#EOSHD

[405blazeitt]

has anyone seen nathan for you? and have any recommended bits or episodes?

i heard that erlend og steinar hjelper deg was based on, inspired by, or otherwise very similar to it, so i've watched a few clips and there's a stark resemblance, but none of the nfy i saw was on par with the je ne sais quoi of eoshd. i want to know if that's just the clips i came across or if that's a genuine difference.

[stpiner]

5dtorgb workflow with samsung nx1

#5dtorgb workflow with samsung nx1 pro

#5dtorgb workflow with samsung nx1 pro

DaVinci Resolve is not required, the workflow is geared towards Adobe Premiere and Final Cut Pro X! It also makes the NX1 compatible with Film Convert on the Sony A7S S-LOG+1 Profile. Adobe Premiere Pro CC 2015 supports HEVC however the performance just is not there yet because my GPU lacks HEVC hardware support so I interchange with the old workflow a lot. The Hybrid AF system, combined with a new stripe pattern AF illuminator, promises low light focusing at light levels as low as -4EV. I cannot speak for Geoff but I got a pretty simple workflow. The biggest features are a 28.2MP APS-C-size BSI CMOS sensor and Hybrid AF system that covers 90 of the frame. This makes the NX1 compatible with a broad range off existing LUTs for quick grading-styles and moods. The NX1 is Samsungs flagship mirrorless interchangeable lens camera. With the GammaDR2LOG set as an Input LUT or at the time of transcoding from H.265 to an editable format, an output LUT can then be applied over the top of the LOG footage. This creates footage which is much easier to colour correct and responds better to colour grading. Included in the book is a LOG LUT for converting GammaDR shot NX1 footage to a flatter picture profile, close to Canon LOG. To get the best out of this camera for video, filmmaker Andrew Reid has spent 8 months shooting with the NX1 and optimising his camera, the workflow and the colour path for cinematic imagery. Now this knowledge is yours with The EOSHD Samsung NX1 Setup Guide. One of the most promising 4K mirrorless cameras of recent times, the NX1 combines spellbinding image quality with a rugged body and satisfying ergonomics. When applied in EditReady, this will convert 8bit NX1 H.265 footage to 10bit ProRes with a LOG curve similar to Canon LOG! Shoot better video with the NX1 Full step-by-step instructions for use are in the guide. Every camera feature explained for filmmakers and video shootersĪbove: GammaDR 2 LOG converts NX1 footage shot using the in-camera GammaDR profile to proper LOG footage which can be matched with a variety of looks and output LUTs in your edit.LOG workflow developed by Andrew Reid to convert Gamma DR footage from the NX1 to LOG (a flat 10bit file that grades better).Recommended video settings and pro tips for optimal performance.Tutorial guide by filmmaker Andrew Reid.Special offer – now just $19.99 (usual price $29.99)

[karingottschalk]

EOSHD: Thoughts on the impressive Fuji X-H2S

EOSHD: Thoughts on the impressive Fuji X-H2S

[theonehotnews]

MISSING: Atomos founder Jeromy Young

[sicksinceofficial]

#SepterionFilms #photography #cinematography #lowlight #sigma16mmf14 #sigma @sigma_deutschland #cinematography #filming #promotionalvideos #merrychristmaseve #happyholidays #testfootage #seasonsgreetings @eoshd #eoshd #colorgrading #finalcutpro #eoshdprologs

[unseenentropy]

Mirrorless eating potential Canon sales.

[frankvanmanen]

Hier word ik heel blij van! Morgen mee aan de slag!

[meatizmurder]

-Πάσα Ανάσα | Απόσπασμα Πόλης- Το καινούριο βιβλίο του Γιώργου Δομιανού [ Πάσα Ανάσα ] από τις Εκδόσεις Υποκείμενο είναι ήδη στα βιβλιοπωλεία. Μου έκανε συντροφιά, σε ένα πρόσφατο ταξίδι μου, στο Βερολίνο.

[thepandaphotographerr]

EOSHD Pro Color 3.0 for Sony Cameras a7SII, a7RII, a6300 and more

Disclaimer: Andrew Reid "DID NOT" ask me to make this video, PERIOD.The Pro Color 3.0 for sony is going to help give the game when it comes to those lame color profiles in the camera. Andrew Reid is a photographer and a filmmaker with tons of education history. That's why I was convinced that the EOSHD for my Canon camera will make a difference blew me away. https://youtu.be/SXRpqJMBI9M

[paulgregoryheran]

taiwan_travel_v1 from Paul Heran on Vimeo.

