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Hello, HLG with its dynamic range and color is a great curve and color space of 2020 to work and in future to deliver in. It uses the full 10bit range, whereas VLOG uses a smaller range from 128 to 768 compared to the full range from 0 to 1024. On the camera, congratulations! Enjoy your 6400 iso 10bit lowlight camera with up to 100 fps slomo in pixel perfect HD resolution! Vlog l has some awesome color science, so a great thing to have.

Hmmm... rereading the rumor - it does appear to be in two parts. Part one, is that Samsung has designed/made a very high end (mirrorless) apsc image sensor. A lot of impressive detail in this part of the rumor. Part 2 of the rumor is speculation that this image sensor is going to be utilised in a resurrected NX2 (which sounds pretty unlikely.) But just because NX2 resurrection is a non-starter doesnt mean that they are not developing the sensor. Why should Samsung leave the high end image sensor market up to Sony especially as they know that Nikon and Canon dont particularly like sourcing from one of their competitors (Canon uses Sony's 1 inch sensor.) Canon and Nikon would be bonkers not to put this tech and this sort of sensor into their mirrorless offerings. And quite frankly from Samsung's perspective, these sensors in Canikon bodies will show off their smartphone 'image sensor' tech far more than any fleeting interest in an NX2.

I completely agree! Nikon should have hired the entire Samsung camera team and gone to work. Samsung tech, Nikon design input, optics, marketing and brand name appeal = sure fire hit, especially if they did both an APS-C model and full frame like Sony do. Magic Lantern say they were in contact with Samsung just before NX1 was cancelled. Never known such a push into enthusiasts hearts by a big company. Usually they are more interested in selling toasters and microwaves by the millions. Nikon are way too dependant on Sony for sensors IMHO... One change of mind at a Sony management meeting and bang, there goes your sensor supply. Even though there would obviously be contracts, I doubt they are all that far reaching long-term contracts. Here is my ideal spec of a Nikon mirrorless camera for 2018: Full frame, 24MP (6000 x 4000), with clean ISO 12,800 6K video in both H.264 and H.265 format, with further option for ALL-I and paid upgrade to ProRes 422 LT Nikon flat profile IBIS At least 240fps in 2.5K... 4K 120p would be nice too Huge battery in the main body grip, without need to extend size of camera with vertical grip. Make literally the entire grip a battery (like Hasselblad). NX1 inspired ergonomics and control layout Nikon colour science but updated for Rec2020 and HDR standards - wider colour gammut Dual Pixel AF with robust tracking - even with EF mount adapter No F-mount nonsense - do a shallow flange like E-mount for adaptability Wide range of fast primes and official adapter for F mount Nikon logo, understated pro design... but not retro hipster bullshit Df style plastic affair! NX1 or Leica SL style please! I believe this is what we have to look forward to in near future... just don't know who from... Now do it for $2.5k instead of $3.5k and you have yourself instant market share.

You know when Samsung exited the ILC market, I thought it was a precursor to teaming up with either Nikon or Canon. In my view Sony enjoys a competitive advantage in cameras because it is an electronics company in a business where cameras are rapidly turning into electronics products (a bit like telephones). And Samsung has shown (and certainly has the tech) that it is the one company that can easily out Sony, Sony. I still think that say a Samsung/Nikon partnership makes so much sense. Samsung would bring Nikon all the bleeding edge sensor, sensor af, processing and Nikon would bring its optics, camera infrastructure and commitment. The NX1 showed that even with the best tech in the world, Samsung couldnt make a meaningful (and especially meaningful to a company as large as Samsung) dent in the market.

