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Yes - 10 bit output disables internal recording - so that's certainly an issue to be aware of.

For Premiere 5.5 I would right click on the footage in the project window and select Modify -> Interpret Footage. Make sure framerate is set to 25fps and Field Order is set to No Fields (Progressive Scan). Hopefully that will be enough clear the problem.

Hey guys, I've got a bunch of new tracks for you. The newest of the new are on the following pages: Introspective/Emotions Urban Nature Science Fantasy/Game Music As always, your feedback is really helpful and greatly appreciated. Thanks! Eric

Just place a filter in front. Tada.

I saw your post earlier and thought maybe there is some way to have an adjustment layer in fcp. Then I googled it and here it is, great stuff :)

Surely Panasonic will note your eloquently expressed opinion. There is no ND filter. Nor is there analogue IBIS in video mode. Not in GH4, GX7 or GM1, either. For a pretty obvious reason. In other words, just buy a tripod and get over it. Maybe a camera, too, in case you haven't got one yet. As for why there are no ND filters built in the mainstream interchangeable lens (DSLR/DSLM) camera bodies, that I'm not sure about (yet). Apparently there is an equally practical reason for that, too, though. In case someone knows it, please feel free to chime in.

Just found a way to use an adjustment layer in FCPX, used it with VisionColor LUT-s and renders much faster this way. Also you can make your primary corrections directly on the clip and put LUT on the layer. Here is the link for the custom made adjustment layer: http://www.rippletraining.com/using-the-adjustment-layer-title-in-final-cut-pro-x.html Really like these ImpulZ LUT-s by the way

Try www.videoink.co.uk/musicvideoproduction I have a completely new site coming out in 2 weeks with a new look and loads more vids, but plenty to see there :)

Sighhhh.... Here we go again. Ha. If you were truly sorry, you wouldn't have clicked the black button in the first place. ;) Duh You think? :) Surely/hopefully you do realise that apart from a handful of reviewers with pre-production units, no one has one yet, let alone has extensive shooting experience with one. Therefore the opinions and speculations shared here have social interaction value only. It would be the equivalent of a bunch of monkeys gathering together to pluck fleas off each other's fur for calming down and snack acquirement purposes. Which is perfectly okay as a purely emotional and social function, but it will tell you nothing whatsoever about the camera that hasn't even been shipped to the retail stores yet. (That is, in 14 June 2014 as I'm typing this) Besides, it's not like there haven't been at least a few similar topics already, so do we really need yet another one, before both cameras are available for anyone to buy or play with? [Sarcasm alert/rhetoric question] So be honest to yourself, will you. If you really can't wait because you really need a new camera NOW for a work assignment that cannot be done with your existing gear, go and grab the GH4 or whatever is available today. If you really can't wait because of a near fatal case of GAS, well, it's your money and your decision. No one else's. If you are able to convince yourself that you don't have GAS, and you don't have a technical urgency to buy a new camera, well, then it should be relatively easy to wait and see the A7s in real life, right? I for one will do just that.

5D3 H.264 needs decent sharpening in post: still not super detailed, but is workable if using sharp lenses. 5D3 RAW sharpened in Resolve or (even better), ACR, is very solid for 1080p. A sharpened 5D3 RAW shot compares very well to even a 4K GH4 shot projected on a 20' 4K screen (saw this in person). 14-bit 5D3 RAW still looks great compared to the GH4 4K and A7S (examples so far): Still no direct competition at that price point for 5D3 RAW color, color science and decent 1080p resolution. The workflow and disk space requirements are another story (I'm shooting mostly with the GH4 now).

I played with the 12MP JPEG in ACR- highlights are clipped and not recoverable- DR looks similar to 5D3 in that shot. Noise cleaned up OK using ACR tools, however image then looked over-processed (Neat Video would work better along with temporal NR). I shot a clip with the GH4 at ISO 1600 and lit it with a single LED (iPhone 5S). After Neat Video NR and bringing up the levels in post, it looks pretty good compared to the A7S examples so far. I would expect the A7S to do better in any case, however if Neat Video is needed in both cases and the final results look similar, the A7S's utility over the GH4 in low light would then be lessened. The FS700, especially with SpeedBooster is pretty good in low light, all the way up to ISO6400 (still needs NR in post at that level). So far most of the A7S demo shots have been with locked off (tripod) or very low camera motion. It would be helpful to see typical handheld (with and without a rig) shots. While it would be nice to have a 5D3 replacement at 50Mbps (vs. 5D3 RAW at ~64GB per 12min), I almost pre-ordered the A7S but am holding off until it's released and actual end-user videos are posted. Also curious about the A7S XLR audio attachment (release date and cost).

I'll try and clear up a few bits: You can edit ProRes on Windows Premiere without installing Miraizon. I have done this many times. Miraizon allows you to encode to ProRes straight from Premiere or via Media Encoder. You cannot do this without Miraizon. Here's an example of it in use: I bought DNxHD and ProRes QuickTime Codecs from here http://www.miraizon.com/store/store.html For the money I can't see a problem with this bit of software. *** On Premiere, yes it's a 32-bit floating-point engine, though you won't always see this in timeline, unless you choose Maximum Bit Depth in sequence settings. As long as you tick the Render at Maximum Depth box at render, you'll get best colour space. If you don't, banding is a lot worse. So tick it! :) The maximum render quality setting at the bottom affects scaling only. Tick this if you've scaled at all in your project. *** I never transcode to an intermediate unless my computer can't play back footage in real time. You don't gain anything visually, as all processing is done in 32-bit. The colour you lost at compression in camera was, you guessed it, lost at compression in camera. Turning 8-bit to 10-bit won't give you any benefit, so if your computer is powerful enough, edit native 5D to RGB did have some arguable benefit, intelligently reshaping the red channel of 4:2:0 footage, but Premiere is pretty good at it all to be honest, so I'd save the disk space and time. Being able to output ProRes from PC is great, as many film festivals and clients want it.

The guy was a bad joke. Totally unaware of how up his own rear end he was. One of those old guys who is really patronising. You know the type: "as a special favour I'm going to dispense my infinite wisdom to you in a lengthy monologue, without stopping for a second to consider the possibility you don't have the mind of a 4 year old or that you might not be even vaguely interested in the inner workings of my mind." I was actually quite sad when I found out who he was. It must be an amazing job making lovely classical guitars all day long. You would think someone who was successful at that would have more dignity and poise. Or at least more respect for fellow artisans. My best guess is that he thinks everywhere online is the same as YouTube or Facebook - a rant-happy free-for-all. I was probably way too harsh on him myself. But you nailed it Andrew - he was like a smelly tramp in a public cafe. You try to be kind and tolerant, but when they start barking like a dog and frightening the children they have to go.

Some ungraded tests for you to examine. UHD/HDMI 10 bit > Ninja Blade ProRes HQ. https://www.dropbox.com/s/9mt8hkrfk6hepj0/GH4%20UHD-Ninja%20Blade%2010bit%20test%20footage.mov