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Hi, I´m Javier and I´m the autor of this video, sorry my English is so bad!!. I am very grateful for the nice comments. I love this forum, I have learnt a lot about filmmaking for years as a follower of EOSHD. Talking about the video, in camera setting was Natural Profile all parameters -3 noises reduction -2, i-dynamic and i-resolution OFF. A few shots in 4k and the rest of them 1080 50p for slow motion. Everything was shot hand-held. It was edited in Final Cut Pro X, I applied post-stabilization in a couple of shots, I don't remember which of them. The primary color correction of each shot was made in this program too with color correction tool and finally I applied film convert plugin in a adjustment layer to all the video. Greetings to all you, and thanks again, nice to be here!

Ricardo is always posting such gorgeous framegrabs in this thread, so I wanted to give his settings a try for myself on my latest project... I'm really liking the way these are looking. (Graded with DeLuts and filmconvert)

some more pics of Metabones XL speedbooster on Panasonic G7s on the set of the Movie Pandora I'm DOP on . Rigs are by Gini Rigs , Lenses are all Nikon 2.8 zooms note calbe ties holding lenses front onto lens supprt so follow focus can work without any lens movement . Metabones are very snug tight fitting to G7 and Nikons lenses os no twist movement off follow focus at all . Follow focus is Gini Rigs filpped upside down to solve Nikon reverse focus issue ...this work really well !! ps: this is a set.... thats not sunlight its a whole bunch of Arri 1K Pups behind the windows .

Honestly. That's probably the nicest footage I have seen from the camera.

Bro. I have found the best profile! I've shared it with so many people because they all want it it's so good. it's got a very "Canon" look to it and it grades so nicely. It really adds a ton of depth to the image that lacks in the normal Sony profiles. It's all about that "color depth". THE SONY PROFILE Black Level: 0 (it's disabled in s-log2 anyway) Gamma: S-log2 Black Gamma: Range- Narrow, Level -7 Knee: auto Color Mode: sgamut3.cine Saturation: +32 Color Phase: -2 (this is for a7sII and a6300, for original a7s use -5) Color Depth: +6 (all of them) Detail: -6 Expose 1.5 to 2 stops over. You may need to dial the green tint out in the white balance shift. Let me know how you like it. I found this profile somewhere on dvxuser and have fallen in love with it. Now all my friends shoot on it

I bought an old Panasonic SDX900, it's the dvx100's big brother. I thought maybe SD had something interesting about it - lacking resolution and dynamic range. I tested it quickly against my Sony F65 going to 8mm or 16mm, and it seems to have its own weird unique feel that's kind of interesting. Anyway let me know what you think - post workflow I can post as well how I kind of "destroyed" the image too.

I have been using SLOG2 with the black gamma and saturation increased. Basically becomes a Standard profile but with more much headroom in the highlights.

ANDREW REID Your GX85 Review is overdue. Impatience is afflicting my mind. Cannot wait much longer. ;-)

Kicking cameras around on the floor can get them dirty...make sure you wash them afterwards.

Thanks one and all for your feedback, I will follow up on some of your tips. I think I resigned myself in the first ten minutes that I would never see all the gear again. To answer one question, yes I think there are highly organised gangs in France that know how to target people. I may have even been followed as a lone driver when driving my motorhome from Italy to Portugal through southern France. I stopped for the night at a truck stop and was robbed while I was fast asleep in the middle of the night. I kid you not, they broke into the camper through the passenger door by forcing the lock and must have had a torch. I am usually a fairly light sleeper, I did not hear a thing probably because I was exhausted from driving the day before. They got credit cards, passport and cash as well. One would not think to take precautions when "safely" locked in the van but people are becoming more devious and desperate these days, so all travelers have to be prepared "as if". I usually hide my camera bag under a storage seat but left it in my wardrobe that night. I left my wallet and passport in my shorts on the seat, they should have been taken out and hidden away. Even experienced travelers like myself for the past 20 years can get caught out by letting your guard down for a moment. Now I strap up my front doors with rubber straps, so even if they forced the locks, it would be impossible to open the doors. If I had woken up and disturbed them, who knows what might have happened if they were armed so I figure I got off lightly.

Here is my example. Take a magazine cover, take a pair of scissors, cut out a crop of the cover. Did it get darker? Did the DOF change? Did the compression change? Or was is just a crop?

Just a metal plank with two (or better three) holes with $7 Pistol Grip Handle For Binoculars/Monocular. The handle screwed directly to monitor! Very simple, compact and way better balanced for handled shooting than pistol grip at the bottom. Also angle HDMI adapters helps a lot.

