for shots - 21mm voightlander, 50mm summicron and 85mm APO HyperPrime. The 85 is an insanely good 85mm, one of the best i've used and the sigmafp works well, resolves everything the lens sees no problem. In terms of footage i shot some MOS as 23.98 to get 12 bit, sped up to 25 in Resolve is usually not noticeable and i'm working with snow at times - so range with sun and everything is tough. The rest was 10 bit with sync audio. I shot some plates for vfx elements as well. I even ran the camera with a car going over it. Overall it performed really well. The 12 bit cine vs 14 bit still is nigh unnoticeable and 10 bit is great so long as you don't push the shadows up too much. I want to do a dynamic range test - i have a step wedge around here somewhere. I feel the range is the same as the a7sII which is also a 14 bit RAW container. I suspect the range is pretty much the same as all the current sensors like this and in fact 12 bit in cine mode seems very very common too. Issues: Well, i find myself hanging the SSD off a cable sometimes - when moving fast and rigging it's easier to leave it dangle and that's probably bad. My screen exposure seems to change and flicker (in terms of the brightness of the LCD itself) A RAW exposure tool is really vital IMHO But shooting RAW is so damn simple, as filming should be. Just nail exposure and you're good to go. I read in Film & Digital times that sigma themselves recommend interpreting this as Blackmagic Film - i think that's nuts - what does everyone else feel? cheers Paul
  31. 2 points
    barefoot_dp

    Orange and Teal look deep dive

    Orange and teal/blue works when you shoot with mixed lighting sources. The reason is simple: Shoot with a tungsten source and a daylight source and WB somewhere in the middle, and you'll get orange and blue tints on the lights. Then you can apply this to use colour contrast to separate your subjects/background/compositions in realistic situations. Warm interior light mixed with "moonlight" coming in through a window. Dusk exteriors with flames or lanterns drawing focus. A candle or warm overhead lamp to make one table stand out in a restaurant/bar scene. By emulating real mixed-lighting situations, we can use the colour contrast very effectively. Pretty much every scene that uses mixed-temperature lighting is using the orange-teal technique to create contrast and draw focus or interest. If you're just throwing a couple of LUTS and maxing the saturation on a scene that lacks colour contrast, it's not going to work.
  32. 2 points
    fuzzynormal

    Orange and Teal look deep dive

    In the industry, I'd agree that legacy attitudes and craft work will remain. People that are considerate of what they're doing tend to make more artistic decisions. However, The YouTubers and social media influencers will be leading a certain aesthetic moving forward, I think. Hard to run from that avalanche. We'll get used to (have gotten used to?) 60p and vertical video, for example.
  33. 2 points
    Yeah exactly, 2020 is going to be my rental year. On cooler projects, Im gonna skip my fee and just rent nicer lenses. Which is going to be better for my portfolio anyhow.
  34. 2 points
    Tito Ferradans

    Sirui anamorphic

    I waste no time! hahaha. Mine is the final version. Bokeh depends a lot on the focused distance, smoother the further away you focus and really cat-eyed on the sides when at min focus. There's a sweetspot somewhere in the middle. As for flare, many things can be influencing your perceived difference, from white balance to color correction. What @kye said. Pushing the hues all the way around is pretty extreme and bound to give you poor results. You can still try it. hahaha You're welcome!
  35. 2 points
    Mako Sports

    Your gear of the decade?

    So far Davinci Resolve Studio, and the Sony cameras I've owned since switching from Canon. A6300, Z90, and currently A7iii and FS5. Premiere Pro with all of its bugs and crashing made me hate editing, Resolve Studio has brought some of that light back. Sony gave me better lowlight, 4K, awsome 120fps/240fps, autofocus, flat picture profiles, better DR, and great reliability.
  36. 2 points
    hyalinejim

    Your gear of the decade?

    Yes, my 5D3 spanned almost all of the decade in 3 stages - normal h264 - mlraw - mlraw at higher resolutions
  37. 2 points
    wei

    Difference of ISCO Lenses for GH5

    I own a red Isco 2x version. some say that it has barely no flares. But after several tests, I found that the flares really varies depending on what main lens you are using. for example, with a cctv 50mm toy lens and SLR rangefinder, I got a really amazing horizontal and rainbow flare.
  38. 2 points
    Nikon 50-300 ED ais f4.5 Its my favorite zoom lens, nice manual focus ring and on the sigma I have two lenses at apc, it becomes a 75- 450mm ( this was shot at apc ) Only downside is the minimum focus distance that is a bit far
  39. 2 points
    No, the autofocus will. Canon users are happily paying $2300 for a 15-35 f/2.8! Canon RF 24-70 f/2.8 $2,300.....Lumix 24-70 f/2.8 S Pro $2,200 (with better IS)....Sigma 24-70 f/2.8...$1,099! Canon RF 24-105 f/4 $900.....The Lumix 24-105 S f/4 macro $1300 (doubles as a macro, unlike the RF, has better IS) Lumix 16-35 S Pro f/4...$1,500 (this one is slightly overpriced) I bet if the Lumix S series cameras had capable PDAF for video then it would have be extremely popular alternative to Sony and Canon. Canon RF lens prices are outrageous, but people pay to stay in the system because of Dual pixel autofocus. Panasonic should have taken the hit and used PDAF for at least the S1 and S1H. I think they made a mistake.
  40. 1 point
    This topic is fairly interesting to me. Let me pretend to know what you guys are talking about and summarize the issue. When the sigma FP is debayering the raw footage; it seems to be causing artifacts because of the algorithm it is using - a firmware update is needed to cleanup the out of camera video by using a better algorithm. Also, since RAW is RAW, davinci resolve needs an update to better read the sigma fp raw footage because it too is adding artifacts to the footage. If those two things were fixed. Most importantly, the better support of FP raw within davinci, than for $1.8k, this is a really good camera for the price. Am I seeing everything correctly? ?
  41. 1 point
    Shooting with it yesterday on a C300 II and I had the same thought - really wanted it to be longer. It's just too limiting, but the f1.8 aperture is too good to pass up. 16-55 f2 would be amazing, but I'd take an 18-50mm f2 in a heartbeat.
  42. 1 point
    Double Osmo Pocket performance for half the price: https://www.indiegogo.com/projects/vmate-palm-sized-gimbal-camera-with-all-your-needs#/ https://www.gizmochina.com/2019/11/22/snoppa-points-out-the-differences-between-the-vmate-and-dji-osmo-pocket-gimbals
  43. 1 point
    IronFilm

