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So we've all been waiting for months for this camera... its supposedly shipping and yet there is not one single image out there... what's going on ?

Just posted this on Vimeo---EOSHD LOG W/ LUTS

I purchased the profile and the LUTS. I haven't had a chance to load them onto a camera yet, but I did test the LUTS on Canon LOG 1080p footage from my XC10. They work pretty well. Cine 3 is definitely my favorite so far. Ungraded Canon LOG from XC10... XC10 with Cine 3 LUT, no other adjustment... Now I need to do a test with a Canon DSLR to see if I can match the look of the XC10 Canon LOG with the EOSHD C-LOG. If so, this opens up a couple opportunities for a 2 camera set up. The XC10 for general shots... the meat and potatoes of a shoot, and a DSLR for any close up requiring shallow depth.

OKAY, here is the quickie test, regarding e-stabilizer or no. Agreed, this is insane to hand-hold 135mm with tele-converter ON (effective=270mm!), but I wanted to try to push the stabilizer to the max. Result is really quite good, but the e-stabilizer caused "tremor-artifacts" as it freaked out in the 2nd take - I was holding the camera with elbow propped up on the window sill continuously and NO, this is not an earthquake region. So I will stick to advice previously given by Andrew and others; leave the e-stabiliser OFF!

for recording - nope if you think of using HDMI - no idea (and I can't test it here) Change the VGA resolution, and see what comes out on the HDMI you can play and change the HDMI output: The possible settings are: 576P / 720P / 1080i / UD / UD_4K st cap capdtm setusr HDMIOUT 0x350001 st cap capdtm getusr HDMIOUT UserData is HDMIOUT_576P (0x350001) st cap capdtm setusr HDMIOUT 0x350002 st cap capdtm getusr HDMIOUT UserData is HDMIOUT_720P (0x350002) st cap capdtm setusr HDMIOUT 0x350003 st cap capdtm getusr HDMIOUT UserData is HDMIOUT_1080I (0x350003) st cap capdtm setusr HDMIOUT 0x350004 st cap capdtm getusr HDMIOUT UserData is HDMIOUT_UD (0x350004) st cap capdtm setusr HDMIOUT 0x350005 st cap capdtm getusr HDMIOUT UserData is HDMIOUT_UD_4K (0x350005)

Thank you for sharing Marotte's work, I wasn't familiar with him at all. And yeah, clog from the 1dC is simply gorgeous, and to be honest I'm not sure I would trade anything the 1Dc offers for DPAF... That image is so organic, so cinematic that you almost need to physically and personally pull the focus to be a part of the process. As far as breaking the 180 rule, hey whatever suits you. I'm pretty sure @kidzrevil and @jase expose that way, and I really enjoy their work too.

Also, things like white balance correction will be much better. When trying to use a white balance eye dropper on 8-bit, it will almost always clip one of the color channels in some areas. When it clips, the color changes into a different hue in some areas, and you lose detail as well. And along the lines of that, any grading tools that shifts the color channel values, rather than apply color) are very limited in their range and function. Of course we are only talking about 10-bit. We won't get the range of grading a RAW file from a photo camera, but 8-bit to 10-bit is still a huge improvement.

Ty Harper, the H4n had shit shit pre amps. But the H5/H6 pre amps are a leap forward. And the F8 preamps are better than anything Zoom has ever made before! And the F4 pre amps are the same as the F8.

I just bought this C-Log picture style today, and it's incredibly good! Here is a test shot with my 70D and a 50mm 1.8 STM lens. I'm really glad, that i purchased it, for 10 bucks it's really worth it!

I believe there's a thing called Instagram that's quite popular with one or two iPhone users. It's popularity is partly due to the "film look" it allows.

