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I did some tests today with different settings and Andrew's Procolor mode. Forgive me my awesome hangover look - 4K screencaps This is the OOC Standard Profile with 0/-5/0/-5: And this is with Procolor applied: To be honest, I dont really like it. My skin looks as if I had sex with an orange. This is my own quick grade with Filmconvert: And since I am using normally Standard with -5/-5/-5/-5, here are the same shots again. First OOC: Procolor: Own grade: To my eyes, there are no real differences between -5 on all and -5/0/-5/0. Yet, maybe I didnt recover totally.

Test with the colorprofil for A6300 on A7S Colorphase 0. https://vimeo.com/197687487

Fuji's OIS is on par with the IBIS in the A7rII. I have the 50-140, 18-55, 55-200 and 10-24, stabilization is really good on all of them. The primes and the stellar 16-55 are of course not stabilized. I shot for years with the 5d2/3, the 24-70 and a bunch of unstabilized primes, personally its not a big deal. As always YMMV.

And thats the problem right now for many people. If you are an Adobe or a Resolve user you are getting half the performance for double the price compared to a $1500 XPS 15. For example: Also, by reducing the battery capacity a macbook pro now doesn't give you any better battery performance anymore . Under load it even gets worse... For that money you are better off getting an XPS 15 AND building a hackintosh (if you want FCPX) that performs even better than the Mac Pro: Here is an interesting take: https://www.bloomberg.com/news/articles/2016-12-20/how-apple-alienated-mac-loyalists I know the mac accounts for 10% of the sales and the "pros" account in the best case 10% of that, but Apple really needs to focus on the "pro" side of the mac once again cause alienating %80 of the NLE users (without even counting resolve users) is not going to bring more sales.

I made a quick and short dynamic range test video for the GX85

Whew what a year, I think I have tested nearly every brand of camera and I keep getting pulled back to the BMPCC. I briefly had it back in October, but my copy had some overheating issues and I returned it. I quickly got caught in my day job and didn't get the chance to process any of the footage. Since then other cameras caught my eye, but I recently sat down and spent some time with ProRes HQ footage. This is what I came up with... Even with my color massacre, I find the image out of that camera to be the most robust, filmic image I have ever achieved on any sub-$1000 camera... so is the BMPCC still a relevant option with all of the 4K consumer cameras on the market and soon to be on the market?

Makes sense. I think I will stick to 0/-5/0/-5 also. Yes, Ultra Contrast 2 Filter was used which I have put between the speedbooster and lens - flaring issues are greatly improved. Window is really blown because it was already golden hour and the sun was directly shining through the window.

Second and third hand GH4s are going to be going for a lot less than the £850 being asked for right now on UK sites.

The GH4 is an older generation camera, if I had to chose between them I would go for the G85 (or the GX85 if you want to save some money). I would be wary of people "recommending" the GH4 as I am sure many current GH4 owners want to sell theirs and buy a GH5!

Yeah, a lot of the times it takes getting away for a while and looking at it again with a set of fresh eyes and then change it up a little or even starting from scratch (like I toned back the example, because I later saw an excessive red tint in the darker mids). Don't like LUTs that much, except for quickly rotating through a bunch to see how different looks might affect the feel of the image. I'd usually then start from scratch to get close to that.

Regardless of using Procolor, I DID notice a serious problem with contrast at -5 in really flat, softbox light. It gave me and my daughter a strange skin condition that I don't have. I've decided to go to with contrast at 0 since it doesn't really impact the final image negatively... at least I can't see it. Anyway, it fixed the problem.

I lifted the reds to try and give it a golden, late afternoon look to the highs, but with the LUTS and whatever else I pushed, it just did not go as planned. So, I actually sat down this morning, removed the LUTS and the grain, and basically started from scratch. I tend to be impatient, so it took a little longer but I think it's much more balanced, with a very, very light grade. BTW, I deleted that shot... it's been my Achilles Heel... no matter what I do, I just cannot get it to look right. The new, replacement, version is uploading now, but it's taking forever...

I did quick low light test between cine4 and S-log2:

Yeah, just most enthusiast and indie filmmakers do a lot of run 'n gun shooting and they don't particularly go and carry around lighting kits, so they are oh so tempted by the convenience of setting a camera to ISO6400/12800 and just go and shoot something in availlable light in pretty dodgy lowlight conditions. It's just easier to find and work with f/2.8 zooms (although with Sony you hardly have native ones of those, so you'll be adapting) than with super fast primes too (which you can't afford to pinch much to get a deeper depth of field/sharper image). Think that might need to be added to the equation. But you're so right, a camera such as the GH5 would be legit enough for just about anything serious. RED, ARRI, BMD wouldn't be much different in terms of shooting conditions and flexibility. So you can shoot like a pro, but be doing it on the fairly cheap. Just different cameras with different uses. I do wish I could set ISO3200/6400 not have a care in the world. But from the GH4 and Blackmagic we're kind of used to be limited to ISO800 and somehow making it work. And I guess now ISO1600/3200 might be fair game. I'd say that's perfectly managable, but it might not be quite there yet for those earlier mentioned group of people.

