Anamorphic lens flare – with fishing wire!!

I like this clip shot in London for a number of reasons. It isn’t perfect by any means, but first of all it’s a great scene (from a great movie), second of all the acting is pretty convincing and thirdly the anamorphic lens flare is from fishing wire! That’s innovation on a budget. Sound comes from a Zoom H4N, also good – considering this little gadget costs just $400 / £250. Soon enough even Homeless Guy will be making HDSLR movies! Read more on Vimeo

The death of full frame in video land?

As the Canon 5D Mark II and Nikon D3S show, full frame may be winning now – but do we really need it?

Rise of the compact High Sensitivity sensors

Recently I was comparing sample photos from the Canon G11 to the Panasonic GF1, I found that at ISO 3200 the G11 was almost matching the GF1 for resolution, detail, colour and noise simply through virtue of having a very sensitive imager and very intelligent noise control… from a sensor the size of a baby’s pinky finger.

Back in video land I rested easy… but then yesterday came episode 2 of the Great Zacuto Shootout (spoilers ahead)

Read moreThe death of full frame in video land?

German precision versus Japanese ingenuity – Zeiss Flektogon 35mm F2.4 meets Canon FD 35mm F2

Two of the ‘must-have’ bargain lenses for the Canon 5D Mark II and Panasonic GH1 are in the 35mm range. The GH1 needs a good fast portrait lens around the 35mm mark because the Lumix pancake is a bit too wide at 20mm, and a 50 is too much like a telephoto. 35mm is the perfect compromise and gives you shallower depth of field than the pancake for half the price. Remember 35 on the GH1 = 70 on the 5D Mark II in terms of your framing and field of view.

Read moreGerman precision versus Japanese ingenuity – Zeiss Flektogon 35mm F2.4 meets Canon FD 35mm F2

Anamorphic Widescreen – Panasonic GH1 with LA7200 Lens – Part 1

Read part 2 here

Here at EOSHD I am a bit fan of widescreen cinema. When I shoot, I think of the greats of cinema like Hitchcock and Kubrick, and I not only find it fun to try and get the best out of the GH1 – but to get something unique. The look and feel of super-wide screen shooting with anamorphic lenses is unique, and very very cinematic.
At the moment, normal 16:9 widescreen is ubiquitous and everybody is doing it. So get ready to step away from the crowd and let’s investigate proper cinema widescreen with some real life shooting!

Read moreAnamorphic Widescreen – Panasonic GH1 with LA7200 Lens – Part 1