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Had this one brewing for a while. Shot in anamorphic to accentuate just how irritating vertical video is. Not for the easily offended. Bring your sense of humor. Shot on A7s in Slog2, Nikon 50mm & Bolex/Moller 1.5

Hey guys, I've written a really simple command line app for Mac that will resample GH4 footage from 4K 4:2:0 to 2K 4:4:4 using pixel summing. This will give you real 10 bit data in the luminance channel, so it's not just doing a brute-force bump from 8 bits to 10 bits. There actually is some interesting pixel finagling going on here: http://www.mediafire.com/download/f7h950spj5hrn9f/gh444.dmg There's no GUI, so you'll need to run it from the terminal. Do this by copying the app into the directory that contains the GH4 MOV files and using the following command in a terminal: ./gh444 INPUTFILE.MOV Make sure you cd to the current directory first if necessary. You can do this by typing "cd" into the terminal, add a space, and then drag the folder containing the MOV files into the terminal window. It will automatically add the path to the cd command. It'll look like this: cd /path/to/gh4/files The app will spit numbered DPX frames out in a folder named "dpx_out." I'd love for you guys to give it a try and see if you find it useful!

Sony A7S + Gonzalo Ezcurra Custom Picture Profile + 60's Canon FL Lens + Tamron Macro + 2 MiniCyclops takes. Quick & unbusinesslike test - basic lighting interiors & w/o in outdoors - Full Frame mode - XAVC-S - without Slog 2 - N/R off Basics post & color grading Models with self makeup / hair / costume / "art" Zero crew production: Only Camera operator & Models. Produced, photographed, directed and post-produce: Gonzalo Ezcurra * Download at Full HD h.264 @ 18Mbps / Link para bajarlo con calidad en Full HD h.264 a 18Mbps, pues mi vimeo gratuito solo tira 720p y lo recomprime a menos de 4Mbps: mediafire.com/download/5ssckrhvmrwsr1a/Gonzalo_Ezcurra_PP_A7S.rar

The biggest problem I see with E mount is the lack of well built adaptors. Yesterday, I returned a full set of Rokinons EF mounts and Metabones EF to E mount because the Metabones has the slightest bit of play between the lens and adaptor. I tested some others and they all seem to suffer from that. It may not be a big a big deal for hand held or run and gun but for precise focus work on a stable platform, the slightest jiggle becomes noticeable even more so on longer lenses. I'll actually be using my A7s for an ambitious commercial campaign mixed with the F55. It's really the best Full Frame option. But I can't have a client watching us blow macro takes or slider moves because of focus jiggle. It's the same problem I had with the Nikon to Red 1 mount that Red used to sell. So I worked with Jacek at Optitek and he designed a PL style Nikon mount (based off the old vista vision mounts) that is rock solid. I was his beta tester. It soon became the standard for Nikon to PL. He makes an EF to Sony F mount (for F55/5) based on the same PL lock principle and it too is a rental house standard. Nothing moves. I'm sure if enough people write in to him, it may get him interested enough to design an EF to Emount that's bullet proof. He did that with Nikon to Red and there will be a lot more Emount out there than Reds. Here's the link: http://optitek.org So my solution for now, I bought all Emount Rokinons. Solid mount. For my Nikon AIS, I use a Velo adaptor. This one is pretty solid and cheap. Metabones for the price is a big disappointment in terms of their tolerances, pro price, toy like precision.

This camera is worth it for the lens alone. I don't have anything that fast/wide for my GH4.

Looks ace! Me want buy please. I'd love it if Canon did something similar to better match Canon Cxxx footage colours but LOL that will not happen. Here's a writeup with some negative points to make: small buttons, weak battery, he doesn't like the EVF http://www.theverge.com/2014/9/15/6152781/panasonic-lx100-micro-four-thirds-camera-photokina-hands-on It is really small! I don't really care though, it's 4K with OS, gimme!

This is the one I'm most interested in so far. This and the LX100. I wonder, is the FS7 slow & quick mode buffer based or continuous recording? It looks as though it's not buffered: Super Slow Motion continuous recording is possible The PXW-FS7 offers continuous recording at Full HD image quality and a frame rate of up to 180 fps. This makes it possible to attain up to 7.5x Super Slow Motion when played back at 23.98 fps. Furthermore, support for unlimited shooting at Super Slow Motion means no more mistimed shots leading to extra takes. It also lets you pick out footage at exactly the point that you want.

I'd turn to Magic Bullet Looks first, which has a useful set of blur tools such as diffusion, edge blur and tilt shift. Magic Bullet Cosmo is specifically designed to soften skin, but you have to be very subtle because it can look ridiculous when turned up.

