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Let me know what you think of my reel. Thank you! Cameras used are the Canon T3i, and Samsung NX1. Everything shot in Oregon.

So, my Voigtlander came in... I'm a little bummed because the seller advertised it was Version II, but it is actually Version I. With that being said, other than the disappointment... It truly is an amazing lens!!! Here's a grab from my first test with it. Camera: Panasonic G7 Lens: Voigtlander 25mm f/0.95 @ f/1.8 Profile: Natural -5 -5 -5 -5 Grade: FilmConvert - Fuji Velvia - 0 Grain ~ Color Finale - Master Curve Adjustment

As for now and with latest update of Kino Seed's mod-pack I use SANDISK Extreme Pro SDXC 64GB Class 10 UHS-I U1 (95/90 Mb/s) for 250 mbps but you need to understand that bitrate actually recourse consuming option, and NX1 resourses are limited and other functions rely on them as well. So, with 250 mbps you can do very soft and slow footage without any complex scenes like smoke or fountains close-ups, fast moving objects or fast panning, So, if you intended to shoot, say, field and sky or interior from tripod without any fast pan or tilt - you be able to record like 1-2 good minutes of 250 mbps. I can manage like up to 4 minutes. And this is without sound, because with sound there is a problem with any bitrate more then 190-200, for now. With fast moving picture there is a problem - for encode this type of frame codec needs more resourses that NX1 can manage for this, so record drops with sd-card slow speed message. Presumable there is a memory problem involved and if I understand right - guys tried to manage this, but not yet and there is a big "maybe" I think with latest script modifications and optimizations there is no big problem with any sdcard, maybe a little differences like 10 mbps so no big deal. You can use any sdcard with UHS-I or UHS-II specification

The 50-150 is parfocal and doesn't breath, it's essentially perfect. It's a steal at the current prices used. Did a shoot with it out on a beach handheld with AF on, incredible results. Very interested in these Tamron's for their stabilization, rented the 35mm and the 85mm to test this weekend on my D750. Will report back with samples and impressions once they arrive today.

With the release of a $6000 1D body that has no peaking, uses an ancient 8-bit codec and has no log, don't expect the lower range 5D body to be whipping those specs... the writing has been on the wall for so long it's faded and someone has graffitied toilet-dicks all over it: Canon has seperated video and stills for the foreseeable future. sad times.

Yeah, you can always start out little and go big later... maybe this is a good entry

I hate to keep being this guy, but the SLR Magic is an extremely comparable alternative to the Voigtlander. Mercer, great results. Cats at windows are just the perfect test subjects. Sucks to hear about the seller misrepresenting the item.

He also posted single DNG frames for either camera: https://www.dropbox.com/s/8mbqjt2g107fyfu/UrsaMini46k_vs_Kinemax%2BLUTs.rar?dl=0 There's color noise in the shadows of the Kine whereas I can't seem to find any in the Ursa. Highlight roll off appears smoother with the Ursa. Kine is crazy sharp. Could be down to focus, lens, whatever; but the Kine is almost unpleasantly sharp.

I own an FS5 and love it. I upgraded for many of the same reasons you did - I do all kinds of work and wanted a proper video camera. I love my GH4, but I absolutely hate rigging audio and monitors to DSLR-style cameras. I still use a 5-inch monitor (and v-mounts occasionally), but it fits the camera much better. I'm usually shooting the FS5 in 1080 for the 10-bit 422, but very happy to have the 4k available. Clear-image zoom is amazing, especially in 1080 where you can use the zoom rocker to smoothly punch in. Turns my 18-35 into an 18-70. The codec is a good and bad thing as I'm sure you've read. Of course I'd love an all-i option, but it's also incredible to only need two 128gb SD cards for a FULL day of shooting. Vari-ND is amazing. That is all. Low-light is not going to blow an A7s user away, but I've shot at ISO8000 in slog 2 and 3 with usable results after NR. The noise isn't ugly, sometimes I don't notice it's there until I look for it. It does get worse in slo-mo, but still manageable if you shoot right. Raw option is coming. I know it's another $2.2k (Shogun Flame route), but it's great that it will be available. There's also the typical Sony annoyances, like no ECS shutter (so so useful for dialing out LED banding), and limited shutter options otherwise. Pressing 'menu' will take you out of S&Q mode. Audio input 1 can't record to both channels, but input 2 can. No Hypergammas. No IBIS. Monitor and EVF are just OK. It's definitely not the camera for everyone, but it hits a very nice sweet spot for versatile shooters who lean towards the doco/corporate side.

