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4K if you like 15fps! Lol

So back on topic The false colour moire is there in the A7R III shot (top) but not with the D850 (bottom frame) D850 Flat profile =/= Hybrid LOG Gamma Certainly their most capable 4K camera yet. Better than D5.

Yeah I shot this video with the 5DIII ML RAW I still own a 5D III, but mainly for shooting pictures and shooting some clips of my little girl. I upgraded to a URSA mini pro. And It is hard to step back from such an image, so atm I do not use the 5D III for any projects anymore. Allthough the 5D III RAW has some serious mojo going on, and I like that its so tiny so for travel its so lovely.

Ha! But more seriously, if a person wants a very strong projector at a low cost maybe buy a cheapie then swap out for a stronger LED themselves?? https://www.aliexpress.com/item/Free-shipping-DIY-1080p-HD-projector-120W-high-lumen-10000-10-7-diy-replace-projector-led/32816906185.html?spm=2114.search0104.3.137.57f51530x2qXXa&ws_ab_test=searchweb0_0,searchweb201602_4_10065_10344_10068_10547_10342_10343_10340_10548_10341_10084_10083_10618_10307_5722315_10313_10059_10534_100031_10103_441_10624_442_10623_10622_10621_10620_10142,searchweb201603_25,ppcSwitch_5&algo_expid=4864ef99-5476-4392-b1d5-5a8b444dcd01-18&algo_pvid=4864ef99-5476-4392-b1d5-5a8b444dcd01&priceBeautifyAB=0

I want a 5" Atomos Inferno. 7" screens are absurd for other than stationary shooting.

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.

Resolve has the amazing highlight recovery tool that has saved my ass in some high contrast shots. Plus if you use Resolve as an intermediary, you can export as ProRes and still have plenty of wiggle room to grade in Premiere. For instance, using the Raw Histogram with ETTR Hint I took this shot that I did a quick transfer to ProRes using the Footage App (which I like a lot)... With the sun behind his head, it was just too blown to correct. Now I processed the same shot through Resolve using the Highlight Recovery and... voila... I do agree with Seku, Juan Melara’s linear to Log-C method is really cool and works beautifully.

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.

PhotoMatch is an app, which can auto-create LUT by a given image, and in development right now is an image-adjustments module, with custom algorithms. I'm looking for some feedback from you. Do you like the image-adjustment algorithms better than the standard ones, used in just about any other software? What do you think about the color-matching option? You can run the app through just about any modern browser: https://kinoseed.com/ Here are some examples of what it does: Here's example of "temperature change" algorithm: Color-match algorithm:

Talking pure 4K quality alone, the picture seems to have an edge on the D850. Shooting a comparison now, including the GH5S and it's clear. The D850 has less moire and aliasing, more solid and convincing detail, which doesn't have as much false detail on fine patterns. It's a small but significant difference. Codec and colour seem to have an advantage on the D850 as well. I'm surprised. It's like a 'Nikon' 1D C. I wonder why Sony put all their latest tech into Nikon's 46MP sensor and stuck with the slightly less capable 42MP sensor themselves? There are other differences though... A7R3 has proper LOG modes not just a flat profile. I've yet to test dynamic range, will do soon. In low light, I realised I made a mistake in the last test that focussed on the GH5S. The D850 had noise reduction completely off. It really does seem to turn it off and give you a fine noise grain. Need to retest the ISO 12,800 vs A7R3 and see the impact of noise reduction on both cameras, and whether it turns off completely on the Sony (or not) and which has the most capable system of reduction. We all know the A7R3 noise reduction in full frame 4K is pretty much magic. Does the Nikon do a similar job? If we're talking video features and form factor it's a non-contest... A7R3 cleans up across the board especially with it's superb video AF and stabilisation.

The rendering times with Neat video NR applied is very long, especially if you use it on 4K footage. With the built in NR function in Davinci Resolve studio you can have almost same results, but with much much faster then Neat. Everything else is possible with Resolve Lite. @Mattias Burling will you do a 2018 edition video about the 5D Raw with 4K? I loved your last one about the 5D Edit: currently im testing the built in NR on underexposed a6300 iso12800 SLOG2, and the results are insane...

https://vimeo.com/71749184 I think maybe he used the Canon 100mm f 2.8 on the opening?? They are pretty far away to have used a wide angle lens I think and still looked that big on screen.. There is a Lot of OOF and compression behind them. Wow it may be the 85 f 1.4 now that I re look at it again. I guess i just got an impression that the video was pretty amazing to you and I will admit me also using that old of a ML hack. And it only I guess was 1080p at the time??

What is, was, this dual ISO thingy on the 5D mk III?? I know this is a old, 2013 video though. Wow there is some serious detail in this Commercial using a ML 5D mk III.

