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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)

Finally, It was long and painful but I made it after 2 years of work. Here is my Miami video. Enjoy Unlike cities such as New York, Paris or Dubai, no one ever did a real hyperlapse video of Miami so I had to fix this. I started this project 2 years ago with hyperlapse experimentation. My first attempts were very bad and most sequence went to the trash bin. It took me a while to capture the hyperlapse sequence correctly (must be very very accurate) and then do the post-stabiliation frame by frame. Hyperlapse is very time consuming. In average, one second of video takes 1 or 2 hours of work and I don't even count the failed attempts (either I fucked up, light was wrong or something/someone messed with my sequence on site). Techniques: The video is 75% hyperlapse, 5% timelapse and 20% drone and aerial (rented plane and helicopter). I had a massive volume of video and photo (RAW of course) and I only used the tip of the iceberg. I failed many times during my learning process but I now master the most complex type of sequence such as HDR Hyperlapse of Holy Grail Hyperlapse. Gears and software: Here is what I used: ► Hardware: - DJI Phantom 3 Pro with Mars Lite & Mayday Board - TBS Discovery Pro with custom GoPro 4 lens - Polar Pro Filters - Dynamic Perception Stage One & Stage R with NMX controller - Panasonic GH4, Lumix 12-35 f/2.8, Canon FD 50mm f/1.4 and custom made gimbal (Alexmos) - Canon 6D, Samyang 14mm f/2.8, Sigma 24 & 35mm f/1.4 Art, Canon EF 50 f/1.4, Canon EF 24-105mm f/4L, - Cessna 172 & Bell-206 ► Software: - Adobe Premiere & After Effects - Adobe Lightroom - LRTimelapse 4 - SNS-HDR Pro How many pictures ? Honestly I have no idea of the number of pictures taken and I find this point completely irrelevant. The number of shots and TB of hard drive is not a good metric and does not give any indication regarding the quality of the final video. What I can tell is that I finally achieved a good ratio of shooting attempts / keeper sequence. When I started hyperlapse I had to discard 80% of my sequence, now I can keep 70-80% of my clips. I also have a lot of unused sequence that I shot but didn't make it to the final video. I prefer to squeeze the best out of my project and not fall into the trap of "clips stacking" for the sake of it. This video is already long with its 4 minutes duration. Aerial Shots & Safety I used a DJI Phantom 3 Pro for the aerial shots along with a TBS Discovery Pro fitted with a GoPro 4 black. I modded the lens in order to get a longer focal. Some shots were taken from airplane (C-172) and I also rented a Helicopter (Bell-206). In terms of safety, the drone shots were line of sight only and below 400 feet following the AMA & FAA guidlines. 90% of the drone flight occurred over the water even if it's not visible because of the framing. For the remaining 10%, I flew over parks and empty area with the Phantom. I follow a precise scouting of the place before each flight and perform a thorough checklist. And because shit happens, I also installed a Mars Lite parachute with a North UAV Mayday board (special thanks to Kyle) on the Phantom in order to prevent any damage/injury is something goes wrong. Last, I had to notify the airport manager in some places before my flights and I stayed away from Class B airspace of Miami (I couldn't get clearance despite my request). Special Thanks and Credits: ► Intro & Opening tittle by michaelcparadise.com/ ► Music: Daft Punk - Derezzed (The Glitch Mob Remix) theglitchmob.com/ facebook.com/theglitchmobmusic instagram.com/theglitchmob/ twitter.com/theglitchmob soundcloud.com/theglitchmob ► Special thanks: It would be hard to detail the list of all the people involved in this video but here are the main one who inspired or helped me to make this project: Artem Pryadko / Zweizwei, Aaron Priest, Dimid, Gunther creator of LRTimelapse, Jeff Colhoun, Jay Burlage & Dynamic Perception, Marco from Timelapse Network, Team BlackSheep, Aufmschlau, b-zOOmi, Keith Loutit, Dustin Farrell, Rob Whitworth, Dominic Boudreault, Michelle, Guille, Mariana, etc. You can also follow me at: facebook.com/Oliver-KMIA-1622032868057530 instagram.com/oliverkmia/ twitter.com/OliverKMIA Some behind the scene photo

reading the name of this thread i just realized that slog is a word ? so perf slog /släɡ/ verb 1. work hard over a period of time "they were slogging away to meet a deadline" synonyms: work hard, toil, labor, work one's fingers to the bone, work like a Trojan/dog, exert oneself, grind, slave, grub, plow, plod, peg; More antonyms: relax • walk or move with difficulty or effort "he slogged home through the gray slush" synonyms: trudge, tramp, tromp, traipse, toil, plod, trek, footslog "they slogged around the streets" noun: slog; plural noun: slogs 1. a spell of difficult, tiring work or traveling "it would be a hard slog back to the camp" synonyms: hard work, toil, toiling, labor, effort, exertion, grind, drudgery antonyms: leisure ?

