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I'd rather have the better color and 10 bit color depth. Sony color and skintones especially are less accurate. But if you need to shoot in the dark, Sony is great.

I wouldn't be surprised if one of their point and shoots get 4K before their rebel line. Actually, I think the eos-m4 will be their first consumer camera to have 4K... eos-m4K.

I think it's probably impractical in the real world to expect Panasonic to use an S35 sensor for the GH5. It doesn't fit in with their overall mandate, and it's a hard sell when dealing with their native lenses. However, a slightly oversized multi-aspect ratio sensor as in the GH2 but with updated sensor tech seems like a much more practical option, and in their best interest in every way. A multi-aspect sensor that goes from 4:3 to 16:9 would be 18.8x13mm, or 18.8x10.7mm in 16:9 mode, or 200mm^2 sensor area. Compared to standard other formats you get: Standard M4/3 cropped to 16:9 = 17.3x9.7 = 168 mm^2 = +0.25 stops Sony APS-C cropped to 16:9 = 23.7x13.3 = 315 mm^2 = -0.65 stops 3-perf Super 35 = 24.9x13.9 = 346 mm^2 = -0.79 stops The multi-aspect sensor uses only a little more sensor area than a regular M4/3 sensor but gives a benefit to 16:9 capture area, is easily accommodated by the mount, and gives users of existing M4/3 lenses the ability to capture 4:3, 3:2, and 16:9 without cropping and taking full advantage of their lenses. Using the new 20MP GX8 sensor, you get native 6K @ 16:9 with essentially non-existent crop. To me, this makes the most sense for how Panasonic runs their business. It caters to their base, and expands their capabilities even further into high-end broadcast and cine land who can now use 6K input footage and edit for 4K output in a similar way to how 4K is now used for 1080p, giving flexibility for PP stabilization and doing subtle punching in and panning. Useful stuff, in general. However, if you live and die by 2/3 stop of ISO or depth of field compared to APS-C or Super35, and firmly feel that that's the difference between the look and feel of something "filmic" or "video-like" I don't really know what to say, and should probably just bow out of this conversation...

Im a real lens nerd myself so im of course curious in seeing what you guys shoot with/always wanted to shoot with My favorite and most used lens i own is the Nikkor 55mm f1.2, that lens is the deffnition of the full frame look to me. Its a bit dreamy and glowy wide open but thats what i love about it and when you stop down to even f2 its the sharpest lens i've used. My dream lens is the voigtlander 35mm 1.2. I've always loved the 35mm focal length but the dof capabilites of the 50mm has pushed me to use it more often, so have both in one lens would be amazing.

The resolution race has officially become a wank-fest. Just like we knew it would.

dagmar!!!

Since they are outselling them they probably look at them as an example on what not to do. Can you imagine the cost for Panasony to develop and make all these new cameras compared to Canon that uses the same old stuff from 4 years ago. I bet their factory runs smooth as silk by now. And still they sell more at a higher price. Thats not laziness or stupidity. Thats genius.

I think you're doing an excellent job nailing your coloring down. I do agree, trying to work on skin tones can be a challenge all in itself. Also in agreement with RenaissanceMan and the LeemingLUT, if you're ever with reddit, there's a Panasonic G7 group, and I'm trying out a LUT that can mimic BMCC flat color profile. Lemme know if you're interested. I'm learning too as well, so learning from here at eoshd and similar sites are great.

Got confirmation from an A6300 tester " DVFire", 4K 24P/25P crop factor 1.5x (24MP full sensor readout) 4K 30P crop factor 1.9x (13MP crop area full readout) HD 120P crop factor 1.9x (13MP crop area pixel binning readout)

Thanks! No LUT. Just DaVinci Resolves lovely gamma wheel, a lot of saturation, some fiddling with the contrast curve, and then I balanced the individual red, green and blue curves in a separate node. It's very easy to get lost with the individual curves though...

Yeah, he has a Scottish/Irish heritage. He isn't red headed or anything but he has freckled, blotchy (for lack of better word) skin.

The settings from the camera seems fine. I blame any bad skin tones on laying in bed with the macbook at an awkward angle... RGB Cruves + very minor hue adjustments in Resolve: Nice bookeh on that lens btw.

