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I use Natural (contrast -5 and saturation -5) and I store it as CUSTOM profile 1 .....leave the NR and Sharpening at 0 yes you dial the colour back in in post ,Im shooting alot of night interior scenes in this movie on sets and I want to record a much shaddow detail as possible , I dont want crushed blacks in camera . so contrast and saturation are -5 , it works great this way . I shot a whole moive that way last year and we got superb results with it. this was shot Natural (contrast -5 and saturation -5) with the colour dialed back in in post /grade. all that detail in the actors uniform would not be there with crushed blacks in camera .

we did alot of testing at Media City with Cine D and Natural (contrast -5 and saturation -5) and hands down the best look to work with and grade was Natural (contrast -5 and saturation -5) and this was in a hi end Davinci Grading suite that does feature films every week for Sony Pictures etc . Cine D takes a whole bunch of correction just to get it usable - THEN you apply your look ontop and the whole thing is so tweeked up its a mess . So I'm shooting the whole movie on Natural (contrast -5 and saturation -5) Im thinking like I used to do 20 years ago shooting film stock , Natural (contrast -5 and saturation -5) is my film stock thats the look ...and I'm shooting the whole movie like that . and yes the XL is essential in my opinion as it makes the whole package a usable filmaking tool , dont forget it SHARPENS your lenses too !! We did some test with an Angenieux 28-76mm 2.6 Optimo on a RED EPIC and a Nikon 28-70mm 2.8 with Metabones XL on a Panasonic G7 and there is nothing in it ! if anything the Panny Metabones combo was sharper and cleaner in the blacks no noise at all compated to the RED /Angenieux combo!! That test convinced us the Metabones makes your Nikon Zooms into SERIOUS cinema quality Glass - faster, sharper and wider! nuff said its no brainer .

I think this sums up the situation pretty well. I agree that contacting the Magic Lantern people might be the best bet. Really there were only ever TWO hacked Camera OS's - Canon by Magic Lantern and GH2 by Vitaliy. Casey's suggestion of enticing other hackers into it with a bounty might be the other viable option. I've never contacted the Magic Lantern people - but I know they ARE contactable. But it ain't gonna come cheap because those are pro's that have already done their time in hacking and have moved on in their lives. Maybe we could pitch in our money and offer them a private concert by CHARO. That should hook anybody, right?

your XL speedbooster is an amazing essential piece of kit as it makes the 4k Panasonic cameras into very serious film making tools when paired with Nikon 2.8 Zooms , As I mentioned Im DOP on a British Feature film Pandora , we will be shooting this film with PANASONIC G7 4K cameras and Metabones XL Speedboosters. We have done extensive tesing of the G7 camera in 4k 24p mode with Metabones XL Speedbooster at Media City in Salford UK with my post production house - We Create - (Rod Edney and Paul Whiting) and we have found the G7 / Metabones XL Speedbooster combination to be better in low light and less noise in the blacks than the RED 4K files we compared it against and found it also almost indistinguishable from Arri Alexa files we compared it against. The guys at Media City where very impressed with the Metabones XL Speedbooster. All in all we are committed to making the whole movie with Metabones XL Speedboosters on all 4 camera Rigs. Brian I have just PM's you some info - thanks Andy

The Fuji Premier 14.5-45mm T2.0 ( http://www.bhphotovideo.com/c/product/840519-REG/Fujinon_HK3_1X14_5_F_HK3_1X14_5F_14_5_45mm_T2_0_ZOOM.html ) is pretty well known in the professional cine world. But, if you've ever hefted one in person you know its not only priced like a small house (~$100k), its nearly the same size and weight as well! So, naturally, I'm curious to know how it might perform on the upcoming A6300 in comparison to something much cheaper. Like the Tamron 24-70mm/2.8 with a Speed Booster, which gives you a 17-50mm/2.0. Obviously, the latter is practically $free compared to the former, and you do give up the 14.5mm - 17mm range along with perhaps 1/4-1/3 stop difference in aperture due to f/# vs T/#. But, you gain autofocus, image stabilization, a little extra reach at the long end, and an unbelievably huge reduction in size/weight/cost. I would not be surprised in image quality is nearly equal.

