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Also, if you want to grade a video exactly like Lightroom (for the most part, with the ACR control panel): Use a recent version of Photoshop. Open a video file. Right click on said video, and select "Convert to smart object". Then you will see the Raw filter available from the filter menu. Quick 4 step process (obviously once graded you hit "File / Export video". The rendering process isn't too quick, but I've had good results.

I thought the URSA 4k only had 12 stops DR, and the 4.6k had 14. I could be dead wrong.

And Blackmagic have dropped the regular URSA with $1000. Personally I'm waiting on all of it pushing the used prices of the BMPC4K even further down. So I can by my third

v2.3 of the firmware is up. http://av.jpn.support.panasonic.com/support/global/cs/dsc/download/fts/index2.html got a little excited when I saw the V709 LUT labelled as "for GH4" but after unzipping it, it seems to be the same one we have for the Varicam. and I don't see any other features added other than what's needed to activate V-Log L, other than being able to pause a time-lapse recording.

Transcoding will soon be a thing of the past with the new H265 support from Adobe. The banding on the skies, for me, thats the worst part, but I guess without transcoding it should be fixed. This camera is a serial killer IMO, destroys everything within the price range, and above, its a gorgeous little camera ! I still havent used it for photography yet, since im currently waiting for the arrival of my 30mm f2. Great tests

C) they don't see the difference (I don't believe for a second that you could on a youtube stream since no one else can). D) they don't care (forum nerds like us are a minority). E) There is no 4k content, 720p is still king or not yet implemented. F) TVs are expensive and there is nothing wrong with their current set. G) There is more to life than TV resolution. For the absolute majority of the population, resolution is probably at the very bottom of the priority list. This. In an interview I heard recently with the head of tech at our largest network he was very clear. "We don't talk about 4K at all. The difference would be so small compared to the investment. We focus on bitrate and color depth. Because that's going to look much sharper and clearer."

I wonder if we'll have a Log profile with 12-14 stops and LUT on a smartphone...who's gonna do it first? Apple, Samsung....Sony? My Galaxy Note 4 does 4K, 24p at 50Mbits/sec with the OpenCamera app. The Exynos variant (not common) even does 4K with HDR enabled and looks pretty amazing. Just needs a few more stops of dynamic range.

The Doc Searching for SugarMan (2012) used all sorts of different camera footage - he ran out of money & had to resort to using his iPhone (not one of the new ones, but one circa 2010/11) to film a portion of it. So might be worth doing some research on what cameras they used & the tricks they employed to mix'n'match different quality footage. The one thing I do know about the iPhone footage, was that he used an App that simulated s16mm style footage. Must be lots of tricks out there...

Kind of a Catch 22 situation going on here: Low Budget filmmakers want an all-in-one anamorphic, but they are difficult & costly to make. Judging from their previous offerings, i just don't think SLR Magic are going to deliver something that's going to have enough of the WOW factor that people are looking for, at a price that they can afford or are willing to pay. I agree with Rich here, if you're going to invest in an anamorphic lens, the Iscorama is still the go to adaptor/lens. Also, you've got to consider that by being able to pair them with different taking lenses, you can drastically change the look of your projects & so aren't stuck with one look specific look, but a variety. The market place has just been blown wide open with the Rectilux Core DNA & the SLR Rangefinder, so now Dual Focus Anamorphics have become much more user friendly - shit, you could buy a couple or more & it'll still be cheaper. I know that there aren't that many pre-36s or non-MC 36s out there, but the hype that they are the best Iscorama just does my nut in. Yes i've owned one & yes i sold it - I prefered the look of the Kowa for B&H, was prepared to endure the extra hassle & the extra cash in my pocket. Just remember that you can get MC anamorphics to flare - in the recent-ish Star Trek film they shone really powerful torches/lights into them to really get the lenses to flare in a crisp over the top way. I recently encountered this with an MC lens whilst filming a concert & I wasn't even in control of the lighting! When i've got time, i'm going to try & demonstrate this, which will hopefully dispel some of these myths. But having said all that, I do tip my hat to SLR Magic for actually making them & really hope that they have come up with the goods.

I have 2 of them- damn I love them. those colors are unmatched by any other digital camera.