To add @hyalinejim and @squig gave me the most helpful information I found anywhere online about setup and exposure when I first started with my 5D3. Little things like exact shutter speed, the ETTR Hint, etc, etc were so valuable. Now the conventional wisdom is that to get the best results you want to expose to the right as far as possible to avoid that horrible chroma noise but then @zerocool22 has that amazing Japan Wolf video and I believe he exposed to the middle and used noise reduction? And there’s also the guy who made that Alexa LUT that says to get better color fidelity you should shoot ML Raw 1 stop under. Either way @kidzrevil, whichever method you prefer... you’re off to a great start and, resolution aside, I don’t think I’ve seen a more organic image from any of your previous work. Once you get comfortable with the workflow and get your in camera settings down, I think this will become your go to camera.

That doesn't sound like much of a fun Vacation LoL. You have way more patience than I have to do that!

@Andrew Reid, would love to see some beautiful flea market and Mauerpark footage with the Nikon. You gonna put it to use?:)

Nowdays: no frame drops at 1080p 25p 14bit. Possible to use 10/12bit mode with almost no penalty (ok, deep blacks can show some banding with +5EV push), there is lossless compression which allows to save card space. In fullframe 1080p 24/25p mode there is live view with peaking or focus assist with focus confirmation, sound recording, real time histogram/ETTR hint for proper exposure. Post process workflow: you can post process your files without transcoding... The MLVFS (magic lantern file system) fuse based app simply translates your MLV files which contains the raw images and the sound to you Davinci resolve or After Effects. If i remember correctly, Premiere CC can handle .MLV files out of the box. The camera with the hack is now rock solid, and you can easily use it for payed gig. I have tried BMPCC and the ease of use compared to 5D is night and day... and the 5D is the winner. (however the BMPCC is clearly a winner in dynamic range)

GoPro Hero 6 Black 505€ I bought a Yi 4K+ 268,06€ shipment included. That´s the problem of GoPro.

You can use the spotmeter for this. This simple tool is faster/better than a waveform for judging skin exposure and not nearly as obtrusive as false color (you can have it on ALL the time). All you need to know to make good use of it is the map between the numbers you see in the profile you are monitoring with (say, you have the camera set to Standard while shooting raw) and the the numbers you'll get in post after doing your raw import routine. Shoot a grey chip chart, record what goes where in live view (or just record a clip in Standard), import the raw footage and make a table with two columns. Voila, you now know that +1 is ~175 in "spotmeter values" and falls wherever in your imported footage. You don't really need to memorize the mapping with great precision. All you need is knowing where a -3 to +3 range falls as this is where the important stuff is in an image. Knowing your tonal curves is useful in most situations anyway. But it happens to be priceless when shooting raw and monitoring an image which you know is different than what you'll be seeing in post.

This is true. Its the best raw convertor for Fuji RAF's since they its the only one that doesn't have to reverse engineer the debayer of the goofy X-Tran array. It would be nice if Fuji/Panasonic and others would chip in some real cash to update the UI, make it faster and more user friendly. It really does a great job of pulling detail out of Fuji files that Lightroom loses, but man its a PITA to use. Chris

The achilles heel of the GH5 is Dynamic range imo. So when choosing between HLG and V-log I prefer more DR, thus V-log. Also as a film maker I want as much flexibility in post as possible to create a look. HLG was not designed for that. It's much more of a baked in look and if you prefer that look for your project, sure, choose it. But for creative freedom I prefer V-log much more. HLG is valuable for actual rec2020 delivery, or a work around if you don't have, or want to purchase V-log imo.

Hallo, no honour to me in that regard. It´s from the testers from slashcam. They turned sharpness and NR down afik from other tests of the GH line since the GH2.

Its surprising to me that people still talks about these issues that as far as I know where solved years ago. I have never dropped a single frame, absolutely no issues with live view and there at least used to be audio (not that I would use in camera sound from any stills camera). Never had a bricked camera nor talked to anyone experiencing it. And to get DNGs is exactly that, imo. A walk in the park. Drag-n-Drop and push one button, done. Did you use a decent CF card? Did you have ML on the same card or the SD? What build? How many have you bricked? It would be interesting to finally track down what causes these issues that some seem to experience.

@Django : agreed on hit&miss. sound works fine, unless you use compressed RAW mode. (and i think they added mlv_sound to mlv compressed crop just a few days ago) if you use Resolve the workflow is very easy with MLVFS tho (it takes me less than a minute to ingest some 100 clips into Resolve with sound).

Thank you to all who have resurrected this thread - you reminded me that I have to cancel my Vimeo plan before the end of the month!

