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Gh5, a7s2, i know that i m totaly crazy but...last week...i've buyed another nx1 body with...16-50 2-2.8...all of the other cameras have somenthing better than my sam...but..i really love the image that i can obtain with this "old" piece of electronic...

You only have green, brown and black in your grade. The blacks are crushed big time. I'd recommend starting from scratch and reading up on how to grade properly. There's already too much crap out there that has been graded terribly. You don't want to add to it... trust me.

Thanks Panasonic for finding 4 dudes for your promo video. I guess girls don't know how to use cameras.

I must admit I completely dislike at least 95% of other peoples graded shots. Not because I think I can do better, it's probably mainly (but not exclusively, see below!) a matter of taste. My own attempt, with explanation: On top of Panasonic V-lut (usually not recommended) I desaturated the shadows and also (like mercer) added some blue to them, but not so much. Is her jacket really a very dark blue? I substracted some magenta globally, thereby unwillingly adding more green to the trees, but fortunately the muted shadow saturation counteracted this (don't like the green in any of the shots). I boosted the saturation of the midtones, I like vivid colors, but not to the degree that the image looks artificially colorized. I admit I am not good as far as serious grading is concerned. I think I know a lot about it in theory, probably more than most here. If you say my version is terrible, you are probably right. Do better, show, explain. The point of this rant is, people - including me - can't grade. So why are they considering log the Holy Grail? I'd rather have a picture style that spared me all those steps and just left some color correction (which isn't a matter of taste and an artist's "eye" but merely cooking by the book with scopes). I would really love if the skin looked better. It's not wrong, it has the right tones, but it has too few nuances to look really alive. It's a pity that the above face is not in 10-bit, I'm curious to see if that made a difference.

Color grading is supposed to be an art-form... not an equation. Grade to suite your story. To that point, everything that is done in the creation is there to support the story. From color grading, camera angles/movement, lens selection, background music, lighting, costume to selection of location and talent. All of it. Story telling is not science it is art. When your choices fail to support the story, that is when you fail as a filmmaker. I can say while many choose to grade these scenes as light hearted, and technically correct (read boring) I as did other choose to see them as a canvas to make something much more stylized (read interesting). I would be curious to see other attempts at grading these scenes for different genres: "SciFi", "Horror", "Drama". Because believe me they can't all look exactly the same.

I have found that the master curve just plays with contrast. As you can see in my grade, the image is almost too contrasty already so I use master curve not often. The independant R G B curves are much more interesting. They change contrast but colour in a nice way. Basically moving anything in the bottom of the B curve will increase blue in shadows. But you want a S shape. So the bottom goes down and the upper part goes up to get a S shape. The trick is to do different S bigger or smaller depending on the mood you want. What I did here for this atmosphere is a little bit of blue in the shadow (so a less pronounced S in the bottom of blue curve) and a little bit of red in highlight (so a more pronounced S on the upper part of Red curve) then I adjusted green curve accordingly. Doing so of course also increase contrast that's why I did not use the master curve. Playing with RGB curves is amazing, it gives ANY log footage a great look and can be tuned the way you like. I have compared to everything else (filmconvert, easy color in Premiere, Magic Bullet, ...) and I always got best results with RGB curve in color finale which lets you play easily with each curve then select a master opacity to adjust result. Also use sometimes the saturation and exposure sliders of Color Finale, a LUT, or the selective color corrector which is amazing (you pick red for exemple then you can adjust hue staruration of it in one click). All of the change have an opacity slider which makes perfect adjustment. Honestly guys try this thing and tell me if you ever look back. @Axel i am not a pro colorist, just an amateur doing travel videos (latest one here https://m.youtube.com/watch?v=qO603YjuIoY ) As you say we are here to learn and I am sharing a good tool and a good method I found to make nice grades.

That would explain it. Panasonic think I am a girl! Maybe I need to shoot my parkour and dogs before EOSHD can get a pre-production unit. Remember when they gave me a GH3... and a GH4... and invited me to feedback sessions... This time - nada. Maybe it was the Panasonic CM1 smartphone review?!