Oh, completely agreed. My film student friends laughed when I bought Blackmagic instead of Sony, but guess whose stuff looks better? Guess whose camera still gets talked about? Guess whose camera cost 1/3 the price of a used A7S? This guy. :D

Sure but one thing you got to give them. They are all still current and selling. I mean the a6300 will be replaced and discontinued before Tuesday

In my book it's normal, I've complained about it before. Has been on the original A7S and at least isn't as pronounced on the Mk 2.

Honestly, I have no issues with it as I think they're angling for a sort of dirty low-fi vibe overall. Imaging is subjective. BTW, you should go find Vince Gilligan's WTF podcast interview with Marc Maron. They go off for a wonky 15 to 20 minutes about film vs. digital. The discussion feels like it could have been lifted from the pages of eos-hd.

Shit, that IS doable. Let's start contacting everyone we can and get the lay of the land, so if someone IS interested, we can get fundraising going ASAP.

This stands out to me as one of the best tutorials. what he shows in this video provides the basis for just about anything else you;d want to do as far as grading is concerned.

Brian , Im using your Metabones XL speedbooster in a similar situation with a Nikon 28-70mm f2.8 (The Bourne Lens) to give me a f2 zoom . I'm DOP on a British Feature film Pandora and we are using this combination as it produces stunning images with your Metabones XL . I'm going to send you a PM about the Movie and Metabones . we are committed to shooting the whole movie with Metabones as it makes all the zooms f2 !! we are using the Nikon 80-200mm f2.8 and the 20-35mm f2.8 all with the XL for the exact reasons you have pointed out in you post , size weight £££ and image quality - which is amazing !!

Used my MF Nikkors for the first time and am really happy with them. Also used the Vizelex ND Throttle Adapter and happy with that too !! EOSHD LOG conversion LUT. OSIRIS Vision X LUT from VisionColor. Nikon 24/2.8 Ai-S, Nikon 35/2 Ai-S, Nikon 50/1.4 Ai-S, Nikon 105/2.5 Ai-S. Default Gamma DR settings with sharpening set at -10. MBL = 0, 16-235.

You can turn off the nofitication by clicking the bell of the notification on the top right side of this page, then click the notification setting. There you can turn off the sound, or do everything you want.

Apologies. I've never used the CC or PC. Thank you for clarifying.

This is not true. The BMCC and BMPC4K both use fans. The BMPCC is Thermoelectric The URSA major is liquid cooling.

there are lenses from Nikon in my opinion they are the best as they have apperture rings and amazing glass

It's not, I've posted about it before and there have been other threads on it. You have it in dark areas in normal pictures as well. Must be codec/NR/processing related.

outside I use Tiffen Nds on the front so I can keep if fully wide open - its a great small lens with the Zeiss look - it has an aspheric element so is razor sharp

the Zeiss 28-70mm C/Y zoom is very sharp f3.5 and stops down to 4.5 as you zoom to 70mm , so not constant aperture BUT it is small and light so great outdoors when I dont want to use the Nikon 28-70mm which is big and heavy , stick it on a Metabones XL and Bingo this lens pops big time

yes the video stream is clean of icons etc and its better than the compressed internal 4k @ 100mb/s , this 4k Pro Res is 744mb/s

Me to, but with the a7ii

This looks stunning ! Congrats !

Michael Slovis gave Breaking Bad a signature look with his cinematography. Most of that was film. Better Call Saul look's like they're trying to replicate it a bit, and are pulling it off pretty well.

I've found this very useful when I stumbled upon it one time... He's got his info from Alexis van Hurkman, author of the Color Correction Handbook and the Color Correction Look Book: http://www.amazon.com/Alexis-Van-Hurkman/e/B001IODHRA/ .

nx1 is different from all the cameras that have been hacked till now. it is based on linux tizen, a real os, with the possibility of running apps and programs.

