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Found 169 results

  1. Hey gang, noob here. I am trying to install ML on my 5D Mark III using the RAW Shooting Guide from EOSHD. I'm following the instructions, but when I get to step 2 of the ML install (installing the nightly build), I get the message that the update file cannot be found. I've tried different cards, and same thing. If there is another thread on this, I apologize. Just point the way. Otherwise, anyone have any advice?
  2. Hey there, I am relatively new to these discussions; but after having scoured the internet for some answers I have been at a loss, so where better to ask than here??? I have been working for a my organisation for a year now, and my job is essentially being the in-house film-maker, for the past year I have been using my Hacked Lumix GH2 (don't ask me what type of hack it is, I did it in 2012, recording between 88-90mbps with no negative side effects, except that no playback is available until the camera has been turned off and on). I typically shoot in cinema 23.976 fps in 1080p and have a very fluid workflow (I produce about 2 videos a week for the company I work for). Since last month I have been 'upgraded' to the Canon 5D MkIII since the company didn't want me to use my personal gear (for insurance reasons, I travel a lot with the gear). And while there are some downsides in terms of bulkiness of the 5D body compared to the GH2 (and lack of swivel screen) it is a standalone camera and I find the two can't be compared too much: they are both great and stand well on their own depending on the job required. My ultimate question is: now that we're in 2014 and seeing as the GH4 is about to be released, what is the 'next level' in affordable DSLR's (or even dedicated cameras, like the Black Magic)in your opinion? I feel like I have been out of touch with the camera world since I hacked my GH2 in 2012, is this a camera that seems 'future proof' (with the hack) or will it shrivel to the upcoming 4k's?
  3. Hi Guys I want to chime off and see if you have any suggestion. I am a professional wedding and commercial photographer looking to make big camera switch. I plan on doing some commercial video assignments for clients in the next few months. I currently own the Nikon D4 and the video as everyone knows is not very good. I see myself as aspiring filmmaker/cinematographer. I want to put together a camera package that would allow me to still do my still photographer client work, and have a video camera for client and film work. I'm think of sell the D4 and getting a used d3 and use the rest of the money on the video end. I figure I could get $4,500 - $5K for the D4. The only thing is I have invested a lot in nikon lenses. Open to the idea of sell them as well, but would need some glass with AF. Current Gear Package Nikon D4, D7000, D90 Nikon 24-70, 70-200 VR2, Tokina 11-16(F-mount), 50 1.8d, 85mm 1.4d, Vitiator series 1 70-200 (macro), Leica Summron 35mm (M-F mount). Nikon SB-900 and 910 flash Manfrotto 501HDV - Manfrotto video monopod, CFL 3 point lights, LPMicro LED video light, Zoom H4N, Filters; Variable ND (Lightcraft Mk2), Polarize, Vid atlantic cinemorph. Cameras I like BMCC 4K GH4 (I know not out yet)
  4. Hello, New to the anamorphic game, have some questions. Few pics of the Hypergonar HiFi2 on a 7D (BMPCC next up). So far the results have been very nice and love the flares, but we noticed this lens is a bit soft. We've tried adding 1", 2", 3" of space between the camera lens and anamorphic lens hoping to find the "focal point"... didn't notice any difference. Moving on, Stopping down at F5.6 - F11 has increased the sharpness, but not by much. I'm curious if anyone else has a quick fix or has played with the inner glass orientation ? Any info. is good info. :)
  5. Hello everyone, I just installed Magic Lantern on my 5D3 last week. I have been doing some test shoots with it, but I keep coming up with this vertical banding. I have looked all over the place to find a solution, but can't seem to pin one down. I don't know if this is a problem within my camera, or the program I used to process the RAW image to CinemaDNG. Any suggestions would be incredibly helpful. Thanks!
