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https://***URL removed***/forums/post/57361842 You'll find all the info from ihkim. You can also contact him directly, he is a very nice person.

I tested my a6500 today for the first time. I'm pretty sure I will be using Cine 2 most of the time, but I was curious about SLog3, even after hearing all the horror stories of using it with an 8-bit codec. After reading up on it, I was aware that SLog should be exposed by + 1-2 stops with a lot of folks saying 1 2/3 stops is the sweet spot, especially since the meter will not register anything over 2 stops. So I attached my trusty Minolta 28mm and my strap and headed out with a couple freshly charged batteries and a fader nd filter. Well, I learned quickly how difficult shooting Slog is on the a6500 in the bright midday sun. Between the darkened 4K screen and flat, muted profile, the LCD is nearly impossible to see. But the real tricky part was holding the + 1 2/3 stop. I was shooting in an area filled with pockets of bright sun and sky and curtains of shadows. With the camera's meter set to multi, I found that even the slightest move to the left or right and the meter would erratically jump between + 1 stop all the way to the blinking + 2 stops. It did the same with the spot meter. Also with even the slightest of adjustments to the ND filter and the exposure would jump +/- a stop. And this is where I stumbled upon this little trick. I'm sure a lot of you may be aware of it, but some may not... I went into the menu and check that I was at 800 ISO and noticed an Auto ISO option with a right arrow to modify settings. Curiously I chose it and surprisingly it allowed me to choose both 800 ISO for the minimum and maximum ISO. Ok... I'll bite. I then quickly noticed that the camera wanted to keep me at +/- 0 on the meter, so curiously I pressed the exposure compensation button and even though I was using a manual lens from the 1980s, the camera let me compensate exposure to + 1.7 stops, I still had to ride my aperture and/or ND filter, but now the meter would blink as soon as I wasn't at + 1.7 stops and it also seemed to accept the micro adjustments to the filter and/or aperture more smoothly. This simple little trick made exposing SLog a lot more easier for me. So after shooting a couple dozen clips, I can see why SLog3 is not recommended with an 8 bit codec, especially when I found the black veil of banding death on any shot that showed a good bit of blue sky in it, but I did manage to get a few good shots and I find the 5-axis IBIS to be as good, if not better, than the Panasonic variant on the GX85. And as long as you don't move too quickly, the RS is pretty much tamed by the IS. Here are a few shots at my first attempts with the a6500 and SLog3. I just quickly ran it through the FilmConvert standalone app before chopping a little off the front and back of the shot. One shot I left a little wiggle at the beginning of the take to show how the RS reacts to a quick movement with the IS on. Sorry for the poor color correction/grade... and boring rack focuses...

I really loved filming with the SLOG2/GFILM combo and am currently working my way through a travel video edit. Some of the shots are stunning, others are less so, but it's well worth checking out. Absolutely 0 banding so far, which is pretty impressive. Macro blocking is certainly there, but not too badly. Bought this little Carl Zeiss Flektogon 35mm 2.4 lens a few months back. It's a lovely portrait/macro lens. Not so great for landscape work but low contrast lenses always give such lovely character to the shot. Is the Sigma 30mm native E-mount?

Interesting! I didn't know that other cameras showed the same problem. As many people have mentioned, the average viewer wouldn't spot it, but it seriously gets on my nerves every time I see it. For anyone just popping into this thread who doesn't feel like trawling through pages of ghosting tests the bottom line is this: To prevent ghosting, shoot in EOS Standard and don't go over 1250 ISO. Explanation: the different camera profiles demonstrate differing amounts of ghosting. C-Log is the worst. EOS Standard is the best. But what about dynamic range? EOS Standard captures the same dynamic range as C-Log if you expose 1.66 ISO stops down (5 clicks). EOS Standard 160 = C-Log 500. If you then want to get back to a C-Log gamma for whatever reason, just bring down your superwhites to below 100 IRE and use the attached lut. I'm kind of amazed that this works as I thought C-Log was some special voodoo. It's actually an evil voodoo as it's applying a hell of a lot of noise reduction which reduces image detail and increases temporal ghosting. Every review I read said "Don't use EOS Standard - it's too contrasty!". I've learned a lesson about trusting the value of my own experience, based on my own tests. XC10 EOS Standard to C-Log v02.cube

I would hold of on buying the Crane for one month and four days. Not saying a better one is on the horizon, but there could be...

I would remove the word 'easily' from that sentence. Compared to a Canon, it takes alot more work.

I guess I am not explaining myself clear enough. By using auto ISO and exposure compensation in this manner, with manual lenses, you can basically turn the camera's meter into a zebra-like exposure tool that will blink until you set either your aperture or ND filter to the proper setting based on your chosen +/- exposure stop.