I work at a professional, independent camera store in the US. We were primarily a still camera shop, until the last 10 years or so when decent video became available on DSLRs and mirrorless cameras. Most of our customers are still photographers who occasionally shoot video - and I gotta tell you all - they don't give a rat's ass about 4k and video specs. Most of these people are just shooting videos for the web for their still clients, or they are still journalists who have to shoot video now, etc. The Nikon, Canon and Sony reps that come in here are very aware of this and I believe that this is one of the reasons why we have not seen a flood of high end video specs and 4K in the "still" camera world. Filmmakers want to have it all in a small DSLR or Mirrorless camera - Sony and Panasonic get very close.... I get it - I'd love to see it happen with Canon. I think they will cave a bit to the pressure they have been getting from the filmmaking community and put some "current specs" in the 5D MKIV, but I really feel that the C100 Mark III will be the camera to watch out for (which if they continue with their past cycle should arrive in the Fall). Love or hate Canon - it is hard to argue with the image quality, color, ergonomics, and camera body features (not specs) that you get with their Cinema line. The people that I know who use the Cinema cameras really love them......

interesting. prefer the skin tones on the URSA Mini 4.6K for sure. this must make you happy, aaron -- to know that the next the big thing likely won't best your camera.

Im just puzzled why people still are surprises when a pro stills camera meant for stills doesn't have enough video features to replace video cameras Specially when it has something like 4k at 60fps.. Pretty advanced for a stills shooter imo. Its one of the, if not the best, sport's photography stills cameras out there. Pretty obvious that's why they bothered with the 60fps. It actually makes perfect sense. Making the camera you intend to sell to sports journalists full of features for the "Indy" crowd on the other hand would be seriously wired. Take the 1DC as an example, it costs way less used than a 1DX mki. Because the target audience would never buy some wierd "cinema gadget".

Hey Guys. I've been building and flying drone for years now, long before it became mainstream. Here is what I would consider: - Before buying a 4-5K inspire, get a a dirt cheap used Phantom 3 Standard (the cheap version) for $300-400 and play with it a lot. The control and handling are similar to the Inspire but this is the one you want to experiment and crash (because you will crash at the beginning). I would even start with a $35 Hubsan X4 to get familiar with the controls. - There are a lot of brand but the ready to fly package are DJI, Yuneec and 3DR. unfortunately the inspire with X5 is the only one that can provide enough IQ for real pro work. - Matrice 600 Vs Inspire X5R ? Beside the big size difference, the main aspect is redundancy. There is no room for failure on the Inspire. If one ESC/Motor/Prop/battery/flight controller IMU or compass fails, the whole drone is going down. The new Matrice 600 offers in its Pro version a new A3 flight controller with 3 GPS antenna and 3 IMU in order to prevent failure (like in modern airliners, the 3 sensors check against each other and the computer eliminate the one unit that would give false reading) The Matrice can also handle the loss of and ESC/Motor or prop and land safely, albeit with limited control. A quadcopter will spin an free fall in this case. There are solutions though with safety parachute and automatic deployment systems such as MARS and NorthUAV mayday board. Last the Matrice 600 has a multi battery system that can handle the loss of power on one battery. This multi battery systems also offers the advantage of not having to carry large battery like other drone in this class. Large batteries are a problem because they are legally impossible to carry on board aircraft (check IATA policy). - As for flying, all these machine offer dumb proof assisted flight mode (GPS, ATTI, Return to home). No need to be an helicopter pilot. Any kid can fly a drone these days. Just a matter of practice. Feel free if you have other questions. https://www.facebook.com/profile.php?id=100010518735843 https://vimeo.com/oliverkmia