  6. Is there any loss in quality using a ZF lens on a Canon body via an adapter? Would having a mount professionally switched using a company like Duclos in the U.S or TLS in the UK, be any better? Alex
  7. In the poll if you bought your 50D in a package deal, as best you can, estimate the portion that was due just to the Canon 50D body sans grips, lenses, flashes, etc.   I picked up a Canon 50D a couple of weeks ago for a little more than $350.  That was about the price I heard being kicked around months ago.   The question I have is was there ever a bubble post ML RAW announcement?  When I check eBay in the United States there seems to be a continuous unbroken stream of Canon 50Ds offered for sale.  Most of the body only sales can be had for $330-$430.   I also notice a lot of the 50Ds are sold with accessories.  The battery grip seems popular.  Rather puzzlingly kit lenses seem popular as well.  I always preferred to get the consumer line of cameras and use the money I saved to get primes and L glass.  It's strange to me that so many people opt for semi-pro bodies and things like battery grips and then skimp on the lens.   So is the lack of the predicted 50D bubble an indication of how niche video on DSLRs and particularly RAW on DSLRs is?    
  8. I've made the switch to M4/3 2 months ago. So far, couldn't be more happy, but then again I have done nothing but well-lit shoots or with plenty of daylight. But, in a few months I'll be shooting a few wedding videos again. Which means I'll be facing the challenges of shooting in low light. My Canon T3i did a decent job, even though going past 1250 ISO meant macroblocking and all kinds of ugly artifacts. The noise on my G6 is much less obnoxious, but it's still a lot less sensitive to light than my T3i. So, I'm looking for a solution to shoot lowlight and still stay within M4/3. Without having to setup lights (strictly ambient light shooting). From the few tests I've done indoors, the G6 seems to lack that extra bit I need. Is the GH3 the camera to pick for low light shooting ? And is it's sensitivity comparable to the Canon TXi series (read : the 7D sensor) ? Or is it the GM1 I need ? To be clear : lenses aren't the problem (shooting with a 25mm 1.4, 35 1.7 and 50 1.4). Anyone else made the switch from a 7D, T2i or T3i to a GH3 or GM ? Couldn't find any direct comparisons online ... Thanks in advance.
  9. It's Chinese New Years! Got my SLR Magic Anamorphot just in time to get all the celebrations: Food, festivals, and Lion Dances! I walked around getting footage with my Canon 5D mkIII using Magic Lantern's RAW Hack. The SLR Magic Anamorphot is very sharp and it is easy to use. There is slight vignette on the footage because my Vari-ND fader is 72mm, the front of the SLR Magic Anamorphot is 77mm. I'll have to get a new one at 77mm to solve this. Most shots were at F2.8 on a cloudy day, F4 for the Jupiter 9. Details: SLR Magic Anamorphot Canon 5D mkIII w Magic Lantern RAW Hack Canon EF 50mm 1.8 (majority of shots) Helios 58mm (near end) Jupiter 9 85mm (near end) Lightcraft Vari-ND Fader
  10. https://vimeo.com/59642343 Used Equipment: Canon C100 Zeiss CP2 18mm/35mm/85mm “A human being is only breath and shadow.†– Sophocles This quote from Sophocles inspired me to shoot this short film. It was a really nice experience to work with Canon C100. I pushed the ISO up to 4000 because i wanted to see how much noise will be generated. Of course there is some grain in the picture but the low light ability of the Canon C100 is still amazing. Working with the Compact Prime Lenses was uncomplicated. The Magnifier Button, which operates also during recording is an amazing tool. The form factor of the C100 is very handy and you are able to make your shots in a quick and comfortable way.
  11. My first trial with slow motion at the pier, going for a hyper-real technicolor grade. Continuous recording at 1600x500. Also shot some regular 24p stuff.
  12. Hello, Everyone.   I am debating whether to jump into the Canon 5D Mark III Raw video capture world, but as I have been researching the topic and equipment further I am now considering using Cineform as an editing codec in Final Cut 7.   Up until now I have only work with ProRes, but I have read excellent things about Cineform, so I wanted to ask others what they feel about it as an editing codec.   Does cineform work well in Final Cut 7?   Does cineform require more computer performance in order to edit with?  More RAM?  RAID?  Or would a RAID setup be overkill?   Is there a version of cineform you really prefer to edit in?  Raw?  4444?  422?   Is there much visible difference between the various quality levels?   Does cineform grading integrate well from cineform studio into Final Cut?     These are some basic questions I have after having read about cineform a bit, so I would love to get some real world feedback on it from others.   Please don't hesitate to add any additional observations you might have from your experience.  Every bit of information is useful to me.   Thanks so much.  I look forward to your responses.  