Hey Merc! One thing I recognized, I had to be pretty careful with the color sliders on the Cine D file. Also, light in this scene seems challenging to pull something magical out of this file. We nerds love to talk about thick colors when it comes to the technical side of the digital pipeline. I think thick light would be just as much appreciated. These dull winter days don´t often provide that at them moment. I think one can immediately recognize the magic glow of light by eye. Not talking about magic hour but the very different beasts of light depending on time of the year, day, haze, dust, sandstorm:), region, whatsoever...:)

Hey Mercer! thanks for the material. Went for a quick one on the Cine D in PS. So maybe the layers would work the same in Premiere. Did color balance, gradation curve, exposure and alpha with the blue channel as softlight layer on top. I would say light in this particular scene didnt really provide that much magical nuances to pull out of the file. Looks like shot on natural profile. So why not just film in natural anyway:)

There is a free Colour Grading tutorial from Color Grading Central, which should give you a very good starting point: http://www.colorgradingcentral.com/final-cut-pro-x-color-grading-table-of-contents This got me started & was very useful. My advice is to start with the tutorials before spending any cash, so you can understand the grading tools & process of FCPX. Then just use some free LUTs in combo with what you've learnt from the tutorials (LUTs will give you a starting point & thenn you can go from there to tweek stuff you're not happy with).

As Hans has said 4:3 is the usual aspect ration to go for, but if that doesn't give you long enough recording times then use 3:2 or 5:3 (on my 60D I had to use 5:3). ML Raw also has fake anamorphic sizes, which will give you longer filming times & 2.35 is one of them.

These will be good to rent.

+1 for 4:3 or even 3:2 crop using magic lantern on the 7D. 50mm may be a tad too wide as taking lens on most projection anamorphics - safer bet is to use 58mm + to avoid harsh vignette....or simply crop away the sins in post. Here are some old (and pretty terrible) test shots from very early ML 7D build - before the actual raw video function was enabled. It was shot using the 'silent pictures' burst mode (basically shooting medium resolution stills as fast as the buffer would allow). ML has come a very long way since. (search vimeo or YT for far better example videos) The 7D does not shoot full 1080p raw (the 5D3 can only achieve that) - but the crop modes and aspect choices of ML on the 7D still makes a very attractive image when upscaled and cropped to whatever you want. Dynamic range and quality of colour outweighs any resolution hit in my opinion. iscomorphot 16/2x: iscomorphot 16/2x: Here is a 'fake' anamorphic video (using fixed oval aperture inside 135mm prime lens). still looks pretty good to my eyes, even now having since upgraded to 5d3 ML raw....

My most used is the Sigma ART 18-35 too. Easily. My favourite current lens is the Helios 44-2 85mm (modern version). This thing is nuts. Bokeh is crazy. Flares are really random. Star shapes and all sorts.

Barrel distortion is too pronounced for my taste, at least in that video.

Damn that is fast, especially with the 50/1.2. That would make a great lowlight/portrait option on a crop body instead of something like the Batis 85.

Wow that price is ridicilous. I dont see a market for it. Too pricey for purchasing, and if you are gonna rent, why not rent some cookes or hawks..

Also, the Metaboes AF looks very impressive:

Here's a side by side with the A7sII and GH4 - a6300 image is more detailed than the other two, looks good.

Here you go... I did a regrade using an inverted curve, only 50% strength on the cinelikeD LUT and a different finishing LUT. These were both shot in CineLikeD with everything dialed all the way down. It seems like there is a lot of latitude in the shadows... which is good because I underexposed these slightly. And both were shot with the RMC Tokina 35mm f2 lens. Have at it. Also they look like they could use a little noise reduction and some sharpening, but I don't have neat video... or even a good photo editing program.

I seriously would not mind at all if their P&S gets 4K before their DSLRs! :-D As only Canon P&S interests me because of their powerful CHDK. Wish Nikon had the same!

The RMC Tokina 17mm is a great lens. It's a 3.5, but speed boosted, it should be plenty fast enough. I had the Canon FD 17mm and that was a decent lens too.

To be fair, the only unacceptable motion artifacts I've seen (beyond legitimately anomalous glitches with my 70-200mm f2.8 II IS, but anomalous glitches which would ruin an image) were with Tamron lenses. The IS is amazing, but it locks onto one frame...drifts...finds another: feels very much designed for stills with Tamron. Canon is a bit smoother. But you're speaking incorrectly for an audience who disagrees completely with you, and disagrees correctly. I don't care about numbers, be it 5k frames analyzed or 4k pixels captured, I care about images. And every image stabilized lens I've used has imparted a slightly unnatural motion, or lagged a bit, or self-corrected when stationary, overshot during a pan, etc. For me, in a guerrilla shoot (what 99% of people here are facing) the die roll is in our favor: it's more stable. For those with the complete control of being on set with top level gear and excellent crew members, the die roll is not in their favor: they're already getting it right, IS can only get it wrong at the worst $100,000 moment. There's plenty of middle ground, but how much of your shooting with no IS and with IS has been on studio-distributed features? On tentpoles? With the people you claim to speak infallibly for (union camera operators)? I'm guessing not that much. Every union camera op, AFI grad, etc. I've spoken with would disagree. That said, it's never bad to have the option. But I think Sigma has targeted this lens more toward portraiture and video than toward sports. And to that extent, their omission makes sense.