4K is the standard of 2016 and future proof. Furthermore 4K is the only way to get true 1080p or 2K res out of a DSLR or mirrorless camera. None of the 1080p cameras shoot 1080p. It's just a sticker on the box. They are really shooting a pixel binned or line skipped image. The exception are the full sensor readout 1080p cameras like the A7S which down-sample better on the image processor, but shooting 4K is still preferable over this as it's future proof. In most situations you also have to shoot 4K to avoid severe moire & aliasing. So in short, 4K was necessary to move us on from the crappy line-skipping and moire era of DSLR video. It's not so much a resolution obsession, even if you deliver 1080p, it helps to have your acquisition quality 4K. Now we have two kinds of 4K... that from a full sensor readout is preferable for the full lens circle to get used, whilst a crop of the sensor readout is a stop-gap until the sensor & image processor tech gets better - although sometimes it has its benefits - like a Super 35mm mode on a full frame camera, and 1.3x crop (1D C) doesn't hurt as much as a 2.3! True, rolling shutter and heat issues can occasionally bite you on some of the lower end models, but it's still in the most part preferable to have some kind of technological progress than none. Without progress, we wouldn't get through this early phase of imperfect 4K and onto better things. The only times I avoid 4K these days is if I am shooting hours and hours of live footage and need very small file sizes, or the other aspects of the image outweigh the benefits of the alternative 4K cameras for a particular project - such as full frame RAW on the 5D Mark III with magic lantern for the best colour and keying, or high frame rate 120fps 1080p which can be lovely for certain things.

Hi guys, I have been using the A7R II and the RX100 IV for travel in Cuba, check my video if you want to see the result. So far I loved the RX100 for the slowmo (I filmed everything in 120fps with it) and the A7R II was good too. The IBIS is not great but better than nothing especially when you dont have an IS lens. No overheating problem (this is mostly a problem for people who record long times). The biggest problem that made me sell it is ergonomics (body and menus, ..). It is atrocious. Also I am very disappointed with the AF. Actually my 2 biggest challenges during my trip for video were focus and ergonomics shits of the A7R. Having to set everything all the time was a pain, and the AF was not satisfying. I had no time for manual focus for the type of shots I did so missed a lot of shots because of this. I did focus manually 25% of the time though but it was a pain too. The only solution for me is DPAF from Canon or A6300 AF (I did not try it). Rolling shutter is insane on the A7R. I used the 60p FHD mode sometimes and also the FF mode instead of crop mode sometimes without noticing a big difference. I used a Pilotfly H1+ that was ok. Used it only for the RX100. The good thing is the combo RX100/gimbal 120fps and the A7R II for DoF shots and 4k. Who has used this combo successfully? What do you think about the video? I feel horrible about how Vimeo destroyed it, the original file is SO clean on my screen... But I guess we are all in the same basket here.

I would perhaps even cut it by 30 secs or a minute and leave some of the shots that are more of the same or not as powerful as some as the others out. There's some really cool stuff in there.

Camcorder is not needed; Panasonic GH4R shoots as long as the battery lasts (and the batteries last quite a long time). It's a good option, but if you need really good low-light performance, the small sensor cameras aren't as good as large sensor cameras. Another option is to record from the HDMI-out. I know at least that my D800 supports recording for as long as battery lasts over HDMI-out, and I guess a lot of other cameras support that.

Please list the 4k/60p cameras that would be ideal for adventure shooting... I try to stay on top of these options, but must have missed a bunch.

True...I had to return my first 25mm due to pretty bad decentering. It seems they've gotten better since then, but I'm guessing Cosina's QC is more consistent. Then again, the SLR Magic is about half the price.

just in case anyone missed it and wants to help: vasile started a gofundme for a sacrificial hack camera. all details here: https://www.gofundme.com/22d7kj8

So I've played around with them for a bit won't have time to upload a video until later this weekend but here are my impressions after using them for an hour. - Great Build quality. I enjoy the weight, not overly heavy. - Manual focus great for AF glass. Smooth. 120 degree throw on 85mm, 180 throw on the 35mm - Both lenses breath, but not very badly. - VR is like Nick says above, it's not aggressive at all, just seems to smooth out the "shakies" from handholding. Works really well and doesn't jump at all when panning. Enjoy it so far, thought it is not on the same level as the Samsung S lenses. But the samsung glass can jump on fast pans. - Both lenses are very neutral in their color. I think I will like it for post, but not for straight out of camera looks. - Both are very very sharp. - Electronic aperture mechanisms means you need electronic aperture adapters to use the glass, otherwise you are stuck at f22. No way to shoot with these on the NX1

Yeah, this lens truly is something special. I had looked at a few c-mounts that were 25mm f/0.95 but for the cost of an old TV lens, it just doesn't pay. I will definitely try those settings for you but I probably won't get to them until next week... it has been raining for the past week and isn't supposed to stop until next week.

C100 appears to capture over 100 into super. Using it in Premiere you can just pull it back, it's not a hard clip, that's probably the float engine at work. It's really useful. You'll probably lose that when you transcode I'd guess. I wonder if "full range" in 5D2RGB is pushing that down into a 0-100 file, hence the look? 32-bit in AE sees it all, slows working down though. I often work in 8-bit, occasionally check 32, and render in 32. Ah I missed that, sorry. Yes if you're having trouble with Mercury I'm sure ProRes will be easier on the system.

