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Hi guys, FilmConvert here. Just wanted to let you know we've heard the feedback about some redness in the NX1 profile. We're doing some more QA here, and may release a new version of the profile shortly.

MODERATOR INTERVENTION FOR Ebrahim Saadawi Ebrahim Saadawi please stop posting in any other thread apart from this one , it was left open for you to communicate with the three people you scammed and to make sure you refuned them all in full asap - you have disgraced this forum we all contribute to and love so much. YOU ARE NOT AT LIBERTY TO SUDDENLY START COMMENTING ON ANY OTHER POST OFFERING YOUR TECHNICAL ADVISE - STOP IT NOW - MODERATOR JONPAIS AND MYSELF ARE BOTH UNITED ON THIS DECISSION. No more tec posting on this forum Ebrahim Saadawi.

for the record I have just deleted all Ebrahim Saadawi's posts on other threads this week he is not to post on any other thread , his priority now is to repay James full asap . Lets stick to that and get it done asap please Ebrahim Saadawi.

Here is the edit from my first real video job. Unfortunately I was only able to capture the preparations as the parade was cancelled due to lightning and torrential rain. Horrible weather to work in. Too bad, as all the kids and organisers put tonnes of time into preparations. Handheld using two GX80 with the Panasonic 12-35/2.8 and 35-100/2.8 lenses (the LX100 for time-lapse).

Just before you shoot, put all of the cameras side-by-side, and do a custom white balance on each camera. Record audio with your mic from the back of the audience, and also tap into the house mixing board.

I wrote here, since it is something that could be helpful for 99.9% of the people here: "Dear Andy" is because I think he's the best one to talk about Panasonic cameras and all the users should be happy to read what he has to say about. I work with those cameras and I have some great results, but I mostly shot music videos. He use them for features, where the look is less stilized then in a 3 minutes music video. Maybe his experience and his answers are something everyone could benefit. But of course, it is my opinion. And of course, everyone has other answers is more then welcome. No "private chat" here, just the right recognition of authority to the people that boost my way of working. Remember that if it not was for him and Andrew I (and all the EOSHD users) would still shot videos with Canon 7D, complaining that Canon should give us a better codec, 4K, slow motion...

A couple screen grabs from a BTS video shoot, 1DC 4K C-log pixel summed to 2K, graded/texture-managed/re-grained.

Remember that for the "HBO Special" look, you need at least 2 operators - one to track the comedian and one to get audience responses. You have to quickly ID people that are really cracking up and get a lot of variety of reactions. Just having a static camera on the audience isn't going to be that great. It's good to use a long lens for that and stay out of people's faces, dress in black and stay in the shadows. People can clam up if they feel they're being filmed. If you have a static camera that's wider getting the stage, shoot 4K and reframe to get a "3rd operator" look if possible.

I don't understand why you guys are arguing this. 1dc is a cinema camera. The 1dxii is not. Sounds like justifying a purchase to me. Just be careful with how you guys argue these things unless you're using these cameras in actual professional shooting environments. I can tell you from experience that shooting with a dslr in a set environment again kinda sucks. DSLRs were never supposed to be used on set. We just made them work. Cant argue with that image tho and c log on the 1dc looks better than any of the other C cameras in my opinion.

Yeah here's what I did once when recording a comedy show (similar to tupp). Tap into the board and feed an XLR into your recorder. Set up one of the Rode mics in the back of the room pointing toward the stage. Set up the other Rode mic near the stage pointing back to the crowd (for laughter). Comedians really want to have that live room feel and not super dry feed off of their stage mic.

Well, until now it was a secret. http://www.diehroptic.ch/essays/2016/04/single-focus-for-moeller-rathenower-64-x2/

I don't think its the full frame aesthetic. It's more to do with how smooth the image resolves. They also look very thick and robust. The main problem I was having with the C100 was the image looking thin (although the color was great).

Some graded screen grabs from the 1DC. Shooting on Leica R glass.

From what you posted I prefer it to what I've seen from the 1dx/1dc and bmpcc/bmmcc, but hard to know how muchof that is just your mad skillz.

Did any one know about it?

My thought would be you want something soft, so you'd be wanting something a lot bigger, but with a much lower output - maybe a larger panel on a very small output level, or something bounced - whether it's an actual light or just the sunlight. My preference is generally for something bouncy. A small light is going to be a harder light by definition, so you're probably going to end up softening it hugely, in effect making it larger anyway

Samsung NX1 + NXL (SB prototype) + 50mm Nikon 1.4 (f.2). I love the DOF like Full frame! I remember my old Canon 5d mark III... but 4K!!