It's always a last resort, but you can always try and 'fix it in post'. I think the trick is to remove the reds from the highlights, then pump them back into the mids. And balance things out with the other color channels. This is just a quick adjustment with highlights red -35 and midtones red +60 without even further tinkering around with it... So, before: After:

It looks like it is going to be hard to pass it up for 2 grand like it or not. Other than form factor what's not to like for the money. Sony is going to have to pick up the pace on the A7 series because of this camera. You don't get killer Low light, great DR, Form Factor, even great colors for basically entry level prices on a video camera yet in this day and age. But in reality you can a make a feature film with this thing. Some fast lenses ,Speed Booster, good lighting, and the audio add on option, and away you go.

Well what ever happens, Happy New Year! May we all get a faster computer.

They've introduced the GH4R that comes without the restriction and removed the time limit on the FZ2000. I think it's fair to say the GH5 will probably have this covered too (and that the price will reflect this accordingly).

Global shutter = problem solved

I love Jason Lanier's work and saw part one of the video above. He not only knows what he is doing with light, but also has a great way with people from all kinds of different backgrounds. You can have all the technical know-how and all the best equipment in the world but end up like the Angry Photographer, who has never produced a single piece of (his own) work for anybody to see and spends all his time ranting at all things Sony. As for flash - does my head in when shooting video. Bloody big white stripes across my slow motion and that horrid clack noise ruining my audio. Still.

He is one of the best, highest paid photographers in the world now, doesn't Photoshop stuff, doesn't do HDR, and you say his stuff is meh. I guess I am finished on this thread. Not counting he is telling you, for free, by watching both parts, how he pretty much does it. hmm...

You can probably do something with Rakuten/Amazon.jp or Tmall/Taobao and an agent (e.g.+a.e.g.). Wouldn't be opposed to third party solutions of reputable brands either, like Xiaomi: https://world.tmall.com/item/539426234542.htm / https://www.aliexpress.com/item/Original-Xiaomi-Mi-Notebook-Air-USB-C-to-HDMI-4k-USB-3-0-Multifunction-Adapter-USB/32776108843.html or Orico: https://oricocompany.aliexpress.com .

On Vimeo you wrote: Excuse me for emphasising some points you already made. This camera needs only a very basic and minimalistic "rig" (there are terrific solutions in other threads, two of them my own) to get rid of the shakiness. But one has to admit: it can't be operated without. By far the best lens combo for it is the BMPCC speedbooster with Sigma 18-35. Less moire in ProRes = better resolution (moire is a symptom for poor resolution), pristine, sharp image. Easiest lens to focus perfectly due to the buttery smooth manual focus ring. Imo it doesn't need the VAT filter, but definitely an IR-cut. Some of the weird colors and noise in your clip apparently come from IR pollution (worse with an ND), which cannot be fixed in post. I repeated the same test shots with an A7Rii and compared them to my two years old Pocket shots. Comparing apples to oranges? Yes, but I could just cry and really rue having sold the whole stuff because of UHD. Next week I'll borrow the UM 4,6k. Know the manual like the back of my hand and think I can operate it from the start. Now that the latest firmware fixed the FPN issue, I think that's the ultimate answer to my prayers, camerawise. *Don't* *sell* *your* *Pocket*. I should've kept it and shoot all my test shots and video sketches with it.

Yikes. Looks like I'm getting Apple Care after all.

As Panasonic already wrote, 6K photo will be available in 3:2 and 4:3 only and not in 16:9 as 4K photo is.

i think you guys should kno that my friend who *cough* works at an a p p l store said that the new mbps are ALL fucked up in ALL kinds of ways the 13 and 15" touchbar mbps have been returned for not working for every conceivable reason.... and people have bought them, then exchanged them, not once but twice, only to find that they have problems with a THIRD computer so: caveat emptor

Well isn't that what the ultra is supposed to be? The XL would obviously no longer fit.

I hope an speedbooster is released to take full advantage of cropless 4K....I think a lot of people are expecting too much from the 6K branding. That icon looks exactly like the 4K Photo Mode icon already present in the GX85 and G85. Not terribly useful unless you shoot action sports that you want stills for, and you're hoping to nail the lighting.

Moiré and the small sensor are the two points that stop me to buy it. Hope the Pocket II will fix this.

Well if you're wanting to shoot 1080 24p straight out of the camera that's your only option. All I'm saying is it would be nice to have 1080 24p cropped from 4k in camera to achieve better results. I know it's probably a processor limitation or something but we can dream right.