Maybe Kodakchrome could come back but it wont. What was it, 7 baths or something to process and an archival lifespan of just 20 years? I dont know many Hipsters that shoot film. Frankly I dont know any, they are a lazy bunch. It smore for people who really enjoy photography and film making as an art imo. I believe the reason its coming back is because after all these years digital still can't beat it. Digital is nice but film is nicer. Every time I watch a Blueray of any old movie I blown away of how much digital suck in comparison Also digital large format doesnt exist and medium format is still out of reach for most. A film MF is $7. (This of course depended on your definition of "better" and what aspect of image quality you rank highest.) Ps. Fun fact I heard but dont know if true, Fujifilms Instax division is currently their most profitable business... I know Im throwing money at them for my Instax printer

If anyone is interested in learning the hows and whys of grading then the Alexis Hurkman book is very good. Here's a sample chapter: https://www.google.ie/url?sa=t&source=web&rct=j&url=http://ptgmedia.pearsoncmg.com/images/9780321929662/samplepages/0321929667.pdf&ved=0ahUKEwjlgrruyq_RAhWCWhQKHUB2DhIQFghXMAk&usg=AFQjCNHuTeG-lmowcqdfRUZ8zworMOaAkw&sig2=YNPI28RQXi8sbr7FeOp61g As with so many creative endeavours, for people starting out, learning how to hold back can be valuable. Usually, a grade should not call attention to itself. In the past, I've found it useful to download frame grabs of iconic movies from (not a porn site, although it sounds like one): http://www.blubeaver.ca Bring a few of these into your grading software and check them out on the scopes. Will give you a concrete idea of what to aim for. Some of the examples in this thread are very poor, as has already been pointed out - the visual equivalent of the "music" generated by someone who has never played an instrument picking up an electric guitar and thrashing around like a madman. Yes, it's fun and that's good. But don't expect your neighbours to like it! So if you are a "tone deaf" fledgling colourist making a lot of noise, it might be possible to improve with careful study.

This must be a joke right? Here is a 30sec (literally: curve+sat adjustment) grade:

Not sure but a simple button push will let you use focus peaking anyway, Kinoseed one remembers your focus position after restart with wirefocus lenses if you set it in the options. Kinoseed one is the slowest to load but its packed with features, the Vasile one is more video oriented and its as fast as a vanilla NX1/NX500

Exactly. One could be an absolutely brilliant filmmaker but produce dreadful colour from LOG footage, it takes years to learn how to be a good colourist. It's really a separate job altogether OR another thing to learn and to hope and pray you have talent for. Then there's the fact that all displays are different and you could be getting one thing on yours and people will be seeing quite another thing. I cannot believe for example that one of the guys on this thread really wanted to put saturation to the levels he did!! Must be something else going on. This is partly why I came up with EOSHD Pro Color to sort things out so that they only require tiny, simple changes in post to get the most out of the sensor. V-LOG is nice and all that but it so often goes horribly wrong - just like S-LOG.

Ah OK I get it now, people on the thread are trying to break the footage. That must be why it looks so horrific. Either that or V-LOG colours are off.

