Leaderboard

Yes we can, good suggestion. I'll be making some tweaks as the days pass by, I just had to really slog to get it working at all. Been burning the midnight oil on it for a while now! I have done it all myself, rather than outsource it to a programmer.

EOSHD has a fresh look to both the blog and forum. Both are now responsive layouts with the latest source code and web technology. Now EOSHD comes to you faster and easier to use than ever before. More features will be added in the coming days and one I am especially looking forward to rolling out is EOSHD Soundtrack Compositions. This is the start of a long project but right out of the blocks I am impressed with the quality of music we'll be providing to filmmakers through it. So this is a new era for EOSHD and a new site design, please do let me know what you think of it on the forum and I will answer any questions you have about the new layout there. If you spot anything you think isn't working properly or could do with tidying up, do let me know! What's next this week on EOSHD 1. The final conclusion and part 2 of my Sony A7S review is almost done so look out for it. 2. I have been shooting with the Sigma 50mm F1.4 DG HSM ART lens and it is very interesting to compare the performance to my Cooke S4i Mini 50mm T2.8 PL mount cinema lens. One is a $999 photographic lens and one a $8000 cinema lens. The mighty Sigma will also go up against the lenses I love because of character first and foremost rather than outright performance - the Canon 50mm F1.2L and Leica-R Summilux 50mm F1.4. What's the best high end 50 you can get? Find out soon on EOSHD. 3. Photokina 2014 preview, ahead of the show the following week. Every year the largest consumer photographic show comes round and I'll be in Cologne, Germany from the 16th to cover the show first hand and see what's new. There's plenty of video related action at Photokina (the last one saw the debut of the GH3). Canon have all their Cinema EOS offerings at the show. Will there be anything new from them? Sony will certainly have their new F series cinema camera at the show and I can't way to try it out. I'll be interviewing Sony's Bill Drummond at the show about their Alpha stills cameras, such as the A7S. Lot's to look forward to and do come along and say hello! 4. SLR Magic 10mm T2.1 review. What's the latest wide angle for Micro Four Thirds like? My full review is in the works and will be ready soon. 5. Metabones Speed Booster ULTRA and Micro Four Thirds EF Speed Booster reviews. And finally... Thanks for reading EOSHD and for just being interested! By being passionate and interested in what we love to do over the long term, we improve the quality of what we do. It is a very interesting time to be a filmmaker in terms of the cameras and if there's any direction you'd prefer to see EOSHD move towards in the coming months do have your say on the forum. Read the full article here

I've been using the SmallHD DP7 and loving it, but it's pretty heavy. Using it on top of my GH4 with a hot shoe swivel head is clunky. It falls down all of the time. Comes loose. You name it. I searched the market for anything that would attach both sides of the monitor allowing for swivel, and a sturdy grip. Found nothing. I decided to build it myself out of parts found on eBay, and B&H. Here are the links to parts I used: CAGE: http://www.ebay.com/itm/FHUGEN-HONU-V2-0-VIDEO-CAGE-Kit-with-Top-Handle-HDMI-Clamp-for-GH3-GH4-A7-A7R-/231302638084?pt=LH_DefaultDomain_0&hash=item35dab62a04 SIDE RAIL CLAMP: http://www.ebay.com/itm/281056066980?_trksid=p2059210.m2749.l2649&ssPageName=STRK%3AMEBIDX%3AIT 2 PACK OF LONG 1/4"-20 SCREWS: http://www.bhphotovideo.com/bnh/controller/home?O=&sku=920351&gclid=CPqemNGJ1cACFYk7Mgod2EoAfw&is=REG&Q=&A=details 2 LONG BRACKETS: http://www.bhphotovideo.com/c/product/1062515-REG/desmond_d3d_3_mini_stereo_camera_bracket.html This could also be useful for the A7S and Shogun combo. I'll admit that this isn't ideal if you need to mount a microphone, but if you're going handheld for video only it's sturdy as hell.

Makes sense. With my A7 and 85mm lens I just used it on the weekend at 5.6 and even that is fairly thin depth of field, at least fairly close in. I think people forget that with full frame cameras 5.6 is similar in terms of dof to 2.8 with m4/3 cameras like the GH4 and f4 for APSC..

