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Did some tests with the 1DX II today. We plan to use the 1DX II with the C300 II for multicam shoots (and with the A7S II as well). After testing the builtin profiles and getting close to something I liked with a modified Faithful profile, I created a custom picture profile using Canon's Picture Style Editor. The goal was to emulate CLog: boost shadows and pull highlights (and look decent straight out of camera). I tried a few variations and below is the result I felt was a good start: Lens: Canon 24-105, 1/50, F5, ISO 1600, Highly Tone Priority On, custom picture profile. Full frame IPB 23.98 1080p, PADF, internal camera mic, mixed lighting (challenging LED practical lights (green bias/spike), monitor lights, and a decent LED in the background). Thoughts: I like the camera. It does a nice job in mixed lighting, it looks pretty good out of the box and even better with a custom picture profile. RS is present but low. 4K60 plays back fine in PP CC. Transcoding to much smaller H.264 IPB 4K files at 250Mbps looks decent when not pixel peeping (mostly loses noise detail), might try to optimize further. Currently everything we create is for online 420 IPB delivery (YouTube, Vimeo). I haven't done low light tests yet, however pulling up the shadows is very clean, and the noise grain is pleasing. Canon's full frame 1080p isn't as good as Sony's full frame (4K 100Mbps downscaled to 1080p in post). It's not just the downscale where the A7S II is better, the Canon is doing lower quality pixel binning/skipping as there is aliasing and moire (see my glasses frame edges). The 1DX II looks amazing in 4K, however it's a 1.33 crop. Thus for full frame 1080p the A7S II looks better (when RS won't cause an issue). For internet delivery and the average viewer, the difference probably isn't important. If the quality difference becomes important, we can shoot in 4K with a 1.33 crop (and purchase more hard drives). We're currently shooting with the C300 II in 50Mbps 1080p IPB- quality is more than sufficient, including for green screen (I'll post technical details and a clip in another thread). The 1DX II uses new batteries, which are proprietary and very expensive compared to 5D3 batteries (and not currently available- should be available soon). Size wise, the 1DX II is like a 5D3 with the battery grip built in. The AF is pretty good, it keeps tracking even when the head is turned sideways: their face detector is trained beyond just straight on, which is cool. AF noise is somewhat loud; less of an issue when not using the built in mic (same for C300 II). Canon's EF-S STM lenses can't be mounted to full frame cameras without modification, so there's currently limited options for quiet AF FF EF lenses (e.g. the Canon 40mm F2.8, 50mm F1.8, and 24-105 F3.5-5.6 EF STM)). In summary: with a custom picture profile to boost shadows and pull highlights (attached to this post) along with Highlight Tone Priority enabled, it's possible to get close to CLog, and image quality, noise quality, skintones, RS, and AF are really nice. 1DX2e_Logish.pf3

Tested the 1DX Mkii on the Letus Helix, so far all is good. Still sorting through the manual. Took some test shots over the weekend verse my Sony A7ii and A7Rii. The Canon is way cleaner, requiring far less gain to expose in low light conditions that either of the Sonys. Video look pretty good to my eyes, even in dark (not just low-light) conditions, whereas the Sonys produced unusable footage under the same condition. We did have some rain over the weekend, and I had no fear, safe in the knowledge that this body is fully weather-sealed.

Nope. This will require T-Kernel break-in and neither me nor any sane person would attempt this on anything BUT a burner cam. If burner cam available and significant effort/time then chance > 0. Nope. Kino Seed saw it in the kernel sources but from there to modding anything is like going from being me (hint: I am not a string theorist) to being a string theorist (like, for example, Sheldon Cooper). Comparison intentional because the fact that an interface (API) has been published does not mean it has also been implemented (just like Sheldon who has not yet discovered anything AFAIK).

This was done by eye- I don't know how Canon implements CLog internally. I created a low-contrast S-curve and a few minor color tweaks. This boosts the shadows and flattens the highlights, similar to how CLog looks (not really a log gamma, more log-ish). I can try to match CLog more carefully using the C300 II as reference. Max DR for the C300 II requires Canon Log 2, which is basically Arri LogC (along with Canon's Cinema color and "Production" matrix emulates ARRI (can use ARRI 3D LUTs etc.)). The DR seems similar to the C300 II (haven't shot them side-by-side yet). Based on the noise so far, the 1DX II might be better than the C300 II for low light. The DR and low light performance on the C300 II and 1DX II are better than 5D3 RAW, however the 5D3 RAW can look amazing when processed with ACR, Resolve, etc. The newer cameras have lower RS vs. the 5D3. A 5D4 with 10+bit very high quality 1080p and the same DR as the 1DX II (and PDAF) would be more useful than 4K for our needs.

Yes. I posted about it a while ago in Eds thread about 1dc and bmmcc. Shot a wedding with the d16 with bmpcc speed booster and 18-35. Loved it. Did a confusing test with it too. It doesn't hit the sensor at all and digital Bolex has officially confirmed that themselves too

Hey Folks! My 1.5x baby moller is for sale. It is the focus through version (you only focus your taking lens!), and has a custom built housing and comes with a 0.5 diopter. Some specs: Rear thread: 55mm Front thread: 67mm Mininmal focus distance without diopter: 2m Minimal focus distance with diopter: from 0,9m to 2.2m Without vignette from: 28mm (MFT), 50mm (APSC), it works on fullframe as well, but I did not test the min. focal length Condition: SUPERB! Shipping from: European Union Please check out the attached pictures. I also grabbed some snapshots from my latest video (my focus pulling was not the best...). It was shot with the Lumix GH4, Cinelike D profile + Rec 709 LUT in the post, Mitakon lens turbo, Pentax 50mm & Canon 85mm f1.8 mostly set to F4.0 + the moller & UV filter. In my opinion it is an awesome lens which gives you 2.66:1 as a final result. As you can see it is pretty sharp, some say it's sharp from F1.4, but i found it soft for my taste, and it is also hard to pull focus when wide open. It is a run & gun lens, small, handy and lightweight. I'm willing to ship the lens worldwide but please note that you are responsible for customs, taxes and other charges. The price is not set yet, if you are interested, please contact me with your offer! Thank you!