Awesome @mercer! I am really really near rebuying that lens again, maybe matched by some older Panasonic (like the G7) or wait for the GX80. I just love this lens. This week i searched for alternatives but there arent any.. you wont get any 25mm f0.95 equivalent lens that has a awesome short minimum focus distance in something comparable size-wise. Would be great if you also try standard -5,-5,-5,-5 again - preferably some human skin combined with either KD P400 Ptra or FJ SuperX 400 and post some screencaps

I watched that video assuming the left side was Ursa given the opinions here that the skin tones look better on the BM. I think the ursa skin tones are way too magenta. I prefer the look of the kine.

Unless someone as a hybrid shooter is really interested in good stills/video combo, I don't really get why to even bother thinking about 5D IV. It will probably shoot cropped 4K, and previously the greatest appeal of DSLR-s over regular video cameras was FF look. I guess the price will be around 3500$, so as a video shooter if you're ok with 4K aps-c / S35 video, why even consider it when for a similar price you can buy something like JVC GY-LS300. I think this video speeks for itself.

They still have their place in shoot arsenal, although I don't use them for video since the XC10 came out.

Yeah for the free acct it's 10GB bandwith a day. Paid acct it's 250GB. I've got 1TB of Dropbox storage if you want me to host it.

How big are they? You could use Dropbox or a throwaway Google Drive account.

@Andrew Reid A very good article that's right on spot about 1Dx mk 2 and Canon DSLR video strategy! Unfortunately

@Andrew Reid finally someone telling the truth how the industry works. Thanks for that! But I think you are wrong on one little detail (that has nothing to do with the rest). The removal of the video Button on the X-T2 prototype probably point to the video mode becoming more important. Why is that?! Because we already know it should do 4K. Fuji managers have said as much. And then there is the technical detail, that somehow everyone missed on the internet: there is another setting on the mode dial (the dial beneath the ISO dial). I am pretty sure that this is the Video mode. Making video a mode and not a button you press to start and stopp, gives more freedom. You could change some video settings before starting (probably with the release button). Of course this is speculation, but I am pretty sure it will happen in a similar way

This seems to have very drab colours compared to most Canon in video clips, so this testing is useful in that it proves this is not an illusion! For the price of this you could go and buy a proper video camera 2nd hand. I can't see why you'd get it unless you're primarily a stills guy, weddings and so on. I think it's a sort of last-gasp of their current sensor style. They will HAVE to innovate sooner or later. As soon as Sony fix colour and menu system they're in real trouble. its clear that Canon engage in "perception management" and refuse review stock to people who have an opinion, and I for one like the alternative voice at EOSHD. They can't stop you buying it in a shop so that's what Andrew does, like the rest of us. there's no "Andrew Reid edition slider" here, no banner ads for products that are supposedly impartially reviewed. one doesn't have to agree with everything said in order to appreciate free speech.

Definitely. I get 160mb on an old Mustang class 10 sd card and 180 on the lexar 2000x, so the issue is the data rate in camera, not towards the sd.

When you factor in how much of the total cost outlay is dedicated to stills performance; and how much of the video functions have been crippled (compared to an ursa mini, a kine terra, an fs700 etc video camera, or the 1dc for that matter - canon's prehistoric sensor tech needs all the help it can get when we're talking about DR, and without c-log this camera is not going to deliver the goods that the 1dc does; you have to factor in the performance in stills mode. Anyone buying this brand new for video alone - instead of looking at a preowned 1dc, c300mk1 or c100mk2 is mad.

I'm strongly disbelieving the GH5 will feature the same old 16 MP sensor found in G7 (aka GX80 + stabilization), this is a pure speculation with no foundation what so ever in it! All the rumors until now state it will have a totally new sensor specifically produced by Sony for Panasonic with a multi aspect ratio which measures 18,9 mm per 13mm, with 24 channels readout (cooper wiring and probably BSI), 6K video and 60p in 4K. If this turns true, the new sensor will have around 21+ MP in 4/3 and 18,6 in 16/9 (to accommodate the 6K resolution). http://www.43rumors.com/ft3-new-panasonic-gh5-sensor-is-made-by-sony/#disqus_thread http://www.43rumors.com/the-panasonic-gh5-rumor/