This is a little video I shot on a trip to Taiwan with my girlfriend and her family in January of 2019. The video was shot with a Canon 5D MKIII with Magic Lantern firmware. The shots were captured in 3.5K raw mode. I used a canon 24-70 and 40mm pancake lens.

EOSHD Raw Shooter Guide - eoshd.com/2017/09/the-eoshd-5d-mark-iii-3-5k-raw-shooters-guide/ Davinci Resolve Premiere Pro CC

[blogquantum493]

S Log 2 Luts

S Log 2 Luts

S-log 2 Luts Sony A7sii

Only a few years ago S-LOG was a $3800 upgrade for the Sony CineAlta F3, itself a $15,000 camera. S-LOG made its debut on the Sony F35, a workhorse of Hollywood.

Now Sony have put this on a $2500 consumer camera along with the best full frame sensor I have ever used for video. How good is it? Very!!

Sony S-Log 2 Color Orange Key Neutral Style Teal - Orange Report LUT. LUTs Add LUT Browse LUTs. S-GAMUT is for when shooting S-LOG with the Color Mode of S-GAMUT and compensates for the purple tint to reds I find I am getting in this mode. For the Dynamic and Vivid LUTs you must set the camera colour mode in PP7 to ITU709 Matrix. S-LOG 2 on the A7S is the most effective LOG picture profile that has ever been made available for any DSLR. If you are not working in Davinci Resolve but rather using, let’s say, Premiere Pro, you can use the following log conversion LUTs. Inside this free download you’ll find the following 3 folders: 1D Adobe-Iridas -S-Log2 to S-Log3 Shaper – This is a gamma only 1D LUT that will work only in Adobe software such as Premiere Pro or Photoshop.

The magic of logarithmic color spaces, specifically the S-log 2 and S-Log 3 profiles in Sony’s cameras, allow for some quite flexible post-production tweaks and tricks when it comes to modifying colors. Download 10 S-Log2 LUTs for video editing. Free S-Log2 Pack consists of Warm Shadow, Teal Sea, Vibrance, Violet Shade and so on.

I am sharing a pack of LUTs for the A7S which can be applied in Premiere, Resolve, etc. for an instant cinematic look to your A7S S-LOG 2 footage.

Three LUTs are provided in the zip. Dynamic – for best dynamic range, will suit a low contrast shot requiring high dynamic range and plenty of shadow detail. Also good for low light. Vivid will give a punchier look to those shots that benefit from it like a sunset and where some dynamic range can be scarified for higher contrast and saturation. S-GAMUT is for when shooting S-LOG with the Color Mode of S-GAMUT and compensates for the purple tint to reds I find I am getting in this mode. For the Dynamic and Vivid LUTs you must set the camera colour mode in PP7 to ITU709 Matrix.

S-LOG 2 on the A7S is the most effective LOG picture profile that has ever been made available for any DSLR. It is better than Technicolor CineStyle on Canon DSLRs and better than CineLikeD on the GH4. The codec grades remarkably well without the usual banding over skies and heavy noise in the shadows. Only if you do something wrong in the grade or with your exposure do you get noisy shadows when shooting S-LOG. Otherwise the sensor is extremely clean at the native ISO of 3200. In fact it is so clean that at ISO 12,800 the image looks like ISO 800 on most other cameras. For me, creatively, this is a revelation.

Being a widely used standard LOG curve S-LOG means you can more easily match shots from the A7S to other Sony cameras with S-LOG such as the FS700, F5 and F55. It is much harder to match the GH4 with CineLike, or a Canon DSLR (unless shooting raw).

What really surprised me is how well the XAVC-S files grade from S-LOG. In 99% of cases they graded just as well as ProRes recorded externally from the cameras HDMI port to the Atomos Ninja Star which says a lot about the quality of the encoder Sony have put in the A7S here.

The A7S files graded far better than my FS100 (and therefore FS700) and usable dynamic range exceeded what I was able to get with my Blackmagic Pocket Cinema Camera with ProRes. In my shootout with 5 other cameras (coming soon) I also tested 5D Mark III raw and it is very surprising just how similar colour and tonal range look between raw on that camera and H.264 on the A7S considering the gulf in bit depth and file sizes between the two. The A7S is now my preferred choice over 5D Mark III raw video, because the image is as good yet the file sizes, EVF and even better low light ability make it more practical.

Above: S-LOG 2 graded with EOSHD Dynamic LUT (top) and ungraded (bottom)

I had expected the XAVC-S codec to show some banding in the sky on this shot. Amazingly despite being 8bit, with S-LOG it doesn’t. All that subtle opal colour and detail just popped right out.

