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I've been doing some work recently that requires very accurate colors, so I wasted a few hours cycling through all of the setting in my NX1 and a Xrite Color Checker Passport. I tested all Gamma Control (color, saturation, sharpness, contrast, hue), Picture Wizard Options, Black Level, and Luminance Levels. These were tested in Daylight, Under 90+ CRI LED lights, in ISO 100-800. Fortunately the same settings worked best across ISOs and color temps. My approach to testing was to record a clip with each variation of setting with the same white balance (using the gray card of the color checker) and then use the Color Match option in Resolve (Source Gamma sRGB, Target Gamma Rec.709, Target Color Space Rec.709, Color Temp 6500, White Level 0.9 Checked) then total the variation in percentage of color accuracy. One weird discovery was that sharpness at 0 had worse color accuracy than at -10 sharpness in Gamma Control settings. These are the settings I was able to achieve the most accurate colors with: Luminance Level 0-255 Master Black Level -5 Gamma DR { Color - 1.00Red, 0.95 Green, 1.00 Blue Saturation: -3 Sharpness: -10 Contrast: -3 Hue: 0} This does result in a overall flat look that I would then grade or apply a Rec.709 LUT to.

Just messing around with some clips...

It's been pretty tough choosing what to get as my company A-cam, and after a few runs, I've opted for the FS5. When it comes to image quality (and I only know the FS5 internally), the FS5 isn't near the top of my list. What matters to me, most of all, is making content, and telling stories. As much as I'd want an Ursa Mini 4.6k, a RED Raven, C300 II or Terra 5k- with the FS5 versatility wins. Why did I get it then? Lightweight and modular - saves the back and can be used on my DSLR grip gear. Use run n gun style bare bones or beast it up with an external recorder - caters for pretty much all types of work. Slow motion - currently unmatched at this price point. No slow motion crop too! E-mount - massive range of adaptable lenses. Variable ND - very very useful. Going back to image quality - although the initial palette isn't quite as stunning as other models in this range - I think Sony get a hammering online as there are countless videos posted on Vimeo and Youtube where Slog has been badly exposed and graded. If you put in your research to handling Slog, the results can be spectacular.

@Chris Oh - As of the current version, only the Sigma 50-100/1.8 has an IBIS issue (and pardon me for repeating that this, too, will be fixed in a matter of days). But owing to just this one lens, Andrew was compelled to downgrade to firmware 0.5 from more than 2 years ago. Back then the firmware did not manage OIS/IBIS interaction. In his tests using old firmware, both OIS and IBIS turned on and cancelled out each other. Actually if he had manually turned one of OIS/IBIS off, the old version would still have worked fine. Andrew found our firmware from 2 years ago to be unsatisfactory, which I concur (although back then we could not have anticipated the GX85). I personally would say that except for that one lens, the Sigma 50-100/1.8, the current firmware is working, and it is doing what Panasonic's own Four Thirds to Micro Four Thirds adapter (DMW-MA1) would have done. The next version, 2.5, which will be launched soon, will be great, and will have the flexibility of OIS/IBIS selection by the end-user.

I work for Metabones and let me confirm that this is indeed a firmware bug as well as to apologize to you for the inconvenience. This problem is that IBIS is OFF and you cannot turn it on with the camera's menus. It occurs with only one lens, the Sigma 50-100/1.8 DC HSM Art. A firmware fix will be published in a matter of days. I acknowledged this problem on eoshd at the beginning of the month and promised that a fix was on the way, but I suppose my comment might have been taken out of context. It certainly was NOT a blanket "GX85 IBIS didn't work with Metabones". (Link to my previous comment below.) There is not much else to say, except that the fix will be here soon, and we will have the ability to select between OIS and IBIS (something that even Panasonic's own lenses do not support, for example if you have an old Leica 14-50/2.8-3.5 in SLR Four Thirds mount.)

I started a very similar thread a couple months ago when i wanted to upgrade my NTG2. I looked into all the options, including the CS1 and was settled on the NTG3. Then I started looking at the Sennheiser MKE 600 which I'd written off without looking closely due to cheap price and AA battery option. Actually it's a fantastic mic and personally for me I prefer the sound to the 416. It's warm like the NTG3. It's the same size and high build quality as those two high end mics too. Its pretty decent as an indoor close quarters mic. Way better than the NTG2 and a step up from the ME66. It's a gem IMO I don't know why it's not the standard go to XLR shotgun for everyone here.

Now I can control the iris on Canon lens, this is a short test with canon 50mm F8. The lens with NXL is very sharpness, non used hack, no Dr profile. Videomakers stay tuned, big news coming soon, it is soon to send her into retirement.

NX500 has a better 4k than NX1 ??? Are you serious ?