Thanks, I'll check that out. Honestly, I'm surprised how much latitude the G7 has before everything falls apart. As you can tell, I have pushed the shit out of these images. But I think the last one turned out okay, and that is CinelikeD dialed down, so there may be something there.

I've heard of good results with several different settings: - Natural with minimal tinkering. -2 contrast at most. This is what I use with my GH3 and on GH4 shoots. - CinelikeV with contrast dialed down and shadows +3/idynamic low. This provides a look that's mostly finished in-camera. Haven't messed much with this yet. -CinelikeD dialed down, with a LUT applied to bring the footage to a neutral starting point. Check out the DVX User thread on the Leeming LUT for more information. I'm looking more into this right now, as I'm contemplating an upgrade to the G7.

when the Sony A6300 drops I'm sure you'll be able to find several for eBay for pretty cheap.

Did some tests with the beholder ds1 and a lighter setup than the 5d, tried it with the sony rx10 II i used the step up plate and the lighter profile took me 5 minutes and was good to go

Okay folks, NO. You cannot balance the DS1 with the giant Sigma 18-35mm f/1.8 Art lens. I used the Metabones Speecbooster's foot as the connection point instead of the BMPCC's own bottom mount, but it's still too front heavy. By the time you move the mounting point far enough forward, the camera will hit the back of the cradle. Now you could also add about 300 grams on top of the BMPCC - that would get the balance right - but by then you will be significantly over the DS1's max payload of 1.6kg. Oh well...I never even suspected that would work anyway. This lens is a freakin' BAZOOKA. The one lens that I really want to try that I don't have is the Samyang/Rokinon 16mm T/2.2 because that is a great lens, and their 10mm can be a little too wide sometimes even though it's a killer lens. I have a couple of 20mm's that I've been using but I'm not knocked out with them. Nikkor Ai-s 20mm and a Voightlander 20mm pancake style. They are both "good" lenses, but they aren't "fantastic". I think 20mm is a length that just doesn't lend itself to great lenses maybe. I dunnno. Anyone know of a really killer 20mm lens? I also have the Panny 20mm f/1.7 but that lens is also in the "good": category, but as an MFT lens I cannot speedboost it so it's really not a comparable 20mm even. I've heard good things about the Olympus 17mm - but that's really close to the Sam/Rock...and the Olympus 25mm gets into the range of my Nikkor 28mm Ai-S which IS a great lens. Anyone got any other recommendations? Thanks.

Yeah - of course you have to balance it! But the DS1 uses NO TOOLS to balance and I can go from my BMPCC with a small lens and then switch to my NX1 with a big lens and TOTALLY re-balance every axis in about 2-minutes. BOOM! And you don't have to go into PID settings at all because the DS1 comes shipped with 2 settings already for heavier and for lighter cameras. Sometimes I have more trouble than that just tying my damn shoes!

This one is with the Tokina RMC 35mm f2. This is also cinelikeD with everything dialed down. His skin looks orange here, but it is showing good on the vectorscope. His blotchy, Scottish skin is proving to be difficult. This one is the same Tokina lens but I used the Natural profile with a variation of Andy Lee's settings. I left everything at default except I dialed down Saturation. This one is still with the same Tokina lens and Natural profile, but I used Andy Lee's settings for the G7, which are... Contrast -5, Sharpening 0, NR 0, Saturation -5 And here's the last one. This was shot with the Minolta MD Rokkor-X 28mm f2 using CineLikeD with everything dialed all the way down.

Nothing will 'force' Canon to get their act together. Canon is the Donald Trump of camera makers. It's the greatest, and if you don't agree, you're a loser. You'll buy what they make and you'll like it, too.

This is really a matter of personal taste. Every professional camera op I've talked with considers IS useless for video because of its unpredictable behavior and motion artifacts. They'd all take a steadicam or balanced shoulder rig over IS any day. Maybe for news gathering or doc I could see the utility, but for "cinema" it's undesirable.