To each their own really. But there are some technical benefits to adding grain, like how it can sometimes help prevent blockiness and banding from youtube/vimeo compression

As far as I'm aware, manually white balancing a camera changes the color on two axis - blue/orange and magenta/green. Similar to using CTO or CTB and plus- or minus-green. Manually white balance a still and open the raw image, and you'll see (via the raw sliders) how much correction was used. Or shooting a still in a situation with imperfect WB and then setting white balance in the Raw converter will show you how far the color axis had to be changed to get the color accurate. I'd like a camera to show me those numbers when I manually white balance. Often I'm shooting in offices with modern flo fixtures, which are usually around 3700k with a lot of green. if I have a pre-pro chance, I can shoot the place with a raw stills camera and figure exactly what flos (most of my flos need 1/4 CTB and 1/8 -green to get a clean 5200k) and HMIs need gel-wise so the office fixtures look natural and function as fill. It looks odd to the client when I'm putting orange and green gels on my lights, but it sure is nice in post. I've found if the RAW slider is halfway up for magenta, that usually equates to about a half minus green, and so on. Color temp is more of a sliding scale than linear, but it can usually be sussed out quickly. This wouldn't be an earth-shaking feature but would sure be handy. Modern cameras are pretty decent color meters when you think of it - would be nice to have that data presented somewhere in the interface - since it's already in the camera.

I don't know of anyone who has done this... I think most filmmakers want the flexibility to switch lenses quickly and easily. A single-bodied anamorphic solution that integrates the taking lens would prevent that. But if you only ever wanted to use one taking lens, an "all-in-one" solution could be done. If you want it to be single-focus (where the taking lens is set to infinity, and you focus with the anamorphic), this limits your options. You would probably need an SLR Magic Rangefinder or Rectilux DNA. Many people have made housings where anamorphic alignment is set once, then all they have to do is swap taking lenses. Here's mine: Fabrication can be tricky depending on the the size & weight of your anamorphic, and whether your anamorphic already has filter threads on the front & back. But once you are done, shooting becomes a lot easier. If you do a search (especially in this forum), you will find a lot of different setups that users have created to accomplish this.

i cant embed this video but it looks p good from a 80d https://vimeo.com/181718305

There is no such camera. So why would anyone compare the 1DXMkII to something that is imaginary? Why not just compare to the A12... specs should be killer.

test shots with the sony A7s ii and an old cheap soviet lens zenit 50mm f2 https://www.youtube.com/watch?v=B8qhDEenkcM

Great thread title, I was expecting a bankruptcy PR release. The drama!!!

Here is the most recent video I shot: Shot mostly with the Rokinnon 35mm 1.4 lens. Still using @ricardo_sousa11 video settings. Tried some additional things this time, like sharpening and film grain.

3x mode with 50-100 1.8 sigma is gorgeous i actully dint know untill Andrew pointed out thanks mate edit : forgot used 18-35 1.8 & 50-100 1.8 both work perfect with DPAF

Great, so I could do 4K prores then to just save myself! Thanks for such quick reply!

I forget everything and get caught up, and then I start wondering if Escobar's belly is real or prosthetic ;-)

Well I just saw "blood father" last night, and I was thinking why did the director did not shoot another take of this scene, and gave the actors some feedback as this clearly is not working. But I have also been on a set, where I had to shoot a scene 29 times, because the actors didnt deliver 100%, and in the end it was not much better then the first 28 takes. But we lost a lot of shooting time, so we had to cut a lot of other shots, and just use the master shot of that scene.

There is not a lot of initiative for developing dedicated FF short-flange distance lenses (with AF), since they only make sense on FF E-mount bodies. APS-C short-flange lens designs can be used on a few more mounts and can make sense even on m43. If Canikon ever joins the FF short-flange party, then Sigma will follow.

Yeah the post image stabilization is terrible and the shutter speed thing is a common thing in these videos shot by photographers, i hope Fuji start giving the cameras to video guys now they have decent video, only one that used a ND was the cinema5d guy.

