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You are still confusing a lot here. Take a well lit scene with some shadowy parts. The darkest 5% of the image will be noisy (unless you add more light or open the aperture or increase shutter angle and are thus able to reduce gain/ISO). The brightest 1% has one or two colour channels clipping but not yet the third one. Dynamic range tells you how dark the black (with details remaining) and how bright the white (without clipping) can be. Going from 8 bit 4:2:2 to 10 bit 4:2:2 doesn't change any of that. It DOES change that you suddenly can distinguish 3 additional tones for each of the 3 colour channels. (That's not 3*3*3 but 3*2^10 - 3*2^8 additional colours.) * So a very gradual fog or sky will have less visible steps. * You may get a much better green screen (although that's mostly by going from 8bit 4:2:0 to 10bit 4:2:2). The darkest 5% of the image are still noisy. That doesn't change. The brightest 1% still clip one or two colour channels. What does change is that the 94% of the image that are well exposed suddenly resolve a lot more colours that have formerly been indistinguishable. What does change is that any colour grading that expands a part of the brightness, saturation and/or tonal spectrum will have a lot more steps to work with and can thus be done more boldly without introducing ugly steps in gradients. This is important to a lot even when delivering the final result in 8bit 4:2:2 . These people are already doing 10bit recording with the existing GH4/GH4R and they do it for very good reasons. So obviously it is important even without increasing dynamic range and/or decreasing thermal noise from what the GH4/GH4R offers. They just can't do it INSIDE the camera yet and have to use external recorders. Having a clean 4:2:2 10bit output was one of the major improvements of the GH4 and GH4R.

Just shoot both in LOG mode and apply the same LUT to both, then tweak any differences. But here's an even better suggestion... if you want cameras to match, buy two of the same cameras. The main problem here is it it seems like you have been convinced by online marketing and advertorial that you need all this extra shit. On the GH4 you don't need a v-mount battery for interviews... Unless you consider changing the GH4's battery every 7 hours to be an unsurmountable problem. You also don't need a cage or to attach anything to the GH4 at all, like a shotgun mic. For interviews you should click a wireless lav mic onto the subject. Not use a mic on the camera. XLR is also overkill for an interview. 3.5mm jack just fine. Problem solved. You also don't need a monitor... the screen on the GH4 is just fine for interviews. Works as well as the screen which comes with the FS5, does it not? It's even a similar size! Guess that solves the cables part as well. Speed Booster - I fail to see the hassle aspect of that. Attach lens. Film! ND filters - for an interview? Were you filming it on the surface of the sun? With such a small amount of movement if it is a locked down shot you wouldn't even notice if it was shot at 1/2000 anyway. Keep it simple. Keep it simple and try again. Relax. Don't buy a C300.

Not that it's important or that anyone's counting, but this thread has just passed the threshold of becoming the most popular thread on EOSHD in terms of posts (over 1400) and views (over 142,000 and climbing) just overtaking the previous top dog "Surprise! Sony Alpha A6000 video mode huge improvement."

If anyone needs further convincing of the 1dxII - put on a diaper and watch this in 4K. https://vimeo.com/192756025

The hand of the artist is the most important and underrated thing in all arts and this is why I will always try to maintain as much control as possible over my own camera work. As soon as he takes his hands off the tool and gets the CG artists to copy his style, something of his personality gets lost in translation. Subtle things like whiskers, a fur, a few lines out of place... And then comes A.I. based animation...even worse!! A classic scene in this where he lets rip at the creators pitching the technique to him. Just goes to show, even with so much technology out there and even AI, CGI still has a long way to go to touch the human soul in terms of the visuals of the best hand-drawn animation (especially movement related aspects).

So, trying to function as professional in the industry is more about people skills than not. At least that's been my experience at the level I'm at. No one's ever going to hire me because I have a craft level that's superior to those in the upper echelon of film making. I'm just not that guy. Which leaves me in a precarious situation --as most of the time the work I'm doing has been quick boutique "one-offs" wherein I go in for a day or two, gather footage, then take it back to the homestead and edit it together. Rather simple, small and fun stuff to do. Nothing special about that. 12 year olds have better equipment and do the same. The tough situation I'm facing is that my ability to tolerate a difficult client has diminished. Maybe it's a sign of getting older? This is no small thing. Seriously, the desire to coddle a client has seemingly disappeared. For instance, I'm working on a documentary thing where the client is so maddeningly absent minded, she has forgotten about shoots, called me in at the last minute to locations, sent me on location for shoots that are irrelevant to the product, has failed to produce shoots that offer any useable coverage, won't stop talking (about herself) to the documentary subjects on location to allow clean b-roll of said subject, doesn't seem aware that words from an interview require some sort of image to cover the endless droning of a talking head, refuses provide interview (trans)scripts with accurate time-code, etc, etc, etc.... Basically, she's kind of incompetent (from my point of view) to direct documentaries. Nice person, but her choices and process are maddeningly pathetic. Nevertheless, she's paid me a flat rate to do all this stuff for her. Aha! Therein lies the problem. Never, ever, work with a bad client on a large project for a flat rate. --AND ALWAYS assume first time out of the gate, no matter how sweet they are, that you're getting in bed with a potentially difficult client. You'll end up being exploited and resentful; resentful to your client and resentful to yourself for agreeing to such ridiculous terms to begin with. Anyway, that's my advice. How to y'all cope with a shitty client? I drink lots and lots of wine and get fatter. You?