@Damphousse dude! we are far from burned! most friends and professionals have changed 2-3 systems since 2014 in search of a better system, and I am confident in my equipment for at least a year or two! 16 and 20mgpxls were the sensor's technology back then, and for some even now, Super Amoled EVFs and touch screens were a luxury or a total miss, and for some even now, uncroped APS-C 4K/no overheating/H265 are still novelties (even latest A6500 does not comply). The first and truest pro APS-C mirrorless (until A9 and A7Riii). NX1 was a hybrid for the future (which is now!). We tend to forget that products and companies are pushing the envelope. Back then, the GH4 was a big step forward, I have friends now saying the worst things about that camera, but they forget what were the other options, really. GH5, the same. NX1 was such a camera. We have to look at history when is happening, not of what we wish could have happened (history is my hobby!). @Andrew Reid If anyone could do a prototype such this, then Samsung would be the one. The newer processor is so much powerful (eating Snapdragons for lunch and dinner!), and I am sure they would have optimized their older chips where it counted. They have unlimited resources and mobile phone cameras is one of the strongest selling point in that industry right now, and in the near future. NX1 was made exclusively by Samsung, in house, and in most components (SAMOLEDs, touch interfaces, RAM, mobile processors and efficiency, data transfer etc) are the best in business, not just good.

Hey ! Glad to see you’re enjoying the image, it is indeed so nice ! I think you don’t actually need stronger diffusion. I’ve shot many things, including establishing shots with lots of details that didn’t show any moire and maybe on rare occasions very mild aliasing. My humble guess is it has more to do with the processing of the dngs. In after effects or resolve, you can achieve exceptionnal results (more so in AE but the workflow is a pain!). I don’t know how it works with premiere but i guess there must be some pre baked presets that aren’t optimal in term of sharpness or dynamic range... Anyway, I just wanted to let you know that even if it yields more cinematic images, technically you don’t need diffusion to avoid moire or aliasing ! Can’t wait to see what you do with the 5D !

Been playing around with the GH5s and hope to have some samples up soon. I will say one thing about VLogL. The vast majority of people aren't properly converting V Log into a proper Rec709 color space. Using a LUT in Premiere just doesn't fully cut it. If you go to Resolve and set your input gamma to V Gamut, and output to Rec709 Gamma 2.4, luminance mapping to 500 nits, and saturation mapping ON (min 0.9, max 1.0) you get a full range of DR to manipulate contrast/saturation in Rec709.

nice looking stuff i'm no longer shooting on 5d RAW, but my workflow was rather easy: 1. Mount the MLV files in MLVFS (this mounts a new virtual hard drive where all of your files miraculously transferm into cinemadng in real time) 2. Import the files from the virtual drive into Davinci Resolve. Transform the RAW into linear, then linear to Arri LogC. 3. Cut and grade at leisure. 4. Export as dxnhd or your preferred codec

The only hope for this happening is if Samsung decides it is a good idea to do a limited release to showcase the power of the Samsung processor, purely as a promotional tool to promote Samsung smartphone sales! An unlikely but not impossible scenario.

The NX1 is so responsive out on a shoot. Never had a snappier camera. The S zooms were state of the art. There is OIS + hardware accelerated warp stabilisation in-camera for handheld shots that are more locked down that 5 axis IBIS. You can even walk with it. When I hark back to my trip in Lisbon with it, got nothing but fond memories! The colour! The easy laidback operation! The insane resolution! Monitoring off an AMOLED right there in the street! Feels like a luxury living room not a shoot! It's super light and the pancake 30mm F2 is a bundle of fun. Loved Ed's new york films shot on the NX1 as well. When it came to some of the drawbacks, many of them turned out to be software related. For example the dynamic range was fixed by remapping to 16-235. Then the firmware update allowed you to do this in-camera and even raise the master pedestal black levels. The blue-sky banding was related to certain transcoding methods for H.265. Again much better now. And you can now edit it natively quite comfortably on a modest spec of machine! The hack then came out on top of the firmware updates... and although the high bitrates in 4K don't make a huge difference, the very fact it happened at all was a miracle and no camera aside from the GH2/4/5 had a larger gang of hardcore enthusiasts around it, with hacking projects, dedicated sites and forums springing up all over. Some aspects of the build quality is as good as the Leica SL, particularly the top panel LCD with sexy orange backlight and the seal on that, the finish around parts of the body is absolutely a class act. It was way ahead of the time... way over people's heads... at a time when the NX range was lower-end heavy and too exposed to the market shift. Timing was just all wrong. The timing for an NX2 now however is just right. Although having said that the US stock market did just crash and there is a run on Bitcoin

Burned? Not sure about that mate. NX1 owners are a very satisfied bunch. I should know, I am one. And the 16-50mm F2 is the best S35 zoom I own. Would do it all again in a heartbeat if they brought out another camera.