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.

http://www.dxomark.com/Cameras/Canon/EOS-1D-X-Mark-II That's a pretty good sensor improvement... I know some Sony/Nikon guys will have a little chuckle, but regardless, 13.5 stops is a beautiful range to work with and Canon tend to have a nice DR range across the ISOs. Let's hope Canon release a 1DC ii that can record the full tonal range, or that the 5D iv has a similar sensor and gets a little ML lovin! Imagine that sensor with raw video.

@ricardo_sousa11 Thanks! When I see your grades it usually makes me think, "Whoa... are we using the same camera?!"... so I appreciate it, and great work on discovering these sweet settings! I look forward to seeing what you share next. For filmconvert, I used the Red Epic M/Redcolor2 - Redgamma profile in this case, and I was mostly playing around with the FJ 8543 VD film setting, with various amounts of film color added to taste. I've also been been using it quite a lot lately only for the grain, it looks better to me than gorilla grain or some of the other popular film grain overlays. Hopefully they hurry along with that custom-built NX1 profile they're supposedly working on, it will be interesting to see how well it works.

Thanks John! Yes, Adding noise was a totally aesthetic choice, I wanted a little rough look for this video. I also own a GH4 and I pleased to say that Panasonic has improve the color a lot in the GX80, the yellowness of the GH4 natural profile has gone. In my opinion the GX80 has a more pleasant and organic tone. I also notice a huge improvement in terms of noise in dark areas and in underexposed images, I believe that It was the weakest point in GH4. Until now, I am very happy with this little monster, I would like to keep on making more test and comparisons between GX80 and GH4.

In theory is a very good camera. It's MUCH better to use a 4K cam for drones. But if you are money tight and can't fail, I would search the gimbal+camera combination in YouTube. Too many anti-vibration systems can conflict instead of help!

Another review. This one by Steve Huff... I like his not-so-scientific views on cameras and handling. He also did a write-up: http://www.stevehuffphoto.com/2016/06/24/shooting-with-the-panasonic-gx85-small-with-a-huge-punch/

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

Shot this film in Botswana and I have to say that the BM cinema camera works perfectly for wildlife filming. You will need an external monitor because the screen on the back acts more as a mirror than as a display but other than that it has been great. It eats a lot of hard drive space so a few extra ssd's are needed. Let me know what you guys think.

Ok, a review unit dropped in my mail today. But first let me say this: I know diddely squat about gimbals. I really don't pay any attention to them. In my work world a gimbal shot is like a drone shot or under water, in other words, something special that you use for a purpose and then you rent or borrow the gear + crew that are good at it. In my hobby and youtube world Im far to in love with proper camera shakes that I dont want to get rid of them. Of my +200 youtube clips 0 are done with a gimbal and maybe 2 clips in total have stabilization in post. Moving on. With that little disclaimer out of the way, I will know share my experience with this thing and be as honest as I can. And also do the best I can to give it an honest chance and learn how to use it. Even though I, at this time, dont feel any need to have one of these. Would be even more fun then if I turn out to really like using it. And YOU can contribute with questions that you want me to find out and that can be used in a review, since I dont really know what people want to know. First Impression It comes in a normal box, all the specs and such is written in english. So is the manual. Rather surprising is the nice and sturdy "pellicase" that all the stuff is well secured and foamed in. I have roll of T-Max in a stand develop so I might not be able to do more than look at it today. Also my BMPCC isn't here today and I think my GM1 is to light. The general feel is that its well made. It feels sturdy, all the joints are smooth, mostly metal and the plastic also feels nice. Here is some info: Weight without battery: 950g Payload Minimum: 350g Maximum: 1200g Battery run-time: 6-12h 360 degrees on Tilt, Roll and Pan. It can apparently feel every 0.02 degree change interval (what ever that is). Claim to be the first handheld gimbal with CCI (camera control interface) to control focus and shutter. Tool-less. Can be controlled via smartphone. First with three 32-bit MCUs running parallel at 4k hertz, "The number is far beyond reach of any other gimbal" (sounds pretty cool I guess, a bit nerdy but cool ) Lastly some other long paragraph about degrees ad milliseconds... sounds swell. Thats it, need to rinse my film. Will update as soon as I have it running and maybe a test shot.

I've been using mine with the Helios 44-2, and a pancake vintage Nikon 50mm. Both are great, the Nikon is much sharper though to me at least.