Hi everyone, I have a site up with free music that you can use in your videos. It's all original...all my own work. All I ask is to be credited as indicated on my homepage: http://soundimage.org/ I sincerely hope my tracks are helpful. Any and all feedback is welcome and always appreciated. All the best, Eric

With the british pound crashing, should we buy cinema gear from the CVP and the UK? I bought a 2k sony piece before the crash, damn I wish I waited! what do others think?

Thanks Michael! I used the GH4 Natural Profile, KD P400 Ptra, film color 90% and film grain 30%.

Haven't shot colour charts yet.. might start.. probably a good idea to start doing this - always nice to have great colour straight out of the cam though - my idea of the perfect grade is the one that you barely have to touch, ha!

if u just rotate a camera then RS still there just in other direction. But if u applied anamorphic and desqueeze in post u got 3.25x/4.2x (for 16:9/2.35:1 ratio) less RS, which is pretty nice i think

http://***URL removed***/forums/post/57361842

Javier lovely video - nice one thanks for taking the time to share settings - I'll give them a go when I get to try my new GX80 out btw - your English is excellent - no need to apologise !

This mirrors my experiences with the RX10 MK2. Slog in 8-bit colorspace is most of the time more trouble than it's worth - especially with the noisy sensor of RX10, which causes some insane, splotchy macroblocking in the shadows. I also tend to want to shoot saturated, contrasty images and most of the time the Slog just fell apart when pushed that way. I ended up using the Cine2 profile with Pro colorspace. Still not particularly fond of the look the camera produces, but it drastically reduced the headache I had in grading with it.

NX1 Portrait profile, Samsung 30mm F2 lens, homemade lut resembling Instagram's Clarendon filter. http://imgur.com/mvZVYxB

my GX80 arrived an hour ago - looking forward to giving it a whirl GX80 + 12-32 but will probably ditch the 12-32 as have a 14-140 II had one of UK stores match the £499 price for kit package so pretty happy - as after cashback means £450 - which including the 12-32 seemed good value to me

Beautiful. Who knew Iran was so green and wet? ;o)

For this lens, I had little experience. If use suitable diopter, can get good IQ.

I think it would've been smarter to use a RED Epic instead of a R1 for football, as an R1 is too long. Not round enough!

Yes, but speedbooster at least in my own findings only useful for MFT etc, APS-C already have a ton of lenses out there, of course speedbooster would be great if you own old 35mm SLR lenses, we just need a Canon and hopefully Nikon mount that is electrically compatible at least with stabiliser and aperture changing, the autofocus is not as important as those are already hard to get working to begin with.

Yeah, I shoot properly in camera and don't need my photos to look crazy, so raw isn't an advantage. Still "better" I guess, if I could ever figure it out, but overkill? Hell yeah. If this discussion has some people raving about raw and great work to show as proof, and some people showing off their stunning gh4/nx1 videos, and Kendy Ty just killin it, as usual, I guess we all win. Cuz we better be talking about the end product. Otherwise this is all silly. In fact, if you can get a great image out of a compressed 4k camera, that probably would have a slight edge over a 1080p raw camera for the final image. Sometimes 5diii raw doesn't look insanely detailed, and that's not something you can skill out of the camera

I shoot both FF and MF on a project as we speak. And the difference is like the difference between m4/3 and FF. If one can't tell the difference then that's OK to.

I agree, I bet there are more professionals using digital medium format for largely marketing/appearances reasons than for real, noticeable, concrete differences in image results. Because at the high end of a being a photographer, marketing your brand matters even more than quality of result. As by that point everyone is already very good! Good job at breaking down the pro MF arguments one by one. And MF sure is not winning on a cost basis! (no matter how cheap a Pentax digital MF gets!)

Gotcha. It is an expensive holiday... I guess I just figured with the traffic you get on your YouTube channel, that it paid for your toys. I would love to see a feature film of yours made with that D16 though... Am a big fan of your work.

Hi everyone, I've received a lot of requests for epic sounding tracks, so I'm working on some to hopefully release next week. In the meantime, here are this week's new free tracks: "Quirky Puzzle Game Menu" (on the Looping Music Page) "And the Machines Came at Midnight" (on the Looping Music Page) "Future RPG" (on the Looping Music Page) http://soundimage.org/looping-music/ Daily updates, as always, are here: https://twitter.com/EricMatyas https://www.facebook.com/soundimage.org Have a great week! Eric

I have a tiny personal anecdote about the importance of 4K. I do a lot of food cinematography for a company that does video recipes, cookbooks etc. Their output is mainly online, on social media and the home pages of food companies. We've been shooting 90% on BMCC in prores 1080p. On one production we had to knock out a large amount of videos in a short time, so I rigged an RX10 MK2 to the ceiling of the studio to get us an overhead look of the process, giving me two angles simultaneously. I suggested the producer I'd shoot in 4k to give him room to crop the image in post. He laughed and told me even 1080p gives plenty leeway for what they do - they delivered in 720p, and in the case of instagram, 640xsomething. I've yet to have a client ask for 4K. I figure it'll be at least a few years before it'll be the norm or a requirement. And if you're talking about a fixed price point, the choice often comes between 4K or other attributes like raw/Dynamic range. I'll take the raw and DR over 4K anytime.