I love how everyone hated on the c100ii and is now moving to it. The camera really is so nice, I guess the price drop really sealed the deal. The 24-105 is amazing. That would probably be the first lens I would buy for that camera. I would sell the GH4 and buy the 80d or maybe the 5dmkiii. The Canon color/stills is much much better than the GH4. The next lens I would buy would probably the be the 30mm F2 IS or the Sigma 18-35 1.8. If you need something longer, maybe go for the 70-200 somewhere down the line.

I used the 16-50 2/2.8 S lens only (only lens I have for it). I generated a LUT from resolve's Color Match feature (input LUT) if you would like to play with it. Keep in mind this is based of a single example after setting my white balance with the gray card and the listed settings. For a more accurate run and gun setting (when I don't have the color checker with me) I would ideally find the average variation between color temps and in camera white balance. Gamma C was more accurate than Normal (Gamma DR being the best). I tried out all of the picture wizard settings, but they were pretty all over the place (not that I was expecting much out of Forrest or Retro). A second setting that came oddly close to my listed settings from the last post used all of the same settings except for (color 1.04 Red, 0.93 Green, 1.04 Blue). I am going to play around with this setting in some non-clinical uses. I like it so far in tandem with resolve's film looks, as long as they are scaled back a little. I do like Ricardo's Settings with Gamma C and the raised black level for more heavily graded uses. NX1-GammaDR-custom-alpha_1.SAM_0908_1080P_ProRes422_LT.cube

IMO investing in a new body has the lowest ROI for improving your film making than any other peace of gear so IMO you are on the wrong side of the "Sense-O-Meter" You keep trying to compare the NX1 to other cameras currently on the market today witch is completely missing my point that regardless how good or bad other cameras are compared to samsung, the NX system is dead and eventually we will all need to pick a new one and switch and buy all new bodies and lenses and at that point in time I would mach rather have an extra $1500 in my pocket to spend then to have the an EVF, 120p and no crop 4k for 2 years. But that is my opinion and my advice he can take it or leave. Maybe if the question was I currently have an cannon M series camera should I upgrade to the NX1 then your arguments and examples make sense. This is a completely different circumstance I am not at all suggesting he sell is NX500 and he clearly was not talking about buying a B camera(or in this case new A camera) he clearly said "Should I upgrade" and the answer IMO is no the features gained from going from an NX500 to an NX1 is not worth $1500. again that is my opinion he can take it or leave it I don't really care. I didnt mean forever in a literal sense and I know you are smart enough to know that so why even bring this up.

"link doesn't work" -- you are right, sir! New link:

Yes. Normal. Thus, worthwhile? In other words, since the thing is easily do-able and many many people are capable of doing it, what value does it have? Should one use it just because one can, or can the visuals it offers be implemented creatively? I had a corporate client demand it on a recent production "just because," and I felt it ultimately looked ridiculous. Ostentatious for no particular reason. It actually was detrimental to the video. The shots had no motivation. They were just there because the client thought it looked cool.

Absolutely. There's a certain type of freedom of expression you get with a camera like the FS5 - it can do pretty much everything you want it to, it doesn't look like a bazooka and leaves you and your post skills to get it to shine. I like the individuality of this and the grading work pays big dividends with your skill set. On the lower cost end of the scale, the upcoming GH5 seems like the ideal choice (on paper). I honestly don't think anyone could need anything else for a very long time. Having both these units would have you covered for everything. We all love our gear, and new gear announcements (especially cameras) can be very distracting - especially for Sony owners. When you have a camera that does pretty much everything you'll ever need - the distractions aren't even worth it. I'm with you on the Terra 5k - it looks awesome. I'd only get one if I was absolutely rolling in cash though. I could get all sorts of cool lenses that last decades instead!

The AF+MF option is under the "Gear C" tab of the menus. I just tried both a Lumix lens and a Canon 50/1.8 STM on my GX85. In both cases, you will have to keep the shutter half-pressed for manual focus to work, in video mode. This is because the camera lets you manual focus only while AF is locked. It is easy to see that if the camera keeps on autofocusing continuously and you manually intervene, AF and MF are only fighting with each other. But with AF lock, the camera temporarily pauses adjusting focus so you may adjust focus manually.