You know what... just in case.... C-log never comes to the 1DXII. Just because there is no "C" symbol on the 1DXII And, they discontinue the whole DSLR Cinema EOS line. This may be your last chance to get a FF EOS with C-log. And, it is mighty tempting to get a 1DC + Used C500 (for slow-mo) combo. Then again... what is Canon going to drop for photokina & IBC???

Andy, could you comment on why you dont set sharpness and noise reduction to any negative value but left it at 0?

DPR is talking about RAW stills. Video DR is completely different story. See this review: Basically, 1DX II is noisier in the shadow than 1DC in video mode.

Yeah, it looks cool.

perhaps this? https://***URL not allowed***/aputure-amaran-m9-pocket-friendly/

The 1DX Mkii seems just as cinematic to my eyes. However, it seems to lean more towards the more modern variety of cinematic which is becoming the new look of cinema. Times change, and it appears Canon is moving ahead with the newer look.

I have a couple of SmartLav+ for interview, they sounds okish, not bad for interviews, but not great for narrative... I probably have to use some pencils indoor and ADR for outdoor, since I cannot afford to buy more things now, I've just bought a G7 + batteries etc...

Shotgun outside could be suicidal. Especially in crowded environments. Too many people watching, too much of ambient noise, a Very Attention grabbing piece of equipment, (maybe) not enough background noise isolation, and the whole thing sounds like a disaster just waiting to happen. Lapel Mics with the Rode InvisiLav sounds like a great idea (within clothing, and little closer than you would usually place them). Do a sound test (technical recee)before you do the final shoot.

Hey Merc, show some mercy and shoot some beautiful lucious greens with the xc10, mixed with some 60p , if time allows. Was kinda thinking about eosm, but g6 has it for me. Next step g7 or gx80, meanwhile renting the xc10. Got hooked to its look when its promo vid came out with the old guy chasing two guys who robbed a girl´s purse. While It takes some effort to grade those Pannys it is definately worth it. Great hybrids with some of the best price-picture quality ratio out there, if not the best for G6 and G7. I think it would be interesting to test A3G3 and such settings more and post some curves and nodes that go along well. cheers

Yeah I guess. Andy has the most hands-on experience with the G7, under various lighting and shooting conditions. So, I guess, it's good for everyone to learn. My saying that was merely like soliloquy. And, I agree with that bit about recording sound in the field instead of ADR (lapel mics on the talent's chest, inside clothing could be a great idea). You can still get reasonably good sound (though a little cleaning might be required to prevent it sounding like a documentary, due to some background noise the mic with pickup).

Of course working at color grading is a great idea. I've spent years at it now. But getting a good LUT for particular footage and then grading it can give you great results, save a lot of time, and help you get stylistic uniformity to your footage. These Canon C300 MK II LUTS (there's a bunch of them)--the C-LOG LUTS for the C300 MK II work very well. Try to use WDR luts because they give you better dynamic range. Rec. 709 LUTS will clip and the highlight will washout--especially clouds and even the skies will turn white. Use WDR Canon Mk II LUTS you and you'll get better results in the highlights. I think this is pretty good advice. But, keep in mind, I just an amateur. PS I'm in the process of posting another tweety bird video (only 4 minutes)--but uploaded in 4k, so the quality, once they fully upload it, should be much better than the first bird video, which I could only upload in 720p because of the slo-mo footage.

Thanks for the link Liam. Nice effort, and interesting concept for doing it.

Lexar, San Disk extreme--it's a pretty democratic camera as to what works well. The right LUT can give consistency to your footage and make grading quicker. I did add sharpening. You almost have to in Log, since shooting in Log removes any and all in camera sharpening whatsoever. I got the LUTS from Canon web site---

use the 25 and 28 for your wides 35 for the mids and 70 for the close ups and if you need to go really wide use the olympus lighting is subjective and as im not there to see how you do it I cant really help much , use your eye , dont get bogged down with meters , look at the screen , if it looks good...it is good !! one thing i do alot is take frame grabs from films Ilike on my tab and look at them on set to match the lighting to the frame I like from a movie

One advanced trick I use when grading C-log is to pull a luminance key and gently desaturate the highlight.

