sudopera

I believe you are both on the same page here really... I think Ebrahim what you really think(correct me if I'm wrong) is that some people tend to crush not just deepest blacks but shadows also so they lose all information in shadows and that looks like crap. I agree that the deepest blacks are mostly crushed in movies but the shadows are just pulled down a little to obtain more contrast but not so much to loose all information, what is the point in high dynamic range then if you throw away all that information in the grade.

I would like to see a direct comparison between A7R II and A7S with the same picture profile(Slog2 with the same LUT applied) in terms of color. IMO it would be good to have something yellow and something red in the same shot(probably some flowers would be the best choice because of the natural colors) because from what I've seen A7S has greenish yellows and magentish reds. Personally I think that is the main reason why it's hard to correct A7S colors because you have two color casts that are opposite to each other in the color spectrum at the same time... and I don't think that the whole image is affected by those casts, just certain colors(IMO yellows and reds).

You put a 30000$ camera in place to shoot lions or hyenas(or what not) at night and pray to God that an elephant or a rhino doesn't come by

I suppose you maybe know this already, but you should only buy iMac with basic 8GB of RAM from Apple and buy the rest from OWC or Crucial. You can save substantial amount of money without loss of quality or performance. Apple's RAM pricing is a plain robbery. I think Crucial shop for Europe is in UK.

That were exactly my thoughts . I think mattebox is important for this setup if you want to control flare, not that I don't like the flare in Andrew's video, it's quite positively strange and interesting.

Andrew, from what I seen in your video, that combo with Kowa really removes that digital/video edge of the GH4 and it seems to me that the highlights rolloff looks a little bit smoother. It really looks like a winner combo. The only thing I'm not sure of is how it would work with mattebox, because focus ring is right at the front of the whole setup.

Check also this one out: http://eshop.macsales.com/shop/Thunderbolt/External-Drive/OWC/ThunderBay-4-RAID5 Europe reseller: http://macupgrade.eu/catalog/external-hd-thunderbay-raid-edition-c-3_288.html Reviews: https://larryjordan.com/articles/product-review-owc-thunderbay-4-raid/ http://www.tweaktown.com/reviews/6616/owc-thunderbay-iv-raid-5-edition-external-storage-drive-review/index.html

I think if URSA Mini lives up to expectations it would be a great A camera... just today I realised that besides all other options it will have an option to shoot 3072 x 2560 1.2:1 aspect ratio for use with 2x anamorphic lenses/adapters to get 2.4:1 cinemascope 6144 x 2560. With all other options that it will have, it certainly ticks a lot of boxes. But as you always say, first it has to be tested in the real world .

I have a suggestion for everyone... watch Blue-ray version of "High Plains Drifter" with Clint Eastwood and tell me what you think about the image and colors. http://www.imdb.com/title/tt0068699/ To me personally, one of the best movie images/looks I have ever seen until this day, just plain oldschool filmic image with fantastic colors. http://thesupernaughts.com/wp-content/uploads/2015/04/highplainsdrifter.jpg

​All of a sudden that Nikon Filmmaker's Kit looks quite appealing

If I remember correctly, Pinewood Studio in UK has similar setup with multiple Canon 100D bodies. You can see it in this BBC documentary: http://www.bbc.co.uk/programmes/b05ys7zz There was also some other movie magic stuff in the documentary, so I recommend watching it.

On this YouTube channel there are some sample videos in 4K C-log https://www.youtube.com/channel/UCt6Jlg_80lQEGbiEsdtrrhQ

Try these http://cvp.com/index.php?t=product/datavision_dvs-ledgo-600lk2 Color science expert Alan Roberts tested various lights with some advanced measurements because he feels that CRI(Color Rendering Index) has many flaws and is unreliable and outdated way of measuring quality of light. Here are the links to the article and test results page: http://www.gtc.org.uk/tlci-results.aspx http://www.gtc.org.uk/tlci-results/tlci-results-new-format.aspx In his tests, these relatively cheap Ledgo lights have better results then some much more expensive, so it seems like a good investment.

The only problem is that there is quite substantial amount of noise as you can see in PB's footage especially if you put a lut on it. I denoised the footage first than used FilmConvert A7s Slog2 profile and it looks very nice to me with a little tweaking. I guess the noise is there because of the small sensor and lifted base iso for Slog2, but it's not a deal breaker for that kind of a camera. Dynamic range seems quite good. I know the footage is from RX100IV but as I understood the sensor is the same as in RX10II.

From Bloom's blog: "I didn’t shoot the kitchen piece in S-Log 2 as I find it way too noisy in HFR mode, even using Cine 2 and Cinema colour it was noisy in the blacks, hence I graded it strongly to hide what I could! I will share some natural light outside stuff HFT, 4K and HD very soon!"

Just found some Nick Driftwood's GH4 V-log 10bit 422 untouched footage download link posted on Twitter. Footage is recorded on Shogun. Here is the Dropbox download link: https://www.dropbox.com/s/xtwhwbpe75k3k7s/VLogL-SHOGUN_S001_S001_T008b.mov?dl=0

Here are some ​http://coremelt.com/ http://store.pixelfilmstudios.com/?gclid=Cj0KEQjwiN6sBRDK2vOO_vaRs5cBEiQAfsnJCR3Gik8jMEbkfHVfbgoagR7iHqCtf669WUgiLGG9tQ0aAlhs8P8HAQ https://www.redgiant.com/ http://try.colorgradingcentral.com/colorfinale/ http://fxfactory.com/products/

​But that one would probably weigh a ton

​I personally don't mind the weight, I like a little heavier bodies and lenses, it feels more balanced in my hands. I think this lens paired with A7R II / A7S II IBIS would be a great combo. As Julian said, it is quite normal for this kind of a lens to be big. Of course, for APS-C users it's probably not that appealing because of the small range and not being wide enough(36-52mm in APS-C), but full frame shooters get 24,28,35mm primes in one lens if it is good as advertised.

If the price and image quality is right like previous Art lenses, this could be a great replacement for wide primes. http://www.newsshooter.com/2015/06/19/sigma-24-35mm-f2-dg-hsm-art-full-frame-lens-a-multi-range-prime-lens-disguised-as-a-zoom/

http://newcameranews.com/2015/04/01/shocking-nikon-canon-to-end-camera-development/

Shane Hurlbut tested Panny, Olympus and Voigtlander M4/3 lenses on GH4, and his opinion is that all 3 Voigtlanders are the most cinematic and Pannys came second. He was a little bit disapointed with Olympus ones. Personnaly I don't have any experience with any of them, but the guy is a working DP so I guess his opinion counts for something. More here on his blog: https://www.hurlbutvisuals.com/blog/2015/02/micro-43-lenses/ https://www.hurlbutvisuals.com/blog/2015/04/micro-43-lenses-3/

Maybe try this http://www.colorgradingcentral.com/davinci-resolve-tutorials

Well done, it is always nice to see these kind of videos with people smiling, dancing and enjoying themselves that make you wish to come visit the place. My only advice would be to choose were you put dissolve transitions(or any kind of transitions) more wisely. It can work well sometimes like when you had that closeup of the hand after a wide shot, but you don't need them all the time.

Somewhere in the middle for me, I think they quite overdone it(teal and orange on steroids like Transformers).