And wrapped the ends of the antenna with aluminum foil.

Then again everyone and their mother are going to sell off their 1DCs and C100s and BMPCCs to buy the new GH5, so your work may be more differentiated by keeping the 1DC.

GH5 hands down. neuman raw footage proved good color can easily be get from GH5. GH5 has millions of advantage over 1DC which is a old piece of tech. Put a 42.5mm 1.2 Leica on the GH and tell me about mojo

You're 117% right. There is one and one only issue: money. :-) I've had a Video Assist in my favourites from a second hand website for weeks now. I just can't afford it. Plain and simple. As I mentioned somewhere else I come from an audio background (I still record and tour as a day job) so I'm way too well aware about "the more you spend the less you spend". To be honest, the Video Assist 5" fits my needs and more, but it's about double the budget I have at the moment. Video is still a hobby, a very lovely one, but still...

Wah, these pictures are gorgious ! Can you explain the setup a bit ? DO you need macro rings or is the close-up ability only done with the diopters ?

Mountneer, I generally agree. As to dxo score, it's very much influenced by the high iso score, which is obviously better for 1dx being a latest gen full frame camera (vs 2014 apsc on nx1). I rather think that the difference even on dxo is really small, considering the format and price difference among the two.

I also think it was exaggerated, the change are around 99.98%, wake up people, Sony is not going to hurt the FS5/FS7, Panasonic is the only one who is going to give us 10bit 422 since they don`t have any other camera above to protect....if you have the money, go for the C300 mkii, you can use that camera for everything, it is a workhorse, I didn`t have the money so I went for the C100 mki with atomos ninja star, 8bit 422, and I am happy with it!!!

No. I was talking about this kind os stabilizer. Sorry.

@Gregormannschaft yes the Sigma 30mm 1.4 is a native e mount lens. From what I've read and seen, the AF is a touch slower than the Sony lenses but more than fast enough for a smooth rack focus. It also has nice separation with that 3D pop. Thanks, for a first go at SLog3 and coloring SLog, it could have turned out worse. By keeping the minimum and maximum ISO at the same ISO number, there shouldn't be too much of a change anyway. I stopped using zebras a while ago because the pattern distracts my composition and I found you can get some major exposure differences by relying on zebras... so I started using the in camera meter. With this little trick, I found it easier to hold the +1.7 stop... because the meter blinks at you when you are not at it. However, I think the shot of the outhouse has different Auto ISO values... 800 and 1600.

I don't see a Pana GH4 or a GH5 being taken very seriously at all in LA. My daughter lives near there, and people in California have tons more money than any other state other than say up East. BMW's are as common as a Honda Civic out there. I would imagine a Red is nearly as common as a GH4 in the Cine community out there. At least many having a C100 or better. I know that camera does not matter that much in reality, but if you show up with a GH3 and a guy has a Red well not too sure your talent counts that much. Place is crawling with talent!

I think it's not a good idea. When everything is balanced, you must hold the gimbals handle with one hand and other hand for guide/turn the central bar (usually 2 fingers only). Look at youtube videos of Devin Graham (devinsupertramp) who is a "Glidecam Pro", that began with HD4000 and 5D mk3

I've only used Auto ISO one othe other time with my D5500 when I borrowed a Sigma 17-50mm for the day. I was shooting in Shutter Priority mode but the D5500 decided to change the ISO values moreso than the aperture, so I turned it off and shot manual. So this is all new to me. Honestly I don't remember you linking me to an SLog2 profile... Do you still have the link? I'd love to give it a go. I've always loved Minolta lenses with Sony cameras, but I am going to pick up that Sigma 30mm 1.4 lens and give the Touch PDAF a go. Yeah I was actually fairly impressed with SLog3, on tighter shots. With some of my other clips, I threw on an Impulz LUT, adjusted the curves a touch and that was it and the clips looked pretty good. But the project I am working on now requires a lot of wide shots and I can't risk the banding. My interest in Sony again started by coming across some videos from the FS5... man did I drool over that Raw image... even the in camera 10 bit 1080p looks amazing. I want to test SLog2 a little more, SLog/G-Film and probably EOS Pro... but most likely I will keep it simple with Cine 2.

Hey Ronnie, what couldn't the 5 or 7" BM video assist, or an Atomos monitor offer you that won't be still relevant, and probably still working in 2 years time. By then your Feelworld will possibly be cactus, and you'll most likely be looking at a BMD or similar camera anyway. Ya get what you pay for I reckon.

SLog2 is fantastic on the A7 cameras (if you do it right!) Slog3 is too aggressive. (Although I've seen some really nice results). Cine4 is nice for many situations. Slog3 10-bit is where it's at!