Ok example of clog - but you need to find a high dynamic scene that has content in the very low end of the histogram and the very top end using e.g. Canons standard profile. By using clog, the shadows will be raised. Then you need to expose correctly and revert it back to something similar as the standard profile (punch) with the given luts (or manually grade), but with higher dynamic range. Unless you not able to get back to what is told to be "canon color science" (or correct colors) nothing is proven. Anybody can create a log profile and use whatever lut and show something- We can do this with any Sony camera as well. I will try this with my 1dx2, but challenge other to do the same.... over the next days. In my previous example, earlier in the thread, I did not expose correctly and even if it was not clipping, I was not able to get correct colors for the light part of the picture. What I see in the examples over, none of them seems to have a big dynamic range, and as such a log profile is not needed. You can just grade to your taste. .

Give it a try, and let us know how it goes: Mod-menu > Custom Func. > Mod Resolutions > (select) VGA as UHD *note: if you have NX1, you need nx-ks v2.49 Set your camera to VGA, and check what comes out from the HDMI To tweak the hdmi-out, you can execute the codes above (via telnet), and see if there's any (there may not be any) difference in the output.

If this were possible that would be great!!

are you saying that could shot in raw with external recorder?

Not in this case, the magenta on the Mini is not an even cast but a some times splotchy uneven coloration that affects the corners and generally the right side more than others. It varies by lens, focal length and f stop. It is not a simple fix and BM themselves have admitted it is a problem also it can be seen clearly with no saturation boost. Not something that is easily graded out.

I went to B&H the other day. they had a C100 mark ii on display. the screen was broken. Is this the end? also professor Dr. Kino Flo says their sensor technology is not unique and that the magneta corners you get if you increase saturation 40,000 percent is not good.

Yes

I got Netflix recently and, for example, watching Narcos, I miss the grain. Mostly on night scenes. Clean 4K night scenes remembers me we are watching actors on a set!!!

Sorry what I meant was that I shoot in S-LOG then mess with it endlessly in post, at the expense of working on the edit itself to make it better. More on topic, I do think the film grain and film look are not as popular now as just a few years ago. I think films will be moving away from film in terms of look to something that looks good on their own. To give an example MAD MAX is the direction I think budget grades are heading in, over-the-top bright and attention grabbing, not subtle looks.

I think what I have to get away from is the "fix it in post" mentality. I actually prefer a clean image right off the camera. I have to stop shooting in S-log on my A7r 2, every time I use it I just don't need it. Normal audiences DO NOT CARE about a "film - like" image and I have to constantly remind myself of this fact.

As it turns out I didn't know this either until tupp pointed it out a few posts back. I just happened to get my dummy battery/AC power adapter a few days ago (Nikon knockoff via ebay) to help record an event to a Blackmagic video assist without the camera batteries cutting out. That's the value of a community putting ideas into the melting pot. tupp had the knowledge; I had a couple of pictures. Bam! Problem solved.

Worldstaaaaar!!!11one~

Oh the usual internet stuff: I'm right, you're wrong. I need to make sure you and all the other users here know that. I will not give up responding to your responses until it is clear to everyone here that you are an awful human being and my powers of intellect are superior to yours. This conversation is so important it'll occupy a good portion of my day. There are children getting bombed in Syria right now but someone with a random name on a very specialist hobbyist forum about something completely meaningless has a different opinion to me about it and he dared to answer back when I pointed out he was WRONG. Oh so wrong. Everyone is wrong. Listen to me I'm the best. My camera is best. No wait actually let's make this personal - your films are rubbish mine are great. Your existence is less valid than mine. Give up filmmaking! You know nothing! Hang your head in shame, fiend! Be gone! Actually no please stay I regret my outburst you are lovely. I love you. I love everyone here. I love everything. I love pretend film grain. I even love video without grain!