Dear EOSHD community, I am an independent french graphic designer and I regularly work in photo and video. Over the years, I created a collection of 3D LUT files to ease the color grading of my projects. Recently I created a pack with my 38 original LUTs. They are profiled on high-resolution color matrix and were built to preserve skin tones as best as possible. I had the chance to work with many different cameras and I spent a lot of time creating these looks and testing on raw footages, from 5DMKII and 7D with Magic Lantern, GH4, A7S, BMPC 4K, and stills from RED EPIC. About HDSLR, these LUTs are calibrated on CineStyle/Cinelike profiles. Also in my pack is included a LUT to properly « flat » a footage and get a good working basis before grading. Website for more infos : http://luts.iwltbap.com Instagram with short video samples : https://instagram.com/luts At the end of this post you will find some sample images before-after. My LUTs pack is for sale $20, but I created a discount code of -25% for EOSHD community. So you can get it for $15 instead of $20 via : https://sellfy.com/p/Ainy/-EOSHD My pack is regularly updated with new LUTs and all updates are free. On my website you can download a free LUT with the famous teal-orange look. Also, I offer for free a 4K film grain based on 35mm film scans (10sec video encoded in Apple ProRes 422 at 25fps). Hope you will like my LUTs. Best, Benjamin

Been looking at this for a while. https://www.kickstarter.com/projects/1091165875/steadxp-the-future-of-video-stabilization Edit: €115 for GoPro, €180 for other cameras.

I think the secret is sending off to cineon then to a film print stock via visioncolor impulz - and it makes it more interesting - to raise the blacks slightly on the film print. Anyway let me know what you think - it's interesting to try to bend the ftg to make it feel older.

Not a fan of 0 saturation in this camera. Even in a custom profile, it has a plastic look. But yeah, I have to run some more tests... I'm gonna go back and try the settings another poster used with his music video mix of nx1 and nx500. His results looked pretty good.

No idea where you were 20 years ago (once I have no grandparents alive anymore, unfortunately, for your example -- no worries, I got the rhetorical intention behind of it, I guess you fit in a younger generation and both experiences follow accordingly) but exactly, as TV-producer in national and international broadcasting, that was my job in the business, then. I can assure you "they" (our relatives, I bet yours too, so average viewer) they probably don't give a damn (more accurate to write like that) for a difference between 4K and native 1080p, but that's the real point. Because, neither they don't give a damn (even less, more likely) for better DR and color depth. Hence to tear off a bit, my analogy with the reality today in (ex-)communist regimes. Your point can also be mine, ours as geeks or filmmakers, but the way you all defend it as you know very well what they care about, it is pretty useless IMO. And if you are so focused to give them what they want as they could care for any quality (they won't), I assure your egg ends fried in boiling water before you can see anything worthy to watch from there, because the final work will always be crap, it doesn't matter how pure our intentions are. For some reason, I've exchanged to bet in another screen size for the result of my efforts as producer, not because of audiences* but for the sake of my product. Where resolution counts -- to pair with everything else you/we like. For a better product, more chances and windows of distribution/exploitation, future proof (yeah, why to deny the obvious?) and so on. * Nino Moretti (a hard-core communist : D or former one, no idea) has one very interesting on it when he answers in some interview more or less like this: "Audiences? What audience are we talking about?" So, here you have: What audience are you talking about?

because the sky is purple in the version processed by their app.

When talking about love, you need trust, but trust is based on experience and lacking experience we have faith. I am no longer in love with Canon. I do think that the T2i, t3i, and eos-m cameras where all great bargains at one time, I have had many Canon point and shoot cameras with some manual controls. I use older Canon products for video still. I think bricking the camera so you cannot put magic lantern on it is a great example that Canon's contempt for its customers, magic lantern was the major reason in recent years to buy Canon for filmaking. I think for my use they provide as little as possible, for maximum price makes them a poor value, maybe the poorest value of all dslr choices at present. There are simply other camera choices that provide so much more, with features I value, that are not bricked at prices I can afford. I show little interest in new Canon products and have come to expect nothing from Canon that I can afford or interest me if I could afford. Their name stands for I will not give you a product you will use, but try and price it beyond your means.

I sincerely hope that Im wrong. But I suspect it will look smashing on paper, in the pics, the price... but then I won't see any footage that really blows me away. Finally if I test it I will feel underwhelmed and a little bit annoyed by the S-Log. Again, I hope Im wrong and wish nothing more than for Sony to give me the image of a BMD or Canon in their otherwise awesomely speced and priced cameras.

This confusion between acquisition and delivery is absolutely a swamp (this thing here walks in circles!) "I was used to this usual mistake when in the early 90s, my video dealer was often trying to convince me that a VHS tape from video recording would equal the 260 lines of a hollywood blockbuster when downsampled. Nyquist is mandatory reading" http://www.eoshd.com/comments/topic/9355-canon-announces-development-of-8k-cinema-eos-camera-and-120mp-dslr/?do=findComment&comment=105951 Yeah? Funny. So, they don't see any difference on higher resolution (actually, the most probable for bad of our best intentions), but they will care about color and latitude... LOL I wonder how many of people HERE are used to really have average people out there to directly evaluate their final work... That's what comes to my mind now.

