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Of course it's up for debate. It's being debated here and it's being debated elsewhere. How we each perceive colour is something that has often been debated. How bright or accurate colour looks can depend on age, what you're use to seeing. How do you know that the way I see red, is precisely the way you see red. There have been images on the internet, where people have debated what colour something is, with different results from person to person. The blue and black or white and gold dress being a famous example of how we don't always perceive colour in the same way, when shown the same image. Colour science and how we each perceive it is a complex issue and yet you think you have the answers. You have an opinion, nothing more. I agree Arri is very popular. So is Canon. But popularity doesn't mean a universal truth. To me, Canon isn't accurate straight out. Yes it gives pleasing skin tones; but often by giving them a warmth not always seen in real life. My opinion of course. In the Canon vs Nikon debate, I personally feel Nikon is more true to real life, whilst Canon is more pleasing to look at. I get you love Canon. But its colour profile whilst considered true to life from your own personal perspective and therefore requiring less grading from yourself, is still just your opinion and not fact.

How can you use viewfinder while the mirror is locked up during recording.

Yes and one of the spectators giving the McLaren boss coronavirus!

Nikon 1 V1 (but only for half a second). Does that count?

Well this is not true. Many movies with great cinematography, including virtually everything shot on film, have their style chosen from the moment the film starts rolling, and that often determines their choice of film stock or LUT. If you are shooting anything other than generic footage, you must know your end result and how the scene will end up in order to light it. Looks aren't chosen in post. I'm sure some productions this is the approach, but it's certainly not universal, not in cinema. What kind of productions are you saying use the approach of always stating with "accurate color" and grade from there?

It's a really great camera right now, feature packed. Yes, LOG would be nice and I am 99% sure it's coming, but I wouldn't be hesitant to use it in the V1.0 state it is in.

New blog post - read it here

I work with a lot of SD footage still and I never "stretch" it. I do, when mixing it with HD footage, upscale and crop sometimes but only if there's not a lot going on in the clip and the framing looks OK, like a talking head. I usually pillar box it if there's action going on. Depends on the project. If you're just remastering stuff I'd do it in it's native aspect ratio. If you're putting it on YouTube I'd probably upscale it just so you get that bump in bit rate, but definitely keep the 4:3 aspect ratio.

Yeah, as far as the prebuilt luts, the Nice709 is probably my favorite. In fact, the other LUTs in that varicam lut library are basically unusable, IMHO. I don't know, though. Maybe someone smarter than me can put them to good use (and there are lots of people out there smarter than me. just ask my wife.)

Ive used Nice709 alot Even wirh 1dx miii works like charm

I don't know which NLE you are using, but doing a Color Space Transform in Resolve from VLOG / VGamut gives a less red result than using the VLOG to 709 default LUT in Resolve. (I'm assuming that the LUT that is built in to Resolve is the "official" panasonic LUT. Apologies in advance if it isn't.) I haven't tried this with my S1 yet, but with my Sony a6500 I was quite pleased with the colors I got from doing a CST from SLOG 2 / s.gamut2.cine to - Arri Log C / Arri Gamut - > 709. So that might also be worth a try.

Looks like great detail on that sim though. All it needs is a couple of dickheads at the first corner who've forgotten to bring the right lens adapters and are wielding a tripod that is about as sturdy as three lolly ice sticks.

Yes. I would never stretch anything.

https://na.panasonic.com/us/panasonic-cinema-cameras/varicam-lut-library

Actually, DJI have increased their prices lately. Might be the consequence of the US-China trade war. The smart controller used to be $650 but is now sold at $750. I haven't seen significant price reduction on the Mavic 2 kits since launch. Finger crossed as we need more competition in this field but in my experience, Autel drones are half-baked. I recognized that Autel is working hard but they are always one or two steps behind DJI and their gimbal tech is weak with frequent if not constant horizon drift (roll). Most of the videos and reviews I've seen so far are not encouraging for the EVO 2.... The CEO of DJI started the company in 2006 by manufacturing and tweaking flight controllers, stabilization is in the DNA of DJI. They came up with full drone bundle much later. I'm trying to get my hands on the EVO II to review one. I really want to like it because I'm tired of the constant DJI tracking and no fly zone restrictions. Unlike big brother DJI, Autel doesn't force you to create an account and let you fly as you please.