    Lens transmission

    Transmission value is the actual measured value. While F Stop is only the theoretical value. (a theoretical value which doesn't account for complex details like light loss due to reflections or thickness of glass elements, etc) Thus why the T stop is always larger than the F stop.
  44. 1 point
    RCV

    Pocket 4K to Alexa Conversion

    Legend man! When will the update be available? also any update to the daylight version with the new system as well?
  45. 1 point
    Hi everyone I Just wanted to update everyone that I have Found that the front part of a 55mm metal lens hood will fit perfectly into the m58 Helicoid, in order to make it fit over the Bell & Howell scope you have to cut off the 55mm side so it can slide over (I used a exhaust pipe cutter for cutting, it wasn’t the easiest but definitely doable ?)
  46. 1 point
    Some really nice highlight recovery in this video, I don't understand everything as I don't speak German.
  47. 1 point
    Don't forget that Blackmagic has it's own line of new HDR recorders that can record both ProRes RAW and BRAW. It's very possible that Blackmagic: 1. Supports ProRes RAW in Resolve in the near future (as is Premiere Pro and Avid). or 2. Comes out with support for BRAW for the Z6 on its new recorders via HDMI. I'm not a hardware engineer but I'm assuming the RAW output to Atomos via HDMI is utilizing the ethernet capabilities of the HDMI 2.0 spec that allows 18Gbps bandwidth of data (any data). That is more bandwidth available than 12G SDI on the BM recorders for example (assuming relatively small packet overhead on the ethernet protocol using jumbo frames or super jumbo frames).
  48. 1 point
    You can buy a Blackmagic UltraStudio Mini Recorder which is HDMI/SDI to Thunderbolt which is about £100. Then you can use ScopeBox which will turn it into a fully fledged monitoring solution with scopes, LUTs and focus peaking. https://www.divergentmedia.com/scopebox ScopeBox is $149 for the first year and $99 to renew although you don't have to continue and get to keep the latest version. So if it does all you need then consider it a one off purchase of $149. There is a free trial to let you decide if its right for you. However..... You do know that for exactly the same as that combined price I'm just going to tell you to get the Acsoon CineEye system again don't you ? Its just a far more versatile option and gives you all of those same facilities but does it wireless. If you don't have an iPad then there are a ton of 10" Android tablets on Amazon for well under £100 that it will run on that, combined with the tools it has, will give you more than enough screen size to get the job done. If you yourself are going to be the subject that you are trying to nail focus on, its a lot easier to be doing that holding a tablet than it is juggling a laptop on your knee.
  49. 1 point
    I wanna keep this on track, and will be adding other channels as I find them and hope others do too, but this is today's example of what frustrates me these days about a YouTube. (see attached) You know when the "influencers" all got their free gear because they all literally post their "reviews" at the same time. I'm not sure if it's because there's some kind of embargo or if everyone just rushes to release theirs first, but when you see everyone posting theirs at the same time it: 1. Hits you over the head that they all got the gear for free. 2. Tells you they probably rushed to make the review, which isn't very helpful from an editorial or quality stand point. What I'm trying to say, and I'm not sure if I'm succeeding, is try to appreciate and actively support those that post genuine content that helps educate and inform. While I was a bit critical of Caleb Pike's EOS R coverage, he's someone that I appreciate and respect because he buys most of the stuff he reviews, and continues to put out educational stuff, proving that you can be successful without becoming a shill. Anyway, rant over! ?
  50. 1 point
    Shot this mini doc while on vacation in Mauritius. It's about those who work behind the scenes to uphold the illusion of paradise. Shot on GH5s, it was intended as a camera test as I wanted to see how 60p and V log play. So it's shot on either 4k 8bit or FHD 10bi at 60pt. In both cases, V log bands quite horribly even in 10 bit FHD. Unfortunately, being on vacation I didn't use an external monitor so I couldn't see the banding until I got it on my computer. I hope this is something Panasonic can fix, at least in 10bit (no excuse). I love Vlog in 10bit 4k non 60p. But I'll probably have to experiment with HGL settings which is a drag because I prefer Vlog overall and I'd hate to have to mix the two settings for a sequence. Also, I shot it with Olympus 12-40 2.8 and 40-150 2.8. Love both of these lenses as the manual focus is excellent. I used a monopod for the 40-150 and handheld for the 12-40. Coming from a film background, I don't miss the IS. A little camera shake doesn't kill me, especially for a doc. It was my first time using the 40-150. This lens is superb and worth every penny. But it's not a handheld lens. It has the reach of a 70-200 in FF and that extra 40 over the Panasonic 35-100 makes a huge difference. Also being able to switch to true manual (no fly by wire) is worth it. Here's the link. Enjoy. https://www.youtube.com/watch?time_continue=3&v=9O0cuTdsl8A
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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