alexcosy

That's indeed very good to know, but i'm not surprised, Resolve really is an excellent transcoder. That being said, i'm not sure you should cancel your creative cloud altogether for this, that's kinda of a drastic move ! The fact is trying to edit natively MJEPG in Premiere is something it should never be supposed to do. Ok it may work because computer are now very powerful, and it may take it. But the workflow you have now, should have been you workflow from the start (not specifically i mean, but the transcoding step to proresLT). Doing that it may seem as an extra step and lost time to some, but you said it yourself, you get better editable files, lighter and cleaner. You can then put your MJPEGS to the trash, who would want them anyway ? Plus, Resolve lite being free, it doesn't actually cost you more. You would lose a lot more than Premiere, which still is a great editing tool. I love Resolve as a grading software, but it's not there yet as a complete, true, NLE. (but it's taking the right path though). Don't be too angry at Premiere, even Avid has gamma shift issues sometimes when exporting (which i find astonishing...in a bad way...). Transcoding and Color science really are another game i guess, and Resolve does it perfectly.

The reason is simple, as you said, obvious, with the same SD card, you would record at least twice (and i mean at the very least) as much, with better quality... In 4K, being 4x bigger than HD, recording space is very valuable ! H265 is the future, indeed it may be a bit ahead of its time on this particular camera, but somebody had to do it first ! I guess this is a step like when apple decided not to support floppy disk anymore. At the time it bothered many, but in the end, you know it's how was supposed to go... It's a technology transition, first steps are never easy.

H264 or H265 are acquisition or diffusion codecs, never were they intended to be editable natively for that matter. Offline editing may not be always the fastest solution but it really is the best way. Managing media, transcoding, conforming, knowing the difference between working formats, and acquisition/diffusion format is a lost art, and it's a shame because in many situation it actually is the simpler process in the end (even if it doesn't seem so at first). If H265 not being an editable codec is the only thing preventing you (noone specific in mind, you the average reader i mean ;) ) from buying this camera... Buy it ! and learn how to deal with these situations, it will only make you a better editor, a better image technician, it will teach you professional workflows... It's a win-win really ;)

I guess we got that... but please, keep saying how you don't like this camera, you seem to enjoy it.

Hi Andrew, i'm so glad you like it because i bought it yesterday, and so it comforts me in my choice ;) Your preview is great, i'm looking forward to the full review since i'm sure i will learn a few tricks in it, i already love this camera, it's really what i was looking for, and i postponed buying a RX100mIII just before photokina, thinking something cool might be announced, i'm so glad i waited ! For now i wanted to ask about the picture profiles. You say to stay in Standart, what about Neutral not dialed down flat ? (i havent had time to look much at the profiles so i'm not even sure you can edit them) ? Have you had time to test the curve ? (maybe a Standard profile with a tiny curve adjustement like Highlights -1 / Shadows +1 could be nice...) I would really like you insight on this, even if i'm pretty sure you'll give us that in the full review ;)

HD, is only AVCHD though... that's too bad, i would have liked a XAVC 50Mbps for HD. I know that 4K downscaled to HD will be great, but it's 100Mbps, and sometimes you don't need/want 4K 100Mbps + the need to downscale.

I've been waiting for the photkina a lot, as i was feeling good things were coming (besides winter i mean ;) And the LX100 sure looks like it ! Andrew i have a question. As a photographer, i'm getting rid of my 5DmkII and glass, to go much more into analog. Indeed for the past fews months all i've shot is film on a Bessa R3A + Zeiss and Leica glass. So, in a way i'm quite demanding on the quality of picture front. But i thought i should have a small digital, for those snaps you want to share right away. My choice was to go with a Sony RX100 mkIII, that i can have all the time with me. It's small, it has an EVF, a large sensor (for the size) wide aperture, wifi+nfc, good quality video, good picture quality overall, and, possibility of timelapse via an app. All those things are the things i'm looking for. Do you think that a should wait for the LX100 more than go with a rx100mkIII. That it has everything the rx has, but better ? Thanks a lot, i can't wait your review to come out ! ;)

Hi, i kinda liked the dark background, but since a lot of people seem to prefer the white one, i won't argue ;) But i agree with Olly P, i think your logo might benefit from a little update. I'm not a graphic designer so i cannot tell what directions you should go toward, but i think it's worth looking into it. It feels a tiny little dated with the new site. My 2 cents. Keep up the great work.

Strange, i got it to play very nicely on both Chrome and VLC, on my iMac i7 GTX680MX... not on a 4K monitor though just on the 2.5K iMac monitor which is already nice... Is everything up to date (vlc / chrome) ?

There's something i don't really get, when you mean ProRes 4444 quality, Do you mean that at 15Mbit/s we'll have 4444 12bits signal, or do you mean that to your eye, there is virtually no difference ?

After reading most of this thread, one of the conclusion can be that the headline to this post is very misleading! The developper himself tells us that you get 10bit in the luma channel only! Which is nice. But never does he mention full 10bit 4:4:4...