Lots of convincing detail in the rumors post. USB C with DisplayPort enabled for 4K video output is a good idea, for instance. The gyro shutter thing is interesting. I have no idea if real or not but one thing that strikes me as strange is that the NX1 is was never based around one chip (like the Exynos) and instead had lots of different custom hardware, dealing with separate tasks, like AF tracking, video encoding, etc. So not sure if building a prototype around one chip even makes sense with NX1 architecture the way it is (or was). Also to develop a brand new sensor for a prototype seems like an expensive thing to do if they have no intention on releasing it. Would be amazing if Samsung made an NX2 as a tent-pole of some kind to say to the world - look what we can do in cameras, now buy our S9 for a taste of the same specs.

Jon, I think Matthew meant such ignoring mode underestimated the tool. People were surprised with Samsung's dare. Pity, ended too short.

New Optoma models also to come... :-)

So as I wait for the pending arrival of my GH5S, I have been looking at some footage to convince myself that it is a smart move. In doing so I noticed that in a recent clip posted on YouTube, it compares the VLog-L mode to HLG mode (1.43). It seems that even after grading the HLG mode renders a better image, with correctly exposed whites, while maintaining details in the shadows. The whole image just looks better. So is HLG using the dual ISOs differently? Take a look and tell me what you think.

Interesting post today at Mirrorless Rumors. I actually don't believe Samsung is going to bring back their camera line back. But the CPU numbers match the claimed speck. I would rate this as 5-10% plausible, but you never know with Samsung https://www.mirrorlessrumors.com/good-true-high-end-samsung-aps-c-camera-based-exynos-9810-soc/ https://news.samsung.com/global/samsung-optimizes-premium-exynos-9-series-9810-for-ai-applications-and-richer-multimedia-content www.samsung.com/semiconductor/minisite/exynos/products/mobileprocessor/exynos-9-series-9810/

That last frame looks like a RAW still from the 5d. Wild. I can't remember the program, but isn't there a paid version that lets you bake out c-log footage? You can preserve highlights there. Edit: Also the straight REC709 out of that program looks amazing as well. You can't really use it in extreme lighting scenarios though.

@kidzrevil : yeah, i think Resolve really is worth the "trouble". I recommend googling Juan Melara for getting some grading ideas and to get your mind blown. btw, if you don't like binning, be sure to try out crop mode. it's the reason why i bought my 16-35mm back in the day. no more binning, just damn sharp 2.5k ... or even 3k 21:9 if you are pushing it. Beware tho that at those resolutions, the buffer might fill up after 6-7 seconds. The footage is gorgeous tho.

@kidzrevilnot sure about the need of fighting pixel pinning. There are few avid 5diii raw shooters around here. Ask Glenn @mercer for sure! Also @Volker Schmidt, I think can tell a big deal about best settings and filming parameters. Andrew Reid knows a big deal about the image of the 5Diii and if it would need diffusion to fight any digital nasties. Wouldnt assume so from the great examples on vimeo. But that is an assumption only:)

Yes, that was my feelings exactly after trying out a 70D. Although it can't do 1080p (almost) the color depth and the flexibility of raw is magical. I would choose it over super crisp cheap 4k without a doubt.

@kidzrevilIt is super fun to use. I think you will enjoying it messing around with all that rich oil paint and awesome brushes and canvas. Try it!!