@kidzrevil Oh gosh Id have to dig through some old hard drives. I did a lot of work with the 50D raw as well...but those were fun times when ML was in their heyday. I promised myself 4 years ago that when I could afford it that I would buy the 1DC because I did a few projects with it when it came out and I fell in love with the image quality. I got asked to shot a doc in Mexico and Guatemala about two years ago and the budget set aside just for gear was more than enough to buy a used 1DC so I finally got my "dream camera" two years ago. I still shoot all my YT content with the 1DC...but I have been desperately avoiding switching to like a 1DX II or 5D IV because there are so many L's that I would take with the switch. Over the years I have shot Digital Bolex D16 a lot as well. IMO...the 1DC and the Digital Bolex are my favorite cameras to work with. They produce such consistently incredible results. Heres a film I shot all on the D16 and their Kish lenses and heres a music video I directed that was shot all on the 1DC At the end of the day, the only thing Im waiting to "upgrade" to at this point is RED DRAGON. I actually am a huge fan of the DRAGON sensor and feel like going R3D would be the only thing out there that would feel like a worthy upgrade for me with what I do. I just simply don't have the cash to make the switch at the moment, so for now....1DC it is...which isn't bad at all! By the way...I STRONGLY suggest you invest in either a kit of CONTAX ZEISS glass or Leica R's. The retro lenses take off that digital edge that you're fighting with the filters. The voigts are great though....but maybe you should try some retro glass. I have a 28, 35, 50, 85 CONTAX ZEISS kit and use them daily. (I need the 18 and then Ill be set)

I got 13 usable stops out of it. There might be other cameras with some spec sheets that looks more impressive, but they cost alot more $$$. And the nr1 spec in my book is the redcode. Editing raw natively in FCPX is such a treat. The size really is the only true downside imo. The start-up time is more a question of attitude

Yeah I wasn't bothering to correct that, I'm giving them the benefit of doubt they know about top secret new lens under development ;-)

RED ONE MX (forget about the first version), is an incredible camera, but it is very heavy, and there are many other options out there which are better, but if you don't mine to use a heavy camera and you get it for a very good price with all its extras (monitor, SSD, etc), then could be an option to consider, to be honest the risk something get broken is low, the camera is really a tank, just make sure you tested it before you buy it, and be sure everything is working.

amazing footage @kidzrevil

Dammit Kid that video is like being there. I think that is the best I have seen from you! And that is saying something. I think you and Mercer need to be thrown off of here for making the rest of us look bad LoL!! Jesus maybe I Need to buy a 5D mk III. Say it ain't so! Between it and a 1DC I guess I am Canon bound. That is the stuff I came on here to see. I know if we were rich it might not be too hard with a Arri Alexa, etc. But you don't have to be to get the results you guys are getting. I am impressed.

If I was in the market for a new camera I'd be in too! Although to be fair I should drive a stake through my G.A.S..... and just quit with the cycle of buying cameras, but it is tough to stop! However $2.5K could go half way towards say buying a Sound Devices 688 True, even a 4/3" crop of the existing NX1 APS-C 28megapixel sensor could be interesting to MFT manufacturers (Panasonic/Olympus/DJI/BMD/Yi/&more). I think this is the best chance for a "NX2" (be it merely a prototype, or something they sell as a limited release), is purely as an advertising tool for Samsung's cellphones (to showcase the processor) and/or to other camera manufactures (to tempt them to buy the sensor). But I'm skeptical the ROI is there for the R&D for a whole new camera (unless just merely a rough and ready test bed prototype) just as a marketing tool.

It gives a substantial reach advantage, I'd go for that if I was doing run&gun event/doco work.

Congrats on the new camera.

Yes. So can any camera released in the last 8 years. If you don't know why, then I kind of think worrying about what camera you're buying is just a little misguided. 2cents and all that...

I quote @Panther "In 2014 the NX1 did already what no other camera has done since. They downscaled the complete 28MP sensor into 4k video. Even many years later Sony has massive problems doing that with 24MP and other brands are not even trying. The NX1 was so ground breaking, that you could release it today as an X-T3 or A7000 and it would be a huge step up." and I quote @secondhalflife "They should rather deliver a firmware update for all the quirks in the original model." The first one show NX1 as it was, a technological marvel, with soul (like @Andrew Reid described above, the camera feels good in the hand and has great color science with full adjustability), and the second(halflife) show it as a massively flawed try from a TV, air conditioner maker. Obviously the first is closer to reality, because the camera has no software flaws. Funny rumor though.

Another video with the different shutter angles

Well... i was interested in how well the GH5s compares to the GH5, 5dmk3 and the a7r3 in terms of lifted shadows on RAW images... just to see how good the sensors are. From the recent dpreview, here's a screenshot of the 4 cams at +6 stops ... Imho, the raised shadows from the GH5s and the GH5 seem similar. They both beat my old 5dmk3 handily. But damn, that A7r3 ... that image quality should be forbidden. If only its codec could keep up

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?