Thanks! I'm sure one could easily get a cleaner image out of it by using a better capture deck (I had it set up directly from camera to a capture card via composite cable) and simply by using some fresher cassettes. The one I used was as old as the camera itself - from 1999! Probably taped over 100+ times too.

http://nofilmschool.com/2016/06/sd-standard-definition-cameras-super-8-film-look Weird coincidence I stumbled on this apparently immediately after it was posted haha. Congrats, Ed

Concerning colors and the GX80, I'm impressed the most with the reds- they seem to really pop- deeply saturated, yet not overblown. For me, the blue channel is its weak point. Overall, I appreciate the Standard profile the most, but the Natural profile seems to be the most gradable, especially concerning those blues.

I've done something similar. Had an old Sony Handycam Hi8 camera from my childhood lying around at the back of my shelf, and one day decided to see if it still works. Much to my surprise, it did, and even the batteries were functional. Those things were built like tanks, I abused the hell out of it in my teen years shooting backyard movies, and over a decade later it works like a charm. So I fitted it with a cheap 35mm adapter, ran a few tests and then went out to shoot a small art short. Since the 35mm filter was mirrorless, I was practically shooting blind - the loop displayed a mirrored, upside down image, which really messes with your brain when you're trying to operate. Nevertheless, I'm happy with what we got. We dubbed it our punk movie, because it has that look of cheap, grainy 16mm film from old underground stuff.

Exactly..... it doesn't matter if it is better than X brand's sensor or worse than Y brand's sensor. It is just better than Canon's other sensors by a measurable amount. Which is good news.

Other manufacturers have had higher DR than Canon for many years already, but it seems like Canon is catching up. This seems like good news for anyone using Canon cameras - as soon as they add this to other cameras down the line. The sensor for 1DX II has around 2/3-1 EV steps better DR at each ISO, compared to 5dmk3. Click Measurements and Dynamic Range: http://www.dxomark.com/Cameras/Compare/Side-by-side/Canon--EOS-1D-X-Mark-II-versus-Canon-EOS-5D-Mark-III___1071_795

Oh, I don't know there are different version. I thought pancake lens are E version. You are right. E version is AI lens. But I really mind radioactive lens, especially majority of Super-Takumar. And also yellowish is not good color too. I said OM 50 1.2 might be the only f1.2 lens with 49mm filter thread.

I would send it to http://ekoecamera.com/lens-service/ , he is the guru when it comes to C-mount.

As a rule of thumb, simple recipe lenses do work best & the least amount of MC the better. A good copy of the Helios 44-2 58mm f2 is one of the best, if not the best. The Super-Takumar 55mm f1.8 or 50mm 1.4 are good (not the SMC versions). The Nikon Ai-s 50mm f1.8 pancake, as are the other ai-s lenses (don't go E version, they're not in the same league). As for 35mm, I have found the Mir-24M 35mm f2 (M42 mount) is an amazing lens. But in the end it's all about personal taste, so it's your choice/opinion that counts.

Haha, John, this is cool. Steve Huff, one of the first ambassadors of m43. Used to stop by his blog every day. Great guy! Also really dig his posts from the beginning of his place, beautifully written pieces! Oh, shoot, seems like Steve has changed his site to smartphone ratio. Now it´s embedded within two columns, making it narrower to read.

Yes. It's a decent lens and has quirky triangle aperture. That seller is notorious for giving wrong/misleading information though. Also that price is fairly high.

Wow! Stunning grade :D Im really happy I see people trying out the settings I posted and getting great results! What settings were you using with filmconvert? I've been trying out some new grades that will share sometime this week

"The Canon performs exceptionally well. Not only does it have a wider useful dynamic range at base and low ISOs than the Nikon, it’s not far behind the Sony, and that small difference won’t be noticed in use. The Canon sensor continues to offer a wide dynamic range at every ISO setting, improving on the Sony from ISO800 onwards, and falling only slightly behind the Nikon’s strong performance from ISO6400 onwards. Indeed, the difference at most is around +0.6EV. Canon cameras are known for high ISO noise performance, and the Mark II surpasses both the Nikon and Sony by nearly +0.5EV"

The minolta rokkor 50/1.4 (latest versions) also has a 49mm front filter thread

I would think OM lenses, 49mm front thread, even if 50 1.2, very sharp. Nikon 50 E 1.8 pancake lens is another consideration.

I agree just tried those settings with my a6300 and wow! love what I'm seeing.

Welcome, @Javier López, to posting on EOSHD! It would seem you chose Filmconvert settings similar to mine and @jase. However, we preferred without noise added. My logic is this: why add noise when this sensor does a pretty good job unless it's for a desired look or feel? Strictly personal taste... Great video nonetheless! Also, your English is fine (I'm an English teacher).

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

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!

Are you using SLog 2 or SLog 3? SLog 3 gives you a wider dynamic range, but I've heard a lot of people have had problems with it because of how compressed the XAVC-S codec is. SLog 2 has a milder curve which produces less artifacts when graded.

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

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 .