You're absolutely right, and... you're right. LUT's are firstly designed for color translation, from one color space to another (let's say Rec.709 to DCI P3 for exemple, or Arri Log to Rec.709), or, was used to emulate (in the grading suite) the end positive film stock your film will be used for projection. Nowadays it's often use as some film-look filter, which is not bad actually when done properly, but in now way just putting a LUT on every shot of your film is proper color grading (nor is it a subjective artistic choice for that matter).

Broadcast grading really isn't most of the time. Skin tones, skies, grass, white balance etc..., those are things you must preserve to a certain point, even if going for film look. I'm saying this because those toolsare not only used by indie filmmakers, but also on more "mainstream" broadcast shows where you canot deal with your creativity the same way. But then again, GH4 looks awesome.

Hey guys, it now at 300 euros. Just so you know. I think it's a fair price. ;)

Hi everyone, I'm selling my sankor 16D, and i guess this forum really is the best way to let people know ;) It's in very good condition, with redstan customs front and rearclamps, the best ones as you probably already know. I'm asking 350€ + shipment, it's in France so no taxes for EU. Maybe it'll make one you guys happy. I'm just letting it go because i don't use it as much as i would like, and will reinvest in an other lens probably. BTW, i'd be happy to consider exchange against manual quality glass, like nikkors Ai/Ai-s or Contax Zeiss ! http://cgi.ebay.fr/ws/eBayISAPI.dll?ViewItem&item=151191900419&ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649 Thanks a lot ! :D

Hi Rupert, I didn't read the whole thread, but i just wanted to let you know that i'm considering selling my Sankor 16D + Redstan custom clamps (front and rear, those are the best ones you could ever get, they're like 100£ alone). It really is in very good condition, optics are really clean. I'm asking 350 Euros for the whole thing. If by any chance you're interested or need more info or photos don't hesitate to PM me ;) PS: Just so you know i'm in Paris, France.

Well, it can be seen in the sample video attached to the article... look at the sky, it's green before (no lut) and magenta after (with lut), look at 00:50. at 00:18 on the car show that quite well too.

Besides this, don't forget to set the white balance to "as shot" in the camera raw menu is resolve10, cause it's not by default, and if you set your WB manually when shooting, it really gives best results than the WB set by resolve... i don't why resolve doesn't do that by default. Anuone noticed that too ?

I agree when you say that it gets too magenta, indeed the whites are not white, and the lut is really not perfect, but i guess combined which a small primary color correction you can get quite good results, and the time gained to bypass AE and transcode Resolve 10 the proxies is really something great.

Indeed, but as Andrew said, like with the D800, they can tell you all they want that it's clean 4:2:2 10 bits from the HDMI, but if it's just 4:2:0 8bits, "rewrapped" in a 4:2:2 10 bits signal, it doesn't matter, it's just the same "crappy" signal in a beautiful box ;) but they get to tell you that it's great, cause they're not actually lying...

Ah yes indeed we are! Thanks a lot mate !   So if i follow you, in this perfect world with a perfect camera, with very very smart camera and a very good 8 bits codec, which makes the right choices everytime (i know... we said perfect, not realistic ;) 8 bits would actually be sufficient, if it were well used ?

Hey, many thanks for answering, my question was more something like: As anyone, the actual display i'm looking at right now (99% of us are not on10bits Eizo or FSI displays I guess)  is 8 bits, How can i possibly, on an 8bits display, perceive 14 bits color gradation. I get that the video itself contains the information, but if the display is 8 bits... i only see 8 bits color right ? Just as if it were black and white, i wouldn't see color, no matter what. I know it's tricky and i guess there is something i'm misunderstanding... That's why i'm asking, so i can understand fully this, and maybe at some point give the answer to someone asking the same thing.     Or, were you saying that an 8 bits display is not the same thing actually more colors than 8 bits video ? it's alway 8 bits per channel no ?

Nice article, as always :) , i guess my question would be: How can i perceive 14 bits depth on my 8 bits monitor. That's something i have a hard time understanding.

  So your advice would be for me to take a standard variable aperture, "stupid" low contrast. I would get a milky look, really low contrast but would still be able to choose aperture without loosing too much of the vintage look ? I'll probably go for that. What about the glow ? does a little glow add some magic ? ;)

Hi there,   This lens caught my attention, i get what some of view are trying to point at. But what seems cool to me with it is that it's a real vintage lens, so it's identity is not fake, and, it's hand-modified by someone who surely loves its lenses, and at some point decided that he could make them even even more "his". Sure we can argue that it's a fashion, we can talk about the alexa and milky look of commercials (which i enjoy by the way... too much sat and contrast was also a fashion and is also a way to hide that your picture is not so interresting). This lens is not made i think to be a professional tool, it has not been thought to be THE lens, it's something a guy thought that some of us might enjoy, and that's it. It's creative, i'd be absolutely unable to do the same (i actually also own an helios 44-2), so i'd like one of these.   My question (yes i do have a question, my opinion is worth nothing, i need advice actually ;) I saw the different options available, and i was wondering which would be the most interesting to you guys ? I'm thinking that i would go for the Fixed Aperture Circular F1.5 – Extreme Flare, Ultra Low Contrast. with orange or blue tint... after all why not get the extreme one. But i guess an other opinion is never lost, and if Andrew could give me his advice, i'd be grateful!   I shoot a 5DII both for video and stills by the way.