ISO 3200 introduces a very subtle grain to the image, helping to dither areas of gentle roll off and gradient. At ISO 200 without SLOG the sensor is so squeaky clean that there’s nothing to dither the 8bit image so it has the same banding issues as the Canon 1D C under ISO 400. Undoubtedly the full pixel readout of the sensor helps here too, as pixel binning can cause banding to worsen.

The biggest single advantage of SLOG 2 though is the flexibility you have to apply your own curve and look to the image in post, as well as the dynamic range gain over the standard picture profiles, which is significant. Also to not have to think about what ISO you are using, unless shooting in extremely dark situations simplifies the shooting experience with S-LOG 2.

Drawbacks?

Unfortunately nailing the perfect exposure is very tricky without any LUT applied to the image on the camera live-view and grading S-LOG is tricky if you’re a beginner. The Atomos Shogun thankfully will have support for LUTs so you can monitor off the final graded image while shooting with that. The other issue is of course you will need strong ND filtration to get exposure at 180 degree shutter angles in bright light and at bright apertures, though for handheld footage you should consider using a higher shutter speed. 1/50 for fast handheld camera movements is much too blurry for my liking.

I am still experimenting with fine tuning the S-LOG 2 profile in-camera, where a full suit of options from Sony’s pro video cameras is offered. By default colour mode is set to S-GAMUT when shooting S-LOG but I find that reds have a bias towards purple in this mode regardless of white balance. When set to 709 Matrix the reds are no longer purple but I have a suspicion that colour overall looks more cinematic when using the S-GAMUT setting and I can compensate for the hue shift in my LUT. Here is the same shot recorded in both S-GAMUT and 709 Matrix mode, with the same LUT applied and no compensation for the hue shift.

Above: S-LOG shot in 709 Matrix (top) vs S-LOG shot in S-GAMUT colour mode (bottom). To the eye the flowers were red not purple.

Is the A7S’s HD image in league with the F5? But full frame and even better in low light? Amazingly, I’d suggest “yes” BUT with a few caveats. It is a fantastic camera for locked down shots on a tripod or thoughtful, considered, slow handheld work. The caveats relate purely to motion. Rolling shutter and macro blocking on motion blur is more noticeable on this camera than it is on the F5. Here though the A7S is not without a solution or three. You can record to the tiny Atomos Ninja Star to avoid the macro blocking on motion blur and to improve compression for fast moving handheld shots. The LCD and EVF stay active while also sending a uncompressed HDMI signal to the Ninja. You can switch to 60p in APS-C mode without sacrificing crisp 1080p detail levels and get rolling shutter skew down to the level it is on the FS100, FS700 and C300. You can also use the rolling shutter tool of your NLE to further reduce skew in post.

Resolution in 1080p as you can see is astounding – like the C300 or GH2. The A7S is without a shadow of a doubt the best camera right now for the money.

It’s not perfect, no camera is, but I am deeply in love with the results I am getting from the full frame sensor.

There’s one further caveat and this is on the user’s side – grading ability. It takes time and skill to learn how to do it. Never has it been more important to get the grading side right. Shooting on the stills picture profiles like Neutral with sharpness dialled down is not going to cut it with the A7S.

I’ll put the first part of my evolving Sony A7S review up on Monday so stay tuned.

How to apply the EOSHD LUTs

In Adobe Premiere Pro CC you use the Video Effect “Lumetri”, this will ask for the LUT file of your choice which you navigate to and select. It is then applied to the image and you can do additional colour / contrast correction with the RGB Curves filter.

In Blackmagic DaVinci Resolve you have to place the LUT files in the directory Resolve is using for LUTs. To find this click Settings and go to Lookup Tables. Click “Open LUT folder” and dump the files here. Then you can select the LUT in the settings panel – under the 3D Output Lookup Table drop down box, or apply it to individual clips in the Color screen right a right click on the clip and selecting the LUT there.

Applying LUTs in DaVinci Resolve

You can apply a LUT for color work in DaVinci Resolve 12.5 as follows. First, download S-Log2 LUTs from the Sony website and save them in the LUT folder, because DaVinci Resolve 12.5 only includes S-Log3 LUTs.

Download 3D LUTs for DaVinci Resolve

S-Gamut/S-Log2

S-Gamut 3.Cine/S-Log3

Procedure

Start DaVinci Resolve 12.5 and make sure the Project Manager screen is displayed.

Click (New Project) and open a new project with a name of your choice.

When the (Media) page is displayed, import your material.