I think so, unless 4K requirements really become an issue. I've been shooting with mine a lot more lately and it really does look better than the GH4 pretty much all of the time. It's quite sharp at 1080p, too. Moire is definitely a bummer at times, though. But of all the cameras I ever shoot with (GH4, C100, canon / nikon DSLRS), it's the only one that gives a hint of the really high end camera look at times.

This is an example of the Avchd 30p vs 30p from 4k cropping mode. I think it's even clear through vimeo compression that 30p from 4k cropping clearly has a more detailed,color rich image. If you can't see the difference please do download the video. I'm not saying it's a night and day difference but it reminds me of the image you get when scaling 4k to1080p in post. Why do I even care? I guess because it would be nice to have better 1080p straight out the camera and by all indications it's quite possible. Downscaling 4k to 1080p in post is not a big deal but I found it interesting that the camera puts out better 1080p in some miscellaneous mode. Understand my stance though, I'm one of those guys who thought 1080p never reached its zenith before the bombardment of 4k. Everyone be safe...

And it will look just like what I did and others 30 years ago like I said. That WAS wedding Photography 101 40 years ago. On camera flash, 2 umbrella slaves. Accept we used Metz flashes, now they use Canon, Nikon ones. Progress... And guess what I was like 97% of wedding portrait photographers that did the same thing and made a ok living doing it. I didn't stand out from the pack just like 97% of photographers do not now. It is the safe way to go, but you Never stand out that way. And you can in this day and age. There is a TON of neat stuff to use now, and you can have a 3, 4 man crew doing it and make handfulls of money doing it not just a living like I did and the 97% like me did. We all had a Hassy, 3 lenses, a Rolleiflex TLR and 3 lenses, and 3 Metz flash units, and maybe our wife helping, and that was that. Food on the table..Maybe.

i think that we can agree that the ISCO is much better choice than the cinelux (because of the focusing mechanism).

In case the poster who asked the question gets confused I do not recommend a GH4 + an external recorder with the new GH5 coming out in a few months.

The GH5 is around the corner why would anyone recommend a GH4 + an external recorder? GH4 cameras are going to be offered like hot dogs at lunch time in Manhattan for dump prices once the GH5 ships.

Speedboost it!

The first video from this shoot is now live. Check it out for a point of reference. Concealed Carry Belts: Please forgive some of the camera shake... I was testing out a dual camera rig. Although it got the job done, the rig needs improvement and... more importantly, I need more skill wielding it. Between the two cameras here I was able to cover most of my mistakes and got some interesting Dutch Angles. The NX1 was simply mounted to a magic arm off the rails. The tighter shot was the BMCC 2.5K with the 50mm F/1.4 Super Takumar and a cheap speed booster. Stopped down to about F2. With the backlighting it was flare-tastic! ... I should have put on the matte-box, but we were in a hurry. The wider shot was the NX1 with the MIR 37mm at somewhere around F4. Somehow, although Sang and Mickey where standing next to each other, I really only managed to get Sang on the left in focus. That's user error. I tried to cover the mistake up with Luma Sharpen in Resolve... good enough. --- Alright, lets try picking up where I left off. Grading... The Samsung cameras put out a solid image with plenty of detail as you would expect. I used Andrew Reid's Flat LUT on the front end in Resolve as I was setting levels. After that I dropped on Hook's Luma Sharpen... and then the Super Film Stock powergrade from Color Grading Central (oddly I don't see his Luster Grades pack for sale online anymore). I've been using that same powergrade since the beginning Carry Trainer videos. Lastly, from there I tweaked the base colors on the levels layer... nudging the reds and blues a little to my taste. Coming out of Resolve, I rendered the video in uncompressed 10-bit 4k for finishing on Sony Vegas Pro and final output to YouTube. Vegas is much nicer for audio... and it's just what I'm use to. In case your curious, the opening was done with some simple shots feed into the Prolost Handcrank plug-in in After Effects. It could just be the lenses, but I did like the image from the BMCC better even though it had less resolution 2.5k vs. 4k, but with 4:2:2 maybe that's debatable. 12-bit RAW still has it's advantages. They were both good, but the BMCC just looks richer with it's own kind of film grain. Once my NXL speed booster arrives, I'll try using the same 50mm Super Takumar 1.4 on both cameras. With the variation in sensor sizes, that should work-out perfectly and be a better grounds for comparison... As you can probably tell that's my favorite lens these days. Meanwhile, with my amateur shoulder shooting I could definitely see jello issues with both sensors. The thumbnail/cover image for the youtube video was a Macro shot with my my NX1 and the Canon FD 35-70 Macro zoom. I had the belts inside one of those light tents common for product photography.

Very happy with the Eos Pro Color, the footage below apart a light contrast in lumetri is untouched. FS5