Also tried this shot and find your's close to perfect. Here is why (arguable, as always, but please try to describe what you object to, not just say bad grading): You'd expect the sunset's light to be yellow or orange (there still is the choice which you prefer), you would for the sake of color contrast have shadows tinted in the complementary color, but just a hint of cyan is enough. Everything that's directly hit by the sun should be well saturated, the rest should fall off. You probably crushed the blacks just a bit, I expect the edge of the table (first few frames) to be indistinguishable. The brightest part in the image is the horizon between the branches, it may or may not clip. All in all, this is no subject for an HDR approach in the classical sense, you don't care if the tree trunks or her rucksack lose detail. The compositional setup of this shot is the direction of the light, which is too prominent to ignore. You'd see all you needed to see if she was a complete silhouette. The tension in the image comes from the three directions of sight, her looking at (and recording) the setting sun, the sun shining in the opposite direction and the viewer looking onto this frame, framed by the dark trees, having depth of field through a stark contrast between foreground and background, known in classic landscape painting as the natural absorption of colors (air contains particles that gradually reduce contrast and saturation the farer an object is away). I use to shoot my vacation videos with my iPhone which has no DR worth mentioning, but given that I use filmicPro (allowing me to set exposure), I dare say it wouldn't have been overchallenged with that shot. I also shot with BM 10-bit and raw and had some 13 stops to play with in post. That's when I finally realized that the best shots were those with either not too extreme contrast (which could be adjusted in post) or those I did not at all costs try to preserve shadows and highlights to show off the camera's virtues. Too many detail can come in the way of a clear and strong composition. Landscapes (because part of their beauty is related to the sky) of course sometimes need more DR. This! I am a big fan of van Hurkman who often contradicts professional dogmata. And for the arrogance of many commentators see this: To be honest, I would have been among those who dislike Faris' grades. But he is right nonetheless. Say, for God's sake, why you dislike an image. And be precise or forever hold your peace!

You shouldn't feel at all crazy! There's so much to be desired in film that digital has yet to nail down. The dynamic range, color and shutter/motion that film has to offer combined with vastly improving film scan technology is a worthy enough pursuit. I've posted this before I think, but check out this gorgeous 2K scan from super 8 film:

Man this camera sounds so good. A true video workhorse with 12 stops of DR, improved RS and an excellent codec. All for less than £1700 (almost half the price of a C100 II and a third of an FS5). Neumann's sample footage is stunning. Really looking forward to owning one of these.

Hi all, I shot this in Jordan a month or so ago with a Sony A7sii and a Zhiyun crane. I used two lenses, the Sony 28mm f2 and the Canon Fd 50mm f1.4. We also had permission from the Jordanian gov to use a Phantom 4 while we were there. Would love to answer any questions and if you would like to follow along on Fb and on youtube that would be great, thanks! youtube.com/channel/UCw0J_iNkme1qf2Q1nucVxJA facebook.com/joshuamorinfilm Edit: it's showing up a bit weird. Here is the link: https://www.facebook.com/matadornetwork/videos/10154847045404394/

Quite a surprising move. I didn't expect this! --- Kodak Brings Back a Classic with EKTACHROME Film Las Vegas, NV, Thursday, January 05, 2017 To the delight of film enthusiasts across the globe, Eastman Kodak Company today announced plans to bring back one of its most iconic film stocks. Over the next 12 months, Kodak will be working to reformulate and manufacture KODAK EKTACHROME Film for both motion picture and still photography applications. Initial availability is expected in the fourth quarter of 2017. Full press release at: http://photorumors.com/2017/01/05/kodak-to-brings-back-ektachrome-film/

Gh5 is better on specs, but with that smaller sensor... We'll see. A7s2...I would not trade my nx1 for it, being mainly a stills guy.

If you just want to use your Canon lenses, there is also a Kipon adapter that is not a focal reducer/speedbooster and it is bit cheaper. I don't know how well it would work with your camera but it is fine with my GX7 and all my Canon lenses except an ancient film era EF 28-90. Doesn't work for AFC with my camera but AFS is pretty quick and fairly accurate (and including my EF-S 18-55 IS ii kit lens). It doesn't allow IBIS with my GX7 and Canon lenses for some reason but IBIS is fairly limited anyway with the GX7. IS works well when that is in the lens. IF AF in video or AFC is required, native is still better (except for the Panasonic 20mm 1.7 at least). If you can afford it, I would recommend at least trying a AF adapter/speedbooster to use your lenses especially if keeping dual systems.

I really like Noam Kroll's cinelikeD settings. Contrast 0 Sharpness -5 NR -5 Saturation -5. With cineV he flipped the Contrast to -5 and Saturation to 0. I exclusively have been using cineD with saturation at -5 as Kroll suggested. I do my post with a MacBook Air and the monitor does not calibrate well so since saturation in Panasonic cameras seems to be so robust, as you mentioned, I prefer to record less in camera. But I just got my GH4 this morning and only did a quick cat test in the 200mbps all-i... so we'll see when I get some further testing in.