ANAMORPHIC CHOP SHOP - PROPER ASPECT RATIO http://www.tferradans.com/blog/?p=8249 ANAMORPHIC CHOP SHOP - CROPPING IN POST http://www.tferradans.com/blog/?p=8793 ANAMORPHIC CHOP SHOP - FIXING MUMPS http://www.tferradans.com/blog/?p=8832 ANAMORPHIC ON A BUDGET - UPCOMING, 2016 http://www.tferradans.com/blog/?p=8746 ANAMORPHIC ON A BUDGET - THE NEW ROMANTICS http://www.tferradans.com/blog/?p=8923

I definitely hear you on the Canon ambassador. For some reason it's possible they screwed up on the stills side (I was commenting on the stills). That being said, I have to make a comment about the quality of the video from the new Mark ii. I was at NAB a couple weeks ago. In person, this is exactly what I saw. (with different footage that for some mysterious reason is not on-line anywhere). Again, not the same footage, but the same result. Please view below. Canon 1D C (cannot) achieve this. Not even close.

How the heck did he have an AXE in the studio??? :-o

don't forget about ALL of the little extras that are pretty much required like micro SD cards, extra batteries, extra props and an Ipad

Yes you should get a few dozens/hundreds of hours of practice with a DJI Phantom or similar before buying an Inspire

Ahh, this whacky place! The 1DXii will soon be in Andrew's collection alongside the XC10 and 1DC ... Yet he'll carry on the rhetoric and call people nobs for pointing out the inconsistencies. Fair play to the kid... he must sit at home laughing while he types.

Got some used stuff today. The two Voigtlanders are in absolute mint condition but very cheap. The camera was in good condition with the desirable brass patina. The lenses had two years warranty and the camera one + the regular Leica warranty for fabrication errors. I wanted the camera since I love editing Raw on my phone and I enjoy range finders. A happy accident is that Leica M adapts to Panasony and Fuji. And they of course cover the full s35 of my LS300. The build quality of the lenses are just like they usually are with Voigtlander, Excellent! Smooth, all metal and solid. Here are a few quick shots from my garden on the M8. They have had their contrast quickly corrected and one or two got some saturation and a vignette. So no grading. Also, I corrected the raw on my phone under harsh sunlight, drinking beer, so no master pieces 50mm 28mm

Why buy a drone at all?...unless you personally want to specialise in that , I'd side with hiring in a qualified and experienced pilot is often much more cost effective for many projects. Hiring an experienced person with top of the line gear is always going to give far better results, plus they'll have liability insurance, safety training and any relevant flying permits/ licence. any chump can buy a drone these days and get exactly the same results as everyone else - like most things, if you want special results from a piece of equiptment, you get a specialist to operate it for you....or make the decision yourself to focus just on drone piloting and spend a lot of time and money on it as your business. I'm a big believer in maintaining the 'craft' of things...realising that there are reasons why people specialise in such things. The same thing has happened with gimbals - people buy or rent those over an experienced steadicam op who actually know how to make a shot work technically as well as creatively. Now with all these cheaper options to hand, it seems like a race to the bottom, when it comes to quality cinematic movement of a camera. saying that, the Inspire is a good all-round drone if you were to take the jump for your own video projects.

@kidzrevil, I just found out this short was shot on the Kinemini 4K with the Contax Zeiss AE 28mm f/2 and 50mm f/1.4 (and Aputure lights!), so there's a sample for you. Looks pretty high-resolving to me.

Start small... These things are tricky beasts and 1 lapse of concentration can see you in trouble.... The DJI stuff is clever, but you still need to take alot of care and attention. Get a 2nd hand phantom or something and really learn the thing, then see if you feel comfortable with a bigger rig. I know from experience moving too quickly onto a more powerful copter and getting in what is known as the toilet bowl... 1 droidworx drone and a bmpcc smashed to pieces on only our 3rd flight! Once you feel comfortable though... The inspire is a nice copter... Really nice... Not sure I would want an X5R on 4 blade copter though... With 6 blades,.you have a far better chance of landing if one goes wrong.

Here is a 4.6K DNG from the Ursa Mini. https://www.dropbox.com/s/x5cefn7xt2y43xg/Blackmagic%20URSA%20Mini_1_2016-04-14_0619_C0023_000130.dng?dl=0

He often shoots tests in the music shop, the hotel (or whatever it is) and brighton beach. They always, always look bad regardless of the camera But the IBIS is shown to be very effective here! I was worried that we might get big crop or some weird resolution to the image (like Olympus cams) but no, it just looks like your usual Panasonic footage!