If you are fine with the Rode sound (and why you shouldn't), then I would advise you to get rid of the Sennheisser, get an NTG-3, and later on buy the Audix. The 3 is very different than the 2, it doesn't replace it per se, and you can always do with a backup mic anyway (I always take 3 boom mics with me on any job, and at least a lav more that I should, plus a stereo mic just in case). NTG3 is different than the 416, I do not know how this rumor is sustained, it took me less than a year of 3 different jobs to realize that. Obviously the Rode has a wider polar pattern and less frequency sensitivity to the two extremes (especially the low end is less pronounced than the 416). So, if two microphones have different patters and different acoustic qualities, then they are different in my book. I do not say that it is a bad microphone (it is excellent for the price), but that it is different. I would say that it favors more amateurish behavior on set, as it is more forgiving than the absolute 416. After working a full 2 years on 3 TV documentary series with the Rode mic (and blimp) and various other jobs in the middle, I went and bought the 416 with the Sennheisser basket/blimp. Since then I am avoiding the Rode even if I have to offer my 416 for free; not because it is bad, I just prefer what I am getting from the 416. Also, the Sennheisser blimp is night and day against the Rode. I can't even stretch that enough. The new Cyclones are really bad at the moment, they are not ready to compete with the classic zeppelin design yet. I would say Sennheisser -> Rycote (classic design) -> K-Tek -> Rode If you have the power module, ME64/ME66 can be an excellent two way system for exteriors and interiors the same time. That used to be my main set when I started with sound. Since then I followed a bit the hype of the Rode microphones, but if I managed to get rid of the cheap NTG (they sell extremely low for new), I will go for a MKE600 for crude sound work, when the delicacy of the 416 doesn't cut it. Wish I could afford the 30 & 40, which are the mics I usually rent when I have the budget and the time. The warmth that you are mentioning is the forgiveness of the polar pattern and less dialogue orientated acoustic quality of those mics. They are just different. Mics are like lenses, of course you can do a feature with a 50mm, but it is probably better to have a few more options. For indoors you need different microphones that those mentioned. A 64, a 40, an Oktava, the Audix, Schoeps (if you can afford them), a DPA e.t.c It is like to do an interview on a 1.5m wide room with only a 300mm lens; you probably need a 35mm for that..

You mean the use of aerial shots? It is normal no? New tools, new languages, I think.

I do wonder if, instead of debating about the tool, we should consider that the value of aerial shots is overrated?

If you're comparing the two of GH3 vs GH4 then clearly you're somewhat budget restrained otherwise you'd have just got the GH4, thus I highly recommend you buy the Panasonic G7 instead! :-D

Mercer, those are the best sceencaps I've ever seen you post. Lovely work!

Here's another example where we can see the strengths (e.g. almost 1-stop faster + manual focus towards to shallower DOF as handy narrative tool and previously written in this thread):

When people ask why not just "anafake" it, you send them this video.

"As for Google's touted video stabilization? It definitely works. I didn't have any extreme circumstances under which to test it, but for just holding your phone and walking around shooting video, it makes a huge difference. I mean, I doubt you'd think I was using a gimbal, but it's still very smooth." "Finally, let's talk about the electronic image stabilization. It works! I have a video sample, shot in 4K, below, to demonstrate it. It does give video a slightly jarring panning effect if you're too subtle with your movement, but overall? For something shot with one hand over my head, this is incredibly smooth." http://www.androidpolice.com/2016/10/18/google-pixel-review-a-very-good-phone-by-google/

Personally I’m not sure is worth the work to transcode because storage is getting cheaper and cheaper plus the advantage of MJPEG that you will be able to read it even in the future view that is a super simple codec. On Windows PC most people use Avid codecs DNxHR and are basically equivalents of Prores. Here the spec: http://avid.force.com/pkb/articles/en_US/White_Paper/DNxHR-Codec-Bandwidth-Specifications As you can see that the only one that will save you more space compared to MJPEG is DNxHR LB (low bandwidth) that at 4k DCI 8bit 4:2:2 @60p is 45 MB/s = 360 mbits (vs. 800 mbtis of MJPEG). There is no magic, if you want to keep the original quality you will end up with large files. I output my master always in DNxHR HQ (SQ would probably be sufficient) and a second copy for web or consumer distribution in h.264 at 50 mbits.

Thanks, I appreciate it! ...I have some pieces on my Events/Travel page that might work for weddings, but I haven't created anything specifically for weddings. If you happen to need some custom tracks created, I can do that at very low cost...just let me know. :-) In the meantime... New free tracks are ready for everyone: "Monkey Business" (looping and non-looping) http://soundimage.org/funny-3/ "Intriguing Future" http://soundimage.org/techno/ "Slick Streets"_Looping "Wandering the Streets"_Looping "Delivering the Goods"_Looping http://soundimage.org/urban/ "Electric Rain"_Looping http://soundimage.org/dance-techno/ I hope they are helpful! :-) Eric

I watched the trailer. And I am blown away... It looks great. Honestly I don't think 4K would have helped the look of this film at all. Congratulations on a great looking trailer. I look forward to watching the film!!! Damn, I wish the D5500 would drop just a little bit in price. If you are considering a 4K upgrade for your next film... I suggest you stay within the Nikon ecosystem... Maybe a D500. Btw, I would love to hear some production notes... More about camera choice positives and negatives, lenses used, lighting, sound equipment... Anything really. Thanks and good luck with the film.