Hopefully they have a top handle solution so I don't have to try and rig that thing.

I'm talking of saturation, not the hues. If I remember right, the early test you did had odd colors with one or two lenses, and I thought it was more an issue with lenses. In any case, I'd put fixing color casts and hues in a different category from saturation level. If you have a lens that's consistently giving a bad cast, you might want to try a custom hue setting just for that lens or create a look or LUT in your color correction tool to apply each time in post. Also, it looks like you're relying a lot on the LCD display for effect of different settings. It's only approximate, so if you want experiment, I suggest you actually capture with different settings and check. May be that's what you're doing, but wanted to confirm that. I'm saying that because I'm not seeing any of the artifacts you're describing with my NX500. BTW, you're right, I guess I was thinking of NX1 when I said 16-235.

First, I would leave the saturation at 0. If you find it over-saturated you can always turn it down in post, but turning it down in the camera and then pushing them back up in post doesn't seem like a good idea. Next, sharpness -10 and contrast -5 work well, but based on my experience, with both NX1 and NX500 you really need to protect the highs more so than the lows. If you have critical highs, consider using 16-235 instead of 0-255, though in the footage you posted I only see the shirt, which isn't critical, so lowering the exposure should have sufficed. Finally, try working with gamma in post rather than offset or gain, and within specific regions (lows/mids/highs). But as TheRenaissanceMan said, it really depends on what you want to communicate. Below is a test I did with your video, with three variations: First part is just with color correction, it will give a good starting point and is more a technical stage. A standard way to correct for skin is to mask just the skin area and then adjust till you get the line on vector scope to align with the skin line. That is what I did here, with increase in overall saturation.Next, I reduced the saturation just for the greens (secondary color correction) to highlight the person, might be useful if you want to bring focus to the person rather than the background. Just to give an idea of the creative step that typically comes after color correction.Finally, I warmed up the footage to give an overall look. This usually applies for the entire video (i.e., the final cut with all the clips).https://vimeo.com/138867742

I second this opinion. I will normally reduce my streaming resolution when watching videos online during peak hours (on a laptop they look fine at 480p with at least another window open side by side whilst I multi-task). Very rarely will I stream 1080 content. At the moment, over here in Mexico, it is almost impossible to stream a 4K video, even with a powerful computer. Even then, I know I'm not getting the whole experience because my monitor is not 4K. So yes, I also believe other factors are paramount in producing a pleasing image and giving the impression of it being "sharp".

Super excited, pair this one with the DJI handgrip and I dont need gimbal anymore! From the photo there is lock-unlock symbol on the mount, could it be interchangeable lens? The DR and Low light will be miles better than current gopro sensor.

Can't say that I have. Still the case if you remove the accessory ring? Maybe a step-down then step-up combo could work?

Yes we are shooting mixed 1080p/4k doc material now with the A7RII, GH4, D810 and 5D3. Unfortunately I don't have releases to post any samples. Before getting the A7RII and 28-135 f/4 cinema lens, I looked very closely at the C100MkII. That is a great camera and I love the built-in features (ND, XLR, etc). The C100 deploys very fast, which is important for field doc work. By contrast it takes 10 minutes to rig a DSLR with EVF, brackets, HDMI, cable protectors, etc. It's fragile in that state and every time we change sites we must decide to de-rig it, have someone hand hold it or risk balancing it on a car seat. However the C100 is essentially video-only and I wanted combined stills/video, plus we do lots of time lapse and that wears out a DSLR, whereas the A7RII has a non-mechanical silent shutter mode. We'd have used regular Canon L lenses on the C100, which means no smooth motorized zoom. We have all kinds of focus aids (sticks, knobs, Zacuto rigs, etc) but they can be a a hassle for field work. We won't distribute in 4k anytime soon, but shooting in 4k for 1080p distribution has advantages. - Allows looser framing and fine-tuning composition in post - In many cases 4k frame grabs (which are 8 megapixels) are usable as stills, which saves switching between still & video mode or using two cameras. We shot a project two weeks ago which the customer said was video-only, then afterward they wanted stills. We fortunately shot in 4k so the frame grabs were good enough for this purpose. I always use the battery grip on the A7RII, which (a) Makes it a lot easier to hold with a big lens on the camera, and (b) essentially eliminates battery life issues. There is functionally no difference between shooting video with that vs the 5D3. In both cases you have to change batteries at least once or twice per day depending on shooting duty cycle. Last weekend I shot mixed 4k video & stills all day in direct sunlight at 95F ambient temps, and the A7RII did fine. OTOH it will definitely overheat and shut down if shooting non-stop, long-duration 4k, but that is not a common usage for us. We would never shoot a classroom lecture at 4k, and a 30 min. interview is very rare (for us); not sure we'd shoot that in 4k either. For me the biggest negative on the A7RII is the fiddly, consumerish user interface. I am frequently changing it in/out of Super 35 mode, and it is maddening this requires diving into the menus every time. Formatting a memory card takes a long time, and invoking that also requires diving into the menus. The GH4 is a great camera with much better UI and lots of aftermarket support. But we shoot mostly full frame so haven't fleshed out the GH4 config. In Super 35 mode the A7RII is very good at low light video (better even than the 5D3). We do lots of existing light shooting so that's important. The Sony 28-135 lens is a good match for A7RII video work. The smooth motorized zoom and ability to pop between manual and auto-focus by sliding the focus ring forward/backward are very handy. The lens and camera are expensive but still cheaper than a C100MkII body, plus you get 4k and 42 megapixel stills. That said if it were not for that lens I'd have probably gotten the C100. We are still evaluating various post-processing and color profile options for matching 4k from the A7RII with the other cameras.