Certain useful items in the menus can be assigned to the fn button and you can set up one of the Memory positions with the proper settings for video (i.e 24p, X-avcs codec, Zebra and focus peaking on, etc- so there is no unnecessary menu dive. Don't get too enamoured with the A7 series video, it is not as good as Sony would like us to think. The A7s ii has one party trick and that is low light performance, but at that price there are better cinema cameras around. We will see of course what the A7 iii series brings to the table. A7r ii , it does have the better af of all as far as the photographical side is concerned and decent video but sony colour science is just not that good... If you really intend to spend A6300 money plus a good lens I would urge you to have a serious look at the Fuji XT2 which is probably the best APS-C camera at this time with colours that will please her very much, great AF and excellent 4k video.. She will not need to upgrade. The XT2 also has very good picture profiles that may be used in video . If she is used to canon colours maybe this is a better choice for her. Sony RAWs have a lot of latitude to get the result you want but jpegs straight out of the camera are underwhelming as far as photography goes.. It all depends on your budget of course, that is why I mentioned the a6000 as a cheaper solution to start on.. For the full monty, the XT2 is a great choice, much better than the a6xx series in my opinion. As for filters, I guess you decide on the lenses you are going to purchase , see the upper filter size for all of them and then purchase accordingly. I suppose you start with Hoya filters and then the sky is the limit .Do not get the nasty £12 pounds one, it is a very false economy that will ruin your video. A ND 8 or a ND 16 should be enough if you do not want to pay for a variable ND one. But do not get the nasty cheap stuff, they are cheap for an obvious bad reason. There are of course Heliopans , Tiffens and the like after that.. Do discuss with her that video is quite a different discipline to photography and the skill-set of one and best practices do not necessarily translate to the other.. Good lighting makes a bad camera get decent results, it does not work the other way around....

You are absolutely right, and I don't defend my grade. Regarding the clipping, I already wrote that I did this on purpose. I wrote "This belongs under subjective opinion, individual taste ...". I found the 'legal' values to look too romantic and boring, still do. I didn't use Resolve but just the very limited CC of FCP X, where you can't adjust RGB per channel with lift, gamma, gain. Should perhaps follow wolf33d's advise and use CFP in the future. I can read all scopes, and I use them for CC. If it comes to tasting the dish they don't help as little or as much as kitchen scales. Grading is not about good scrambled eggs, it's more about indian cuisine - something unexpected that explodes in your mouth and lets you forget about all traditional menus with known ingredients. But again, I don't disagree with your judgment of my results. Saw your Imagine Cuba, and you are talented. And you have been arrogant with your remarks. Fair. And mostly constructive. Like, come on, do a better job!

I am so desperate of fresh color reversal s-8 stock. I have only a dozen left in the fridge... so this is really, really great news. Lets hope Ferrania will pull out a cheaper option (they will for sure not be on the same level quality wise) like it was in the past with Agfa. Matters: I absolutely agree: I have 4 blurays but 100 S-8 feature films. Projecting a movie is so different and has some magic I can't explain. It has c-mount (comes with cheap Ricoh...) but many downsides. I would not buy it. There are enough better and cheaper alternatives.

The i5 processor doesn't use Quicksync (mpeg4 hardware de- and encoding). You should use optimized media (also for Resolve, if you plan to use that). That's why I asked for some standard profile comparisons some pages ago. Very subtle.

True I never liked the MFT sensor size, I always been APS-C guy, full frames were usually heavy and bulky until the Sony A7 series came out but those are plagued by horrible ergonomic designs and a menu that reminds me of early Windows 3.1 days. It seems to be most manufacturers keep compromising one things all the time, GH5 looks very nice in video department, but its probably going to get outdone in photography by even the NX500

Thank you. I don't understand what's the matter with all the horrible grades. People should shoot in standard profile if they can't grade an image which is the easiest thing ever. I used color finale for Final Cut Pro which is amazing. The only thing you have to do is play with the three RGB curves independently. You make a S curve for each but adjust the S to your taste so that you independantly add or remove blue, red or green in each highlight or shadow. Then 20% saturation. And that's it. Add a LUT also with Color Finale and adjust opacity with the slider if needed or want a special look. I advice anyone here to get FCPX and Color Finale. The two best tool I have used. I tried millions of color grading techniques and tools and nothing come close for easiness of editing and grading.

