sudopera

Maybe it is best to wait few days/weeks and see what will new GH4 firmware update bring to the table. There were some rumors about V-log profile. Also new GH4 4K Photo mode with different aspect ratios for anamorphic shooting is quite a tempting feature that other two contenders don't have.

Well, we all have to work with something, so maybe a bit too late to the party. We dont make a living of rumors.

This camera is way out of my league but it would be great if this camera delivers and becomes popular in high end market. I think the best way for companies is to implement newest technology into most expensive high end products and make a profit, and is then cheaper some time later for them to implement most of that technology into mid range and lower end products, similar to how automobile industry works. I think this is the reason why Sony FS7 is not so expensive for what it is. So far Panasonic show that they care about our enthusiast wallets :) , so I hope this will be the case with their new mid and lower end video cameras and that is the only reason why I'm interested in VariCam.

Still waiting for Panasonic to surprise us with AF100 successor.

Here is a video presentation for VariCam dual native ISO, quite amazing new technology. Found the article on News Shooter http://www.newsshooter.com/2014/11/28/panasonic-varicam-native-iso-of-800-and-5000-how-do-they-do-it/

If we forget about Sony, Panasonic, Samsung etc. for a second, you even have Nikon that is almost the same as Canon in every aspect of your description here but they managed to improve on video side significantly(dynamic range, detail, D750 articulated screen). So even if we put mirrorless cameras aside and just concentrate on DSLRs, Nikon is clearly paying much more attention(not enough) to videographers needs than Canon now and at least they gave us nice 1080p and 60p.

This post was intended more as a way to see does the camera have accurate (as we see it in reality) skintones and not for grading, because grading gives stylized looks according to the mood and your preference. Regarding CMYK, in this technique it's used by photographers because they have separate control over blacks opposed to RGB. So when you have correct CMYK values in Photoshop, you can then export that jpeg or tiff in sRGB color space which is very similar to Rec709. Then you can put that jpeg side by side with your corrected but not graded footage in your editing suite and see the difference. I think it could be helpful for tweaking the camera color settings. Of course this would probably only work for daylight balanced shots. It wasn't my intention to suggest that everyone should now use Photoshop and change regular workflow for video, but finding some kind of a way to judge color accuracy objectively(with the help of some mathematical measurements), not in the subjective "I like Canon colors, you like Nikon colors, that one likes Sony etc." way. This was just an idea, so if someone finds it helpful great, if not nevermind.

I learned this technique some 6 or 7 years ago in some short Photoshop course and totally forgot about it. There are different combinations of CMYK percentages that represent common variations of proper skintones from various races. Of course, no skintone is exactly the same so this is used as a guideline and you adjust the percentages just a little bit for your actual subject. Then you can throw that corrected still into your editing suite and use it as a reference. Here is tutorial link: http://www.graphicconnectionkc.com/skin-tone-correction.html At the bottom of that page are most common skintones with CMYK percentages.

You should thank that guy, not me :) ... but nevertheless I'm glad to help.

Sorenson Squezze 10 supports h265 and exports to ProRes https://support.sorensonmedia.com/customer/portal/articles/1710860-hevc-h-265-codec-support-in-squeeze-10 Edit: Sorry, didn't knew that Pro version that supports h265 costs 750$

A very long but interesting video about proper exposing in slog2 to avoid colored noise, not just in the shadows but in the skintones as well.

Was that really necessary? Should we do an arguing session now like so many people do it here for no reason at all? ...sorry but not interested. I never saw anything shot with this camera before except some movies when I wasn't paying attention what camera was used and to me the videos that I saw are amazing and "the grass is green enough" for me in this case.

Just watched a bunch of videos made by F35 owners and I am simply amazed with this camera(some great ones from our fellow member Ed David). I wonder what is the reason that Sony can't have F35 colors in new cameras, could it be the CCD sensor. I understand that this was a 250K camera but one would think that they could use that 10 years old knowhow for new cameras.

Oziris LUTs from Visioncolor are very stylized(for example "teal and orange" look) so I wouldn't recommend them for natural looking skintones and to me personally most of them look like a SF horror or Mad Max apocalyptic kind of grades. They can look interesting sometimes when you want a very stylized look. Visioncolor also has Impulz LUTs that represent older film stocks similar to FilmConvert but tend to introduce some weird digital banding in highlights rolloff areas even if original footage doesn't have any, so I think FilmConvert is a better option and they just recently included profiles for A7s. I'm no expert so just a personal opinion.

Here is a thread on this topic with links to videos where a guy from ARRI explains difference between various types of lights '?do=embed' frameborder='0' data-embedContent>>

Nice to hear that Andrew, looking forward to a future review. I don't know how much it would cost but maybe it's possible to convert it to a cinema lens, if I remember right that lens is parfocal. Edit: Just watch where you use it, I have read that very dusty and very humid environments are a no go because the housing is very sensitive. If someone is interested in old glass I found this web shop in Austria with vintage department http://www.leicashop.com/vintage_en/

I've played with Emanuel's footage a bit and I'm quite amazed with the grade I got. I tried first with Filmconvert(F55 profile) and it was good but not quite there, then tried Oziris Alexa Log C to Rec 709 profile and it was much better. Finally tried Oziris Log to Rec 709 and it was a lucky punch because I never use that. After that I adjusted highlights/midtones/shadows and saturation to my liking and balanced the colors with the RGB parade, all in FCPX. When I saw what I'm getting it felt like a professional colorist is sitting next to me. That SLog3 is jawdropping stuff and I think that Sony really got this one right. Here is the download link for my grade of the footage(1080p ProRes LT): https://copy.com/Yt6LWviuFZQJ8lPB

Here is a comparison of externally recorded 4K from GH4 and A7s http://cameras.reviewed.com/features/the-mirrorless-4k-showdown-sony-a7s-vs-panasonic-gh4

I would be very thankful if you could provide some original files with flat profile for download.

I agree, 4K version with around 400-500$(€) lower price would be quite enough and a good deal.

What can I say, Niagara of saliva from my mouth right now http://store.apple.com/us/buy-mac/imac-retina

Oh yes it can look filmic in the right hands

Filmconvert a7s profiles are now available for download: http://www.filmconvert.com/download/Download_camera_packs.aspx. I must say that I didn't like the colors of a7s image at all, but now with filmconvert it looks very good to me. I've made a quick test with all the film profiles except b&w ones, adjusted contrast, raised saturation to 120 and added 30%grain. Also before filmconvert, denoised with Neat Video and sharpened a little bit. Didn't bother to make it perfect, I was just interested to see how the colors look. Here is the link for test video download: https://copy.com/yXnrsf0qmxoZTjbl

Check this video, maybe you can find some answers http://dslrvideoshooter.com/filters-video-part-filter-types-uses/ Halation is glow around highlighted objects introduced with filters. Example: without filter you see only shape of the flame on a candle, with filter you get glow like a halo around the flame (that is why it's called halation).

It seems that this really is the best stills/video hybrid on the market right now. Just found a great review from England No.1 Wedding Photographer Ross Harvey: http://www.rossharvey.com/reviews/nikon-d750-review He says that he will use D3s as a backup body for stills from now on. EDIT: Btw Andrew, it would be nice to see some anamorphic footage from D750 if possible.