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Showing content with the highest reputation since 12/29/2019 in all areas

  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. 8 points
    androidlad

    Fuji X-T4

    6K Open Gate, 6144x4096, 24/25/30p 6K UHD, 5760x3240, 24/25/30/48p 6K DCI, 6144x3240, 24/25/30/48p 6K Wide, 6144x2592, 24/25/30/48/50/60p 4K UHD, 3840x2160, 24/25/30/48p 4K DCI, 4096x2160, 24/25/30/48p 4K UHD (Crop), 3840x2160, 50/60p 4K DCI (Crop), 4096x2160, 50/60p 2K FHD, 1920x1080, 24/25/30/48/50/60p 2K DCI, 2048x1080, 24/25/30/48/50/60p 2K Wide, 2560x1080, 24/25/30/48/50/60/72/96/100/120p 2K FHD (Crop), 1920x1080, 72/96/100/120p
  3. 7 points
    Benjamin Hilton

    GH5 to Alexa Conversion

    From a promo I did recently with the GHA color on the interviews, you have to skip in a bit to see them: Funny thing, I was in a meeting a little while back with the Director of a really big TV station in the States and was showing him a video I did using the GHA color, while watching it he turning to me and asked under his breath, "you shoot on Red, right?" I took it as a really big compliment I must say😉
  4. 7 points
    Bingo! A Fuji Cinema Camera would have none of the downside risks that a FF camera would have, while playing to Fuji's strengths and existing product range / customer base. Take the X-T3 internals, boost it up to make it be 4K 60fps 422 10bit internal, with built in NDs, and a couple of XLR inputs, and a TC & SDI I/O, plus just in general a smartly designed body like a FS5 or EVA1, then Fuji has a winner on their hands so long as they keep its final price below the competition!
  5. 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.
  6. 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?
  7. 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.
  8. 4 points
    Carz

    Fuji X-T4

    Nothing on the screen yet. That's the next big rumor we are all waiting on. Larger screen like the x-A7 and fully articulating would be game changing.
  9. 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.
  10. 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.
  11. 3 points
    Currently working on Project with S1 the colors and ibis is just bless some footage here ( Wip) this was shot on S1 with 24-105 f/4 with ND Now imagine for sec this camera in Pro hands? (am noob) Edit: Youtube compressed it sooo bad😪 on Davinci it looked so crisp and colourful
  12. 3 points
    Andrew Reid

    Canon EOS 1DX MKIII or Fuji GFX 100

    I'd go GFX 100 Larger sensor IBIS Phase-detect AF Excellent 10bit codec, not too huge file sizes Very good EVF Much higher resolution stills Better ergonomics for video (i.e. tilt screen) and more features
  13. 3 points
    Geoff CB

    ARRI's affordable camera?

    I think that Arri are currently quite comfortable concentrating on and dominating the high end market.
  14. 3 points
    EOS M for the win
  15. 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
  16. 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.
  17. 3 points
    Thomas Hill

    New year, New gear

    Then why replace it? -- The pot asked the kettle.
  18. 3 points
    MeanRevert

    Canon EOS 1D MKIII specs revealed

    Is that screen still small and immovable?
  19. 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.
  20. 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!
  21. 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!
  22. 2 points
    OliKMIA

    Canon EOS R5 - 8K30p 4K120p

    Yeah, and then at the product announcement you read all the *** *8K at 30fps: Timelapse mode rendering only *4k120: 2.3x crop, AF disabled, 2 seconds recording limit, converted to 30fps only * 7-8 stops IBIS: when combined with 1.8x EIS crop, AF available $8995 That's being said, if they finally give us clean 4k60, no crop, full sensor read out, no binning or skipping, and not BS crippling, I'll order it right away at $3-4k. Hopefully with some sort of articulated screen and not the size of brick.
  23. 2 points
    thebrothersthre3

    Panasonic GH6 rumours

    The S1 is there for those who can't afford the S1H. You lose high speed 10 bit but you still get 30fps 10bit full vlog, same sensor, amazing ISO performance, amazing IBIS. 4K 60p S35
  24. 2 points
    Hallo and happy new year to everybody!!! Made with a7iii + Tamron 28 75 + Dji ronin sc gimbal. Is the very first time that i use gimbal by the way. This is a small video with the Honda monkey z50 but with engine from Supra 125. Made from my brother in as a present to my nephews. Isnt ready yet but the final profile is ready and it looks like this
  25. 2 points
    I just ordered the Smallrig cage for my Fp. Looks well designed. https://www.smallrig.com/smallrig-cage-for-sigma-fp-camera-ccm2518.html
  26. 2 points
    You're doing this wrong. Having anything stuffed in a some sort of pita won't be nowhere near as stable as this: See that? Everything in its own place, organized. No jello effects.
  27. 2 points
    EphraimP

    Fuji X-T4

    No. That's the a7s III, of course. Just today I talked to a Sony shooter who was hanging on to his S II and dreaming of when the S III will show. I've been shooting on the T3 for less than a year and I bet you I'll have the T4 before he gets his fantasy camera. 🤣🤣🤣
  28. 2 points
    "camera: EOS-M with MagicLantern, lens: Angenieux 8-64mm Super 8 zoom, recording format: MagicLantern 14bit raw" :
  29. 2 points
    Maybe it will have a boutique carved ironwood grip?
  30. 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.
  31. 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?
  32. 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!
  33. 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.
  34. 2 points
    i kno rite. ive got my fingers crossed for fully articulated flippy ?
  35. 2 points
    For Micro Four Thirds fans https://www.youtube.com/channel/UCAu6iO8En48gGBcEzoUl-sA
  36. 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.
  37. 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.
  38. 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.
  39. 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! ?
  40. 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.
  41. 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
  42. 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.
  43. 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.
  44. 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.
  45. 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!
  46. 1 point
    IronFilm

    Panasonic GH6 rumours

    But at half the price!
  47. 1 point
    Zach Goodwin2

    How Can I Be A Young Director?

    Here is a new skit I have made:
  48. 1 point
    Emanuel

    Anamorphot-40 compact thread

    Last but not least from our good fellow @ZEEK:
  49. 1 point
    IronFilm

    Best MFT backup / second camera body

    I moved from a GH1 to a G6, it is just so much better, and the G6 is now so dirt cheap I'd struggle to recommend for settling for anything cheaper. (then again the G7 is only slightly more.... it is a slippery slope! Next step each time just being a little more)
  50. 1 point
    Alex Uzan

    New year, New gear

    I only have the 12-35 2.8 mkII, and the 25 1.7. Since I only use the GH5 for boring stuff like events, I haven’t put my money on lenses. About the Apsc EF mount, I’m sure someone will release a speedbooster to enjoy FF lenses. I’m not sure about that. what I usually read, is that for most, sony color science is not on par with Canon or Fuji. And with the 8bits limitation, it seems difficult to correct it properly. I personally disagree with that. First, the A7iii color science is far better than previous model. Second, if you shoot in HLG3/bt2020 with a perfect custom WB, and a color checker, colors will not be an issue. Even in neutral mode, you can get good results.
EOSHD C-LOG and Film Profiles for All Canon DSLRs


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