Not to be such a downer but this thread really shows the importance of a professional colourist. Many of you at least need to learn how to use waveforms and scopes. (Including myself, I didn't really bother with them) (Original Neumann film as has perfectly fine neutral "basic" grade which I think is fitting a product launch movie.)

I downloaded the 4k file and made some screencaps for anyone who is interested: To me, they are pretty near to each other, e.g. I dont seen any night / day like difference (if you guys do, maybe thats actually a thing that I dont see it, means I am easier to please :D). However, I believe that the highlight rolloff and shadow detail is best on Contrast -2, but then again I stared at those screencaps for quite some time...

Nice shots and interesting looking shortfilm. Problem was as mentioned above that we didn't see why and what she is actually hiding. In trailer we just cut to hiding and sneeking without telling/revealing a bit why she does that. Just make me think if she was on normal running route and sees something scary wouldn't she just turn around and go back same way? Maybe trailer should just build up tension towards revealing what she finds from her routine running track one day. And that's it. It would build up tension more. In this trailer there was maybe too much material from different moments of movie cut together like mashup of everything. Also mentioned earlier that it is missing sound effects. I wished trailer to build up tension with those. If we think we are on running route: just nature sounds, footateps and breathing. And slowly building up towards the reveal and exploding soundtrack at the right moment it would make also the soundtrack much more important.

Thanks for being sexist and ignoring Marika.

Most films are shot locked off or a professional balanced system...... GH5 has similar compressed codec..... Also where int he world do you pass your "opinion" as facts, GH5 does not have anything that anyone could technically state as "better motion". One thing as a fact though is the GH5 has a smaller sensor and therefore is not as sensitive to light as the Sony...... The biggest problem with Panasonic GH Hybrid cameras has been "noise" and overly sharp natural footage, if this cans somehow be addressed in GH5 then it might be a good Hybrid camera, but working in the 2K range I would honestly save up a bit more and buy a Canon C100 Mark II.......

It's a valid point, but as I've re-iterated throughout the thread, I'm looking for a cinema camera, and more on the high-end, which rules out both the GH4/GH5, given neither system is built specifically for cinema. If I wasn't so picky about motion candence, such systems would come under consideration, but the fact I am so picky about it, limits me to a handful of cameras in this price-range, if that. It's frustrating - I wish I could look past it, but I've shot with so many CMOS cameras down the years that it's just become too big of a spec to continually skip on. I really would argue it's the key characteristic that defines the 'cinematic' universe viewers are so accustomed too, all be it a subconscious characteristic to everyone but filmmakers of course. Lighting, locations, production design, actors, writing etc. all vary from film to film, to different degrees of quality, but rarely ever does motion vary - it's the most common characteristic that remains the same in cinema, and as such, is the one we associate most within the cinematic universe/images - just most don't realise so.

Congrats on a new camera! First one this year? I went out to shoot some quick tests today and here is the result. It's nothing special really but hopefully it can help you a little with your decision. I would rate my hand held skills around average so it's probably possible to get better results than this. Comparing it to my older videos with the GX85 and a 25mm I would say it's not as smooth. There's is some micro shakes going on from time to time. Panning is very difficult I think, but easier with a gorillapod. Tripod shots are ok through the whole zoom range though and pretty good with post stabilization. The duck tracking is with 35mm btw. Anyways, I would stabilize in post using this lens. I made two versions, one with just OIS and one with auto stabilization in FCPX. If I remember correctly you use Lock & Load and that is probably even better. Checkin in tomorrow if you have any more questions, good night!

