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this :-). Have fun.

Reelsmart motion blur can help take most of the sharp choppy shutter artifacts away when using a higher shutter speed to reduce exposure. Like any image analysis that uses optical flow or similar interpolation algorithm - it can only be pushed so much before it will introduce its own edge artefacts. Knowing how to refine the settings in the plugin will give best results. I often shoot higher shutter speeds when I know that post stabilisation of handheld footage is going to be applied - the sharper frames enable a more accurate stabilisation solve to be made. Then I apply post motion blur to take the quality of motion a step closer to the appearance of a 1/50 shutter. It does not always need a heavy touch, just taking the edge off the sharp frames can help make the footage appear much better, and is far less prone to reveal nasty artifacts. here is a rough before/after example: Password: birds

I've owned both and they're very different cameras. The DPAF and weight are huge selling points for the C100ii. Nice colors as well. I just got tired of the weak codec and moved on. Blackmagic have great customer support. They're always willing to interact within 24 hours of contacting them. There have been a lot of issues with the 4.6K regarding the magenta corners but they're WAY overblown on forums. Your chances of getting a good unit are favorable at this point. If it's not a good one they'll replace it. They've stated that they know what is causing the issue and it will fix it ASAP. The new firmware 4.0 coming out with the 4.6K is going to be amazing. They're adding all new resolutions for ProRes. 2K, 2.5K, 3K, 4.6K. Right now you can only shoot 4.6K in RAW. ProRes is only available currently (in the Ursa) at 1080 and UHD.

Thanks for this. It needed to be done. I'm not sure for the color-shift upon uploading. However, you might want to try the Standard Profile instead. I've had good luck with that... but in the end, it's just a matter of personal preference. I'm finding your GX85 sample too pink in the skintone, but then again, I don't have a perfectly calibrated monitor and, as you mentioned, Youtube might be doing something to your file. Personally, I've just decided to use Standard (-3,-5,-5,-3), with shadows at +2... It seems good to me. I think the most important is to turn off all sharpening and noise reduction- you can tweek the rest in post. Also, I just leave it at something that suits the project to keep the look consistent. Finally, I've been choosing only from sunny and incandescent WB and just letting the colors do what they want- again, consistency being the goal.

Quickly tested the ISO800 and Im very happy. I was very satisfied shooting ISO 200 and 400. One gets used to it. I shoot a lot of film and my leica M8 likes ISO160 but its not a problem. After a while you learn to live with in, both in daylight and nighttime. I get why people want A7s ISO capability, but if they just took the time to learn it wouldn't be such an issue like some make it out to be. Even the BMPC4K was usable in very low light at ISO400. One just had to watch out for the FPN. I underexposed the Digital Bolex at ISO800 and pushed the footage in post. Of course I got a lot of noise, but pretty close to the amount from the BMPCC. And unlike the BMPC and, from what Ive heard, the Micro, NO FPN. Plus, this is with zero NR and Im trying to see the noise. With a simple curve adjustment I could get usable footage without Neat Video. A bonus is the new Color Matrix, its awesome. This is 100% not graded, straight from the camera. Looks very accurate to my eye. No magenta bias like before so no need to switch to BMDFilm Gamma. Will shoot something more interesting soon. And again, please note, the test was to see noise, so expect noise.

The camera which Panasonic can't decide what to call (GX80 in Europe, GX85 in the US and GX7 Mark II in Japan!) really excites me. It's the first time that anyone has put 5 axis in-body stabilisation in a 4K camera which exceeds the performance of the stunningly good Olympus 5 axis system. It's not quite as effective as a gimbal for sweeping handheld movement, but that pain-in-the-ass tripod you can certainly dispense with now, along with that Olympus 1080p mush too!! GRAB A CUP OF TEA, PUT DOWN YOUR F***ING IPHONE AND READ THE LONG ARTICLE!!

Actually for a long time after I got my GX7 I was an advocate of using iDynamic. In fact even now I wouldn't say "dont use it". But just be aware of what it does. It raises shadows and midtones in a different way than if you were to use the shadow curve or adjust the contrast slider. The end result is that the contrast in your image can look a little "washed out". It's hard to explain.. but for example if your subject is a person, then their skin wont have the same range of tonality, even after grading. This could be desirable if going for more of a low-fi look. There is no definitive. Sometimes the Nikon looks better, sometimes the Panasonic does. But the Panasonic is far more usable as a camera. Nikon mount lenses have a physical lever on the rear mount which controls the aperture directly. There are adapters you can buy which have a ring around them that controls this lever. I'm talking about electronic Nikon lenses btw, not the old manual aperture ones. The one I use is the Metabones, but there are cheaper alternatives too.