@Mercer, have you tried the Leeming Lut for Cine D? It's for the GH4 but It might work for G7. He's also making a special lut G7. http://www.visceralpsyche.com/shop.html

Mystery solved. https://newrepublic.com/minutes/129335/feminist-gloria-steinem-says-young-women-support-bernie-want-attention-boys The girl is looking for a boyfriend, or at least attention (whore?).

I feel like beeing moderator right now :D. Seems that now we have accomplished two following baby steps: a) we are in agreement that contacting hackers who are doing it as we speak on other cameras is in order b) as soon as we get reasonable information from them what to expect, we should start fundraiser so everybody can easily pitch in and we have funds for hackers Is original poster still here (OP for next time)? Also is who is actively watching this topic, like multiple times a day - please come forward guys. - It would be useful if OP would create first post dedicated to changes for easier overview of things happening - You mentioned some names of hacker. Can somebody resourceful make a list of hackers from ML, GH2 and basicaly active or potential hackers to contact?

Additionally, there was nikonhacker.com, pentax-hack.info, nex-hack .com (Sony cameras), and, evidently there is a GoPro hack from CHDK. By the way, the main Magic Lantern developer (A1ex) was originally a contributor to the CHDK project prior to starting ML. CHDK is still very active, primarily providing extra still photo features to Canon cameras. Of course, there is also the Tragic Lantern fork of ML (which is still used to get All-I frames from the EOSM and the T3i/600D), and the is the existing Samsung NX hack. LOL! Now there's someone who I haven't thought of in several decades. "Cuchi, cuchi!"

Eh...yeah, but Panasonic can output that resolution in 10-bit and Sony cannot. And without any overheating problems. Panasonic already does a bit of oversampling in their new cameras. The G7 has more of a 2.15-2.2x crop, not 1 to 1, which leads me to believe the next GH will oversample from a higher res (20mp?) portion of the sensor. Regardless, if you look at topics like A Tale of Two 2.0 Zooms, you'll see that Panasonic is doing just fine without sampling the full sensor width.

I have just been sent a ProRes file recorded in 4K UHD off a Panasonic G7 via the HDMI out onto a Atomos Ninja Assassin , on checking the file in Quick Time movie inspector it says APPLE PRORES 422 (HQ) 3840 X 2160 25fps 744.97 mb/s So it does it the G7 streams 4K UHD out its HDMI out !!! - amazing this is now a serious film making tool when paired with a Metabones Speedbooster XL and Nikon 2.8 Zooms lenses

Thanks. I did get it used from the link above posted by Jimmy. I'm not abandoning the GH4 at all. Just the Assassin, since the Odyssey will record HDMI 4K too.

0-255 I dont ever use a meter anymore , I stopped using a meter when I stopped shooting film , I light by eye , you just know when it looks right . There are some Arri HMI's out side lighting that scene and some Arri Fresnels inside kicking through the door way , if you set the camera up right it handles what you throw at it the Panny is a very good camera , for me its strengths are shooting at night , I know I can light superb results with it , no issues . yes thats Nikon Bourne Lens / Metabones magic

I'm not entirely sure about the IQ - its something I would want to test. Its worth noting that inexpensive stills glass is often better than very expensive cine glass. For example, I once did a projection bench comparison of an older generation Nikon 70-200mm f/2.8 zoom against a $20k Zeiss 80-200 T2.9 CZ.2, and the Nikon was clearly superior, especially in the corners. I suspect there is a good reason why you *never* see MTF charts of cine glass! I haven't found a way to do it in a compact form factor while maintaining even remotely decent image quality. There is an infamous Kodak patent that addresses this problem, but the example given in the patent is so incredibly poor that its just not enabling at all. You could do it with a relay type system, which I would call a Keplerian style, or real image focal reducer. However, you then wind up with a huge ungainly and under-performing setup just like the old Nikon E3. Its incredibly nice to learn about this (!!), and I'd like to know as much as possible about your work. BTW, a Speed Booster XL will take an f/2.8 zoom down to f/1.8, which is probably around T/2.0 for most zooms.