If you're referring to the Digidirect video, then we clearly disagree. The effects of rolling shutter look worse the faster the camera moves and the closer you are to an object. In that video, the camera was moving so fast that virtually everything was indistinguishable. Cameras aren't usually moved that rapidly in rolling shutter tests. Usually, you like to see more controlled tests with two cameras side by side, because it's hard to judge it accurately without a comparison camera. But, the truth is, that actually looked pretty good to me. I'm not convinced the E-M1 II is any better than this. Also, there are other things that affect the appearance of rolling shutter including the sensor area used for video. I know rolling shutter in stills is worse the higher the bit depth is. That's why some MFT cameras reduce the bit depth in stills from 12 to 10 bits when e-shutter is used, to reduce the jello appearance. I'm not sure in what way this applies to video though.

I will defiantly stick with manual, although I hear that Canon duel pixel is pretty impressive. shame there is no budget friendly 4k camera from them. The G85 is a really nice to use, everything is easy and quick to find and the touch screen makes life easy, but just having a proper EVF is also great. I'm used to shooting on a DSLR's so at first it did feel pretty small and very lightweight, but it feels pretty sturdy and I love how smooth handheld footage is, and that's without a stabilised lens. My only real concern is the low light performance, because I'm normally shooting in available light, so I'm a little worried about that and the no headphone jack, again when your getting paid, you cannot afford to mess up the audio. But compared to the Sony A6000 series the ergonomics of the camera , at least in my opinion feel much more comfortable to use.

Hmmm. The phrase "paid work" and "auto-focus" paired together. No thanks.

Are some of you guys still shooting film? I have recently started to shoot analog stills again after a 10 years abstinence or so and I have to say I am blown away how awesome the stuff is looking adding to this the darkroom experience. Makes me want to get a 16mm camera or something altough I would feel slightly cuckoo....

What complete nonsense. Every statement here is without any basis or just plain wrong. 1. You believe the Sony was overpriced, which is irrelevant. In any case there is no price reduction. The selling price now is the same at introduction. Look it up. 2. There is a lot wrong with EIS, requiring a crop of the sensor and reduced resolution among other issues - artifacts. 3. It is preposterous to say that BOSS was implemented because it "CANNOT do EIS". First, BOSS is superior to EIS and second - read slowly here - the SONY also does EIS (should I repeat that?) - that is what "Active" mode for stabilization is, a combination of EIS and BOSS. You can turn EIS off and just do BOSS. No one in their right mind would do EIS instead of BOSS. It is obvious you know nothing about the Sony. Active mode stabilization has been a feature of Sony's big camcorders for years. 4. You do not understand why Sony chose a "curiously (to you) rectangular" sensor because you do not understand aspect ratios. Sony chose a sensor shape so that there would be few wasted pixels for 16:9 video; the sensor size corresponds to the 16:9 picture size. It is the standard 4:3 sensor (like on GoPro's and Yi's) that wastes a lot of pixels for 16:9 video. "Rectangular" 16:9 is the aspect ratio of video. Pixels would be wasted for 4:3 stills, but this is a video camera. 5. Sony chose to "only" put 8.2 megapixels on the sensor to maximize pixel size while keeping the sensor size small - it is the number of pixels corresponding to 4K (UHD) video. This is why the Sony has superior low-light performance compared with other action cams, which pack 11+ megapixels on a similarly small sensor - bigger pixels, which absorb more light, means better low-light quality. Because of 4 and 5, the X3000 is a not a good stills camera, it is designed for 4K video. Btw, the sensor and processor are exactly the same as in the Sony AX53 4K BOSS camcorder - the X3000 is essentially a miniature AX53. Your final, desperate, argument is essentially - if the Sony is so good why is it not dominating the market? Your ignorant rant is an example for why, as it is similar to others. Evidently most people do not understand video and the features of the X3000. Oh, and your belief the processor of the Sony is inferior is belied by the fact that the Sony processor can do 120 fps in 1080 (with stabilization), while the Yi can only do 120 fps at 720p - 4K60p is a real advantage, however, although the lack of any stabilization for that frame rate severely limits its use.