Thanks for posting this @Mattias Burling. It's nice to see that users are happy with the changes we've made.

The resolution of QHD is 8,294,400 (3840*2160) In the case of a raw frame on a native 4k sensor this is precisely how many photosites there are and precisely how many samples there are. Lets presume you mean 12 bit raw. So 8294400*12 = 99,532,800 bits per frame 8 bits in a byte so 99,532,800 bits =12,441,600 bytes 1 kilobyte = 1024 bytes 1 megabyte = 1024 kilobytes which = 1,048,576 bytes Therfeore a QHD 12 bit raw frame takes 11.865234375 MB per frame. (99,532,800/1,048,576) If the frame rate is 60 fps the bitrate is 711.9140625 MB per second If the frame rate is 30 fps the bitrate is 355.95703125 MB per second. If the frame rate is 24 fps the bitrate is 284.765625 MB per second. So for 24 and 30 fps the roughly 500 MB per second of the drive is good enough even as recording media. Its worth noting that even if you are editing 60fps, you will never be literally playing directly off the SSD. The data will first be copied to ram. Once its in ram the ram will have no problem giving the data in real time.

Footage with the default settings on this camera looks great, if a little clinical. I have been toying around with the settings whilst comparing it to the nikon d5500. It seems to me that the best way to get a slightly more filmic and nicer look is to use the following: Natural 0 / -5 / -5 / -2 (cont, sharp, nr, sat). -2 highlights. No iDynamic. And whitebalance adjustment set to A3 G3. With this setting, greenery looks less digital green and has more of a warm tint to it like film. And skin tones veer less towards the red and again has a warmer appearance (without looking yellowy like with GH4 stuff).

Don't we all ;-)

You tried to use a H1 as a mic to record audio while it was on the camera? For example, you filmed someone talking from 10 feet across the room and the H1 mic was on the GX85? FWIW, it almost always worthless to record audio from the camera. It's almost irrelevant how high-fidelity and professional a microphone would be. If a mic is not placed in the right spot, pointed the right direction, it'll just sound lousy.

My setup for you. FOV is certainly wider, but I can also achieve that same width with 1 anamorphic and a lot less hassle. DOF wasn't noticably better to my eye, but I'm also not really in search of anything shallower than I can already achieve, I usually don't shoot wide open much anyway (close ups often at f4-5.6). The best part about it was trying to work out how it would look de-squeezed, it's like christmas when you see the end result .

Settle down . I remembered that the person in question was also asking me about this in order to shoot regularly and have ultra wide panoramas (could indeed be someone else). My FB account has a lot of messages, it's pretty hard to scroll back through them all to find something. I tested it today with the setup I described above. (FD50mm, Kowa 8 2x, Kowa 8z, GH4). Worked fairly well. Overall I would say - - More abberations and CA than 1 scope (that's a given). - Incredibly hard to focus (must focus 3 times unless you have a VD unit). - Very hard to align all 3 lenses exactly (this now becomes even more important than with 1 adapter and taking lens). It was cool to try it out but for my tastes any gain in resolution or loss of RS doesn't really outweigh the drop in quality and the awkward handling/ excess bulk (GH4 RS doesn't really annoy me that much). I like messing around with stuff, so cheers for the idea!

Im not sure, its easy to clear that - FB accounts have a persons name thats why that topic was started - to get more setups and results to share) im not thinking - i know, already tested it as i state earlier Here is what my prototype look like: Jupiter37A / D.O.Industries 16F / Rectimascope48 and housing made of 7 step-up rings, 2 empty filters, 2 lens hoods and one inner filters thread to assemble it altogether

For price get the Yi v2 4K for sure!

No, this is no longer true. You don't need to define a user etc. You can simply create a new project and drag clips into the media pool and start editing straight away. If you are creating a very large project then smart bins help - they automatically store specific items like sound clips, stills etc

Drag and drop into the media pool works fine in Resolve?