I'd make the counterpoint that it is easier for a cinema camera which appeals to a niche market to thrive and remain viable than a mass market stills consumer camera.

doesn't the nx1/nx500 still provide a sharper image over gh5s?

Maaaaaaaaaaaaaaaybe this: https://www.mirrorlessrumors.com/good-true-high-end-samsung-aps-c-camera-based-exynos-9810-soc/

Its the OIS messing around, I had that same problem with Canon 10-18mm STM on 200D on gimbal, best is turn IS off and stabilize in post if needed. some of the shot I feel like OIS is fighting against the gimbal

Jesus, I think this forum needs a moderator for its moderators... ugh.

I like you I just think you're wrong. JK ; ) - Seriously though I just disagree about benefits outweighing the costs. I believe you that there are certainly drawbacks to trying to cram so much info into a small container; as I mentioned I don't shoot SLog nearly as much now, after reading some of your posts. But I know, having compared the HDR and SDR masters of a huge-budget feature, that ultimately HDR is more pleasing to me. I do appreciate all your posts though! They're educational and make me think. And your posts back in June are actually the reason I even signed up for a forum account... I signed up to argue with you about S Log

I give up. This thread started with two very long and nuanced articles about colour reproduction in demo reels. It's transitioned to a conversation that can be summed up by me saying "the ARRI skin tones all appear to be on the yellow-side of the acceptable range of skin tones" which you summarised as me saying "calling the Arri shots yellow" and they looked "off". Bonus points for managing to infer I'd never heard of a colourist, or insulting me based on the camera I own. Best of luck in your future endeavours - if you're like this to everyone new that you meet, you're going to need it.

I'm afraid I'm about to make another TLDR posting ;-) What's meant by Dynamic Range? Someone above said common rec_709 displays could show 7 stops of light at best. This is the standard. Let's therefore agree to call it SDR. Many modern cameras can record 10-13 stops. A linear recording (picture profile-related) would only be able (hypothetically, see below) to store an excerpted range of nine stops. Due to broadcast-rules, the values below 16 and above 235 were considered 'illegal', because they couldn't be truthfully reproduced. That's the background to 7 stops of light at best. But none of the non-LOG profiles bakes in a truly linear curve, because that would look terrible. They reserve most of the values for the midtones and rob some of the wasted 20 superwhite values. The image of a standard picture profile - often called Standard - tends to look punchy as well as natural. Most of the time this is actually what one wants to achieve. There are also profiles that favor skintones ('Portrait' - for Sony mirrorless the creative style Autumn Leaves has become popular because it additionally has a color shift complimentary for skin), lanscapes and so on. I don't know the exact numbers, but let's assume that there will be 50-60 values reserved for the skin range then. A LOG quantization curve tries to distribute more or less (there is a knee for superwhite usually) the same amount of values for every stop of light into that 256 scheme. For the Sony A7sii, which claims to record 14 stops @Slog3, this would mean 18 values for each stop (it may be somewhat more complicated, but for the sake of simplicity, let's agree upon that simplification). One term that currently came up in conjunction with the new GH5S' dual ISO is *useable dynamic range*. Tom Antos' tests to verify the actual dynamic range of cameras showed that all LOG recordings capture the noise floor too, so one has to substract one stop for the shadows. But there are limiting factors for the highlights too. If a daylight sky's gradient does show banding in Slog-3 in a graded rec_709 version, where in-between-values are being interpolated with floating point accuracy in post, one can imagine how this will affect HDR. Admittedly I am not a broadcast engineer. But taking all of he above into account, I'd say that 10-bit or more is needed to really extend the DR. Please comment and correct my arguments. Now for a subjective point of view: We still live in an SDR world. Seven stops. Light is just white, a dull color mix of RGB. 13 stops of light crammed into rec_709, lifting shadows, preserving highlights, results in the kind of artificial-looking images we often see when people record in LOG. If light is the subject, if it's prominent in the image, I consider this counterproductive and pathetic. It's better to let the highlights clip, to let the 100 IRE white eat away the detail. I found an image to demonstrate what I mean: Always? No, but the unwritten law to never let the highlights clip is stupid, imo. Light is not just an informal part of the environment, it's an epiphany. I like a punchy image more than an expressionless one. Oh, Larry, well done! I really see detail in the clouds, terrific!

On Facebook now discussion about a new NX-3 is coming. Who knows more about this rumour? https://www.facebook.com/groups/SamsungNX1.for.video/permalink/1123178037816446/

Well I have a Samsung Note 8 and I can say HDR is some impressive stuff even on my Phone. So if I had the money I would go for it. It certainly is the future once you have seen it. This video here is pretty unbelievable in HDR.

I would love to see some tests with the FS5! The FS5 has a great sensor and combined with this great profile I'm sure it's amazing.