A lot of people (on numerous websites) are bashing the 20mm Sigma. Just nuts. Forget the pixel peeping and slight distortion. It's 20mm! It was made for low light photography and it shines on a Sony A7S ii at 3:00 in the morning. Have fun with it!

You should receive each update to your email address. Can you send me a message at contact@iwltbap.com with your payment email address and I'll resend you the download link

Well I think it still looks strange, but the slowmotion thing masks it.

Check my latest video here shot at up to 1/2000s and tell me if you find it that strange http://www.eoshd.com/comments/topic/19761-imagine-cuba-a7r-ii-rx100-iv-pilotfly/

Total bullshit, in every way.

ProRes is an intraframe codec. That means if you don't change anything within the frame itself, grade it or resize it, there will be no recompression.

The app has been updated to allow you to turn off that "you're using NTSC mode" message.

Has anyone tried using the BMPCC SB on the DB16? I'd be afraid the optics might hit the sensor glass.

Test of color grading using my free LUT Aspen on a footage shot by Johnnie Behiri with the new Sony RX10 III. To convert LOG to standard (Rec.709), I used the generic LUT "U-9992-LTR.cube" (75%) from my conversion pack with some Lumetri adjustments in Premiere Pro CC (Exposure +0.7, Contrast +20, Shadows -10, Blacks -10). The free LUT Aspen can be downloaded here : http://luts.iwltbap.com/aspen

I'm excited for the C100 III because it'll drive down the used price of C100 IIs.

for typical scenes in outdoors bright daylight with dark shadows:- set your ev dial to +2 then use the histogram. If you're not sure what the histogram should look like for correct s-log2 exposure just set the camera to auto mode and see what settings it wants for a +2 exposure. then you know roughly how to set the camera up and how the histogram should look. for fool proof exposure just use a +2 setting on your ev dial and auto shutter. use a variable ND to keep your shutter as close to 1/50th as you can if you're not shooting in these conditions switch to another picture profile. a cine profile will be more preferable for low light where less priority is given on maintaing highlights of light sources etc. for easiest exposure, I am a fan of cine4. this was shot with the ev dial at -1.0

No need for +3. +2 is fine. To expose correctly I use these three things: 1. Internal meter 2. Histogram 3. Image Zebras are mostly at 100+ for clipping but sometimes I use them at 70 for max skin exposure. Keep in mind that many times you have to deviate from +2, for example less when trying to keep things from clipping or more when a face is in the shadows.

For music videos you could need it, especially if you shoot a story besides the playback. I had the Pocket and now have the Micro: the quality is similar, you could intercut them and none could tell which is which. The Pocket has the monitor, so it is more easy to use without rig, the Micro has not, but the battery life is definitely better. With Pocket you need a lot of batteries to shoot for a day, because they last just 30-40 minutes. For 500 dollars anyway the Pocket is a great buy.

It's here (this link contains all the versions and commit data) https://github.com/ottokiksmaler/nx500_nx1_modding/commits/master/NX-KS.zip

Not kool-aid, more like finely aged CCD wine.

Where have you been hiding all those years? Or had I been just blind? We are finally talking sense.

Rectilux Core DNA: Extras to get by Ian Edward Weir I would highly recommend getting these extras to make the Core DNA ready for use. 1. M3/M4 Stainless Steel Nylon Head Grub Screw Plastic Brake Buffer Bolt Screws Hex This is so you don’t scratch up the coating of your anamorphic lens or housing. http://www.ebay.com/itm/281858121964?_trksid=p2057872.m2749.l2649&var=580836260280&ssPageName=STRK%3AMEBIDX%3AIT 2. 86mm UV filter to protect the front of the Core DNA glass. 3. Metal back cap for whatever size you end up using for your coupler if bigger then 75mm. 4. A custom coupler made from this lens hood fits perfectly. “FOTGA Screw Mount 67mm Standard Metal Lens Hood for Canon Nikon Pentax Sony Olympus” http://www.amazon.com/FOTGA-Screw-Standard-Pentax-Olympus/dp/B009GFY858 Then a step down ring or step up ring for whatever the size of your front anamorphic thread is. I’m doing 77mm because this is what most of my front clamps are. I’m making a custom 75mm to 77mm coupler for Kowa 1.5x and Kowa 1.75x. 5. 86mm Fixed Spacer Ring http://srb-photographic.co.uk/86mm-fixed-spacer-ring-5713-p.asp You want a uv filter to protect the glass but having it on you can’t completely go to infinity. Lucky, even with the uv filter on and not being able to turn the Core DNA to infinity, I’m sharp for over 100 feet. This spacer is for clearing the full range of the focus and using filters. 6. You want to get some 86mm or higher diopters. You need them if you want to get sharp and close.

Thank you so much, it really means a lot =) I havent been doing color grading for too long, and the NX1 is my first "pro/enthusiast" camera, I used the Canon 600D for about 1,5 years. I think with the NX1, its a matter of time, you need to get around its quirks, get to know its flaws, and most people just didnt bother to explore it enough. A few pages back (I think it was this topic) we were talking about limiting yourself with gear (lenses), and I think that is the best way to evolve and progress, and the same goes for cameras, I cant afford to buy more than one camera, so when I spend 1500€ on a camera, I need to learn how to come out with the best product I possibly can, because I cant get enough money to buy another camera.