Bummer news. I was shooting with the 120t indoors and it just didn't feel "extra bright" to me. I'm used to using the Arri 650w fresnel. I put them next to each other and set the Arri to flood. It looks like the 120t is about 3/5 as bright which would put it at around 400-450 watt equivalent.

@Fredrik, I didn't realise it's you in the video. The wall has some very strange colour. Als, the GH4 has a very strong orange tint. The GX85 also has a tint, but not sure what colour it is. If you have nay other camera (canon or nikon), maybe you could what colour they get the wall. It's like the dark horse for DSLR/ Mirrorless colour science. Panasonic increased the contact points on their hotshoe, which I am guessing could be used for audio too (if the software and hardware allow it). I also realised, that if Andrew (Reid) says that he gets an audio signal via the HDMI port, through the HDMI out, along with video (like on the G7, though along with monitoring in-camera), then there may be a way to (possibly) work around that too. Though, not sure the audio and video signals could be split.

I was also surprised by how disappointed they seemed with the video on the GX85. Though I really liked the skin tones in their video. Also, while a mic-jack is desirable, not having it isn't the end of the world. Also, I noticed they forgot to mention the HDMI out along with monitoring in-camera, being one of the better features (like Andrew mentioned). Though, I feel Panasonic should go the Sony way and have Log profiles on all their cameras. Even if they are paid firmware updates. I feel Panasonic isn't extracting the maximum resolution possible from the sensor. Also, I feel Panasonic needs to work on their RAW photos. They need to move towards the 14-Bit RAW side. And, I have (only) a gut feeling, that it's the processing that's stopping them (and not the sensor). I am curious. What was the real colour of the wall behind this guy???

Here's a video I made comparing the GX85 in Natural vs the GH4 with Cinelike D + Leeming LUT which is my favourite GH4 image. I'm by no means a colorist, but I think the results are ok. May need some additional tweaking here and there. What do you think? For some reason when I upload videos in 4K instead of 1080p the video get's more orange. Anyone else noticed that?

On another photography-related note, the GX80 says in its specs that it has a max flash sync speed of 1/160, but I and others have found 1/250; so, that's good news!

I have actually stoped taking pictures all together, and only pull video frames. Full collection - http://imgur.com/a/KeilF These are all videoframes, I think they work great, on some cases better, others worse, but can they replace taking a snap? Of course they can, would this be possible without 4k? No it wouldnt.

Viewfinder is helpful outside in bright light, handheld shots are more stable (3 point contact when using viewfinder + handle + mass), Canon Log 2 highlight roll off (much better than even CLog on the 1DC), and most importantly, when using the 'ARRI' config, post grading is super fast and skintones look great with little effort. While this episode was shot in 4K, when 1080p is desired (for faster edits and smaller files), the C300 II's 1080p is much better than the 1DX II's (soft, aliased). For stills, stealth video, and 4K60, the 1DX II is superior.

As soon as the 1DC drops below $3K I'm in. Looking for a small hybrid B cam to the UM46k. The GH4 is a great camera on it's own but it's very hard to match up with Ursa footage.

it comes close in terms of speed and accuracy but very far away in terms of usability. At least for video.

Only A6300 comes close in terms of autofocus

Thanks for posting that Cinema5d review. It's really informative. With Technicolor Cinestyle installed on the 1DX II, he achieves the exact same DR as the 1DC with C-Log (those final stops look much darker but they are there indeed: note that the 1DC is shooting at f5.6 while the 1DX II is at f11): Of course, I'd love to see footage that demonstrates this in a side-by-side (like the one on the other thread). Honestly, I would not have believed it based on most of the 1DX II footage I have seen, but this is concrete proof. Is no one else shooting with Technicolor Cinestyle installed on the 1DX II? Moreover, the rolling shutter on the 1DX II has been reduced to 14ms, which is incredible! That's better than the FS7 and Ursa Mini 4.6k.

Ok so it worked on my GX80 (using play button instead of display) but I have so far been unable to reverse it! EDIT: Ok, 15 minutes later I worked it out. Make sure the camera is in P mode when you power it on. Then follow the guy's instructions but make sure to press the display button on the selection screen that appears so that "[STRICT]" disappears. Anyways this is pretty big news. Surprised it's only just been discovered!

Jeez, for an image like that, just shoot all your films on it at 2 frames per second. I'd forgive you

Very hopeful about the gh5...