Might be irrelevant, but: 1) You have to make sure your stabilizer is set for the proper focal length. and 2) The stabilizer is actually working. I have 2 gx85's. On one of them the stabilizer has actually got "stuck" a few times. The description of your ibis performance does make it sound like it's not performing adequately; through user error or malfunction. I'd also advise that your moire could well be a computer display issue rather than the actual footage. I just did a shoot with a lady in tight stripes. Morie looked pretty bad in the edit window, but when I watched the footage full-rez, it was fine.

M43 needs something like that organic sensor that was mentioned years ago, something that will provide a dramatic improvement in dynamic range and iso. Not to say today's m43 sensors aren't decent, but when compared to the latest larger sensors, they're certainly lacking. Still, cameras are more than just a sensor and m43 is capable of stunning results.

That is a rubber boot that can be pulled back and which allows the cable from a dummy battery to exit the body with the battery door closed. Here it is on the D750 with dummy battery inserted.

Really great job, Andrew. Bought it yesterday, I never thought it would be this easy to match my 5D mkii and C100! A serious thanks for your time and effort. Question though, I have been playing around with different cLog settings on my C100, including lowering the master pedal and black point while keeping the superwhites to spread out the data as much as possible along the 256 steps of 8bit, and I really feel like I am getting better results than the raised blacks of the original cLog. Lowering the blacks increases the tonal gradation thus reducing banding. Have you considered doing something similar with your cLog picture style? Do you feel that the raised black point is necessary to reduce shadow noise? Or do you think that there would be a benefit to have more tonal steps even if there is slightly more noise? I don't know how it would be with Canon's dslr's but I have definitely benefited from maximizing the tonal range with my C100. Granted, I have to do some slight contrast and exposure adjustments to the footage before applying a C-Log lut, but it is minimal.

Actually Film Grain doesn't have to be very Obvious (for want of a better word). I saw some films (most likely shot on the Alexa and Red Dragon), which looked way too digital, and un-filmlike, without grain. IMHO grain doesn't make the image worse. It makes it better. It makes it seem more alive.

It also works great with camera like the Sony a7 or the T3i which have issues like moire and aliasing, the grain often helps hide those issues in my experience.

Bags of dynamic range, superb 2.5K image. Shame they dumped it in the bin afterwards and never updated the camera properly. URSA is a totally different beast!! I want another BMCC 2.5K!

IMO, they are in between. 100mm taking lens in FF is safe. Using 85mm with close focus and wide open aperture is ok. Since Schneider has larger glass size, reducing vignette has a little bid advantage.

Hi Cisco, I work on the crowfounding page!

Although obviously I don't have access to Canon's trade secrets with regards to colour re-mapping for a LOG curve, I did make some nice adjustments to colour in C-LOG using hue, saturation and luminosity values on a six colour axis, and am very pleased with the results. On the 1D C in some situations I actually find I prefer the colour from EOSHD C-LOG over official Canon LOG.

So, here is the first time I put in the batteries, mount the camera and turn it on. No tools, setup, no nothing. Just out of the box. When running Im not trying either. I wanted to show what the worst type scenario is.

As a Panasonic owner, and ex Nikon user, I'm intrigued by this oft stated view about "Panasonic Colours". My experience is that if you take care of white balance and experiment with profiles and really get to know your camera, then it is as easy to get good colours from a Panasonic as it is from a Canon (or in my case, Nikon) camera. Why not create your own LUT or standard set of controls/profiles and apply them in post, for example? If you want a thick image to grade, hook up an external recorder. The cost of the Panny GH4/GH5 level cam and external recorder will be less than a C100ii, but the image quality is definitely comparable if not better (1080 of course, not the 4K that is on offer from the Panny's). Although I am impressed by my GX8 I am no means a Panny fan boy, but there does appear to be some sort of myth circulating that Panasonic colours somehow don't cut it.

It is truly a shame that there won't be a NX2...my NX1 (with the help of EOSHD's NX1 guide!) has given me amazing 4K video quality for over 75+ productions to date and I'll still be using it until I receive my RED Raven (whenever that may be...) Hope to see the GH5 announcement really soon to see what Panasonic has to offer though.