Juan Melaras introduced this technique for BMD Film and Arri Log C. It works the same with V Log. I was able to do a quick comparison with the GH5 before I sold it and the highlight rolloff is definitely better with the GH5s. Here's a quick highlight test in snow with the GH5S. No LUTS used. VLog color managed to Rec709 and a slight curve adjustment for contrast. Settings: VLog L C4K 10 bit All-I Speedbooster Ultra Shutter 180 ISO 400 Leica R 60mm @ F4 Tiffen 0.9 ND

@AaronChicago Thank you for posting! How did you come up with all the settings?

@seku "Imho, the raised shadows from the GH5s and the GH5 seem similar..." That's exactly the same I'm talking about. @PannySVHS Neumann's robot intro film is made with 30k Zeiss lens and I didn't even see really lowlight shots. From the clips of harbour, the best one is with Voigtlander 10.5 at ISO1000, at iso4000 there's noticable degrading in quality. To sum-up - at the same time I apologize for bothering you - I did noise reduction and slightly color grading with Andrew's clip, and GH5 image is near the same at iso 6400 (!) out of camera. GH5s image has less resolution in all futages that I saw on the internet. Yes, out of camera GH5s looks cleaner than GH5 above iso3200, but it is result primarily of hard software operations inside of camera. I'm not at all technician, but I have to think also about possibility that high processing power for such strong internal manipulation in GH5s is maybe responsible for initial lack of ibis. Saying all of that, I don't thinks GH5s has not some advantages - but price for it is too high, especially considering that shockingly good ibis is one of the breakthrough advantage of GH5... Talks about amateurish side of using of ibis is complete nonsense - GH cameras are production instruments that work marvelously at the place and circumstances where other highend cameras couldn't. Explanation like using in the car-shots are childish caprice. I'm afraid that GH5s will very soon become obsolete. Fuji video oriented camera with ibis is knocking at the door, with lowlight performance probably easy surpasses GH5s offer and quality... As much as GH5 looks as thorougly thought out product, GH5s looks like half baked... IMHO

I think the main thing you have to ask yourself what am I going to be doing with 90% of my time shooting with either camera. IF you are not going to use it on a tripod or on a Gimbal most of the time I see no real reason to buy a GH5s, unless you already have a GH5. I am a tripod shooter, so a GH5s would work for me. And I would not call a GH5, or a GH5s a very Cinematic looking camera to be honest. No more than a Sony A6500, or a Sony A7r mk III is. To me it has to almost shoot Raw for me to call a camera Really Cine or Filmic looking, especially in 4k. Even a 10 bit camera I don't think is "thick" enough for a film look.

Insane. 4K120p with dual pixel AF, with NX1 body and ergonomics? Instant buy even at 3K$. Just fuckin do it Samsung.

I can agree, but I think it’s him... not the camera. I say this because I have seen other footage that looks much better.

For sure that NX2 will come out in the same day of Breccia's Canon GX9 MKIII. No way that this camera is real. Even not considering the unreal specs, creating a camera to promote the Galaxy S9 would be insane - most of the smartphone users don't give a damn for traditional cameras. If Samsung wished that, making a ultimate vlogger camera would make much more sense - a 1" sensor with Dual Pixel, small form factor, foldable LCD, mic input, 4k120p, good fixed lens. Throw a new and easy way to connect the camera with with S9 (or even use the Exynos modem in the camera) to share fotos, and you have a winner with a much lesser cost and much more target to the intended audience.

Thought this might be useful for Sony users. For ages I have been trying to find away to import and view XAVC files on my iPad Pro. (12.9 gen 2). Ipad always cried about USB power and would not work. I have tried complicated methods and failed, but here’s one that works for me. Maybe the latest iOS update has bought support as well. 1. Set USB Connection to MTP 2. Set USB power supply to OFF. He does not make it clear in the video, but the pinnacle studio app is apparently required as it supports XAVC. Once imported I can view the files in the iPad photos app and also edit them in LumaFusion. I have tried this on the iPhone 8 as well and it works without the pinnacle app or LumaFusion. I dont need to carry the old 15inch MBP to view XAVC anymore! although they do take forever to import. Wonder in the USB 3 on the a7riii would be quicker?