So I got myself a proper job (as some of my friends would put it) - you know, one that earns you regular good money, one that sucks the life out of you, one that you end up hating! What do you do to get your mind back? 1) Take a song from a friend 2) Find some free footage/pictures online 3) Restrict yourself to only using your NLE of choice for everything 4) Learn where your shortcomings are & REACT in accordance!

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

Just as a point of physics from a goofy layman (me) that can kind of only half remember high-school science classes: molecules that get colder move slower. After all, absence of vibration is actually absolute zero, right? That's not exactly relevant, however. Computer components being exceptionally cold won't change the laws of electromagnetism and the speed of light. Waves of electricity are unaffected. Of course, your components could get so hot that the molecules in the components would start to fly away and irradiate so violently that certain components fail. That's always impressive. Humans tend to like to see things burn and get blowed up real good. It's a fun primal thing we all share. All that said, if you computer is hot, cool it.

The tip about using an adjustment layer is also a really good thing to do - I use FilmConvert that way (for colour &/or grain). My the experiments with underexposure are iffy at best, as it's really difficult to get the footage shot in daylight to match stuff filmed indoors or in low light. But you see a lot of films that are clean one minute & then get grainy the next - so not everyone adheres to an even amount of grain. The two free grains mentioned (VisionColor & Gorilla) are good to use.

If you can lower the temp in one room, lower the temperature to somewhere around 10-14 degrees celsius. Should be a decent operating temperature for the laptop. There's often a major difference in cooling if you can lower the ambient temperature from around +22 degrees celsius to around +16, so a few more degrees cooler might be enough to quit the throttling. Long-term solution: get a laptop that is made for higher performance tasks for long periods. Probably will take a bit of research to find out which ones are good for such use. MBP are quite decently built for these types of uses. There's also laptop coolers that transports heat away from underside of computers. These might be a quick aid. They lower the temperature, but don't expect them to fully fix the throttling/overheating issue: http://www.laptopmag.com/articles/best-laptop-coolers.

The zoom ring on the Olympus lens turns the opposite way compared to the panasonic lens so that might be annoying if you are not used to that, also the panasonic 12-35mm does not produce micro jitters like the 35-100mm does. Another advantage with the panasonic 12-35mm is the OIS so that does give some extra stabilization when combined with the sensor stabilization and if you plan on using this lens on a GH4 or G7 you at least have a lens with IS where the Olympus lens does not give you that option. The focus clutch on the olympus, eventhough very handy, is like the panasonic still fly by wire, not sure for the g80 but switching between auto and manual focus on a GH4 is very easy and fast as well, I have the olympus 40-150mm f2.8 and everytime I pull that focus clutch to have manual focus the image shifts out of focus, doesn't happen on my gh4 when switching between auto to manual. The panasonic is also smaller and lighter. If I had to choose I"d take the panasonic over the olympus. For photos the olympus is the superior lens but if your main focus is video you would have to pixelpeep to see the difference in IQ.

Limitations: 0-255, only a 30p (29.97p) option, perhaps more moiré IMO Benefits: multiple aspect ratios (1:1 has 2880 vertical lines!), more creative options perhaps.

Sorry for the late reply. Didn't read the rest of the thread, so maybe this was already answered by someone else. I just missed the point that you have to use the SET option at the very bottom of the list (below the C1-3 settings) to achieve the WB K and then store the K value to one of the Custom slots. Inside the Custom 1-3 you cannot alter the K value, you can only alter the shift (A-B and G-M).

That video does look stunning. Go for it Oliver! Seems like an almost perfect tool for music videos.

I actually haven't, come to think of it. I can't say I've ever heard nor seen evidence to suggest RAW influences motion candence, as such, I've never drawn comparisons myself. The D16 is definitely creeping into my final considerations, alongside the MX and Scarlet. Of course, the RED's are far more versatile systems, which should be my main consideration when spending such money, but it's hard to ignore the image the D16 delivers; it has that magical filmic feel to it that nothing else in this price-range can quite deliver so organically. I still prefer the clean, smooth, digital look, but the D16 is making me fall for the 'film' look again.