I was always intrigued by the DB - some of the most gorgeous images of this era came from the thing. Always seemed a little overpriced and under-featured to me though. S16 was a tough sell lens-wise (the pocket's price point was what made sifting through old super-16 glass palatable for many), and a "beauty" camera that can't even do 30p - I couldn't go there. And as robust as SSDs are, I've replaced two of them in the last couple years, so a non-user-servicable drive worried me as well. If it could have done 30 or 60p, and come in at under $3k with a quality focal length reducer, I'd have been in long ago. Hate to see it go though.

Can you put up some footage with the microjitters? If we can recognize the type of jitter, maybe it'll be easier to suggest things to try. From my personal experience, every month in, you feel more comfortable with the SimbleBCG software, and you're able to tweak my gimble just a little bit more efficiently. So don't give up. It looks like rocket science as first, and then all those numbers start making sense. First and foremost, you have to make sure your gimbal is properly balanced. A good test is when you have it turned on and everything is level, and then you switch off the power, it should mostly stay put. Even if you pick i up and walk with it, it should mostly stay free floating rather than topple to one side. That's the sign that it's properly balanced. I mention this because even though my gimbal provided stable footage when I got it, I walked around with the pitch axis unbalanced which I though was normal. Second, you should make sure your ACC and Gyro is calibrated. Pilotfly has a video showing you how to calibrate it by holding the plate down on a desk while it's powered on when the calibration is triggered. I also mention this because I was calibrating my gimbal wrong the first two months. I values are very sensitive. You need to get it within one/one-hundredth of precision. All my values are between 0.05 and 0.01. The youtube video....those I values look a bit odd to me, but maybe it's fine for the H2. D values are very sensitive as well. One number off and it vibrates/resonates if you push it at a weird angle. If it's off in another direction, you have jitters. You should be raising those numbers to the highest as possible, but without it vibrating when you tilt the handle sideways or more. My guess is this is most likely the source of your jitter. Increasing the POWER can also help with the jitters. Unlike the PID values, the POWER value too high won't make your footage more shaky, but it'll drain your batteries. If your motor burning hot, it'll damage your motors. A well balanced gimbal's motor should be luke warm when sitting powered on on a desk because it shouldn't need to do any kind of work. The youtube video, those POWER number seem insanely high but I run a much lighter lens so who knows. Your POWER values should be just enough to power your motors in any circumstance, but not too high where it's making your motor hot unnecessarily. The POWER numbers in that youtube video seems crazy high to me.

What a shame. Imo the most complete cinema package and most bang for buck one can get for raw video. Way more suited for pro work than a Pocket and also much more fun for the enthusiasts. But, like it or not, its pretty logical. They only make one model and sooner or later they need a new one or pull out. I actually have mine out for sale, thinking I can buy it again sometime. But now I'm gonna rethink.

Or Panasonic LA7200, those focus through adapters much easier to film with, but you're not getting the same bokeh that 2X lenses produce

www.tferradans.com/anamorphic - for overall information about your questions! and I would recommend a Century Optics small adapter (or the SLR Magic 1.33x Anamorphot) as an all arounder with nice flares, distortion and edge artifacts. http://tferradans.com/blog/?p=7670

It is truly a shame that there won't be a NX2...my NX1 (with the help of EOSHD's NX1 guide!) has given me amazing 4K video quality for over 75+ productions to date and I'll still be using it until I receive my RED Raven (whenever that may be...) Hope to see the GH5 announcement really soon to see what Panasonic has to offer though.

that would be cool. The camera says, hmm, don't like that shot, how about we frame it up this way - then downloads 50 reference shots to the monitor:) "based on your preferences, we suggest this shot" - download a Scorcese director profile etc

On the topic of compressed raw codecs.... What the hell are GoPro doing with CineForm Raw? They just seem to be sat on the codec/patent without ever doing much with it. It's been licensed on a couple of cameras, but could be a real asset to a company like Sony or Canon, as it was patented before REDcode.

