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I find that using the pre and then working as if I had shot in V-log works very well when using HLG. I was somewhat forced into this workflow when I bought the Ninja V because of the whole video levels thingy making v-log impossible to use if you want a reliable preview on the monitor. I find HLG more or less as good anyway though, so doesn't really matter much to me. Some examples of using HLG with GhA:

I had the 90mm f2. Great lens but this bad boy is just so darn affordable. The new firmware cleared up all bugs and as a bonus increased the focus speed.

Similar set, but i have Marantz PMD661.

What the hell you two now are trying to tell us about!??

OK, slept on it and decided it's either going back because I can't get it to work, or possibly just going on eBay along with the SSD and docking port. It's not just the issue I have had getting it to work, - that is more a case of 'the straw that broke the camel's back', but the battery chewing issue and other minor niggles that all add up to, "is it worth it to me?" and the answer on balance is not. I think it's a superb bit of kit, build is exceptional etc, but not all things work for all people. Hey ho, I tried!

Open the Resolve settings go to 'Color Management' - scroll down a little to Lookup Tables and then click 'Open LUT Folder'. Then you can copy whatever LUT you want and copy it to Premiere's LUT folder and away you go.

I've done one or two car rigs. Which camera are you using? You probably don't wan't to use a gimbal if you are mounting the camera on the picture car -- the car will bounce and turn while the gimbal will have a tendency to remain still. There was a thread about car rigging last year. Hood mounting can be easy, using just a board with some padding/thick fabric underneath and a motorcycle strap or ratchet strap. You can use a bracket mounted to the board that receives a tripod head or use some sort of tilting/panning mechanism with 1/4"-20 threads. Don't forget to "safety" the camera with a separate tag line/strap. If you want to mount a camera on the side of the car there is a special bracket called a "hostess tray" -- a term derived from the American drive-in diner food trays that the skating hostesses would hook to the customer's car door. Don't forget to "safety" the camera with a separate tag line/strap. Suction cups can wobble and should always be used with an additional safety strap (which can also help stabilize the suction cup rig). There are a few tricks to keep reflections off of the windows. If you are shooting a car in which an actor is actually driving, avoid busy streets! An actor is constantly trying to be the character, which can significantly distract him/her from noticing other cars, pedestrians and road hazards. Having a "spotter" car ahead of the picture car can provide extra safety and can govern the speed. Slow speeds often look faster in the footage.

Do a search for “Captain Hook LUTS” and you should find something that will work in Premiere.

wagga wagga ? we'd be almost neighbors ?

i doubt it, i think only andrew reid could delete or lock a topic. besides you can always block someone if you want too, not sure if that stops their post from showing in threads you read however. perhaps its time for us to prove we're the better men, as a certain x-man would say and move on.

My first full run on the gimbal - yes it is hard to hold focus when moving on an anamorphic adapter!

I've recently started trying to sharpen things up a touch, but also denoise some frames, and I'm wondering how people do this. My Nodes look like this: Braw Adjustments - Colour - Sharpen - NR Is that the logical order? also, for sharpening, I've only knocked the Radius down to 0.38, but it seems waaay too sharp. How do you guys sharpen stuff?

Yeah, good on him. The owner is obviously a 'character' and may simply be misunderstood, but mentioning that you have a Lamborghini in a note where people lose their money sure isn't the right way to handle these things...

@KingsJoy Building on @webrunner5s sound comments, I would suggest that any of these cameras are an excellent choice and it's about getting the right camera for you and your particular priorities and shooting style and situations. Most of these cameras have weaknesses, some are quite significant weaknesses, and some of these have considerable strengths. I'm no expert, but: the GH5 has excellent IBIS, great image, is a solid workhorse, but the AF is a problem for some people in some situations the a7iii is great at low-light, but some don't like the image, and the menus are difficult many people think the XT3 has a better image than the GH5 etc.. I'd suggest you have a think about how you use the camera, what features are more important and which are less important, and then read the reviews of each and compare the pros and cons for you. For example, I shoot high speed run-n-gun hand-held and was looking at the A7iii and had ruled out the GH5 because I was looking for great AF, but I realised that MF and the aesthetic that comes with it is actually something I like, and the GH5 being a highly-cropped mirrorless made adapting lenses very easy, so I ended up with that. Your situation will be different. There are no bad cameras in your list.

I have a few 135mm lenses, you've inspired me to compare them. There's a saying "there's no such thing as a bad 135mm lens" and I'll be putting that to the test by comparing my $4 Petri with the Super-Takumar. My initial impressions were that the Petri was a pretty good contender Yeah, most of the differences between cine lenses and stills lenses aren't attractive to me. The only exception is click-less aperture, which is helpful to have while shooting as it means you can adjust it during the shot without shaking the whole camera and ruining the shot. Even the focus breathing isn't a big deal for me TBH.

there was a supermoon last night so took the bmp4k and the tripod outside with am42 takumar 300 and 2 times converter took a bunch of clips as an experiment here is one straight out of the camera. as i have yet to figure resolve out

Yeah I almost got one, they go for fairly cheap used. Went for the Nikon 85mm 1.8 instead, can't say I am dissapointed with the choice.