It's just about sd-cards mostly. This bitrate is perfectly utilize nowadays sd-cards speed and works without errors or lags. I've tested now like ten 64 GB sd-cards wide variety of prices and vendors, they pretty much the same when it comes to speed of NX1 sd-card driver (? idk how it calls) and top bitrate which I can use is no more 190 for now, but I'm going to test further Sandisk Extreme Pro UHS I 95MB/s 64GB is fastest one that I've tested. I can use it with 190 mbps easily, it works fine, but to be sure I just fly with 180 mbps. Strange thing, when I did first testing of bitrate hack, all of my cards goes with "card is too slow" message when I tried to record video, and first bitrate, that any card allowed me is 140-160 mbps. But IDK how, when after some shooting with 140-160 mbps bitrate I've put the same sd-card but with 180-190 mbps option, run record, it goes with same error after 3-4 secons video... and after that allows you to go with 180-190. After that it goes smooth and pretty fine with 190. Can't say the reason, I don't know it, but I can recommend this way to any testers - just go first with 200 mbps, wait for "card is too slow" message, go second time, go third, if message still appears, turn off the camera, set 190 mbps, run 1-2 record with error message, and maybe now you can do 190. If not - go to settings and decrease bitrate one step more, repeat previous step "with 1-2 errors".. Second sweet spot of bitrates - is size of sd-card. Actually, this one works with "record limit" hack. This hack allows you to record more than 30 min video. For UHD@30 it's 76 minutes with sound and not limited without audio (one user on dpreview said that but I didn't test this yet). So, now you have 76 minutes limit, ok. And now we can set 120 mbps bitrate for UHD@30 and this is a truly sweet spot for this two hacks - now you can record like 74-75 minutes 120 mbps UHD@30 video without any fear to get the error message or crash without message at all (NX1 did this with 4K video that exceed time limit 76 min). It is very cool! One page before I've posted the test results of my bitrate hack test. There is 4K video file that I create from two 4K footages one 80 and other 150 mbps. They just heavily destructed (only luma curve + brightness + contrast) for more visual reference, left side - 150 mbps source, right side - 80. Both recorded in UHD@30 with identical setting and environment, only difference is the bitrate. Scale to 300% for better proof and to eliminate influence of export bitrate. Can you see the difference between them? For me it's obvious, and this test - is how I actually open my eyes to see all the power of High Efficiency Video Codec implemented in H265. Highly recommend to learn about it, worth knowing. If by "motion cadence" cinematorgaphers means some sort of undescribed mixture of shutter speed, framerate and limits of modern encoding process, but from "artistic point of view", then I can tell, bitrate hack definitely improve this, yep. I'd say HEVC theoretically wins in this field when it comes to any lossy codec, and it improves greatily from bitrate hack. Overall quality of picture is improved, each frame is far more stable in terms of color, light - all this parameters, that goes to codec and being encoded, and this goes more smoothly, this also applies to the serial set of frames.

Wonderful !!!! I ended with an A7SII... I love it for its dynamic range and convenient aspects like small size, USB charging, 24x36mm look. In some ways i don't like it : 8 bits luma, color that have to be adjusted very well depending on lights sources, and the major drawback, the rolling shutter that sucks a lot... I've used it in replacement of some big cameras on some shots for commercials i make, and it is truly a good camera to my eyes... But clients don't want small photocams like this and i still rent the big brothers i'm used to. This FS5 looks like it's a cool camera... I'm waiting the RAW update to see if it does like the FS7, where the benefit is not a big big step... We'll see !!!!

If you haven't already tried the technique in this link with your F35 footage Ed you really should give it a shot, along with the color chart method it gives the best neutral grade for the F35 of any method I have tried. The normal color chart method is good to but I have found it adds too much contrast to the highlights at least in my opinion. It is very easy the only real downside is since it is ACES most luts will not work correctly but Filmconvert seems to be fine. http://www.filmscientist.com/blog/2015/01/29/film-scientist-aces-workflow-revisited/ In the project settings switch it from YRGB to Davinci Aces. In the color manangement tab select either Rec709 or RGB for the ODT depending on what monitor you use. On the footage in the media pool assign the lut from the link above. If you want to use the color chart correction make sure the input gamma is linear, target gamma is linear and target colorspace is ACES and that is it. For the first time with any version of Slog I feel like I am getting a truely neutral starting point.