Fuji would be the last company to buy Digital Bolex because the sensor inside is a Kodak CCD - likewise as with the Ikonoskop. From back when Kodak were frantically selling off patents and IP to keep them afloat before they mismanaged themselves into oblivion. When I worked for them, I actually witnessed a Kodak manager tell me that digital would never replace consumer and professional film cameras...this was while the demolition crew were surveying the factory floor of the film processing facility.

We found our way to the beach last weekend and had to take the NX1 and Sigma 18-35mm with me. This is a short edit. Using the ASCEND LUT as the basis with some iMovie Film Grain @ 20%. Hope you guys like it...

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.

I use a GX8 daily for commercial photography and video and have never once encountered shutter shock. In fact I cannot remember taking a photo with camera shake or that is out of focus when using the 12-35 f/2.8. I now use a Voigt 25mm f/0.95 as my main lens so that takes more care (I much prefer manual lenses and love this Voigt), but I remain hugely impressed by this camera (I dumped my Nikon D810 and pro glass for it). The two factors that have elevated it for me are : Using the Voigt lens for photography. The still images are very close to Leica quality. Using a Ninja Star for video. the images look awesome and are very gradeable.

Not FF sensor,no wining chance！

Isn't this the case with any hybrid cam that has 1/8 inputs? I use a DR60D for interviews and dialogue, and I run the camera out (1/8th) to the NX1's mic in and make sure the gain is correct at each stage. If I have time to tweak the levels (mic level, camera out level, NX1 mic level), I don't have to synch - the NX1 is capable of really nice, crisp audio with low noise - if it's fed a well preamped signal. I found this to be the case with my Nikon bodies as well. For decent hybrid-cam audio, you really need a preamp to feed the camera line-level - but with 60D's being so cheap, might as well use that - you get (usually) useable camera tracks, and all the Tascam bells & whistles (mainly those minus 6 DB safety tracks, phantom powered XLRs, etc) Price wise it's like a very good preamp with a free recorder.

I kinda like my GH3... had the choice between Alpha99 and Mark III back then.. didn´t make an upgrade to the GH4, the 4k was not necessary for me at that time and the iq didn´t seem to improve significantly... Gh5 will be another crossing, stay in m43 system or go another way.. the sensor size, with its low light flaws is a real downer but Panasonics commitment of delivering surprises is indeed loyalty worthy... though.. it will probably just be the small extra tip on the scale if two cameras/systems tie... I hope they improve their jpg/color engine... I´d rather take a lovely out of cam picture in favour of grading every single log clip just the little bit better..

I totaly love Sony's Slog 3 profile set on cine 4. Since I fly and travel light allot, a7s(ii) and 6300 are my favorite cams all time. I like the skintones better on the slog3 then any pp of the GH4. But we will see if it will be GH5 or A7s3. Time will tell. (Terra is worth a consideration also)

It seems like it's a bit bottom heavy since it always wants to roll back to center. I'd move the body up slightly, which may make the tilt a bit off. Sometimes you'll just have the mind the best comprise and let the motors do the rest. For what it's worth, I made this on the ronin-m with no lens mount and an unbalanced camera. It was my first shoot and I didn't have a chance to read on balancing. It still performed pretty well.

GH Wish List 1. Better autofocus - for smooth touch screen focus pull. Along the lines of Canon's DPAF. 2. Full HD at 120fps or higher. 240fps would be sweet. 3. IBIS

You forgot a very very important point: Autofocus. Panasonic really lacks a good AF and if we could have a similar AF as A6300 that would be really awesome. Just because of this I will hesitate between 5d4 and GH5

Yes, i'm afraid I agree that it'll be the same old 4:2:0 8 bit, just with 4K/60p Even the DVX200 only shoots in 8 bit, so it would be surprising to see this get 10 bit, though I hope it does. Someone has to break that barrier in a hybrid cam

I'd call the a7rII a "REAL" hybrid that already exists - IBIS, mic/headphone jack, great video, class leading stills/DR and something Panasonic really lacks... PADF. It would be nice if Panasonic would dump everything into a pro oriented GH body including 10-bit internal and so on, but we've been saying that for years to no avail. Just like Sony and Canon, Panasonic wants you to buy a higher end camera. IMO it'll get IBIS and a higher bitrate, but it'll still be the same old 8-bit 4:2:0 internal. Panny should dump the goofy YAGH and do an external recorder with XLR inputs, they have all the tech in house and could easily build a unit that crushes Blackmagic's offerings. But again like Sony and Canon, there doesn't seem to be any interest (or High profit margins) in low volume products at consumer price points.

Do you know that 99.9% of the film and TV series you watch all have artificial lighting, eye lights and everything? IMO it's the biggest factor to the feel and quality of the image, for any camera. Everything I shoot, I have lights set up. And make up. And sets. Locations. Actual real people doing actual things. This short shows the Kinemini 4k looks awesome in a controlled setup. There's really nice highlight rolloff and skin tones.