All cameras Im aware of allows shooting with such lenses and auto ISO in aperture priority. And of course they all work in manual but not all cameras allow auto iso in manual. I guess some older digital cameras wont work but I cant say which once that would be.

I'm surprised you could get auto iso at all with a lens like an MD, etc. Was there a menu setting allowing for shooting with such lenses? Good looking footage btw, any exposure changes looked seamless.

This is a nice trick for when you're moving indoors to outdoors and need to keep the exposure values at roughly the same levels with no fuss. Obviously, the situation I'm talking about requires you to be very flexible with the min/max ISO. I'm still a massive fan of the image you can get with SLOG3, it's just a shame that it produces a bit of banding and noise in some shots. Love your use of the old lens as well, vintage lenses + these super sharp sensors are the best.

For me, dual Ibis 2 and glidecam its a killer combo. G85 + Hd2000 give me stunning footage and no need those modern electronic gimbals. If you own the camera you have to put a quickplate on glidecam and make little marks on it for a very fast balance on the field. Just put your camera-plate on the marks and only fine tunning is needed for a perfect balance. In less than 5 minutes you are ready to shoot. More wide lens = more smooth shoot. More f (aperture number) = more image on focus. Practice and try to keep the distance!

I understand it as the camera allows the use of exposure comp in manual mode with auto ISO. If so, that's not exactly common and something people always scream about in comment sections on the rumor sites. None of my cameras can do it. Not sure that's what he meant though

So your "trick" is that you found auto iso? :p

I don't know if everyone else has been seeing all the tv show reruns being like uncropped to fit 16x9. Mostly I'm just confused how it's possible. I guess they kept the original negatives and rescanned everything for higher resolution etc. But it seems they also shot (s16mm instead of 16mm) - or whatever format - in 16x9 with the foresight that they would be uncropping later when tv standards changed..? PLUS a lot of the lenses vignette like crazy because of it.. meaning they were using the wrong lenses for the camera? But it's also weird to me that they'd even want to do this. It fits the screen now, but vignetting (a ton on That 70's Show), performances that were supposed to be cropped out (people breaking character on Friends etc), once I saw a body double whose face would have otherwise been cropped off on Malcolm in the Middle. It's bugging me.

@Liam something similar was pointed out to me one day whilst watching an old movie that was shot in wide screen, and had been re-shot or re-scanned by a television network for 4:3 transmission. If the scene was originally a static shot, but had cropped out an important element in the re- scanning for 4:3 transmission, they would do a gentle pan or tilt to incorporate it. @webrunner5 Too true, you also probably used a coat hanger as an indoor antenna to watch them sometimes back then.

There are solutions, like wireless/rc follow focus set-ups, but you're not going to like it. ($_€) Better you take say f/5.6-8 over f/1.4-2.8, focus and keep yourself at an fixed distance from your subject (or if you really are good at that last part and/or use in/out of focus creatively, go ahead and open that aperture up a little). It's a problem you're facing with having a Panasonic or any other camera. But people still manage. You could get a 7DmkII (or 80D), which I believe has dualpixel AF, no? So... that could be a thing. Not sure if there's like apps that allows smartphone control over electronic lenses, that could be one of the very few DIY hack options otherwise. About which gimbal set-up... go back in forum history and use Google, there's a bunch mentioned. Just from the top of my head I can't for sure name one that I know could carry a 7D. Well, something like the DJI Ronin obviously does. But like the Zhiyun Crane and what not. Tricky. Btw, with these kind of threads it would be nice to see someone has already put some effort in themselves, so it's a good idea to tell what you've found out yourself and what you're still not sure of. Heck, you might even find an answer on your own. Sometimes people rather ask and wait a day or longer, than actually research something for like 30mins and gain some knowledge... that kind of baffles me. I'm not saying that's the case here, but I can't tell, as I always prefer people telling me what they've found out for themselves first and only ask questions if they're still having problems connecting some dots. I'd like to see you having put some effort into it, before I do.

Samsung NX1 Vs Canon 1D X Mark II http://cameradecision.com/compare/Samsung-NX1-vs-Canon-EOS-1D-X-Mark-II

Would be very interested to see results. If c-mount and smaller than s35 chip camera - you would still be ok with a larger Cinelux or Sankor IMHO. You will still be able to benefit from minimum light loss from the larger optics...as well as use 72mm (minimum size recommended) closeup diopters on the front, and still know that you will be shooting through just the centre portion of the lens. It would not matter if the diopter did not perfectly cover the optic front for macro work - as long as you lightproof the uncovered areas with felt or tape. I recently experimented with macro anamorphic, but not at high speed. Here are some pretty boring frame grabs from a quick initial test. https://www.flickr.com/photos/129041403@N06/albums/72157677743824746 Camera: 5Dmk3 shooting 3.4k raw in crop mode - taking lens Helios 44-2 (16 blade) at around f5.6 to f/8 Anamorphic lens: Kowa Inflight 1.74x + Tokina +0.4 and RedStan Singlet closeup filters

