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I shot a video for an artist called Vesperteen (check them out on Apple Music, or here). Shot 75% in V Log 10 bit, and 25% with C100. Check out some of the V Log stills below. Haven't worked on a final grade yet. These are just Cineon to Film Contrast LUTs applied.

Shot by Lumix LX100. Light travel tripod. Gimbal Beholder MS1.

Long live France! Long live Liberty! Downing Street has confirmed that there will be a minute's silence in UK on Monday at 11:00 GMT (Noon in Paris).

Yes, very nice stills! I have V Log love, but no Panasonic cam:). So far, it seems, the GH4 footage looks definietly more cinematic with V-log. Found this link on slashcam.de: http://www.provideocoalition.com/v-log-l-on-the-gh4-don-t-panic Possibly interesting for GH4 users... haven´t read it.

If you have the Nikon mount sigma, you should be fine. Currently using a Nikon G adapter on my nx1 to use the tokina 11-16 2.8. Mattias, can't wait to see the footage I have a spinning 35mm adapter sitting at the bottom of my closet, let's bring em back!

Great work Aaron! Thanks to your suggestions I started to use V-Log and I'm having fun! I still not use it for client' shot because I'm still testing it, but for my personal things I had very good results outdoor. Which lenses do you normally use with GH4?

The one linked. It only works on G lenses of course. I use it with the Tokina 11-16.

I think Vlog with the Atomos and XL Speedbooster gives amazing results, but I also really like it if I expose well to the right when recording internally...plenty of Vlog love here and I paid for it on 2 GH4's...actually answered a feedback request from Panasonic quite harshly, based on what I'd read from other forum members, but I have to say that after using it for a while, I would have given them a better review...

A well-calibrated Bolex Moeller 16/32 1.5x is probably the sharpest and easiest to use dual focus anamorphic. It's lightweight and has excellent close focus. When you use it with a sensor capturing in HD aspect ratio (1.78:1) it becomes a 2.65:1 -- essentially an original cinemascope recording format which with a 10% crop becomes standard 2.39:1 anamorphic projection. I ran some extensive tests on the 16/32 including maximum barrel distortion (important because excessive distortion leads to anamorphic "mumps") and determining minimum taking lens focal length. The setup was a GH4 in UHD mode with an MD to micro 4/3 speed booster so effectively it was close to a S35 sensor size. The minimum focal length without vignetting was an MC Rokkor 35mm f1.8. It looked great. The wider you go the more you tend to reveal distortion at the edges of the Bolex, but I compared the barrel distortion to the same distortion on super high-end Hawk and Panavision 35mm and it was nearly equivalent. I used the MC Rokkors because (1) the 58mm f1.2 is legendary and I've use it to great effect, (2) the MCs have a good single coating so it doesn't kill anamorphic flare and (3) there's a speed booster for it. You can also easily adapt M42 mount lenses to MD using an inexpensive Fotodiox adapter. That opens the MD booster up to some great anamorphic M42 taking lenses like the Jupiter 85, the Helios 44-2 and the Zeiss Jena Flektogon 35mm f2.4. (I used to avoid M42 taking lenses because they're screw mount and you don't want them unscrewing when you adjust focus etc.) Of course the speed booster drops all lenses down a stop so the 58mm becomes a f0.8. Other good choices are the Canon FD taking lenses, but (a) there is no speed booster for FD and you can't use the EF speed booster without an additional optical adapter. BTW: I did test the Rokkor MC.W 28mm as a taking lens and while it works it starts to vignette on the horizontal, but that might disappear during a crop to 2.39:1. In any case 28mm anamorphic starts looking unnatural to my eye, but might be useful for special shots. A few negatives on the Bolex: (a) They're relatively rare and damn good so they're kind of expensive: cheaper than the high-end Iscos, more expensive than the Bell and Howell's and Kowas I think. I expect that because of the new Rangefinder, the Bolex will stay high in price as the Iscos drop. Expect to pay in the $1500 - $2000 range. (b) Adapting them usually requires an adapter from RedStan if you want to do it professionally. There are some hacks floating around that will still make it work if you can't find a RedStan. One final recommendation: Whichever adapter you go with make sure to send it to Bernie O'Shaunessy for cleaning and calibration. Most of these lenses are 40 - 50 years old. You don't want to drop a grand or so on an adapter only to deal with something out of calibration. His labor rates are pretty reasonable. Good luck. Here's a sample frame from a Bolex 16/32 by Mauri Galliano, a great Spanish DP who has used Bolexes to excellent effect. (The model is his sister).

I love it. Simple as that. Will have footage soon.

I don't know how new this is, but I came across a post on the NX1 facebook user page that someone said Divx has a new hevc codec plugin for their player that plays NX1 footage smoothly. I downloaded and tested it out with the Divx player and works great for me, it's nice to be able to watch back the footage without having to transcode right away just to view the files. It does seem to playback in the 16-235 luminance color space so if you shot in 0-255 your footage will appear darker/more contrasty. http://www.divx.com/en/software/hevc-plugin

Just walked away from a garage with a pelicase. Dont know if I got treasure yet but one of the lense sinside was a Zeiss so I grabbed it. Will post pics when Im back home

first quick attempt internal 8-bit v-log-l in available light, using Koji Arri log-c 2823 LUT https://vimeo.com/145764449

And here's the finished edit: I have to say that this works quite well, at least sufficient for my needs