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Holy caramba, check out the price on my dream (semi affordable) DSLR: http://www.ebay.com/itm/322237187093 Had quite a price drop lately! Hopefully it means a D750 mk2 with 4K is just around the corner

Yes, it is a pity. I haven't found it too frustrating though. I guess it depends how you shoot. I generally only use AF when I'm filming something static. I haven't used Canon glass on m43, but I've read the AF is slower than native glass. We should all be using Voigtlanders anyway ;-). Nothing beats that manual feel!

Had a brief hands-on earlier today. The stabilization with the new 12-100mm IS and everything turned on is off the chain! Too bad it's only the 12-100mm and 300mm PRO lenses that feature this. And they're both expensive f/4 lenses... so, not sure if you'd get something like that. They're hammering on f/4 keeping the size down. That 300mm is gigantor though! I was like 'wait, that's the 40-150mm? I thought it would be smaller', but it was the 300mm. The 40-150mm is fairly bigger than the 12-40mm, but proportional. Weightwise, it was actually not bad at all. What else? Battery, quite a bit bigger. Battery grip is a little more advanced than the last one. EVF, nothing spectacular... seems to only have improved with its frequency. Vari-angle screen is nice (and headphone/mic ports that block it when in use). Flat profile... didn't seem so flat actually. C-AF seemed ok. Much better than Panasonic, not exactly up there yet with Canon's dualpixel AF. The shear amount of buttons/dials and menu options is more insane than ever. And they had it all in German (I always keep hardware/software/everything in English even if it's not my native language, which might've been availlable), so I also didn't get half of what was going on in the menus. Maybe it was a little too complex in general, seemed to even leave the spokespersons riddled at times. Found it at times to be a little unresponsive, but maybe it was running some demo unit firmware and I did too much to it. Didn't seem AutoISO with fixed aperture/shutterspeed was a thing, I sometimes hear that's a wish of people. Overall though, quite promising! Though... I'm not sure if I should head back tomorrow and pre-order it (believe it's -5%, so 100 bucks off) yet. It's winter anyways, so I won't be out shooting that much (cold, gloomy (today was depressing foggy drizzle), short days). So... I'm sure I can make do with the gear I got... and then see what the GH5 is all about... if that's not a winner... the E-M1 Mark II will still be there and probably have some deals going on by then as well.

Here's a new video i shot with the GX85 and 12-35mm X. Skin tones look pretty good I think.

Nice, what were your exposure settings?

Latest video--shot with 1DXii in EOSHD C-log, graded in FCPX with Color Finale

i think that is a great idea(I have a 4K monitor myself). But I would make sure the monitor is: o Around 40 to 43 inch. o Able to handle 4:4:4 color @60fps I am waiting for an OLED monitor in the 40 to43 inch range which would be wonderful. For professional color grading in Premiere (or other NLEs) use a separate mastering monitor avoiding the OS and GPU.

I had a Spyder Pro, now a X-rite i1Display Pro, used with the free software DisplayCAL. Takes a long time, but is very precise. Why is Yosemite's calibration process a "total mess"? Missed the old "expert mode"? It appears only if you hold "alt" while clicking in >system preferences >monitors >colors and there >calibrate.

I was messing around with some B&W yesterday using the L-Monochrome profile.

This: http://www.rtings.com/tv/reviews/samsung/ku6300 Is cheap over here at the mo. Was thinking of using it for the program window in premiere, and keep a smaller colour accurate monitor for doing grading and whatnot (and for lightroom and PS). is this a totally stupid idea? (I currently have 2560x1440 27" monitor, and just think that's too small for 4K).

I bought a Bolex 16/32/1.5x.... can't wait to hold him in my hands. Will receive him within a week time. Any suggestions for a taking lens for my NX1 are welcome!

