Andrew Reid

Thanks for trying it. 25fps for 25p is realtime encoding so actually rather good... was that for H.265 to Prores?

Useful to know, thanks Mattias

Yep that's all. It is explained in the book for Windows users with Premiere. If anyone can point out a good transcode tool for H.265 which can apply a LUT like EditReady but for Windows, do let me know as I am mainly on a Mac and my PC is Windows 10. This wasn't compatible with 10. Anyone with 7 may wanna give it a go and report back - http://hdcinematics.com/convert-V2.html

Thank you for drawing it to our attention.

I don't use any of the Samsung S zooms... too big an investment just for one camera when I have so many other lenses I'm afraid. 16-50mm F2.0-2.8 is nice. I just don't think it is particularly good value for money. Video below is how to apply a built in REC 709 LUT to LOG footage in FCPX. Note you will need to use EditReady to apply the custom GammaDR2LOG LUT that I created, then select S-LOG 2 or Canon LOG in FCPX, then grade it in the colour correction effect. Let me know if it works. Alternatively there are LUT plugins for FCPX like this one: http://www.colorgradingcentral.com/lututility With that you can load any LUT you like and are not restricted merely to turning LOG footage into Rec.709 which is what the presets built into FCPX do.

Yes but the zoom barrel is very wonky so image jumps about...so not artistic

Second video is much nicer. Wow. That is one hell of a clean 1080p image going on. Wonder why Canon themselves talked it down?! Clearly they want us to buy the Cinema EOS cameras for video, don't they. Even to the point of them claiming their flagship DSLR has moire... when actually it looks to do far better full frame internal 1080p than the 1D X, 1D C, GH4 and 5D Mark III put together.

The 10mm is the best, especially for 2.3x crop 4K. Both very cinematic looking lenses with character and very good build quality. If you want to avoid the fly by wire Lumix focus rings it's also a good choice.

Yes Wolf but I am pretty sure all cameras have hot pixels on long exposures in the darkest blacks 3 stops under, it is just removed in software and because ACR hasn't caught up yet it is not doing the job right or even at all for the A7R II.

This is interesting. I will try a few wider lenses with the RangeFinder and see how it goes. I briefly tried the FM. Wasn't impressed. The Retilux looks better than I expected from Zak's test that's for sure! The Zeiss 80mm F1.8 Jena DDR was backed onto the Speed Booster XL for this shoot.

My criticism still stands. You're saying it's a problem. Not in the real world.

Killer nightscape beast sounds like a good film idea

What are you using to convert from H.265 by the way? Some apps crush the blacks even further.

How have you managed to fly under my very well evolved bastard detector radar for 196 posts?

Sometimes yes! I know what you're implying... Landscape photography should have infinitely deep DOF and must be as high resolution and as sharp as possible... blah blah blah. Real artists make their own rules.

Good to hear that. Mac or Windows version? Don't blame you for wanting to get rid of the HandBreak step... I didn't get along with HandBreak either. If you ever need a transcoding app on the Mac, EditReady is by far the best. I can't do without it right now for 1D C footage and the NX1. Indispensable and best $50 I have ever spent.

Those aren't dead pixels. They are hot pixels. Enable the long exposure NR in the menus dude!! Why do you think almost every camera on the market has that option? And who the hell underexposes at 15 seconds by nearly 4 stops?? A mad person that's who! To say it is a no-go for landscape due to this... is nuts. It is a bad test because it has no relation to reality. People do not go around exposing their garden for 15 seconds, then finding they are lacking 4 stops of light. "No go for landscape". How about we align the tests with the real world. Expose for 15 seconds, turn on long-exposure noise reduction, let the NR also happen on default levels in the raw developer, results will be fine. That is not what I call a 'no-go' for landscape photography. Also what other 42MP full frame camera are you going to use, which does a sharp shot handheld at 1/4 with a F1.2 lens and usable ISO 6400 when exposed correctly? That is not what I call a "no go for landscape", even low light landscape. And one more thing to conclude the rant... What version of camera raw are you using? For example, Adobe haven't released support for the A7R II yet, so it could be a raw developer issue vs the other cameras which have established raw support.

There's no GammaDR on the NX500 unfortunately so the blacks crush more easily. But I just tried the NX1 LOG profile with my NX500 and it did work pretty well. Might tweak it and do a NX500 guide in future if I can get nice results out of it. A few weeks ago I shot an NX1 vs NX500 comparison but not got round to editing it yet. The NX500 is still amazing bang for buck. By the way you shouldn't dial down the contrast to -8 or -10 in-camera, it kills colour.

The 5DS does look better than I expected there, although it is very over sharpened and not good value for money in video terms in 2015.

Nice idea but it still has that yellow cast S-LOG 2 seems to introduce.

How is Resolve 12 working out for you, would like to hear more about that.

The LOG LUT was actually developed in Resolve so of course, it works there too. The point of a LUT is that it works everywhere! Yes - set input LUT as GammaDR 2 LOG, then output LUT of your choice. The 16-50 S has an AF/MF switch on the barrel doesn't it... so that is why! Nice lens. A LUT is not just a flat curve it has far more data than that in it. Not had any banding issues with it. Can't speak for AviSynth, but it is unlikely to develop footage in the professional way a colourist app like Resolve does, which is how I created the LUT. Great, awesome to hear people are finding it useful. Yes that's correct for Premiere. You can even use Film Convert with it rather than an output LUT. You set the input LUT to GammaDR2LOG. Then apply Film Convert to same clip. Select A7S and SLOG2 +1 profile, seems a good fit. Then tweak contrast & saturation to your preference.

Canon themselves said it had bad moire and aliasing. Any chance you can upload your test footage to Vimeo?

Next up!

Thanks guys. Really pleased with the way this one turned out and I will be using it myself!!