Careful about brand loyalty or you'll start sounding like Red fan bois Sony's menu system sucks. Yep I paid $3k or whatever it was to upgrade the f3 to slog - I think I paid it twice. The Canon C300 is made like a cheap plastic rag doll, and that thing cost like $20k in the day. The FS7 is tinker-toys level material - but the thing is like $9k right, when the f5 is like $15k they all take shortcuts. They have weird cycles of releasing the product at different times. And in the end, yes the sony image is kind of weird looking vs canon with nice blacks. but really at the end of the day, how much of a difference is there between the c300ii and sony fs7 line? Below I graded quickly - but last 2 are c300 and f55 - pretty much the same. digital bolex is better color, but has noise issues and can't go past 200 asa. so pick a camera, find its strengths and weaknesses and that's it, who cares. THEY ALL SUCK Even the Alexa sucks. And the phantom sucks.

Thanks - not really skillz - I'm also doing some grading work on it. I think it has less jello than the BMPCC, but I don't remember, skintones, probably less room to move around than BMPCC - I don't know - would have to do a test.

Thank you very much for your precious tips! I have to do that! 30 degrees rule for framing mid and head? I was worried I had not a Metabones for larger shot (so planning to use the Olympus 12-40 for that kind of work), but a mid at 35 is certainly something I can easily achieve How to light the set for f/2? It means having the "right" exposure (white on the histogram) at f/2 and then underexposing 2 or 3 stops? Sorry for the dumb question, but I always try to shoot at the lowest ISO with 1/50 Tiffen for ND on the mattebox is ok? Huge huge huge thanks Andy!! We are going to shoot in Naples, a city full of noises. I have a little recording studio full of mics, preamps etc... so I can do that at no costs apart my time. I also have a "travel kit" with a Mac, an Apollo Twin soundcard, a nice mic an a reflexion filter, so I can go directly to actor's places to record them after the editing (I live 400 km from Naples). Of course It could sound "fake"... but I'm scared of recording on the set, because all I have is a Zoom H5 and a couple of cheap pencil microphones. The Rode NTG4 (or NTG 2, the two mics I could afford) is ok for outdoor but not for indoor recording. The Zoom H5 preamp is quite noisy... so I think I could have a better chance with ADR: all actors are professionals, I think that they could do that.... Especially because one of the characters is an "object", not an human, so I have to ADR anyway for this character.

Even at $5k, you have to ask if it makes sense to forego the features that the 1DX Mkii bring to the table.

I personally would use the G7 as my main A camera and the GH4 as B camera , the g7 does have the better newer cleaner sensor . I would shoot it all in 4K UHD 24 fps mp4 (internal codec is very good in 4K mode ) Natural profile saturation -5 contrast -5 dont go over 800 iso light your sets for about f2.8 or f2 max G7 focus assis is great it has 2 settings I use H I would use your Zeiss primes as they are superb lenses same glass as Zeiss Ultra Speed cinema lenses - no differance yes use the internal camera audio as I guide track and ADR it all in post All the above is how I shot the feature film Pandora