If it's for YouTube or Vimeo, I use a heavy handed approach simply because too many times I've added grain just to have it eradicated by the uploading process. Now I upload everything in 2K & use Filmconvert at 150% (super 35mm grain). If it's not for the internet, then I dial back between 50-100%. However, recently I've been experimenting with underexposing BM footage & then lifting it in post to reveal the noise, which I think BM cameras do very nicely - so no post grain needed.

Putin the fridge. Oh wait, condensation

My buddy does have some good clients. One success story was when he invested a lot of unpaid private time in second-guessing the 'corporate identity' of the firm who made the announcement. He met the woman responsible for public relation with concepts ready to present. But he was wise enough to make her feel it were her ideas. They accepted his offer (reasonable, but not cheap) without batting an eye. The communication worked from the start (what's the right idiom? They were on the same wavelength?). He had thought out everything in advance, he could control the situation. The client came back several times despite cheaper competitors. If the client feels you are just some guy with a camera you will not be treated with respect. A successful professional must be a prostitute sometimes. The good ones make their sugar daddies think they love them.

Not just bright, but good color too.

I filmed this video with the a7s (original) with the EOSHD V2 a6500 color settings.

Thanks for noticing the background/foreground blur. We have limited time to produce these and figure most viewers will be on mobile devices. In any case, I'll be sure to add Gaussian blur on backgrounds sharper than the foreground (have been doing this sometimes but not always). This was shot on the C300 II at 1080p 50Mbps IPB (holds up really well for most things, however for moderate to extreme grades, I might start using 12-bit 444 1080p). If I have time tomorrow I'll do the test with the 1DX II.

Ooh, that luks gd. Would've been a no-brainer with sensor-stabo. I detest Apple, but I wouldn't mind them rolling out an X-T2s right about now.

Did you try Classic Chrome, from what I've seen it should be the least saturated/contrasty profile. Here is an example

Hey, Doesn't background's sharpness bother you a little bit? It's sharper than she is which makes her look a little bit soft (to me at least). Other than that, I like it :). BTW. Did you test 1DX II for hot pixel issue as described here? People on dvxuser forum suspect 1DXII might be prone to it.

70D with raw is a great option! What are the file sizes like with 70D Raw? btw I have a friend who shoots with a 550D, has a Ton of work because it looks amazing!

You are so right! Problem solved, phew...

I'm not saying you are wrong, and I do largely agree with you.... But people have been saying this since the 5d3 came out and not much has changed. Reception to the 5d3 was no better than what the internet says of the 5div, in fact probably worse. Yet that camera now is viewed as coming from Canon's "glory days" same thing with the C300, it was mocked upon launch next to the red scarlet, but we all know how that turned out. I really had high hopes for the M5, and i'm actually still going to pick one up. (no eta on shipments to canada yet) It will likely just be a little family/ walk around camera. Andrew what were your thoughts on the touchscreen/ touch and drag focus. I know other companies have implemented it but it seems canon may have finally gotten it right. The touch screen on the a6500 has had the opposite reviews so far.

Try setting the color phase to 0 you can read more about it in the picture profiles advice section.

Deleted in case of something.

what the actual fuck

I'd say weed. Or shrooms. Heck, I think it's inducing the effects onto the audience through video as I see a spaceship coming from her mouth. Some next level subliminal digital media shit right there. Time to forget about 4K, 3D and HDR.

I love to see her in a more natural state. I would maybe go slower in the breathing technique but ... that's just me, I like a good pause ! I have a bit of a hiccup with the green screen thingy, we don't breath stardust... go play outside guys ! :D I love the intro on this video, I think we can see her personality shine a lot more that way. The outro seems a lot more relax too ! It's working