Great! How are you liking them so far ? Lisbon have the luminence on the blues higher than normal, so skies might stay slightly bright. Im just finishing a couple of new luts that will be added to the pack, so everyone who has already the pack will be able to go get the new ones for free obviously. If you guys have any recommendations or other looks that you'd love to see, i'd like to know :D

Process? You seem to have found the expert mode. I used to calibrate my old display that way. Looked good then, looks terrible now. Perhaps because our own expectations are higher after a few years. The whole grading hype educates us to be unhappy with what we've got. I think the built-in monitor calibration never was exactly brilliant.

The pity about the oly 12-40 (and in general for all oly lenses that have this manual focus thingy) is, that once you are in the manual mode, you cant use the AF/AE-Lock Button (when configured to AF-ON) to do an occasional AF while otherwise being in this awesome manual mode. When you switch back to the normal mode, the focus ring changes focus again based on speed - very sad, because this would be otherwise the perfect thing. Seems only Canon EF glas is able to provide AF while having a somewhere decent MF at the same time.

I use X-Rite ColorMunki. It seems to work well on my 2015 iMac 27: http://a.co/hQbm2VL

Thank you. I would recommend doing as many tests as possible. Kidzrevil has been doing a ton of tests with different profiles, he seems to be making a lot of progress in finding the correct profile for each situation. C-LOG is really really nice in my opinion, but probably not ideal for lowlight. You need to work with seeing how much you can push it. If you keep the shadows lit enough, you can really avoid macro blocking and noise. The camera is temperamental. Does weird things sometimes. You really need to work with the strengths and learn to avoid exploiting the weaknesses. My biggest advice would be to not shoot over F11. Try to between 2.8 and 8, favor the shallower more open apertures when possible.

I think we'd have to take a poll to decide which cameras made it into the poll.

"Easy"?! Depends lot on the person, for some a UM46 would be a poor decision and "easily" any one of Sony FS5 / FS7 mk1 / FS7 mk2 / Canon C300 mk2 (almost kinda fits in the price range) / RED Raven / Kinefinity Terra would be a way superior chose of a camera for that person's particular circumstances.

tupp is 100 percent correct. Had an older friend I invited to shoot BTS stills, he had said he had been on sets before. It must not have been many. He walked right up to the director in the middle of shooting and asked what the scene was about. He was kicked off set, I will never even mention his name to the director again. I don't talk to him anymore either, it was an important shoot day and he cost us time and my reputation took a hit. Don't screw around, don't talk to the director, do your job. Or you will never work on that crew, or any of the crews that those people work on, ever again. On film school: I echo what others have said, go to make connections for the future. Do not expect to walk out of film school and be directing features right out of the gate.

Well, Pvandall just reported his new XC15 has ghosting too, and I put my trust in any EOSHD forum member before any Canon representative, it has been weeks since other forum members reported the issue and no word from Canon…. Probably now I will have to wait for the gh5 too, but I really wanted a Canon, the skintones are the best for me, dam it!!!!

Will PM you a few DNGs of random things at different resolutions. I asked the Canon service guy I'd been in contact with if the XC15 has ghosting like the XC10 and he said he's not able to find out...

@hijodeibn Would a second hand C100 suit you? Lovely image from that. I know it's only 1080p but it's downsized from a 4k sensor, and the XC10 4k is just marketing rather than real resolution. @mercer I can send you some 5D3 ML DNGs if you wanna play with them to see if it'd suit you. @kidzrevil I think the gh5 will be something special

It's a shame too, because the XC10, seems like it should be a great event camera, but without lowlight capabilities, it's use becomes a little limited. I am definitely selling mine, I just need to decide what to replace it with. I was thinking about going the D500 route, but I think I will wait until they up some of their video functions and the 4K funnels down into their lesser models. So now I have to decide between the X-T2 or a 5D mk iii. Since I only work on narratives, the mk iii seems like the better choice.

I started to wonder the idynamic and I made some tests again. Idynamic adds noise to darks and should be used with care. It is best when wanting the lighter result unedited.