Well, let me start by saying, I really liked the G7... but so far, I love the XC10... but I miss interchangeable lenses. But this is a long story for me... and it may be boring for you... Last year around this time I had just my eos-m, then the lure of 4K and a ridiculously cheap price tag brought me to pick up an NX500. I had a love hate relationship with the camera. By the time I started finding it's sweet spot, the G7 went on sale. Since I had a small collection of c-mount lenses, and the bundle came with a Rode VideoMic Pro I jumped on it. The NX500 was a little sharper and shot in Cinema 4K, but the ease of use and external mic plug in led me to use the G7 way more than the NX500... so I sold the Samsung. Shortly after that I decided to pick up the FZ300 for family stuff and I liked a lot of the features... I loved that camera. Without a doubt it was the most fun camera to go out and shoot with, but the IQ just wasn't there. Still happy with my G7, and my lenses, I just went on writing some shorts and planning some shoots. One of the shorts I wrote required some slow motion. I had read that the Nikon D5500 had really nice and clean 1080p both in 24p and 60p... all of the videos I saw online confirmed that. And since I had a small collection of Nikkor lenses, i thought it would be the perfect option... it was out for over a year and I figured the price would be well below $500 for a body only... even if it was grey market. Well it wasn't... the cheapest I could find at the time was refurbished for $600... which was a little more than I wanted to spend for a camera I would probably only use for one short and then I realized the BMMCC had come out and was getting glowing reviews for it's 60p... Once again I was lured in by the promise of natively shooting ProRes and Raw, so I sold a few things and bought one. For the first month I loved the camera... I was able to use old Kern Paillard lenses and the Raw image is just stunning... as is the ProRes... but it is literally the most unenjoyable camera to shoot with. I prefer to shoot handheld or with a monopod and the form factor of the BMMCC is not suited for handheld once you rig the camera up with even just the bare essentials. And the battery life is simply horrible. You cannot leave a battery attached to the camera, because it will drain almost as fast with the camera off as it does with the camera on in standby and the batteries take 2+ hours to charge, so you really have to prep your kit the morning before a shoot, so you can charge half a dozen batteries... But the image is just damn gorgeous. After a while I just got burnt out using it. It wasn't any fun rigging it up every time I went out to shoot... or break it down if I was moving to a different location. Since I consider myself a run and gun shooter, all spontaneity ran out the door because it was such a hassle to quickly reset shots... for me. Other shooters who are more used to rigs and the proper way of shooting narratives are probably fine with it... but for me... it's just not an option any more. Then one day I was reading eos hd and I came upon Andrew's review of the XC10. Now mind you, I was in love with this camera when it was released... I may have been the only one. Over time, every negative I had about the camera faded away as more and more footage emerged. Basically my buying and selling of cameras and lenses over the past year put me in a unique position to afford the XC10 this year. So, after a little more research, I jumped in head first last week. I have only shot with it for a couple hours, but I enjoyed every second of it. I have been mostly shooting with the 1080p C-Log, but the couple test shots I did do in 4K... I was pretty impressed. Now I just have to learn how to expose C-Log properly... I'm starting to get the hang of it and how to grade it properly... I'll probably never get the hang of it. Finally, I originally intended to keep the micro and use it for really small, contained shorts. I have a few short film ideas that are only a couple minutes long. But after using the XC10, I don't think I could go back to the Micro, I think I would feel stifled. This leaves me without an interchangeable lens camera... Hmm? I love my lenses and I know eventually I will want to use them again. If I had to purchase another camera today... which I won't... I am leaning towards either the GX85 or maybe I'll stay with the Canon family and pick up a used C100... I actually bid on one the day after I used C-Log for the first time, but I didn't win it... maybe next time. Sorry for the long post. Basically, 5-axis ibis and IQ trumps the G7... even with the ability to change lenses. I also think the internal 4k to 1080 downscale, of the XC10 is better, to my eyes, than the internal 4K of the G7, with post downscale to 1080p. The G7 wins in the shallow depth category and with that in the lowlight category. The GX85 seems to have a better image than the G7 and it has 5-axis... but no mic input. It seems like there is no perfect camera out there, but the XC10 is the closest i have come to thus far. It seems like the GX80/85 owners feel the same about that camera... if it had the mic input, I may have chosen that over the XC10. Again sorry for the long, and boring, post but these things are so subjective, I wanted to give the history of how I got here... which may help people understand why I inevitably chose the XC10 over the G7, GX85 and BMMCC.

good call , the fs700 is another interesting option. test test test before you buy if you can or just scour vimeo and youtube for clips

I saw an fs700 with 4k firmware go for £1800 on ebay the other day.. If you had another £1k for an external recorder you could have a solid 4k HFR camera under £3k. I'd buy an F3 as a B or C camera, but not as a main camera these days. Wouldn't go higher than a £1k for it.

I own one still, used to have three. here's some things I shot on it: It's a really great camera, has built in XLRs, I really like slog1 and sgamut - and man for the price, it's a great deal. Is it better than the canon 1dx which is probably now cheaper at the same price? Or the blackmagic MCC or pocket? That's where you need to do some testing. Check motion, color, etc. I think at this point a rigged out BMPCC with a nice monitor maybe a good alternative too. If you need the extra resolution. Anyway it's any interesting time to be alive.

This makes use of many of the features of the GX85 - inconspicuousness, handheld stability, small and fast lenses, low light prowess, fast focus, dof tricks, touch-screen focus pull: Lumix 25mm f1.7 and 12-32mm lenses. RealLUT.

Personally, I would not mess with the FS700. I shot with that a lot and the colors and skin tones are just off. Not too sure about the FS5, but I think an F3 is like 1/3 the price and the savings could be spent on glass rental... I bought an F3 a month ago, maybe my favorite camera I have owned. The color you can pull from the camera is just so nice. Excited to be working with it. It reminds of the BMCC or the pocket, with NDs, really nice battery life, and the reliability you expect from a camera in that class. Attached a couple stills. There's tons of F3 footage online, but just wanted to give that camera an up vote. I would get the F3 and a the 7Q recorder used. The whole package should be under 3 grand.