Nice but can we remove or shrink the banner from the forum? It takes up an amazing amount of space.

Yeh go for the Samyang 12mm or a Tokina 11-16. You wont find a bargain old lens wider than 24 really.

its difficult with short lenses as you need a lens support on your 15mm rods and a cable tie around the lens to hold it steady plus you then need to get the follow focus into position with the gears etc.......its all trial and error for each lens they all have different needs !! and then Nikon is another story as they rotate the wrong way so you need a step gear to reverse it --aarrgghhh!! in the end I just scrapped the whole idea of follow focus on micro 4/3 as it just slowed me down so much, try changing lenses in a hurry on set with actors waiting around ......forget it So now I just use 3 cameras with different lenses on each rig . When I need a different lens...I grab a different rig all set up its so much quicker

I have found that a follow focus on micro 4/3 is not very good so I stopped using it years ago the lens mount is very small in diameter and you get movement of the mount as you turn the follow focus and this applies an upward or downward force on the lens , I had to cable tie the lens to the rods and always use lens supports to stop any movement.....so I dont use at any more ..... I was using the Kamera follow focus .

All from Amazon UK except for the followfocus and viewfinder - bought from ebay :)

Look nice. But looks too complicated at first. May be I'll get used later. White text on black is definitely bad. I hate reading DPreview articles because of this.

I would not recommend those things which press against your chest. I used to have one. Because you're still using your arm to support the weight and to press the pad into your chest, you will still get jitters. If I were you i would continue using the gorillapod, which rests on your shoulders. My personal setup includes: Four 15mm, four inch rods. One Z bracket Shoulder pad Baseplate with quick release to mount the camera on Counter weight Handle Kamerar Follow Focus Kamerar Viewfinder Magnifier I would not take this for casual shooting though :P '>

I just managed to do some little rough cut with some primary grading done (not yet applied the "look" into the film yet). This scene is interesting for me as it was lit with 2 4K HMI light and 3 200Watt LED fresnel lights (200 Watt LED fresnel is equivalent to 1K HMI light), 2 Arri 650 Tunsten lamps and 1 little daylight LED lamp. The key light is from the torch the dude was holding. The surrounding was just pure darkness. This scene has a mixture of Samyang 35mm Cine lens, all 3 canon prime lenses I mentioned before and Canon 70-200 F.28 Lens mixed together. We tried to keep every detail in the histogram as much as possible and we even have to lower the aperture down to F2.8 with 800 ISO in order to get the shot under this underexposed scene. Hope it'll give some information on the lenses and how far the Magic Lantern camera can hold up against the underexposed set.

"The Apple iWatch by the way, looks truly beautiful. A masterpiece of design and engineering. " Thats ment in a sarcastic way?

The forum side of things looks familiar enough to the old one, and no doubt the eyes will get used to the new look in no time. But on the blog side the new look is a clear step backwards. The reversed white text on black background is quite straining for the eyes. Therefore without the Reader button in the Safari browser, the blog posts would remain unread by many people, including me. At least on the regular computer and screen. I do wish the layout of the blog was the same black text on white background as it was until yesterday, and as it is over here. That's my only negative feedback. The reversed layout is not just a matter of taste, it's quite a practical issue for many.

The new format is excellent.

  They said video mode too. It's only on the bigger Plus though.

Hey all, Haven't posted here in a little while but I thought I would share something I recently put together just for fun. Might be helpful for anyone looking for some Sankor footage shot with Pre-AI Nikkors, a combination that I personally love.

Hi, I think I have the same problem with my BMPCC + Pocket dedicated SB + Sigma 18-35. I'll do the grid test, similar to the one sir_danish did, to see how bad it is. Another test I'm going to do will involve BMCC 2.5K dedicated speedbooster, as I own 2.5K + BMCC SB combo too, which works with Sigma 18-35 perfectly, the image is extremely sharp.

If you want to portray a character struggling to move forward, trapped, not making progress, stressed that they're not going to get where they need to be in time, etc. ...even though he/she is moving toward the lens, a long lens shot is a good way to show that metaphorically. "The Graduate" comes to mind. The character runs toward the lens but never seems to get closer. Of course, this cinematic trope is used as a joke in "The Holy Grail."