Yes the ring around the lens is the manual focus ring. Zooming is done by a switch like the Sony NEX 16-50 kit lens. Judging by the amount of interest on this forum alone, I might have to get my preorder in soon :p

I know you guys are mainly video but I like using mine for photography as well, I think with GH4 new AF it could really be a competent bird in flight or sports camera if it had a pro-level lens at a longer focal length with a fast AF motor. I would vote for an Lumix G Vario X 100-300mm F4 with stabilization & weather proofing. Maybe throw in a 600mm F5.6 prime.

Some lenses "show" the bigger aperture with the Speedbooster some dont Sigma 35mm F/1.4 Shows F/1.4 Canon 50mm F/1.4 shows F/1.4 Canon 40mm F/2.8 shows F/2.0 Canon 16-35 F/2.8 Mk2 shows F/2.0 Canon 70-200mm F/2.8 shows F/2.0 Tokina 11-16mm F/2.8 shows f/2.0 going to do some tests later today with the sigma 35mm f/1.4 and speedbooster wide open against the SLR magic 25mm M43 mount T0.95 which theortically should be similar apertures

Hey Wolf33d, I figured I'd jump in as I wrote the article originally referenced. Many thanks for sharing it here and I'm glad you found it helpful. That ProRes444 workflow retains the majority of the detail (99%) present in the RAW images, HOWEVER you just lose the ability to adjust color temperature and exposure of the raw files. With that being said, the files are such high quality, these files are such high quality, you can really correct almost any issue you can using RAW files, it will just take slightly longer (taking a few minutes, nothing crazy). On the other end, working with native RAW files requires significantly more storage and renders way slower (1-2 fps unless you have a very fast RAID). Should you want to, you can make corrections to exposure and color temp in MLRawViewer, but I usually just converted the files straight over to ProRes444. You can apply Filmconvert directly to the "flat" ProRes file and start coloring from there. The only reason you'd want to go through Resolve is if you MUST use the BMDFilm color space, which is what QuickHitRecord had mentioned. While I've also used this method (and recommend it for other uses), it has a couple of additional steps so I did not include that in the walk through. My goal with the article was to provide the easiest method to get the highest quality files so you can get straight to edit and color correction without spending hours on the forums.

yes I have done alot that mainly if I'm wanting to reduce glare reflection on glass - car windows , building windows etc I shot some scenes in LA earlier this year where the actor was in car and in bright daylight reflecting off the windscreen , The CPL stopped the glare reflections the NDs kept the exposure correct....be aware the CPL will also act as an ND and reduce the exposure on top of your NDs , so adjust for that if necessary

Why can't it send a raw signal directly to the XQD cards the same way that the Ursa sends one to its CFast cards? CineForm RAW 4K at 24 fps is typically 50-75 MBps, well within the rating of an XQD card. Higher-speed ones could handle 4K at 60, 96, or even 120 fps (though the FS7 tops out at 60 fps). By the way, CineForm is the basis of SMPTE's newish VC-5 standard.

Here's what I think is interesting about this camera. Panasonic is reducing the number of interchangeable lens lines that it has. The GF has gone, there won't be a successor to the G6 or GX7 (if we can believe anything on 43rumors....), so in future it will just be GH and GM. And this cam, the LX100, is the missing midrange cam, which inherits many of the exciting features from the flagship. This is where the GX8 or whatever should have been. And Panasonic is saying to us, how much do you really need to swap lenses around? Do you really enjoy messing around with adaptors, carrying heavy glass around etc etc? Because we're going to offer you the camera and the lens, for the same amount as you would have paid just for the lens, and in a package that is somehow pocketable. It's a kind of test. Is the flexibility of an interchangeable lens system so important to you that you would pass up a deal like this? I was weighing up buying a GH4 and the 12-35 2.8. Now I think I'll just get this.

Pretty much on the contrary. E-mount is one of the most adaptable mounts, allowing you to use both cine lenses and stills lenses from Canon, Nikon, etc. including legacy lenses. If PL is what you are after, it is simple: http://www.bhphotovideo.com/c/product/808236-REG/16x9_Inc_169_CLM_PLE_Cine_Lens_Mount_PL.html As an added plus, you can use a speedbooster if you want a "Full Frame" cinema camera.

"Thank you for listening Panasonic!" thats the diffirence between Panasonic and that other company :-)

Grading footage in raw is always best, but having a color-balanced, exposure-tweaked ProRes 4444 as a starting point is really, really good. That's how I've been doing it. It's a good program, as the linked article states. The only reason that I haven't been using it extensively is because BMDFilm color space has become a part of my regular workflow. But if you're not using that, then I can't see a reason not to use MLRawViewer. It's free!

A website featuring stills from films and their corresponding color palettes. A tool to promote learning and inspiration. Updated daily. http://moviesincolor.com/