Maybe you missed focus on the wide shots as it wasn't properly calibrated for infinity focus??? Seems strange for RED 4K wide shots to be thought of as too soft?! And shooting 4K for 2K delivery to give "more options in post" doesn't come with pitfalls, you'll need to be spot on with your focus, and the crop will mean deeper DoF than if you'd shot it originally with a longer lens without cropping. Plus 4K means heavier demands on data storage during production and in post. All of these can of course be overcome, but shouldn't be ignored casually. Even just 1080 10bit 422 will chew up a lot of space over a feature! Is what I'll be doing on my next feature. Maybe for my feature after that we'll have the budget to use 4K 10bit 422 cameras for the whole thing. (as would like to use a Sony FS700 with FSraw down converted to 4K ProRes HQ on the fly with an Atomos Shogun, but that would stretch our budget too far So Sony F3 it is! If we do get any spare budget at all, it will be to buy a second Sony F3 so we can shoot with two at once) Yeah the director Colin Trevorrow shot his first narrative feature film on an F3: "Safety Not Guaranteed". Note however, I believe this was shot with a pre-S-log camera and all internal. Or in other words, you now in 2016 using the F3's S-log and 10bit external would be getting a much much better camera than the version of F3 which shot "Safety Not Guaranteed"! Colin Trevorrow went on to make Jurassic Park (4th highest grossing film of all time!) and will next be making Star Wars: Episode IX. Oh wow, a Cooke 20-100mm T3.1, that sounds like a handy and great zoom range with a fast enough T-stop, all this with the Cooke name for $4K? Can't afford it now, or even probably next year, but sounds like something I could aspire to own in the medium term future! But then I looked up what the lenses looks like on an F3..... WHOA!! That seriously pushes the limits for me for an "everyday" lens to shoot a feature on. Hmmm....

I have a Panasonic G6 too! :D Often times when a lightweight easy to use G6 is preferable. And for multicam shoots such as weddings using my G6 to roam around for sniper shots along with a few GH1 bodies locked off on tripods, makes for an effective and very low budget set up. You can now find the F3 at US$1500ish prices without too much trouble, I would never pay US$3000 for one! Heck I paid just US$1.2K for mine, and that was over a year ago when prices were higher then on average than they are now. https://www.maoritelevision.com/tv/shows/reset/S01E003/reset-series-1-episode-3 The entire water fountain scene at @1:23 was pick up shots I did using my F3 with ProRes HQ. The rest of the episode I was DoP for & shot with a Sony FS7. Great deals on the battle test Kinefinity KiniMini 4K on their website! US$3K I think? Or get the Kinefinity Terra 5K for $5K. I'm not such a big fan of renting even glass on extremely low budget productions. You can go far with a set of zooms: Tokina 11-20mm f2.8 + Tokina 28-70mm f2.8 + Tokina 80-200mm f2.8 (and throw in the Nikon 50mm F1.8D, too cheap to not include!). This entire set of lenses can be got for just over a thousand bucks (and half the cost is just for the 11-20mm UWA!). Or get a set of Rokinon Cine DS lenses: http://ironfilm.co.nz/rokinon-cine-lenses/

Cool! Kinda surprised that so many people were clamoring for this, yet after 13 hours, only 3 people have said anything... Where's the enthusiasm, people? Thanks for the samples Ricardo and Marco. Can't wait to see more!

I know, my purchases are getting out of hand. This time last year I couldn't dream of affording an XC10, no matter how much I wanted one. And then on my quest for my perfect camera and lenses, I acquired enough gear to resell for enough money to afford it this year... It's my own weird savings account. But now, I still have a bunch of lenses to sell and I still need a good interchangeable lens camera. I'll probably just get an Alexa next year... Seriously though, I am probably leaning towards the GX85 for my interchangeable lens camera, but I'm gonna wait and see what Canon releases at Photokina. One of my favorite things about my first outing with the XC10 for a couple hours yesterday was it reminded me of the good old days with Canon, so I'm intrigued to see what the new eos-m4 will bring, plus the rumored full frame mirrorless that Canon is supposed to release.

Zach is spot on. You didn't say what kind of product it is (I pray it's not a car, then you're probably way over your head) but usually what really counts for product photos is the lighting, you'll probably want to shoot with manually set strobes (at least 1 + reflector but probably more). Focus on that, camera isn't really important, you'll manually focus anyway so all the technical bells & whistles are pretty much useless. I'd shoot with the SIGMA 50-100mm on APS-C from a tripod with whatever has a nice flippy screen or you can also tether to a tablet or computer. Shoot RAW and edit in Lightroom. Done.

Honestly for product photos, lighting is everything. Lens choice is a close second. If I were in your shoes I'd probably lean towards Nikon - something like the D3300 is more than sufficient even as basic as it is. Combined with that Sigma glass and you should get great results. that being said - GX85 will more than get the job done as well, especially with that 12-35 you have. You might get more use out of this with video work too as stated by Mercer