Exactly. The low bitrate from the D750 eats Panasony 100mbit for breakfast imo. Im very interested in this camera. Will look forward to your tests. Seems like it will be much cheaper than the rx100iv as well (which btw is catching my interest as well as Im starting to finally get a hang if slog).

the 18-50mm version is gonna be a huge succes in the vloging market i think, the selfie screen and 18mm at the wide end and 4k makes it very atractive for them. Much better than the current standard which is the canon g7x

True the option of 4K is great, sure 6K could come in handy for certain work. But I would like a boost in film IQ, more like the Varicam. More DR, better highlight rolloff, less noise, better codec(prores,h265, raw). If 6K and 4k 60fps are the only selling points over the GH4. I will not be buying one, then I even choose the A7S ii over it. Why would you wait till photokina for such specs.

As you say, let's hope they get the codec right. If it is 8 bit 4:2:0 with a low bitrate, then it is almost wasted tech.

Exactly, had the same argument with Tony myself, but these people can't be convinced. I mean, I can crop in on a photo taken with a fullframe sensor and it's just as bright as the rest. Why would a crop sensor work differently? Hint: it doesn't.

Light gathering, not bokeh.

Ah! Great to see someone already in love with this lens. I've got to admit, it was andy lee (of course) who kind of planted the seed that put the Tokina 50-135mm f/2.8 on my radar. Found a nice Canadian fellow to ship me a new one, which came in just before lunch. Had some errands to run, so I hope I can put it to the test in the next few days at least. Supposed to have APO qualities and it does appear to be parfocal too! So, it's fair to say that the initial impression was a good one! Thing is built to see some shit and the rendering is kinda nice, takes the edge offa brittle 4K, although perhaps not really squeezing out the optimum performance of this baby at the f/2.8 I'd wish to just leave it on. I was about to try Zeiss primes now, but this is like a 50mm, 85mm and 135mm f/2.8 in one. Speedboosted and voilá, Hollywood vibes. It's a nice alternative to the Nikon 80-200mm f/2.8 D, which is gorgeous and the better performer I think, but the Tokina's wider range might appeal a little more. All for a fraction of the costs of a Zeiss primes set or the Sigma for that matter, although, I guess in the end the Sigma probably has a fair enough price... the Olympus 40-150mm f/2.8 PRO isn't far off and the Sigma is a f/1.8.

I love that lens. I've seriously regretted selling my copy when I went to Nikon Full Frame, will get another one day.

Hello! I am Vladimir and i present my DIY Electronic Follow Focus for Ronin, Crane, Anamorphic lens and others. sorry for my english)

Still playing with the LX100, I tried a lot of profile settings and Highlight/Shadow curves to get the best image for color grading. Finally I recommend the following settings : Contrast -2 / Sharpen -3 / Noise reduction -2 / Saturation 0Highlight -2 / Shadow -2As it's impossible to apply a real LOG flat profile in-camera, so I created a LUT to flatten the image the safest way. I based this LUT on the rendering of the VisionLOG profile with some adjustments. Download (.3dl and .cube in ZIP, 2.5MB) : IWLTBAP_Flattener_LUT.zip

I got a LX100 yesterday and I just started to play with the 4K. The image is great for a small and inexpensive camera (I got mine at €500/$545, used but as new). Maybe I'll make a longer post about my opinion on the LX100, but for the time being I love it. Of course we are far away from the quality of the BMCC 4K but I bought the LX100 to downscale in 1080p and get a beautiful image. For info, I downscale easily with RockyMountains (freeware). First thing I noticed is that the 4K image can have a grain a bit thick in dark scenes, even a low ISO. For example below, I shot at 100 ISO indoor and in this 4K 100% crop you can see the "thick grain". I tried to reduce this grain in a non-destructive way and finally I got this result via curves and levels : Before : https://dl.dropboxusercontent.com/u/8492265/iwltbapluts/crop-LX100-before.jpg After : https://dl.dropboxusercontent.com/u/8492265/iwltbapluts/crop-LX100-after.jpg GIF before/after : https://dl.dropboxusercontent.com/u/8492265/iwltbapluts/lx100-lut-grain-reducer-before-after.gif I made a LUT (.3dl and .cube in ZIP, 3.5MB), feel free to test : IWLTBAP_LX100_Grain_Reduction.zip PS : Yes, I'm aware that a LUT can't modify an image, but just the colors ; here I tried to reduce the chroma of grain/noise and unify the whole in reducing the overall light. Hope it helps