Think this era in mass media will be known as the BS "listicle" trash era? I do wonder if culture will grow out of the nonsense and the tone of this junk will sound as ridiculous in a generation or two as dialog from 1930's movies. Then again, as conditioned consumers, we're trained to believe that the choices we make in purchases somehow represent our success in life. What better way to justify one's self worth than to find like minded opinion as a way to say "See, I knew I was right! I'm smarter than everyone else!"? Listicles give people that affirmation. Perhaps they'll never go away. Tabloids have been selling for centuries after all. Criticism of this guy is somewhat ironic to me since there's over a dozen pages of comments in the a6300 thread... Oh well, that's my stream of consciousness pop psycology anyway.

Don't post his videos and give him views, that's what he's looking for.

Have you used a camera with a touchscreen. Until I used one, I didn't realise the ease and necessity of having one, either. Almost like a Laptop with touchscreen. It's a completely different experience. And on cameras the focus point is So Much more precise. And much faster.

A brand new a6000 is 60-70% of its original price today. Like all Sonys, if I want an a6300 I will pay 70% just a few weeks after release. Either way, I would get the D750 or a Blackmagic. The a6300 is a camera I would never buy without testing. Sony has lost my trust completly when it comes to shiny spec sheets. Might be a killer camera but I wont risk it untill I know.

I'd get the D750 if I were you, by summer's end, the a6300 will be selling for around $600. If the reviews are good you may be able to have both.

all the Zeiss C/Y lenses are very consistant across the range of focal lengths , same Zeiss glass colours same blacks / contrast , same look , so the differance is that the 25mm is just that bit wider and the 28mm has just that bit more bokeh .....the 50mm f1.7 is brighter about 1/2 stop more than the rest of the range so if you have it at f2.8 its brighter than all the other lenses in the range at f2.8 - appart from that these are amazing lenses - same glass exactly as the Zeiss Ultra Prime and Super Speed cine lenses at at fraction of the cost

Well there is no BSI image sensor in Panasonic stable, but they have something called SmartFSI ( https://www.youtube.com/watch?v=XPec2EaBSSM ) that's actually very smart technology , but looking like Panny is still struggling with yield and they probably still unable to put the tech onto a large sensor application. The other big sensor tech is stacking , but right now only Sony shown capable to do it on a scale. Ominvision and Samsung all shown them but can only do very limited delivery and they have not employ it on anything big. My take is Sony also is trying to further the technology. So until they can safely made all or some of them to fit together in a sensor and give good yield. The stick with the trial and true older tech but made do with still more improvement. The new Organic Thin Film Sensor development Panasonic just announced was in itself a BSI structure but its not likely to even hit production until he 2020's and this is likely for industrial, automotive and medical application too. So for now I am more willing to believe Panasonic is simply running with limited set of technical know how that they can deploy to a 4/3 sensor ( or Super 35 as in their VariCam). I wonder though if intrim they can take their tech that step further, say bring that SmartFSI to 4/3 or perfect their BSI fab so they can employ that to a traditional MOS sensor The XC10 is one of those love it or hate it affair, Canon should ditch their marketing saying its for Still and Video ( the still capability is a joke ).

I obviously choose the XC10 over the RX10ii. And I have never regreted it.

No I did not.

Sure, Here is a test I made.

It is weather sealed !! and the lcd screen movements are good enough. The lenses have stabilization, depending on which you buy. The biggest downside is removing the touch autofocus which was on the a5100

Correction: looking the official product page (http://www.sony.com/electronics/interchangeable-lens-cameras/ilce-6300-body-kit), looks like that the sensor is not BSI, but a "normal" sensor with copper wiring. The wiring is on top, not on the back, like in the A7RII sensor:

apsc gh5 wouldn't make sense to me. the gh4 was also the first of that kind of camera to have 4k, and it's still the cheapest way to get 10-bit, if I'm not mistaken. the 96fps 1080p slowmo was pretty revolutionary at the time too. that's not really playing catch up. even low light when speed boosted is still pretty impressive, as you know. and it's the best for anamorphic too. others still need to catch up to panasonic

I'll say this. Its getting harder and harder for us to come up with excuses for not making films

Touch screen on the A5100 with face tracking is mean as! Why not?? I'd rather spend more on lenses than the body, as that is what will last longer.