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Thought some of those skin tones looked a bit plasticy. Apart from that it looked great.

Grain and Noise are two entirely different things. There have been a few posts here before about the benefits of the appropriate use of grain for both technical and aesthetic reasons. As for grain degrading an image? - the opposite effect can often be true. For example, an appropriate application of grain can give a perceived impression of extra sharpness and detail to an image:

the old way was to put your grain on a video layer above the clip and set its blend or composite mode to "overlay" and then to use a contrast filter on the grain layer to dial in the intensity.

12-60 kit zoom is not a $495 lens and if it is then it is overpriced. Speed Booster with Canon glass or super fast Panasonic primes are the way to go!

Ok, tired of radical in-camera settings and attempts to make Panasonic images look like those from other cameras? Want to see the default images the camera delivers with no adjustments in post, at night, with the Nocticron? No, well happy holidays anyways:

Hey, I visited Japan for a week, and tested out the 5D III and to see what it can do with Magic Lantern.

The E-M5 series is meant to be the more video focused of the OMD line than the E-M1, so will be interesting to see what the E-M5 mark iii brings to the table. Despite this, with the processing power in the E-M1 we could see some nice improvements with video AF, log profile and maybe some higher frame rates with future updates. I'm sure John Brawley is giving Olympus some good feedback on what they need to do from a video perspective.

http://www.gorillagrain.com/examples/

where did you get your grain clip? I remember making my own a couple years ago and one thing I did was make sure the file was at 50% gray so it wouldn't affect the look of footage when applied as an overlay.

You could get TWO of *both* and still probably manage to squeak in under budget!

1.75x is for people who have "it" small...

Wanted to buy the Leica 15mm... saw that over in Sweden you'd get a small discount + GM5. I was like... WHAAATTT?! Gimme! Unfortunately, they weren't able to accomodate shipping that deal to me. But man, those GMs look nice and small and great jacket pocket carriers with like the 14 (or Leica 15) and 20mm pancake lenses. Though I guess the LX-series might kinda cover that too. Wish they'd release a LX200 with a couple of fixes (fully articulated touchscreen, a mic-input, dedicated SD slot on the side, new sensor with better performance and stabilization integration, CineLike profiles, built-in ND filters (LX7 had this) and live HDMI-out). Of course it's more versatile to have an interchangeable lens system and arguably, you could opt for optimized primes to squeeze out a little more performance and character. The GX80 will have you covered. Just be aware that like the LX100 you can't have the screen facing the forwards for monitoring and there's no mic-in or CineLike profiles.

You could always get an F3 and an A6500. It'll still cost you less than any of these other options.

this app is a good idea, but maybe you can had the 1.75x option in the next version

https://www.bhphotovideo.com/c/product/1226383-REG/panasonic_h_fs12060_lumix_g_12_60mm_f_3_5_5_6.html

Just found this, it's shot with the kit lens, I think it's gorgeous:

Its already published here one page before and not very relevant info...

Who doesn't love this cam?

It would be nice if someone could test this. JCS, Andrew?

Nocticron, check Night, check Lots of sources of light, check Bokeh balls, ????

White Balance is 5500k B2M2 this time using two cheap florescent lights and daylight. a6300, f5.6, ISO 400. Using the V2.0 Settings.

There are a few usage issues I'm spotting on this thread The pronounced lips - You've got crazy magenta reds, from using the wrong settings. This comes from a Sony bug with S-Gamut that was fixed on the newer cameras. Are you using the original A7S Stefan? If so try switching to the A6500 settings in the updated guide and see if that gives you proper reds and not purple lipstick. Also make sure your white balance isn't too cool. That seems to be what triggers the magenta S-Gamut bug on the A7S. You're welcome to email me directly from now on if you have a problem and I'll be happy to help. By posting these broken images in public it only makes the whole thing look broken and it may put people off. I don't want that to happen as I know the results are absolutely fantastic looking when used correctly. It is up to the user to grade EOSHD LOG correctly. I've taken it out of the updated guide because it conflicts with the main purpose and aim of EOSHD Pro Color which is to fix colour! With LOG it is too easy to break colour again in post. Also it is confusing and people think it should be used as some form of alternative straight out of camera colour profile or look... NOPE No they're not. "After some corrections". It's LOG. Of course you have to grade it! Don. It is almost as if some of you are going out of your way to pick out problems that don't even exist! You seem to know about scopes so surely you do realise the whole purpose of a LOG profile is it is supposed to be graded and colour corrected, so running scopes on the ungraded raw LOG footage makes no sense and tells you nothing about colour / skintones at all. It just isn't meant to be viewed that way as a final result. It is not the out of camera look. The "EOSHD CINEMA" profile is the out of camera look. The "EOSHD LOG" is a colour patch for S-LOG 2. I will do something else with a Sony LOG profile soon and it is exciting. It is not coming back to the EOSHD Pro Color guide. Wait and see...