Here in Greece there are no contracts, except working for television, which again, there is no health insurance. People believe that a guy with a dSLR is a video professional, and that attitude has passed to the professional level. The contract I have now is for a documentary series. In the begining, they were considering not using a sound man (=me!), nor a field producer. Then, they talked to me about sound, the budget for sound was atrocious, but I cut a deal working for less hours and I didn't want to be excluded from TV for the first time after coming back from my Bachelor of Arts in Film amd Video. Then I learn from a producer inside the production company (it is a media group with TV stations in the while Balkans, press, music production companies, exclusive contract with Vice, e.t.c a huge organisation for East-Southern Europe terms) the company that took the first contract with the cable TV station (different media groups, by the way) willing to earn as much as possible, tried to do it without a field producer ("we will makenthe calls from the office"), a sound man ("you can do it with one wireless mic"), no lights ("with a couple leds you will be fine), and 2 Canon 5DmarkIII !!! When first conducted me were like "can you do a bit of field production too? You will get a few hundrends of euros per episode and we will be ok", I refused, because there was no possible in anyway, we found a very good and experiences producer (that earns more money than me eventually!), and we go with a full van, dedos, kino flos, a JVC LS300+the 5Diiis, a full sound kit and most of these for free. I also help with lighting, do a little sound post and the DP does color corection for free. You know what they asked us yesterday? "Can we do it 5.1 sound, and why we don't have 10 bit image?"! Right now, in the whole Greek market there are 2 good productions with 5-7 times our budget, and they are really doing a great job. The last 4 years were none such productions. Imagine what is going on with the small and uneducated clients. It is a massacre! I am starting to sell extra virgin oil of the Koroneiki varity in Europe, to bring some money to the family budget! I learned today that a guy(that I know) does BOTH video and photos in weddings, and he charges 300-600 euros for photo/video, ALONE! One friend does photography lessons, and there are 3 middle aged women, never hold a camera in their life "learning the basics to do video in weddings", and in his class, from the 15-20 people, almost all are going to work in weddings! Today I talked with a band for an event coverage and a small clip in the end, and they told me they paid the last 3 years, from 80-200€! It has become a hobby, and I am working since 1999, my first jobs were in film, have 1 bachelor and 2 diplomas, I feel I am overqualified!

I agree, no way you can beat a Sony F3 if you don't need 4k. Although not as good of Codec, the Canon C100 now, with its sub 2k cost is sort of tempting also especially with the DP AF upgrade in one. Great run and Gun camera also. 8bit out but..

I use this method I found on Resovle and I like the look. Covers up a Lot of mistakes! https://davidtorcivia.com/film-grain-and-davinci-resolve/

I see the HDR is too new for most. I think most wifes can see the difference between SDR and HDR.

Lovely work...another good example of why I've kept my 5D3 and have not bought any colour crippled, 8 bit 4K over-sharpened newer offerings. Now ML is refining it's 10-12 bit and crop mode options - the improvements and surprises of what that camera can do are STILL being uncovered.

I do a fair amount of music demos and the 1DX II has been amazing on a gimbal. I LOVE the 4K, and the AF isnt just for shallow DOF movement. Big long pushes with deep DOF still benefit from the DPAF. But keep in mind that the sweet touchscreen isn't available on a gimbal, I'm currently testing ways to get it to work with my iphone. This is a teaser for a Music video, so not synced up or anything :

You offer a "in theoretical world base only on my personal opinion" without owning a 1Dx or a Gimbal.... I'm offering a real world opinion using the 1Dx II on a gimbal at 4k 60p using AF in a similar way that the OP is intending to use. You are probably much more skilled and talented than me but the OP did try in real world your "theoretical" approach manual focusing on a gimbal and he was not so happy and I know why, because I'm been there and I don't want to return doing that way. I'm really not sure why you cannot use AF with strobe, these are all done with the 1Dx, strobe and using AF (including long lenses, night shots, backlight, etc...:

I'm very, very happy I own the NX1. Even happier now that no new camera still matches it as an overall camera system. With the 180mbit hack and the new arouke's luts my footage is more than great, for my own standards.

ah indeed you are correct. I did read a good part of the article, but ended up skipping around a bit as I was got a little bogged down in some of the minutiae of crop factors and comparable cameras. And notably didn't see a 50mm in any of the pictures (I like pictures)

A big "bravo" to Andrew, being the one and only, still mentioning the NX system cameras. Despite popular belief, 1) the cameras haven't self destruct, yet. 2) There are still new ones (that means, with new warranties that last from 1-2 years since purchase), 3) Samsung still services cameras (at least in Europe that I have positive experiences), 4) are still top overal hybrid cameras, for the reasons Andrew mentions plus 28mgpxls, 15fps, hack/mode scene achieving great things, battery life (anyone using 5-8 batteries for a7 cameras, will appreciate using half on NX, for the same amount of work), you have to grab one to realize the unbelievablr handling, and use one to appreciate the very clean and clear menu system and exceptional ergonomics. Thank you Andrew for your unbiased opinions. To be fair and honest is becoming more and more rare in the new era of nationalism/financial instability/isolationism/alienationism/e.t.c

The Zebras work on the green channel so with blue sky you can be not showing any clipping but be very overexposed. ETTR is not a good idea with any in-camera profile as it's an exposure strategy for shooting RAW. With RAW you get as much info onto the sensor before clipping to maximise DR and keep out of the noise and then apply a tone curve in post production. With non RAW capture the tone curve is 'baked in' to the data so if it's a low contrast scene you will overexpose if you ETTR and you have to pull down the values in post but you are moving values to a different part of the tone curve where with 8bit they can get stretched out and cause banding. Like I said this camera needs scopes ( as they decided to do with the XC15) but more importantly an RGB parade so you can see the individual channels ( not sure if they have done this with the XC15) - or use an external monitor / recorder but this kind of defeats the ergonomics.