2.5k Archives

You can now run a script file from the SD card inside a Samsung NX1 and NX500 to enable extra features.

Canon 5D Mark III raw video crop mode performance

June 24, 2013 by Andrew Reid (EOSHD)

5dguide1

Crop mode is covered in my 106 page EOSHD 5D Mark III Raw Shooter’s Guide on 5D Mark III raw video here

Above – EOSHD “raw rig” above is comprised of the Lanparte BMCC cage with 5D Mark III and LanParte follow focus / carbon matte box from HDVideoShop

Slashcam and I set out to test the 5D Mark III’s crop mode as precisely as possible using a chart – it is possible thanks to 100% accurate framing in crop mode with the black & white Magic Lantern live-view preview mode. Further optimisations to the buffer handling by Alex at Magic Lantern aims to make higher resolutions such as 2560 x 960 at 98MB/s sustainable for longer or even continuous.

2.5k CinemaScope anamorphic raw on the 5D Mark III

May 20, 2013 by Andrew Reid (EOSHD)

Get the EOSHD Anamorphic Shooter’s Guide for a comprehensive guide to anamorphic lenses, which ones to use, how to get them and how to shoot

Download the 2.5k 2560×1280 Vimeo file and playback on a 2.5K or 4K display for best results

Download a pack of DNG frames from the original raw files to judge quality

The spec sheet is impressive. 14bit linear bayer raw is sub-sampled from a 6K sensor, giving 1280 lines of extremely clean resolution with an anamorphic compliant 4:3 aspect ratio.

This is in a similar league to the image quality of the Sony F35 (Superman Returns, Tim Burton’s Alice In Wonderland) which cost $250,000 just 5 years ago.

RED Epic versus Blackmagic Cinema Camera – Part 2 – Resolution and conclusion

February 12, 2013 by Andrew Reid (EOSHD)

Above: the Epic with anamorphic lens

In the second and final part of this mini-shootout with the Epic and Blackmagic Cinema Camera, we take a look at the resolution chart.

Sony asks “is 4K worth it?” Their own research says…

November 27, 2012 by Andrew Reid (EOSHD)

Sony have published a study into 4K in theaters. Called “Does 4K really make a difference?”. The advice is aimed at cinema companies upgrading to digital projection, who are faced with the choice of either 2K or 4K projection systems.

The EOSHD Blackmagic Cinema Camera Shootout

November 19, 2012 by Andrew Reid (EOSHD)

In a joint shootout with Slashcam in Berlin, EOSHD put the Blackmagic Cinema Camera into a bear pit against all rivalling cameras between $500 and $4000.

It was a clear day and the results are just as stark. Download the full 2.5K shootout video. Here’s my verdict on which camera you should buy – based purely on image quality.

The following cameras are in this test:

Blackmagic Cinema Camera (retail)
Panasonic GH3 (pre-production v0.5)
Panasonic GH2 (hacked)
Sony FS100
Canon 5D Mark III
Sony NEX VG-900 (full frame E-mount camcorder)

Lossless Blackmagic Cinema DNG 2.5k workflow for Adobe Premiere CS5.5 / CS6 with smooth playback and editing

August 23, 2012 by Andrew Reid (EOSHD)

DOWNLOAD 2.5K BLACKMAGIC H.264 FOOTAGE HERE

(Important: on the Vimeo page for this clip, click download to get the 2.5K 80Mbit clip. Don’t bother watching it full screen from the stream as it is a pale imitation of the full 2.5k file)

I’ve been experimenting today with Blackmagic Cinema Camera workflows.

I use Adobe Premiere as my main NLE. I am not an FX guy so rarely use After Effects. But it comes in very handy here.

Premiere cannot yet edit the CinemaDNG files natively, performance is very limited, it interprets the footage at 1fps, requiring you to fix this for every clip and image quality suffers greatly, possibly because it doesn’t allow you to edit in glorious 12bit.

Here’s the solution that’s working best for me…