Idk, I think you could obtain that look with a 5D mk iii and ML Raw.

You can't beat real grain from a 35mm telecine scan to add over video footage...but if time is tight, the filmconvert grain is ok if dialled down from its preset...and it renders very fast. I've got a ton of use from my effects element library which is from material shot for movies including 'Clash of the Titans' and 'Sunshine' - lots of open gate and anamorphic grain to be lifted from some of those plate shots at the leader and tail of shots. Gorilla grain is ok, but most of these overlay grain packs you can buy tend to be 'enhanced' with sharpening or have too much contrast built in for my taste. I've personally found it best to mix it up and avoid 50% opacity preset settings...it's often better to layer up two low opacity grain overlays (offset), rather than one heavy hit. It depends on the grain intensity that you are after, but for a nice texture feel with a bit of a perceived sharpness boost, less tends to be more.

Exactly. Its truly an amazing camera when used primarily for stills, offering decent video as well. But just for video? not a great value. Maybe when a proper log arrives with a firmware update will make it easier to swallow that price tag.

check Canon C100 and C300, they are the cine line with an APSC sensor, they record in 4k downscaling to 1080p, today a C100 mk1 cost less than a 5D mrk IV, the image is so cinematic and the low light is fantastic, not to mention the skintones which are the best by far from any camera in the same price range. By the way, you also have Canon C-log, which is a plus.

I don't want to sound too picky but this is definitely not a good example. I am not sure if it is the EOSHD LOG or the post work (I know its not the camera) , but a look at the vector-scope can be very informative about the quality of the skin tones: After some corrections it looks a bit better but again the skin tones are all over the place. More examples for both Cine & Log modes are needed in this thread.

The IBIS is only best in class with 2 lenses. Specifically, Sync IS on the very expensive Olympus PRO zooms. And they are F4. F4 looks terrible on a Micro Four Thirds sensor. Flat and clinical. Whereas the GX85 and G85 performs dual IS with the Leica Nocticron 42.5mm F1.2 and 6 other lenses. I know which I'd rather have. As for rolling shutter, it's about 14ms on the G85 in 4K and certainly the E-M1 II is an improvement but it won't usually be noticeable on 95% of shots. The G85 is cleaner at ISO 1600 than the GH4 is at 800. It does very acceptable 3200 and colour saturation doesn't die. Nice and contrasty. ISO 6400 is the limit. Not bad. The E-M1 II is similar, no improvement for your $2000. It's hardly going to be Rode Videomic X standard but I did notice on the E-M1 II when I tried it, that the stereo mic built in was above average. Exactly! $2000 for the E-M1 II just for the stabilisation is not worth it.

Love it. Nice work!

I just got this gimbal too, it's fun! Haven't had a chance to do any real shooting yet but tests at home seem great. If you need it even further forward you can run the mounting plate the other way around (tilt motor on left side instead of right side).

I got a set of Ianiro redheads (the original redheads!) for under £150 on ebay - 3 lights, stands, scrims etc. Got a 300W Arri fresnel plus stand for around £30. Nearly a full Lowell kit - Omni, Tilta and the other one whose name escapes me, in separate ebay deals for a total of around £100. A bunch of good stands for £20. A boom and stand for a tenner. You can definitely put together a lighting package for little money if you're prepared to take it slowly and look out for deals. The only instruments I've bought full price have been a few different LEDs - there doesn't seem to be the same kind of bargain-rich secondhand market in them yet. Plus, I should mention, Lee gels are, for what they are, really cheap! I should add, @Dustin, that I don't know where you're based, but the UK used cinema lighting market is like a tiny gnat compared to the big buffalo of the US one.