Agree, this is quality control, and since looks like some cameras didn´t have the issue, most probably is related to hardware than firmware, which make very dangerous to buy any of this cameras, really sad, I was saving to go for the XC15 thinking it was free of ghosting, now I will have to go another route, and the problem is that I like Canon look more than any other camera in the market…..

I like using LUTs in photoshop, here is a photo i took today with the ricardo's Lisbon Lut at about 50%. It turned the sky completely white to i added gradient mask to the sky to keep the original sky colours. Shot some videos too, might make a montage and upload it before:

It's click bait BS. He couldn't even match WB between the two.

This debate gets brought up every once in a while. Now, I haven't been, but the general concensus I believe always was: film school isn't useless, though, it's not really about the material that's being taught. It's working on things together and connecting with people that you might stay in contact with for years after graduating. For that it's quite useful. A degree on your resume does look cool, but it's not the thing that sells your skillset and level of talent. A list of productions you've worked on and a filmreel will do that for you. Think it's more about being good at networking and selling yourself, than what some paper says... so... you can start learning things you might already know... or work on getting actual field experience. One is not better than the other, you got to walk your own path, if that includes film school, that's cool, if it doesn't, that's cool too.

Just dropping some more insight after doing more tests.. Don't use the Highlights/Shadows adjustments when shooting faces. It evens out the skin, giving that "waxy" effect. Classic Chrome with +4 color is my favourite profile. Provia can be a bit too orange on skin. ProNeg Standard is good too if you want something slightly flatter. 4k jello is real. Close to the Samsung NX1 and Sony A7S. Use with caution. Thankfully the 1080p is sharp; much sharper than my D5500. AF-C is very usable if you get to know it. In JPEG stills, the Grain option on Strong actually lifts up the blacks a little bit, giving that VSCO effect, which I quite like. The 23mm f2 WR is a weird lens. Out of focus areas have a rendering like some vintage lenses I have used. It's nice but not what I expected from a somewhat expensive modern lens. The f1.4 has a more modern rendering but the mechanics act more like an old lens. The below were taken with the f2 WR. Really want to go out and shoot properly but just don't have the time at the moment.

At 1080p I would say ISO 3200. 4K it's ISO 12800 or near that anyway. I do have a higher tolerence to noise than most people though I think. Here's a clip at 10,000 The good thing about these Fuji files is that unlike some other cameras, it doesn't really kick in noise reduction much at high ISOs and so details remain quite visible. Using noise reduction in post gives great results. One somewhat annoying thing regarding ISO I forgot to mention earlier is that you can't change it whilst recording. I've yet to see any macroblocking in 1080 or 4k. The bitrate for 1080 seems to be variable, usually between 30 and 100 mbps. There are no artefacts in 4k either but there is a little bit of moire and aliasing in 1080. You can see that here https://***URL removed***/reviews/image-comparison/fullscreen?attr29_0=nikon_d5500&attr29_1=fujifilm_xt2&attr29_2=canon_eos80d&attr29_3=panasonic_dmcg85&attr72_0=1080&attr72_1=1080&attr72_2=1080&attr72_3=1080&normalization=full&widget=378&x=0.03472009788926267&y=-0.5420819490586931

Just put my preorder down for the G85 kit at B&H. Something to hold me over until the GH5. I got it primarily for the stabilization. I don't mind carrying my gimbal, but it doesn't work when you don't want to bring attention to yourself such as a wedding when you're a guest, not the hired videographer. I understand it's not going to provide the same level of stabilization but I think people are getting used to the jerky movements in vlogs where a lot of camera shake during walking has become the norm. I think I can sell the 12-60mm (unused) lens and the G85 (US import) body separately after 6 months of use and get pretty much all of my money back. As much excitement there is for this camera, if the GH5 comes out with the same IBIS, this camera will be barely mentioned in this forum after the GH5 is released. Whereas the GH5 will be talked about for many years after it's release.