This! Years after retirement, there would be many NX legends out there. The NX1 is a great camera, without doubt. But different attempts to inthronizate it as victim of Samsung mismanagement or victim of different (more or less) negative reviews are simply BS - and useles BTW. Alternative facts... If anything, the NX series is a victim of REALITY...Not the self proclaimed reality of the parallel online world, but "real reality"...

I haven't heard this? Sources? Yeah, I would rate as another slim possibility is the "NX2" never gets sold but just was a test bed for development of a new APS-C sensor to sell to Canon / Nikon (or heck even Fujifilm, or Pentax? Maybe maybe even a small player like BMD or Kinefinity etc) Yeah but my hope is the "NX2" is a prototype they at least bother to put out to market, even if it is without any supporting new lenses or any high street stock supply etc...

Oh man, what have I started! I thought it was a quick throwaway comment on a pet peeve of mine -- didn't think it would last this long! Sorry Andrew, totally derailed your topic. Look, I have no inside info or any actual knowledge in image sensors (beyond using them) so anything I add is just whatever Google tells me. But I did find this presser from 2010 from TowerJazz announcing a partnership with another company to provide BSI components: https://www.businesswire.com/news/home/20100201007494/en/TowerJazz-Soitec-Sign-Agreement-Offer-Backside-Illumination I have no idea if TowerJazz actually shipped any BSI chips, but it seems to at least point to a capacity to ship BSI chips from around 2010. In any case this is the last I will add to this specific topic... I think I've done enough damage.

In terms of GAS, I'd suggest making a list of what you need to shoot your videos, and what problems you have with your current setup. Then look at the potential purchase and see if it fixes any of your problems while still meeting your other criteria. Then think about if the size of the problem is large enough to justify the cost of buying the new equipment. If the purchase passes those tests (and you can afford it), then buy it. If it fails, it's GAS. Good luck!

I would pre-order the sh*t outa this, even if the only leaked spec was that the nameplate will say “NX2”.

It has been awhile since I've had the 16-50s, my mistake. I bought one after release and sold it when the whispers of them shuttering the camera division first started. I found the 30/45mm to be odd FL's on APS-c - and outside of the 85 (which is great), Samsung was really lacking in the prime dept. And there will never be any additions, ever. As a system Fuji is more complete - its 10-24 UWA is better - wider, stabilized and constant aperture, the 50-140 is easily the equal to the S with some of the best OIS of any lens I've ever used, and there are no lenses like the 1.4 and 1.2 primes, the 14mm, the 16/1.4, the 90mm, the 80mm macro, the 100-400 and the upcoming releases - and so on, and so on. And Fuji is cleaner at ISO's above 1600, which always was/is the NX1's Achilles heel. The 16-55 may not be stabilized, but with the IBIS body coming that's not an issue, and its still a very sharp lens. I can give up the fractions of a stop since the Fuji is a better low light camera, just bump the ISO and SS. Plus there's pretty robust trigger/flash support for Fuji, next to nothing for Samsung. Don't care about the NX500 either, since non EVF cameras don't appeal to me at all. The NX1 is a great camera and if it serves your needs that's cool. For me - I need more lenses and a full system, the NX remnants just don't work for me. I shoot a lot of natural light stuff and I'm frequently at 6400, I prefer the files from my XT2 or the a7r2. They were on to something, another generation of improvements to the NX1 and 5-6 more lenses, including the 300/2.8 they showed off before killing the NX, and they could have had a killer system. Cheers Yes, even CaNikon will have to play catch up when they drop a FF mirrorless. The advantage they have over Samsung and everyone else is the two largest - by far - user groups to draw from and the two most recognized photography brands.