Where the NX1 was 500$?! I would take a second one for that price IMMEDIATELY. Seriously. NX1 just does most things right and is a work horse for me, something the a6xx gimmicks aren't. Ergonomics, efficient light codec (when I shot a 3 hours performance, I save half a hard drive with my NX1/NX500 combo), battery, no heating are things understated by the many, but when I work, these things become more important than one stop better iso, or the DR's absolute numbers, or a few kbytes difference in bitrate. If I want absolute image, and depending the job (time and control in set) I rent. I do not understand how people need 10-40.000$ image from 800$ cameras, that is seriously above me. Most of my clients, still ask for DVDs. When I offer 10GB files or more, for better quality, they say, "no, we just want to watch on TV", which that means, we have a DVD player, and we know no better than that (even thought they just bought a 4K, 55" for Christmas!). I go for the soft look my self for weddings/Christenings, a sharper documentary style for live/performances, and more artistically for other projects (depending concept, idea, emotions, etc). I am working with a lot of cameras/systems. NX is king for mirrorless/dSLR, C100mkII for run and gun, LS300 for the best compromise between those two, C300mkII for more, Sonys for slow motion (FS700 is cheap to rent and provides good slow mo). In our market Alexa's are for only very expensive tv adds that are out of my league (and most people here, the industry is non existent).

Not blown away by anything out of the camera so far and since my own hands on with it I've been shooting with the Panasonic G85 and realised it is by far the better deal. The stabilisation doesn't seem much better on the E-M1 II compared to that camera for video. The price - is it worth double just to shave 0.2x off the crop factor in 4K? The ergonomics - I feel the Panasonic menus and controls are less convoluted somehow. E-M1 II doesn't seem to have an advantage for ISO 3200, 6400... unchanged since old E-M1 Don't remember being blown away by the EVF compared to the G85 at half the price either. Main difference is the higher bitrate codec and less rolling shutter.... but neither are a particular problem on the G85 either. Both are very good cameras for video but right now I am leaning towards saving $1000. Not least because the GH5 is around the corner which gives the E-M1 II a useful shelf life of about 2-3 months for your $2000.

I think the fact that most people are comparing the NX1 to RED's or URSAs is already something astounishing to say, considering the NX1 was on sale a few days ago for 500$ and the rest of these cameras cost +4k$. I personally do believe its one of the best consumer cameras out there, it has a lot of strenghts and its weak points (at least to me) arent that big of a deal, but of course this all means nothing if your needs are different. But one of the things that most of my clients say when they first see the films is "the colors and image is beautifull", so I think even random clients appreciate the colors much more than what we think they do.

Of course with complete honesty I didn't mean saying everything that crosses my mind. That was idiotic. Nor a complete confession of all my failures and delusions. Or if I find the other sympathetic at first sight or not. Just in the well-considered personal evaluation of the things behind the current conflict. After I have been honest to myself whether some of it is possibly my fault alone. I'd admit this too. And I won't accuse the other directly, just report my own view, without holding back. If it was too biased, good chance to clarify this. Not at this stage. My point is that many many false notes accumulated over time and that this caused all this bitterness. In management training courses the outcome is called lose-lose (as opposed to win-win). I recommend Tarkovskys Andrej Rublev. Spoiler: in the last scene the famous bell founder just died. His 12 year old apprentice says the old man has taught him everything to make the giant bell for the newly built cathedral himself. But it's a lie. Because the bell is so big, he has to command the work of the villagers. He has to punish disobedience, he can't tolerate others questioning his authority. Accidents occur due to his inexperience. He hopes (but you can clearly see he doesn't believe) the bell will ring in the right key - and not break apart with the first hit of the clapper. Tradition demands that all workers will be beheaded then. Time is running out, and in the end the boy is full of regret and self-hatred. In literally the last minute, the prince with his entourage and everybody already surrounding them, the heavy bell is lifted and the clapper swings back and forth, slowly building up momentum. The boy runs away in horror. And from a great distance he hears the bell, clear and majestic. Most likely intended as a parable for creative challenge. All capable people in this field are also impostors. They don't know better, but they may. They have to stay consequent or the outcome will be mediocre at best. If they sense hesitation in others, they take over responsibility. And they are held responsible in the end.