I prefer doing the double system sound recording but I also attach the wireless audio into all the 3 camera as well in case that we might need them somehow. In post, I normally prefer doing the old fashion clapper board sync. The reason behind this is that we also get the chance to check each and every footage and therefore not skipping any detail on every take. Just help keeping us all in a good habit of going through all the footage all the time rather than checking only the good take one.

Hello there (Sorry for my bad English) I'm the director of the film embedded above. To clarify many question talked about in this forum. I would have to explain how we shoot this. For the equipment, we had 3 5D Mark III with 1.2.3 Magic Lantern firmware installed with 3 Canon Cine Prime Lenses (28, 50 and 85mm.) few L lenses (50 F1.2, 24-70mm F2.8, 28-300 F3.5-5.6 and 70-200 F2.8) and Samyang (Rokinon) Cine 35mm. In term of optical quality most lenses have pretty good sharpness (to the point that most of the audience will not notice the different unless you are working in this field) as long as you keep the F/T above 4 (and less than 11). If you want to work on 2.8 or 3.5 (less than that are totally not recommended by any chance even you sharpen it up in post. If you want the soft look, it's better to use Black Pro-Mist filter or Fog instead of using lower F/T Stop) then you'll probably see a some different between each lenses. At 1.2-2.0, it'll probably be used only in certain situation and I never recommend anyone using this T/F range as it always hard to focus and the overall sharpness is bad.) for color rendition, Samyang and Canon Cine are on par with the color representation. We found that 70-200 and 28-300 have less saturation and luminance than the rest. But it's still manageable in Post-Production to get the color to match the rest. I prefer trying best to use the primes one rather than the zoom unless it's for the sake of fast background movement or really soft background. The good thing about Canon Cine comes to the 300 Degree focus ring which helps a lot in such a complicated shots (like 10-15 focus shift in one shot while dolly back and forth and do a 360 camera turn) Even that (with F3.5), My Focus puller cursed a lot (in Thai) !! For those who look for a cheaper alternative to Canon, I would suggest you to get Samyang (Rokinon) as it has a full range of lens (with 50mm coming up soon). For my point of view, Canon Cine Prime are mostly for rental companies to own and rent it out (in cheaper price than Ultra Prime/ Cooke i5 or Master Prime) and still give a good optical quality for lower budget type of film. this should help answering all the question about lenses. For 5D Mark III with magic lantern. How we lit the scene is that we trying best to lit it in the camera's histogram range. Most of the people I knew of normally didn't do a proper testing to see how far the camera can go in terms of dynamic range and color the sensor can recorded. Everything you see in the frame is designed to take the full advantage of the camera CMOS sensor (blood color, skin mock up, on set smoke to tame the contrast down and bring the dark part up and at the same time lower the highlight down, cloth and set color etc etc.) Most of the DPs wouldn't go that far to workout with the rest of the crew to bring the best out of camera and therefore don't get what they deserved to after long hard working day shooting it. and last the Post-Production Workflow. We work on CinemaDNG all the way from the onset DIT to the lab. Using MLRawviewer to check each and every footage after we change the CF card (Sandisk Extreme Pro 128GB, we have 2 of them). Then break the MLV down into CinemaDNG and send it to Davinci at the lab (which required a fast set hardware to work on it at 2K DCI) We did tried blow it up to 4K and the result is stunning as it still contain all the sharpness. I asked some dude from Canon Thailand to come and see this footage (in 4K) at the lab on the big screen and they were stun of how there little old camera are capable of. I'm pretty happy with the result though (as long as you put a lot of hard work in it to make sure you squeezed every bit of their capabilities out of the camera) Oh .... we shot our film in Thailand .... it's pretty humid and it's 37-42 degree Celsius most of the time. The camera got heated up to the point that we were worry that we might cooked it for our next meal break, but it didn't get any damage though. Hope all this information help : ) Hopefully I can post more of the stuff soon. Still 2 more days to go til I finish the film. After the lab work, I'll probably come up with the trailer that I can post once more to see the end result.