Maybe I'm not asking Google the right questions, but I think you might be the only one writing articles on the internet that is so fixated in "how custom is custom" for Nikon sensors. Since no one outside of Nikon knows, it could be one way or the other... making you either a brilliant analyst or conspiracy theorist. But one would've thought that the design part of the equation is a pretty important part of the overall process. While we're on this point, there's an assumption that because Nikon has been known to use off-the-shelf Sony parts, it means they are somehow inferior to Sony. But the results speak differently. Even here the general wisdom is that Nikon has better colour than Sony, and that mojo happens in the processing. So if 50% of your mojo is in the code that you have full control over, and you can just buy the other 50% from an excellent manufacturer -- why reinvent the wheel for your volume products? Especially since lenses play an equally important part to the image capture workflow, and Nikon has a lock on that. Uhm, you're not quoting anything at all -- just pure conjecture on your part, unsubstantiated by even a "I can't talk about it because NDA". Also -- http://www.imaging-resource.com/PRODS/nikon-d850/nikon-d850A.HTM#q-and-a "The D850 uses a brand-new image sensor. The 45.7-megapixel full-frame sensor is Nikon's highest megapixel sensor yet and is also their first backside-illuminated (BSI) full-frame sensor. The sensor was designed entirely by Nikon, although they told us that the manufacturing was contracted out, which is not unusual. However, it remains notable that the sensor, unlike some found in other Nikon DSLRs, is not off-the-shelf but rather built specifically to Nikon's specifications. As expected, the new sensor also has a built-in ultrasonic cleaning mechanism and dust-off image reference capabilities." But maybe they're wrong too? Or maybe Nikon lied to them? Or maybe you read "built specifically to Nikon's specifications" and see that as proof that Sony is the Wizard of Oz pulling the strings from behind the curtain? Things change. I thought the jazz section of Tower Records in Japan was called Tower Jazz, but I haven't been in there for ages. I have no idea who TowerJazz is, but gee, let's have a think about why Nikon might've contracted a different manufacture this time. Maybe they've designed something new, and don't want Sony to have it since they're now competitors in the camera space? Maybe TowerJazz offered them a deal they couldn't refuse? Maybe it was a pragmatic business decision based on cost, ability, and timing? Maybe they worked with TowerJazz engineers to work out the kinks of the new design? Fun diversion -- Panasonic and TowerJazz formed a company dedicated to making Panasonic chips in Japan, including image sensors.

Exactly! If they do this.... everyone else can call it a wrap and head back to the drawing board. In fact, they should do this... afterall... isn’t RED infiltrating the android cell phone market??

I can tell you now, save for DR the NX1 was a great camera. It took me a little while to squeeze magic from it, but if you take time to understand you will be rewarded. If they make a NX2, I would like it to use a different lens system... Canon EF or MFT. I think this will go a long way toward people feeling like they are not going to get burned when investing in new glass. There is no doubt in my mind that if Samsung is determined to make a great camera, they will produce one that is best of class. I will take 10 bit, oh hell, make it 12 bit, compressed raw, with the option for 10 bit internal also. Oh, and can we have a realtime HDR sensor? Throw in SDI outputs on the extended grip. Put me down for two! Edit: I just read the proposed specs... Holly mother of god. Sounds amazing. Would love to see it happen.

We can always dream. High-end Samsung APS-C camera based on Exynos 9810 SoC

Most likely it is just the way that people are calculating the crop factor. The crop factor for M43 is 'considered' to be 2.0. But it is a 4:3 sensor while a 35mm sensor is 3:2. The crop factor is based on the diagonal but there is more of a crop on the width and less of a crop on the height with a 4:3 sensor. As in crop factor width = 36/17.3 = 2.08x And crop factor height = 24/13 = 1.85x

Everyone has different experiences. I really disliked the Mac interface when I tried it years ago. Windows gives me no problems.