Definitely room for adobe here to improve the way people want to use it. I like many, know how to do my best work with Adobe Camera RAW, can only do minor adjustments with RGB curves and Levels. Would love ACR filter optimized to work in Premiere Pro.

Just to let you know. When I first downloaded the beta it was 12.0b1. Now that I'm upgrading my work rig and installing all from scratch the version number for todays download was 12.0b4. So it's a latest build I asume.

Kudos to Apple for making it 12mpx since a 16:9 crop makes it 8mpx. No downsampling reduces the load on the CPU and the heat can be managed more easily. 4K on a mobile phone sensor means that the downscaled 1080p will be more than decent, so rejoice! Stop the 4K hate.

sorry to dredge up an old topic but I must chime into the fact that the F35 is not a good handheld camera. Yes it is very heavy, but the only component you need from an F35 is the camera head and IF box, the older obsolete recording system, viewfinder and handles can be made much more compact. F35 weight sits perfectly on my shoulder, DSLR rigs I hold in my arms unless I put a ridiculous back weight or anton bauer battery that sticks out behind my head 8 inches. F35 is very capable of being not just nice but a great handheld camera, it just takes a little creativity and new lightweight parts like the Odyssey 7Q.

While I am solidly in the greater DR and bit depth camp (I'd rather shoot with an Alexa or a Sony F35 than a Red Epic or Canon's 8K), it is important to play the "devil's advocate" at this juncture in the thread and remind all that color depth actually consists of part bit depth and part resolution. So, the higher the resolution, the greater the color depth. In fact, you could have a system with a bit depth of "1" and, with enough resolution (and ignoring banding in capture), have the same degree of color depth as a 12-bit, 444 system. The formula for color depth in digital, RGB imaging systems is: Color Depth = (Bit Depth x Resolution)3

I wished exporting video in photoshop was a bit more optimized. I usually find that trying to color grade in photoshop directly takes forever to encode, although it's the most direct and straightforward to color grade a video with photoshop. LUTs are good if you are working with the same lighting and camera/color profile.

I am a newbie too, but I can tell the beginning part of the whole shooting is kind of grey and the color is not natural.

I just did a 10 minute corporate thing with a gh4, 5d, and an EM5II. If you shoot clean and expose properly you can get em to match pretty close in the color grade, but you need to be patient at it. The GH4 looks like it has more resolution, because it does, but you can't really tell the difference in the final online delivery unless you're looking closely. FWIW, I shot for a month last summer in Indonesia (hot!) with LUMIX and Olympus gear and it held up fine. I got tons of great video and looked very unassuming while doing so. I'd recommend the Panasonic cams. Cheap and really nice video IQ. Not sure how particular you are about having the GH4's 4k, but the EM5II's 5-axis stabilization might actually allow you to capture better shots on the fly. That built in stabilizer is something else.... Plus, the camera is weather sealed, which is nice to have; something else to consider.

Who would be at IBC? Email support@slrmagic.com and ask for me if you have time to meet up for a chat! I will be there on the 11th and 12th. -Andrew

That image in your head is thanks to these babies: And the optical design is trademarked and patented, so you couldn't replicate that look even if you tried. The SLR magic lenses tried to replicate that classic blue flare, but it came across as forced and overdone. The successful anamorphic systems out there (including the new Zeiss and Cookes, which have been selling like hotcakes) create their own unique look and don't try to copy the uncopy-able.