You need to sent a request to Fuji. You get K on your XT3.

yes

They still want to send it back to Bloom. Good lord.

Brilliant. longer version: https://www.youtube.com/watch?v=T0ELuyJ12D4

When the A6400 was released and first AF videos showed its performance, I said it was definitely equal or better than DPAF. Some people here laughed. This direct comparison might make them think a little more. A7S3 will match or beat the A6400 for sure as there is no way on earth the future Flagship performs less than the old entry level. The latest Canon bodies are crap, and Sony is really trying to work on their issues/critics at each body release (V3 of A7 line saw massive body improvements, battery life and so on). On top they exceed competition in performance even where they were behind like AF.

I have worked on heaps and heaps of car rigs over the years, although from the sound department perspective! But I reckon you'll still find them worthwhile watching:

I'm not sure I'm going to get that used Samyang 135mm tomorrow after all. After discovering two, admittedly pretty old, 135mm lenses that I forgot that I had in an old camera bag I realise that I may have a slight addiction problem with 135mm lenses. So much so that I am going to have to do a World Cup playoff tournament next week to eliminate at least half of them before I can bring another one home !

Oh yes, this is the kind of detail that excites me Keep them coming. Too bad I can't scroll that still image ? I've chosen not to deal with hue shifts in my own conversions, but in your situation where one camera has way more DR than the other, it seems like something that can't be ignored.

We had a thread about this that didn't get much action but I put a link in it to a UK company that does a large array of affordable mounts for car shoots.

I'd definitely hold on to my MFT glass and cameras if the GH6 had 10 - 12 bit internal recording (BM Raw or ProRes Raw), 120fps in 4K, and internal NDs (the last one being the most important). As well as the IBIS of the GH5 and the low light capabilities of the GH5s. Throw on the 10-25mm f1.7 and I could use that camera for almost everything. Some f0.95 autofocus primes would also be great.

Seems odd to me to have a long thread bashing Sony users on the basis they go around bashing other brands!!

I found this video online as I was researching Samyang/Rokinon lenses. According to the description, it was shot on an FS7 and the Samyang 24mm 1.5 cinema lens. So obviously this look or quality isn’t all about the lens but I think it’s pretty obvious that the 24mm holds its own.

My voice over gear atm, I wouldn't mind getting an Electrovoice RE20 though Bought the Tascam DR100MKiii because the noise floor on the Zoom H5 was total ass. And the MKE 600 is really just a poor mans MKH416.

I would just use the Davinci built in LUTS

Its making me want to get a Pocket 4k really bad haha, or an URSA mini for that matter.

Charlton Heston would have backed it had he still been around.

It looks like your 18-25 might be a Sigma SA mount lens, perhaps mislabeled as Canon EF by the seller. (Based on looking up pictures of lens mounts, I don't actually have the lens in SA mount) I found this page which has a detailed pic of an SA mount http://conurus.com/forum/sigma-sa-mount-thread-t266-15.html?sid=90c0074805e17063cfbc549a5315e1b0

This is the mount for my 18-35... Not sure if that helps...

@Andrew ReidDear Andrew, from the article it seems that you are in a good contact with Panasonic reps. Could you please ask them to include a focus assist (magnification) during recording or at least ask why this so important feature is not included in the gh5(s) and also not in the S1? Sony with their A7x line has it included and you find this feature in all broadcast cameras (Sony fs5,fs7, Canon C100-500) It is such an important feature for so many people who are shooting documentary, reports, television and so on. If you can't plan a scene focus wise you really need this feature to be sure you are in focus. You can't really judge focus even in Full HD but especially not in 4k. Also the great viewfinder of the S1 will not help. Its not about the resolution of a EVF or LCD, its about the inability of the human eye to really be sure you are focused. We really need a focus magnification during recording (even 2x would be great and enough, if more is not possible). It would be so nice if you could come up with this issue if it happens that you talk with them again. If I write them an email it will not get to the right people. I think it is so easy to implement via firmware upgrade and processing power can't be an issue anymore (at least in the s1) to include it also during recording. Thank you so much if you could do that. I love the GH5 and will love the S1. But this is such an important feature it nearly lets me switch back to cameras like the FS5/7, C300... Best Jakob

penis camera look like a serious product now

Maybe he meant to just saw Prores. I personally think you only need the DJI Osmo pocket for cinematic footage.

False. So very very very false. On multiple levels. Just flat out false.

Z-Cam: "We have produced the most mundane and uninspiring footage that any company could ever possibly publish for promoting their cinema camera" Cinemartin: "Hold my beer....."