Andrew is an apple fanboy confirmed

I'm not here to re-start the stupid Apple-PC war but what's wrong with Windows? I understand people want to use Mac but Windows is very stable now, never crash, everything is mostly plug n play nowadays. So easy.

I will be able to post some experimentation with s8 lenses soon. Have a few in transit.

You can record 1376x1030 (4:3) 12-bit lossless continuously on the EOS-M in Movie crop mode no problem (or 14-bit lossless though that may reintroduce focus pixels). In fact you can record any resolution and aspect ratio with magic lantern, the limit is the camera's write speed. You can go even go up to 1440x1078 with the 5x zoom function as mentioned in the first post here (that's different to Movie crop mode) - though I haven't tested that yet. In terms of recording time with 1800x1024 12 bit-lossless, I'm getting between 10 seconds (very worst case) to 1 minute or so. Just tested it again and actually it seems that the amount of contrast in an image affects record times more than anything. If you want better record times in 12 bit, probably best to lower the res to 1792x1008 or so. Also I've just started using another program to convert MLVs to cdng files which has a very nice interface and features: https://ilia3101.github.io/MLV-App/ it was suggested by this youtube user: https://www.youtube.com/watch?v=_yXb2bt8l60 I definitely miss my old BMPCC too. For sure the XC10 is much more ideal for normal HD filming than the EOS-M will ever be, but still the EOS-M isn't too bad for a camera that costs about £100.

Can one record 4:3 in "movie crop mode", something like 1370x1024... this would create a 4:3 image (like Super 8) and would help reduce file sizes and give you more time of 12-bit lossless? When you say recording time is drastically reduced with a "brightly lit scene," how many seconds you are taking about. Is it around 15 seconds at least? It could be interesting if so. Super 8 has a cartridge of around 3 minutes, I would rarely record more than 15 seconds per take, it was like shooting and editing at the same time, and that was really, really fun and of course less stressing than digital when doing the final editing, having to deal with hours and hours of long takes in post now!

The point of a gear expectations thread on a gear centered forum? Isn't that obvious?

If you post a purely technical test then it's open to comment - I'm not criticising the person. If anyone 'loves' their camera and is hurt by comments on it's technical abilities then maybe they need the kind of help that I or anyone else on this forum can't give......

Yes, the GH5 is second. For sure, the 5D files have much more malleability than 10bit VLog. You can really go to town on Magic Lantern RAW - it's a much thicker file. It's almost pristine (except for ugly shadow noise). But I think that it is actually a testament to the GH5 that I can do that. And what I've presented here is only the realisation of my preferences. The point that I want to make is that the 10bit 422 files are robust enough to undergo a fair bit of colour correction / grading. To me, the VLog coming from the camera is a "raw" material with massive potential, as the (properly) RAW footage from the 5D3 is a beginning, and not an end in itself. In the main GH5 thread you mentioned that there was a range of quality in the posted videos for the GH5, from video-ish to something more satisfactory. Believe me, if Magic Lantern RAW was accessible to the same kinds of users - and in the same numbers - as the GH5, you'd see a hell of a lot of bad 5D3 ML videos. Exactly. You need 12 nodes or 20 minutes work to match this with that. But when the groundwork is done, you're in business. Today I made a nice lut that combines the Canon-like colour with a Lightroom film emulation preset. I loaded this into the camera as a monitoring lut and exposed until it looked good in the viewfinder. Came back and slapped the lut on and each shot was perfect. It took as long as it does to Ctrl+C and Ctrl+V.... with maybe a small WB and curves adjustment beforehand This is the look that I'm into at the moment. In a year's time I might be into something different. Big time!

Hah, i'm not quite prepared to pay $750 for filters. These Tiffen ones are "just" £100 and seem to do a great job. I'm sure there will be a day where I will upgrade to cameras that shoot in better formats (RAW or ProRes) but for now I have to stick to what I've got and get the best image I can out of it. Besides, it's not just h264 users that use these filters. Even guys with 5d RAWs do I'm based in the UK. Why do you ask?