Yes plus they get to sell some EOS R lenses to RED users. And I am sure there is profit in the sensor supply too.

1Dx iii and my pc both are usb 3.0. I would guess you can have multiple ones.... if I have time I will try.

I think Canon will be quite happy to be their own Sigma when it comes to their lenses. My fp is pretty much exactly what I thought it was going to be, which is a full frame version of the original Pocket. It is one firmware update and one price cut away from being a wider hit

But is "correct natural" color even "the best color science"? There are for instance Nikon fanboy photographers who'll argue Nikon provides SOOC more accurate colors, while there are Canon fanboy photographers who'll argue Canon gives SOOC more aesthetically pleasing colors ("better color science"). I'm not arguing that ARRI isn't "best" with their color science, as that is almost universally recognized (but even then, not quite fully 100%! Always will be some who disagree. So how would you prove it them?) But the key point is how to accurately measure color science, and attach a number to it? As it is easy enough to say ARRI, when doing say an Alexa vs a7S comparison. But what if you're doing a Panasonic Varicam S35 vs Canon C700?? Which has "the best color science"? Or a Blackmagic URSA Pro vs Canon C200?? Or a RED Epic MX vs Sony FS7?? How could you prove to someone which has the "best color science"? Or is it all just your subjective opinion vs someone else's subjective opinion?

You got me there. Have you worked with enough cameras to definitively say Arri handles color best though? I was looking at some comparisons recently and I remember the Monstro and Venice holding up really well but the Arri probably still did best. Is Canon really number 2 in terms of keeping color consistent while pushing exposure and ISO though?

Cinematographer Griffin Conway also mention this issue... id suggest you email Canon support.

No i cant use viewfinder in liveview its off . What reaserch you talking about? It works in 24p 4k but it doesnt work in 60p 4k its clearly bug! the ninja v worked flawlessly with my old gh5 gh5s s1h so its clearly not atomos here.

Canon practically pioneered large CMOS sensor manufacturing. They did not suddenly become a cutting edge sensor manufacturer!! It's just that they have been sleeping whilst they upgrade the facilities. New factories in Taiwan. New fabs capable of more modern designs. It is a major advantage they have over the competition. Everyone else has to buy Sony sensors! Canon make their own and always have. Compressed RAW internal on Canon DSLRs. RED with EOS R lens mount. A sensor supply. What next. Canon buys RED outright?!

I know you feel bad about it, but I think it makes sense in the current economic climate. No sense to hold onto two similar but different cameras, hold onto which ever one is getting you more work and sell the other Wrong, color can be subjective. Heck, the debate in the stills world of Nikon vs Canon colors has been going on far longer than the HDSLR colors debate has gone on for filmmakers! Yes, some color science / brands get a far great majority of people preferring it than others. Like ARRI for instance will get almost universal appreciation, but even ARRI can get a few crazy holdouts who will say they don't like it as much as something else! Plus what is "best" can be project dependent, the color science you might pick for a cheerful romantic comedy might not be the same as your preference for a dark horror.

Yes i had S1h for about 6months before i sold it for 1dxmiii. S1h with ninja v

I just realized something else genius about their design: You can slide in 2x NP-F550 batteries underneath the camera (integrated in with the rails!), which means you can easily hot swap V-Lock batteries without needing to wait around for reboots! Killing wasted downtime.

Is there a way we can do something like that? By injection inside?

I've said this multiple times on facebook and will repeat here once more – there is no concept of focus through. There's no simple way to explain why, but bottom line is – if you have squeeze on one axis, you have astigmatism, and it needs correction. "Focusing" anamorphic block is simply correcting astigmatism for that specific focus plane. Original gottshalk's patent shows the ultra panatar prismatic design in the schematics, if prismatic lenses were 'focus through' that patent would make no sense and we won't have 60 years of cinema history created by this patent. Or think about it this way – if there was such thing as 'focus-though' would any cine lens manufacturer in their right mind fiddle with any other design?

I was called by Nikon Support yesterday, and they told me that there will be a firmware update for the problem, maybe in the next or the one after the next.