If size is a concern and you have Canon glass, the GH4 and the A7s are probably the best options since you have electronic adapters and speedboosters for both. You can get something like the A5100 as a B-cam for the A7s that will also serve as a backup, they use the same batteries and it'll take 24mp stills. I keep one in my bag at all times, usually with the 10-18 for great UWA shots and handheld cutaways. GH4's cost less than the A7s, you could easily get a 2nd one or a cheap GH3 as a backup. Lots of options.

Just updated today with a new update. I guess they meant, next, next update. Haha. Doesn't work yet.

Ed, thanks for the Filmconvert Alexa tip, it really is so much better than the BM one I was using - the only downside is that i now have to re-colour an entire Doc! But it'll be worth it.

even without log - use the rec 709 generic and it helps

not stupid at all so filmconvert takes log or rec709 (normal standard footage like from canon 5d) and converts to a film-like color palette in rec 709 space. From here I go from rec 709 to cineon color space - created by Kodak to maximize color fidelity and exposure information. From there then I modify it with an impulz lut then go to the final print - the film print - which I then modify at the end too. SO basically I color the footage in three stages - each stage effects the rest - it's pretty amazing - it's like a three tier coloring process. Each stage's color work effects the next. Sometimes I put too much blue in the shadows of the final print - but it all is exploding my brain - coloring is fascinating. I wish I knew more - and I am learning on my own and if others have ideas I'm proud of my new work on this sony f35 thing I did - really making the final print have some interesting turn to the brighter greens and feeling meetier and more organic.

I personally doubt whether the improvement will be very noticeable. The only exciting video from a mobile phone regardless of frame rates appear to be the S6 and Note 5 with that crazy 200Mbps Flat Profile app (4k Cinema App). Also this jump to 12 MP from 8 is another disappointment. Quite frankly most of today's announcements were lack lustre. I believe Samsung (along with Motorola) seem to be 2 companies who are really heading in the right direction (along with the One Plus guys). Samsung's 6GB RAM is another great move, especially for gaming and for shooting high res 4k video. While Sony makes superb sensors IMHO it is unable to make the best phones to use these technologies. Also its phones look very poorly designed. Samsung seems to be really nailing it. I won't be surprised if their next generation of phone sensors compete with Sony in a big way.

Am I the only one who thinks that those high frame rates are useless?? The bitrate is so low... The videos always look like a crappy 360p video, full of artifacts!

Aren't a lot of these features already there on Android (Samsung) phone? The Apple Pencil was the S-Pen, amd 4k was a natural (albeit late) progression. I found most of the announcements rather cold and unimpressive. The 4k app on the iPhone btw hangs and causes all sorts of strange issues. More than anything I would like a shootout between this and the S6. Especially with the 4k Cinema App ... ;-)

Cross the Ursa off your list if you need it in the next couple weeks, even if it does drop early (B&H lists it at Oct. 22 now). I own and really like the A7rII - its a stills and video powerhouse, but if I were buying a camera to shoot a doc and already had Canon glass, the C100 (mkI or mkII) would top my list. That's what the C100 was made for and it does the job really well - dual pixel AF, C-log and so on. Unless you want something smaller. I like the smaller form factor so for me - get a couple GH4's or a pair of A7s' (used prices are in the $1700 range). Sriracha the movie was shot mostly with a GH3 and the Panasonic 2.8 zooms (stabilized), it looked good to me, but I'm not hyper critical and its an entertaining story that was well done. The IQ from the GH4 with 4k downscaled to 1080 and V-log will be much better than the GH3 - but it will probably surpass what you've already shot as well. But so would the A7s and C100. Just my .02. Good luck.

Easy. Go to your media page, and select your clips, right click and choose attributes, then under video tab, select pixel rate to anamorphic or cinemascope. See the screenshot below.

Well, I'm still learning Resolve too but I've found the following works... Go to Color tab when selecting a clip, select Sizing tool > adjust height/width to custom size. Select 'Create' to save that as a Sizing preset that can be saved and applied to all - or selected clips on import. Or use the Sizing presets that come in Resolve for Cinemascope/Anamorphic > under 'clip attributes' when right-clicking a clip in the 'Media' window. Example screenshot is of footage shot in ML Raw at 50p, so here I have increased the height by 1.65% to get back to 16:9 aspect. Exactly the same re-sizing method can be used to correct Anamorphic footage by reducing height by whatever ratio is needed for the scope in question.

Anyone have experince with Resolve tutorials? Either free, or paid. Yes, I have been Goggeling... I would rather pay for a dongle than give Adobe anymore monies. I am on a PC, if that matters...