  13. A short promo about studying in Rome. Shot in May 2013 on the Canon 5d mark 3 RAW when RAW had just been released. 

Lenses primarily used: Canon 35mm IS and Canon 70-200 f2.8 mk2. I only had 2 Lexar 1000x, now I use these and 4x Komputerbay cards. Edited on Premiere, ran through Adobe Camera Raw in After Effects first to get better debayer and graded on Davinci Resolve. I hope you like it, let me know your thoughts! >
  14. Hello everyone, Long time lurker, first post. A couple months ago a short film I made was chosen for the San Diego undersea film festival. I thought I would share it. If you have any comments, or recommendations, I would love to hear them. Let me know what you think. Hope you enjoy. Dustin www.oceanshutter.com
  15. Hi there,   I'm pretty close to getting an Aquatech housing for my 5D Mark 3, and was just wondering if anyone has had any experience with shooting raw in the sea/surf?   I'm kind of resigned to the fact that it might not be too practical to be shooting raw over h264 with a housing, since you have limited controls - I think the trashcan button is not catered for - but presumably you can re-assign the magic lantern button? Also just the amount of footage you can fit on a 64gb komputerbay card, and possible card problems might not be great since you don't really have the luxury of swapping out cards in the sea.     anyone had any experience with this?   cheers        
  16. https://vimeo.com/77332920   This video is really three parts - lens test (taking and anamorphic), people in shots and atmosphere on location.  BTW the set is for the TV show "Person of Interest".   Sorry no music on this one.
  17. I was looking up some information on what Canon had in store for the future and I ran across this forum.  It's filled with photographers that are angry Canon is giving any love to the video world!  I couldn't believe how many people were upset.   Personally I think if you can't pick up any Canon or Nikon DSLR above their very basic entry models and take decent pictures the issue isn't with the camera.  Once 18 megapixels was hit I would have thought most people would be satisfied with the megapixel count in APS-C world.  Video is the part of the camera that needs a lot of work.  But I guess there a substantial number of people that disagree with me.   Anyway it was interesting hearing some of the other voices yelling at Canon.  Here is a taste...                 That was just a sample of page one.  So who should Canon listen to?  It's weird.  I have never seen such a divergent set of opinions about a product line.  And both worlds seem totally unaware the other exists.
  18. http://vimeo.com/74613572   My serene short macro film.   Mostly shot on Pentax-A 100mm f4 macro, with very close up shots using a reversed Sigma 24mm f2.8 super wide II.   I used my k-5 for tests and stills, but used a Canon 600d with Technicolor cinestyle installed for the actual shoot, as the dynamic range is greater, and it has manual controls. The lenses are attached using a canon-pentax adapter, which can be bought from Ebay for £10/$15.   To get closer I used a set of 50mm extension tubes, and sometimes used the Canon 600D’s 3x digital zoom (which is still full 1080p HD, a useful feature and no extra depth of field loss!)   The film itself is rather light on narrative; it’s just a progression of – hopefully!  â€“ interesting shots.   Hope you like it. I’m happy to answer questions on how I did specific shots and it’s always good to get feedback.  