I might take another look at the gh5 in the summertime once it has been out in the wild for a while and recieved all the promised firmware updates and features fully added. I can't really see myself getting one new though, $2k plus a $650 speed booster (a must-have for m43 in my opinion) means it's not exactly a cheap option to move right over to. My NX1 and NX500 continue to astound me, especially now that I have one of Luca's super awesome NX-L's to play with. IQ wise, for me, the files coming out of the Samsung's have more than enough dynamic range, detail, color, and yes even low-light ability (with a fast lens I just very rarely need anything higher than 1600). I had a wedding shoot earlier this week with awesome results and I'm shooting a short film tomorrow with them and am fully confident in their ability to capture great images. I will certainly be very jealous of the 4k 60p, 10-bit color and super cool 6k 4:3 anamorphic mode that GH5 users are going to get to play with though.

It really looks like Apple haven't just dropped the ball, they've lost it completely. I was looking forward to the MBP as a replacement for my old iMac, but am now thinking that going over to the darkside (pc) will be a better idea & buying a full copy of Resolve. I'm still holding out for an iMac update, but am starting to really hate the way Apple are operating/treating their customers - it's like they are slowly turning the knife that they've already stuck into you! If Microsoft can admit that their loathing of Linux was a mistake, why do Apple continue to think that crippling their products is a good business plan?

You're really banking on that GF of yours leaving...

FANTASTIC! Basically *identical* crop to what a RED Raven has.... which is a good bit of trivia to rub in the face of RED fanboys! ;-) hehe

Griffin Hammond's "HAND-CUT" is 8-bit 4:2:0. Is it bad...? ;-)

I tried a bunch of the IWLBTAP ones and ended up thinking that the Panasonic VLog to Rec709 LUT looks the best. Having said that, I'll be getting Neumann's next version of VLOG LUTs when available. I bought all the GH series cameras and I found them the easiest to use with their articulating screens, menu systems and custom controls. I missed that about them when I went to the BMPCC (horrible controls), Sony A7s (bad color), A6300 (bad color and overheating) and Samsung NX1 (no articulating screen and no support but otherwise excellent). Now that the GH5 has all that plus IBIS, 4K/60 and 10bit, I'm already in line with a pre-order.

I am wondering what the "unknnown" is...EF?! @kinoseed @Otto Actually, we were talking for getting a crop in NX1, NOT get rid of the crop in NX500. If you have a crop option in NX1 is like having 2 primes with one. Also, there is a variable scanning option in LS300 sensor, so from the 4K full sensor read out, you can zoom in (for full HD only ofcourse) and it is quite impressive, I have tested with Zeiss and Leica and the results are impressive, is like having a few small Leica zooms! Now with the GH5 out we have to up our game! Some times like these I regret quitting programming for work!

Thanks dude! Loving how V Log holds up.

"6K/24p Anamorphic Video Mode, while fun, is severely hampered by its 4:3 aspect ratio" UM! That's what an anamorphic mode is - 4:3 Someone let our dear friends at Cinema5D know.

If you're recording in camera the audio then the audio can't be THAT important?! But if you must, then get a Shure VP83F LensHopper, Sony UWP-D11, Saramonic UwMic9, Zoom H1, Tascam DR22WL, Zoom F4, Tascam DR60Dmk2, or Tascam DR70D. (which one of these listed to get will entirely depend on your needs and budget as to which is best for you specifically) All of them are very affordable, will hold long term usage/value beyond what a GH4 would stay relevant for, will provide an effective way to easily monitor audio, and provide better audio than a GH4 could do alone. https://www.bhphotovideo.com/c/product/966010-REG/shure_vp83f_condenser_shotgun_mic.html

You could get the G80/85/81 that in a couple of ways sets it apart from the G7 and GH4. You still feel you need more productive features... wait for the GH5. It's a few months away. Or... by then the GH4 will also have dropped price a bit more and people replacing theirs, so grab a GH4 then...