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Adobe Premiere Pro CC was updated today to support H.265 files I imported several NX1 H.265 clips directly into Premiere and they play and edit beautifully without any glitches or lag. I even tried multiple transitions and LUTs on my clips and it slowed it down a little, but still no problem editing. I have a Windows 10 PC, I7-4770K, 16GB ram, GTX970 4GB, separate SSD system, work and render drives. Adobe After Effects and Media Encoder were also updated to support H.265. Thank you and great job Adobe!

Don't be afraid to crush your blacks, but don't clip your highlights. Film, especially black and white, has real 100% black, but an incredible highlight tail. This will produce the most a natural image with striking contrast. Depending on the project, try and use shadows as graphic elements in your frame. And don't be afraid of subtlety. Not every shot has to be a melodramatic Sin City still frame--low contrast B&W can be as immersive and powerful as high-contrast. Just remember, even in a low-contrast scene, to include one very bright element and one very dark element to give the viewer a sense of relative contrast within the other tones. If you do a straight desaturation, you're working with luminance information only, which makes your lighting absolutely critical. You'll probably want to use harder light than you're used to, or the image will feel a little "undefined." Let me know if I can offer any other pointers. B&W is something of a passion for me. As usual, the best research is to go watch some great B&W movies and steal like an artist.

create a timeline of 2.75:1 so 2970x1080 drag your footage into the timeline, then stretch the footage on the horizontal by 2x. the sides will be cropped off. You might find you can get away with stretching less than 2x - sometimes 1.8x will be ok - particularly for closeups, since anamorphic squeeze ratio is at infinity, when focused closer the squeeze ratio reduces quite drastically. Use your own judgement - by eye is better than by the numbers. Personally I think 2.66:1 is the golden ratio. any wider and things get a little too thin. - Unless you;re Tarrantino / Bob Richardson and able to make it work for the film:)

You could make a strong case that the 1DC is still the best 4K camera in the DSLR/Mirrorless bracket. If the 5D4 has a similar image, perhaps with a nicer 1080/60p mode, it would be a very in demand camera. I think the 1DX II may actually give us a few more bangs and whistles though... Possibly even 10bit and a big DR increase.

I'm still a big fan of Canon's dslr's, I'm hoping the 5d4 has enough to bring me back to Canon. I love the image from the A7rII, but I really prefer the handling of the 5d3. I just don't have the time to shoot raw and Canon's 1080p leaves a lot to be desired. Dual pixel AF on the 5d4 is a given since its all over the entry level cams that have been introduced since. I think there's a good chance for C-log. I'd be surprised if it didn't have 4k just because its the big buzz. The Cinema line appeals to a different user base, lots of TV productions, rentals and such where ND's, built in XLR's and manual controls are the norm - and stills aren't needed. I still think the 5d4 gets two variants, one with a bump to the 32-36mp range and 1080p and one with fewer MP and 4k - maybe like a s35 4k mode with 1:1 pixel readout. The lower MP sensor and 4k will also anchor the next 1dx that will spell the end of the 1dc. That's my prediction and the 5d4c will get me back to Canon.

Actually playback is better for me than ProRes. It may be because my card (GTX960) has a H265 decoder in it.

The thing is, between 5D IV, C100 II, C300 II, C500 and respective successors I don't see why Canon would implement these things in the 5D IV. Looking at the focus of the cameras and their respective price points, Canon seems decidedly to go in direction of a clear segmented product portfolio with no cannibalisation. You probably won't get the C100 II features in the 5D IV, at least it would be a huge surprise, they clearly try to make the incentive for people to upgrade to the Cinema EOS line.

They're just different. Pick up a 50mm and see what you think. I have a really nice AIS set, and have just expanded my FD set last week when I picked up the 85 1.8, 200 2.8, and 35-105 3.5 My FD's aren't as fast as my Nikkor equivalents, but give me some time this week and I can go grab some comparison footage with each

Zak I still have a good feeling about G&G. They told us 3 months ago that BM distributor predicted December. Every other person was saying November. I have a feeling it's coming in the next 2 weeks.

Here is a comparison of HEVC vs Prores I did an hour ago. To me banding is still less apparent in Prores but for most projects HEVC will be my choice for saving space on my HDs. https://www.youtube.com/watch?v=SOzJntHIn5U

I think it probably would be faster encoding if Premiere can use the hardware encoder properly. Sadly, I bought the GTX 970 just before they released the GTX 960. Update 2: I changed the render settings to "good" instead of "highest" and it cut the render time to ~50 minutes for the same 23 minute sequence.

It is always great to be able to understand all the testing methodology and have the relative comparisons between cameras.

VW also cheat at tests.

I'm dying for the H265 Premiere update, it was supposed to be the Fall update and we are almost in December already!