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Andrew Reid

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Posts posted by Andrew Reid

  1. The invaders have now been turfed out.

     

    Please delete any PMs you got from spammers.

     

    Sorry this happened, I wasn't expecting it. Basically a bot used the "sign in with Facebook / Twitter" to gain access to the forums and slam it with spam. These features have now been turned off for new users. If you want to register as a new user you have to set up an EOSHD account.

     

    Cheers

  2. eoshd-judge.jpg

    The Sony PROduction Awards is a short film competition, and a chance to get your work noticed and win some pretty nifty Sony gear. Filmmakers from around the world will be pitted against each other and go up against a judging panel which includes myself, Andrew Reid of EOSHD, Shane Hurlbut ASC, Philip Bloom, BAFTA winning dramatist Tony Marchant and others!

    Enter your film now at the PROduction Awards competition website or read on for more details...

    Read the full article here

  3. Go for the conversion, definitely. The adapters with glass to correct focus will leave you with a virtually unusably blurry image at fast apertures, which is what this lens is all about.

     

    Great lens, deserves the conversion.

     

    There's also a guy in the UK who does a conversion where you send the FD lens to him. Professional guy and highly recommended.

     

    http://www.ebay.co.uk/usr/eddiehouston1545

     

    Try dropping Eddie an email :)

     

    The EdMika mounts look good too.

  4. It's old news. The technique uses interlacing on the sensor with alternate lines exposed at different ISOs, then blended in post to create the final high dynamic range image.

     

    The problem for video is that it creates a TON of moire and aliasing plus a drop of almost half in terms of resolution! None of the headline grabbing articles ever mention this though, because it's click-bate drivel.

     

    This technique is more useful for stills, but is it really needed? You can easily just blend three burst mode frames together bracketed at different exposures if you want 15 stops.

     

    The latest 1 stop improvement is just a tweak, and it's what engineers like doing best. Maximising every ounce of performance from their code. This is understandable but I'd rather Magic Lantern took a long hard look at usability and implemented new features on that side. For instance putting the Canon menu functionality for video frame rate and resolution into the unified Magic Lantern menus. Have a feature that forces the camera to record to CF card not the SD card slot when a CF card is inserted. Have an option for no overlays like in the 3:2 full screen no-info display mode but 16:9. Little boring things like this would make my life a lot easier when shooting raw on the 5D Mark III.

  5. I still see e-mount having a clear section of the market. FS cameras and consumer. Sony will likely keep A mount as a high end DSLR thing. Cinema too? Maybe. But the mount on that 4K CINE DSLR doesn't look like A-mount actually, more like some kind of positive locking mount. The smaller, metal chassis camera looks to be PL mount.

     

    Lots of 4K beasts to come from Sony I expect.

     

    Hopefully Panasonic's keen pricing on their 4K GH, will stop Sony from getting too excited over pricing the models hinted at above!!

  6. It's like some people have skim read the article. I'm clear that any image quality is camera dependant. Taken in a general sense if you are going to get 4x the data off the sensor and onto the card, you will gain a lot of other attributes if the camera's image processor and codec are up to scratch.

     

    For DSLRs to move away from line skipping and binning to a 4K video signal from the sensor, that avoids one of the ways so much dynamic range is lost in the first place, the throwing away of lots of pixel data.

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