Yes but significant improvement of a mediocrity does not necessary give something great. Actually the DR is still less good than on a 600$ D5500. Is this acceptable for 10 times the price? You judge.

There is no doubt FS7 is a superior camera and this is coming from a new C100 owner.. aside for 3 things: color science, ergonomics & autofocus. i suspect the later is why it's being used in above situation. I just shot a run&gun event this week-end with a busy crowd and had to hold the camera above eye level similarly to the screen capture above, well dual pixel AF made the shooting effortless where i suspect i'd be struggling with just about any other cam/DSLR..

Those are indeed visible differences for as 'ideal' a test as is physically possible since a very high quality zoom lens was used on the same camera (cropping in post after changing settings to simulate an APS-C crop). Since the differences are very subtle, the aesthetic quality boost may be lost on the general public, in the same way as fine food and alcohol, can be etc. Were the Hateful 8 and The Revenant better movies being shot on the ARRI 65? Did they make more money because of the large format camera used? (smaller format cameras were also used). The answers to both questions is probably not significantly. With effectively unlimited budgets, why not shoot on the 'best'? The relative cost of the larger format camera is insignificant to the film's budget. However using the pinnacle-best gear makes the directors and DPs happy, and that counts for something. Using the DOF simulator, I noticed the circle of confusion and other parameters weren't exactly the same between formats. While FOV and DOF will be nearly identical, subtle things as noted such as blur transition region stretching can be analyzed by tracing individual light rays- photons. My crop test was not perfect, however there is a way to study this without worrying about issues of optics or lenses: computer simulation via ray tracing. This could be used to create graphs showing the increase in blur transition regions based on the sensor size. If it's a real effect, the results could be presented to optical designers such as Caldwell to show a possible market for a MF to FF focal reducer. If not by Caldwell, perhaps someone else in HK or CN. Someone with the desire and free time could explore ray tracing to create renders showing any advantages to larger sensor sizes using Blender (free): https://www.blender.org/features/cycles/ . Since this is a controversial subject, showing these kinds of results could help visually explain effects previously difficult to put into words. I need to get back to working on improving content and storytelling- more important than tech!

How is that helpful? Copying other's work without fundamentally understanding why something looks good isn't being an artist. Understanding why something looks good from a technical standpoint doesn't eliminate aesthetic sensibility. Rather it helps with original creative works since it's not necessary to mindlessly copy-paste other people's ideas into a new work. Nothing wrong with being inspired by other works, only that original works are better when it's understood why inspirational material is good, and those concepts can be applied in more general and creative ways. Not taking the time to understand the tech behind the art is lazy, and will fundamentally limit creative works. All art is technical. The greatest artists are also master technicians: Michelangelo, DaVinci, etc. Who was perhaps the biggest camera nerd ever? Stanley Kubrick. Understanding why something is aesthetically pleasing is technical. If a particular camera and lens combo has a pleasing aesthetic, we understand why using technology.

If no one is willing to do some work and actually do a test comparing MF to FF in the real world with equivalent settings, then what's the point of debating without any comparative evidence? I'm a cognitive scientist, open-minded and willing to learn new things. That said, a valid scientific test, which is easy to do is all that's needed to make a useful point regarding MF vs. FF. If the only difference is MF lens design, that's cool, however this debate was MF vs. FF cameras (and again, Caldwell says no advantage for MF lenses anymore; no point in a MF => FF SpeedBooster). If an MF camera system (body + lens) is truly better than FF, I'd invest in MF. So far there's no comparative evidence showing this to be true (the only scientifically valid way to determine if there's a difference).

This debate is visual- where's the visual proof: correctly set up MF and FF systems for equivalence? I posted a link to the 5DSR compared to the Phase One. The difference is minor, and not enough for a business to invest in MF systems. To learn and help others one must do some work- shoot a correctly set up MF vs. FF test. Shooting with a zoom- that's perfectly valid, the debate is sensor size, not lenses, though now the consensus is it's not sensor size anymore but MF lenses themselves. So a SpeedBooster for FF would make sense if that were true, and thus Brian Caldwell's comment that it's not worth it because the MF lenses aren't better than the top FF lenses. So if true the debate would shift to MF provides a better value due to lower cost. Is that really true?

Instead of reputation points, I am replacing the forum system with e-penis points from now on.

yes the camera sits on a quick release plate and the lens is cable tied to the lens support to its rock solid for the follow focus , the whole camera lens unit can be quickly taken out the rig if needed with minimal effort . those are Gini Rigs CANON MK111 cages they are great on the G7 as you have lots of room around the camera for easy access , like the record button ! - doh !