In the volumes listed in the upper left, select a folder with material to import. Clip thumbnails are shown once the material has been imported.

S Log 2 Luts

Drag clips to the (Media Pool) area.

If the frame rate of a clip you drop does not match the project frame rate, a frame rate conversion window is displayed. Click (Change) to adjust the frame rate of imported material to match your project.

Open the (Edit) page.

In the toolbar, select (File) > (New Timeline). A window opens. For your new timeline, decide details such as (Start Timecode) and (Timeline Name).

Clear the selected (Empty Timeline) check box, and then click (Create). All clips in the (Media Pool) area are arranged on the timeline.

Open the (Color) page.

Right-click one of the clip thumbnails in the middle of the screen and choose a LUT from (3D LUT).

You can also add your regular LUTs to the (3D LUT) menu.

Click the (Project Settings) icon in the lower right. In the window that opens, click (Open LUT Folder) in (Color Management). Save the LUTs you will use in this LUT folder.

Here, use the S-Log2 LUTs you downloaded initially. Click (Update Lists). You can now select the LUTs from (3D LUT).

S-log 2 Luts Sony A7sii

In actual editing, you may need to adjust the contrast before applying a LUT. In this case, go ahead and adjust the contrast before applying the LUT. With the LUT applied and your clip shown in colors for a Rec. 709 screen, you can now color grade it as you imagined it.

[405blazeitt]

i started watching førstemann and i was thinking it seemed a bit erlend og steinar hjelper deg (which itself was inspired by nathan for you) when it suddenly went to the same kind of animated plan sequence as the others

how many of these do we need, guys...

[karingottschalk]

https://www.eoshd.com/pro-audio/#more-19128

“EOSHD Pro Audio is a preset library for Adobe Premiere and Final Cut Pro X, allowing complete control over camera audio in post…

…Developed with a professional studio engineer in Berlin, the concept of EOSHD Pro Audio is unique. It is designed to fix common audio issues with internal stereo mics on DSLR and mirrorless cameras in an innovative way, as well as offering cinematic moods for specific scenes and shots – like LUTs for audio.

Pro Audio allows all filmmakers and YouTubers to easily start processing camera audio in the edit. The job of an audio engineer is built into the product. That skill, hard work and expert tuning is now yours to drag and drop onto your timeline….”

EOSHD Pro Audio, for drag and drop film sound design in Apple Final Cut Pro X and Adobe Premiere Pro

EOSHD Pro Audio presets for Final Cut Pro X

EOSHD Pro Audio presets in Final Cut Pro X

Commentary

Audio is not one of my strongpoints and audio editing even less so, so I am always open to information, tools and training that will help me do better, much better.

So I bought Andrew Reid’s EOSHD Pro Audio presets for use in Final Cut Pro X, for the princely sum of $US 27.99, and even though I have not used it with serious intent yet, am already impressed with what it does for movie audio.

Links

Andrew Reid – EOSHD Pro Audio – an in-depth look – video

EOSHD – EOSHD Pro Audio

EOSHD: EOSHD Pro Audio, Drag and drop film sound design "EOSHD Pro Audio is a preset library for Adobe Premiere and Final Cut Pro X, allowing complete control over camera audio in post...

[carlosq00]

Canon 5D Mark IV CLog Upgrade vs EOSHD CLog vs James Miller CLog Picture Profiles New YouTube Video https://youtu.be/AXIYQBwjFHg We are doing this! We're going to compare the Canon CLog (Canon Log) paid upgrade on the Canon 5D Mark IV to the EOSHD CLog Picture Profile as well as the James Miller CLog Neutral and James Miller CLog3 picture profiles. #canon #canonpro #clog #youtube #canon5dmarkiv #canon5dmkiv #videoproduction #videomarketing #filmmaking #filmmaker #carlosq00 #fargo (at MediaOnQ)

[heykav]

EOS R6 teardown reveals the timer chip that's holding the camera back - DIY Photography

EOS R6 teardown reveals the timer chip that’s holding the camera back – DIY Photography

[ad_1]

Here at Kolari Vision, we love tearing into the newest camera gears to learn how they work and if they can be modded for infrared photography, full spectrum photography, or other things. We’ve been really excited about the R5/R6 release, and had plans to add some cooling mods and overhaul it into a proper video camera.

Reports from EOSHD that Canon uses an overheat timer rather than…

[cameratoyou]

*!@# Panasonic LUMIX DMC-GH2 Digital Camera - Ready-to-Shoot Kit - EOSHD Unified Hack https://ebay.to/2WFcjoR