I suspect no-one was troubled by the ghosting before because either a) no-one using it was using it as an A-cam for a paid, low light music/fashion video given the sensor size and the slow lens or b) any ghosting looked similar to motion blur and wasn't bothersome to most user/viewers. My guess is that Canon wanted to have good NR on the XC10 for lowlight documentary/news gathering etc and accepted some ghosting as a reasonable compromise. It may not be a compromise you are happy with but its not a critical flaw imo. My other camera is a D16 with similar sensor size but absolutely no NR happening in camera. With the D16 iso 800 is quite noisy but the noise is mainly luminance noise which I quite like -its very grain like. To someone else, the noise may be a deal breaker especially if they are comparing it something like an A7S. This doesn't mean the D16 has a critical flaw -its just one of the nuances of the camera that you either embrace and work with, or use a different camera. I do agree that sensor size has become too big of a deal. I think people often use sensor size as a way to show how pro you are rather than picking the sensor size for the aesthetic you want. I guess it comes back to film days -where s16 was seen by some as what you used only if you didn't have the budget for s35.

OT answer. Like the GX85, no Cine PP's. I like it. Examples:

I do this and catch a lot. This is for U.S. deals slickdeals.com, setup deal alerts for stuff you are looking for. they also have mobile apps, which is great. i.e. "Panasonic" "gh5" "canon" "Nikon" "mefoto" "manfroto" "MacBook" etc. I also have Do Not Disturb on my sleeping hours on my phone, so I'm not getting alerts at night. (I'm just not the type of person to get up in the middle of the night to catch a deal, unless I knew beforehand) example: just in today is MeFOTO WalkAbout Aluminum Monopod at BHphoto Orange for $29.00, free shipping. I didn't have to go to bhphoto to know this.

I agree with you John, I think it is better complete control of Canon lenses that partial control of all lenses, but I have to look ahead and work on a long-life project. You have the website of this guy who built this conversion board? My project is different but it could be a useful see his work.

I know there's plenty of GX85 footage floating around, but here are a couple videos I shot handheld a while back... This was shot with a Minolta 28mm and a Cosmicar 25mm TV lens. I colored it with FilmConvert but it ended up a little more saturated than I had planned... And here is another one I shot using the Monochrome L setting. I used a Rokinon 12mm cine lens.

My point exactly! Accept for the last part. Your knowledge can definitely protect you from hardware flaws in the same way it protects you from the horrible consequences of using camera A over camera B. My point is: The shooter is the key. Learn how to shoot and use light and almost any camera will do. But learn your cameras pros and cons so you can work with and around them. Get the camera that suits your needs. Every camera out there, every single one, has huge deal breaking flaws. You just have to pick the once you can live with

New review from Maxxy on the Aputure

You guys are awesome. Great advice. I agree 100%.

I've been a Panasonic user since the GH2 and each upgrade has been fantastic. They've successfully delivered worthwhile improvements in every area of function and image and seem to really listen to their user base. It's an exciting yet reliable system to be a part of. The GH5 looks certain it will continue this trend and two areas of promising improvement seem to be low light and colour given the current videos (an area where Canon has historically had the edge). However, like @Flynn says, a lot of Canon users love the colour science and can't let it go despite the cameras lacking functionality and features. If that specific mojo inspires you to make films then you may struggle with a switch to Panasonic. How do you use your cameras? For earning money, for filmmaking on the side, or a mixture of both? I use them for both so the practicality and features of the Panasonics win the day. I think I would feel like I had one arm tied behind my back if I tried making a living as videographer with a 1DC now. My other thought, was that if your dream is to clear your debts and get to LA (not far off mine!) then I would be making all my decisions based on what would get me there faster. At the end of the day, mojo, lowlight, codecs, and all the jazz we are all guilty of getting sucked into on this forum, are secondary to having a great idea, writing it and shooting it. If you've got something dynamite, it can be shot on anything and other factors such as writing, lighting, acting and editing will be what get your piece noticed. Final thought, networking in LA will probably advance your career more than any camera ;-)

Not sure I would part with a 1DC for a GH5. The image from the 1DC looks great. But I would certainly consider it as a B-cam.

Are you telling me you don't like those beautiful scopes?

The problem here is that the blacks are more or less clipped, the floor looks like a straight line and it is very dense right above. It seems the shot was underexposed in camera. You could try to expand the dense area towards black using a secondary color correction.

Thank you, I am gonna learn resolve and try to get the best I can in one software.