  19. Hey guys, I'm buying my first camera soon, and I'll be using it to mostly make short films. Skits, shorts, comedy, maybe even record music videos and some landscapes?   Hoping to find a camera that is versatile in it's use so I can use two or three lens at most while I'm learning. I'm doing as much research as possible before I even put a dollar down because I know it can be pricey. I'd say my budget would be 3,000 and lower with few accessories maybe. Was hoping I'd be able to move my experience and lenset from this camera run onto my next in a couple of years.    I'm trying to find something that'll be able to last resolution-wise for the next couple of years as I learn and come into it. I'm hoping for something that shoots great HD 1080p 24fps right out of the box and more than likely i'll learn post production on H.264 and maybe move up to RAW or something higher eventually. I read that the workflow with RAW takes a bit of learning and processing power.    Here are my thoughts thus far:   I've found a $1600 5D MKII body only, and I wouldn't know where to start with the lens.  I've also found a$1700 6D body only [It doesn't have CF slots so I wouldn't be able to move into RAW]   I also saw that the D7 is getting RAW 1080p video soon from Magic Lantern, so I was curious if I should just wait around for that. Is this a guaranteed thing, by the way? ML isn't supported by Canon so they sort of just do their own thing, right?    I've also learned about the VAF filters to combat aliasing on certain cameras.    I saw the GH2[the hack looked very nice], GH3, and G6 and was wondering what my best option would be out of those three as well.    The 5D MKIII is way out of my budget for now.   So, if you guys could help me ingest this brand new world of DSLRs I'd appreciate it greatly. 
  20. This is a little 2 minutes short film we shot with the Blackmagic Cinema Camera. It is our first major field test of the camera and we weren't disapointed at all. We shot with a Canon 50mm 1.8 & SLR Magic 25mm 0.95. Coming from a DSLR background, I was really surprised how well he dynamic range really held up. We shot ProRes for everything except the opening and closing shots which we shot RAW. We used one bounce card but the rest was available light.    It's titled: "Le Rire". As you can probably tell by the heavy-handed french music, we were aiming for the feel of a pixar-esque short. Hope you enjoy!    http://youtu.be/icVmrZWD77A   As far as post production goes I edited in Premiere and mixed audio in Audition. Color correction/grade with Colorista II. A light pass of film grain was added via an "editwithlight" filmscan overlay thingy.     Thoughts? We love feedback!    Thanks, Luke Starring: Madeline Pickens & Jared Locke Written, Directed and Edited: Luke Covert Director of Photography: Myles  Extras: Michael Good Production Assistant: Allie Amstutz Le Rire is french for "Laughter"
  21. I've had the Black Magic Cinema Camera (EF version) since April, coming from a hacked GH2. I kind of jumped on the BMCC fanboy bandwagon and jumped into the camera without really studying other options at the time. It's capable of some pretty great images, but overall, I just don't like the camera. It stinks for any type of handheld shooting, the crop factor is a pain to deal with, pretty much every hard drive I own is full of RAW footage even though I try to delete what I'm not using, and it takes a ton of time just to grade a shot to get it to look "normal" and sync audio from my external recorder. No built in ND's (coupled with a native ISO of 800), lack of changeable battery, and poor audio with no audio meters is annoying as well. Like I said, the image quality can be great, but it is just no fun to shoot with and there is so much not to like about the camera. Sometimes I like to just pick up my camera and shoot something, but with the BMCC, this is really impractical. I'm not a professional, just an amateur/enthusiast obsessed with great video quality. I'm primarily looking for something that has a large sensor and can produce sharp, detailed images with minimal noise. I'd like something good for narrative with the bonus of having something I can run and gun with if I want to. I can hold my own with basic color grading, but I'm by no means highly skilled at it, so I feel I wouldn't lose too much if I no longer had RAW. I've narrowed my options to either selling the BMCC and buying a C100 or FS100, or sucking it up and keeping the BMCC. As for price I feel they are all somewhat similar. If I keep the BMCC I need to still buy ND's, a battery solution, a better rig for handheld, a wider lens, and probably some type of storage array for all this footage I'm amassing. For the FS100 I'd need to add the Speed Booster and ND's to get it up to the C100 configuration. For the C100, I'd probably pick up an Atomos recorder at some point in the future. For the FS100 I'd be shooting only with the Speed Booster as I have only EF glass. From what I've read it seems like the C100 should be an easy choice over the FS100, but I feel like the FS100 looks much more cinematic (maybe it's just that I've stumbled upon videos made by FS100 users with better skills than the C100 users? Or maybe it's just because the FS100 has been out longer?). Honestly all of these very cinematic pieces shot with the FS100 are pretty much the only reason it's on my radar as otherwise I believe the C100 to be superior. Any advice from people who have shot with either camera would be much appreciated. Is the C100 just as good or better than the FS100 when it comes to image quality? C100 Concerns: -Possibly not as cinematic as the FS100 FS100 Concerns: -Would only be shooting with the Speed Booster (bugs/issues/etc. with this?) -It's a couple year old camera, so I'd probably be disappointed if Sony released a replacement shortly after I bought one -No ND's -Form factor not as much to my liking as the C100
  22. Hello, Everyone.   I am debating whether to jump into the Canon 5D Mark III Raw video capture world, but as I have been researching the topic and equipment further I am now wondering what kind of real world computer performance in necessary in order to edit Raw video?   I have a Mac Pro (2009) with 16gb RAM and four internal HDs (500GB for OS and three 2TB for storage).   Until now I've only edited ProRes in Final Cut 7 on my machine, and I've never had a performance problem.  Moving into Raw shooting, however, I wondering if this will change my computer performance needs dramatically.   I'm planning on editing either in ProRes or Cineform in Final Cut 7, but I wasn't sure if the higher quality files and larger sizes of shooting Raw would force me to change my setup dramatically?   I will most likely need an external backup system to handle the larger storage needs, but I was wondering if investing in a RAID system is necessary?   I was also wondering is there were any dramatic performance need difference between editing with ProRes vs. Cineform?  Does one require more power to run smoothly?   I was also wondering where my money would be better invested in updates?  If I want better performance would it be smarter to add more RAM?  Or would I be better served by buying a RAID system?     Any input on how others shooting with Raw feel is greatly appreciated.  Please don't hesitate to add comments and insights beyond the scope of my initial questions here.   Thanks so much.  I look forward to your responses.
  23. Hello, Everyone.   I am debating whether to jump into the Canon 5D Mark III Raw video capture world, but as I have been researching the topic and equipment further I am now wondering how much data storage and backup will be necessary for larger files.   With estimated calculations of Raw footage being about 7GB per minute, I wanted to ask others who are shooting Raw how much storage space are you finding you need?   Terabytes seem like they would get chewed up quite quickly, so how many are people working with?  4TB?  16TB?  32TB?  And for what size projects?  5min?  30min? 90min?   Futhermore, data storage seems like it could vary dramatically depending on what editing format you end up converting the Raw footage into.  Up till now I've only used ProRes in Final Cut, but I am also seriously entertaining cineform.  It seems to have excellent feedback for a compressed file format, and would probably save space  compared to ProRes, as the Raw>DNG>TIFF>ProRes conversion for editing would require a lot of intermediate files, and storage space.   Finally, I also wanted to ask about computer performance when shooting Raw.  Since I will probably have to invest in an external backup system to get an adequate amount of storage space, I have started to entertain using a RAID system.   Do people find they need a dedicated RAID setup for editing speed now that they shoot Raw instead of H264?   Or is a RAID setup really overkill at this point from a editing performance standpoint?   Thanks so much.  I look forward to the responses.
  24. Hi guys,   Long time reader, first time poster. I have a small production company, we shoot some studio stuff weekly, and venture out making some comedy sketches, and soon we hope to be doing some slightly heavier drama. we always strive to make our stuff look great, but we're a small run-and-gun team. We work out of backpacks with mostly handheld kit.   We need a new camera. One we can sync our H6N into, use in the studio with our Autocue, our Stedicam and take out on shoots. We've narrowed it down to the 700D(T5i), the GH2/3 (? same ?) and the A57. Can you offer any advice?    Important factors are :   Form factor Ease of use and battery life FPS Lens availability usability (Focus peaking would be nice...)   Thank in advance - and before I'm lambasted I know this will have been asked a hundred times, but trawling though all the posts will take an age....
  25. Model Kyllie music video shot with Canon 5DmkIII RAW and Panasonic GH3. This is my first foray into shooting a music video with slow motion in mind. I also wanted to shoot with Anamorphic lenses and use a Steadicam for movement.  Learned a lot from this shoot, I hope to make the next one much better.   https://vimeo.com/72950991  
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