Luke Mason

http://digicame-info.com/2016/01/d54k330.html

Nikon just announced in a road show that the 3min limit of 4K on D5 will be removed by a future firmware update.

Yep, download OpenColor IO and ACES Config for After Effects and you'll be able to generate your own, you can do cross conversions between almost any modern gamma curve. You are trying to do shot matching I believe? if you use Resolve you can grade in ACES log, if you have to use an LUT it's better to convert Log C to Canon Log, compressing DR instead of expanding, which may introduce artefacts.

My comparison using IMATEST shows D750 has precisly 10.3 stops of DR in video, flat mode. C-Log on 1D C shows 11.7.

i'm talking about video dynamic range not RAW stills from Nikon. Unless Nikon develop a log profile (not just flat), it will never reach 13 stops in video

Nikon has more DR than 1DC? Canon Log has 11.5 stops of usable DR, Nikon tops out around 10stops

The firmware update increased the temperature threshold for overheat protection. Completely irrelevant to what I'm talking about.

That's not going to help, the sensor is on top of PCB and other material (plastic and metal alloy), they all have poor heat conductivity, attaching a heatsink will not dissipate heat.

The biggest edge for 7D Mark II in video mode is that it does real time vignette correction, chromatic abberation correction and lens distortion correction(with Canon lenses), it basically gives you 99% of the optical performance of an ultra high end cinema lenses. Also it's great for VFX shots since vfx artists don't need to undistort the plates before comping.

I didn't know I could speak French! I assume they were using the color matching tool in Resolve (the one you shoot a colour chart)

How do you calibrate the 1D C? Were you using CanonLog mainly?

Please do a colour rendering comparison like you did with 1D C and NX1, thanks1

​I'm afraid that's not accurate. Yes for a long time BT.709 did not have a specific decoding gamma, but in 2011, ITU published BT.1886 standard which gave BT.709 and BT.2020 a well-defined decoding gamma (a "smart" gamma curve that adapts to displays' actual black level - after calibration of course).

Sony clearly stated in the A7s manual that S-Gamut on A7s is merely an "emulation" of true S-Gamut, so LUTs from F65/F55/F5/FS7 etc. won't work correctly.

Just to let everybody know, please don't forget there's a REC709 (800%) mode on A7S, the dynamic range is around 11-12 stops The biggest advantage is that there's no ISO limitation and you still get decent amount of DR, but bear in mind that in 800% mode, about 6 stops of DR are recorded between 0-90IRE, and another 6 are recorded between 90-109IRE, so highlights are super compressed especially in a 8bit codec, be aware of banding/posterisation.

Mattebox suggestion, Movcam MM4 from CVP, super lightweight and also clip on.

If it's a camera pan then the rolling shutter is fixable, but if it's a subject moving fast in a locked down shot, it's near impossible to get a good result, the plugin Rolling Shutter Repair in Adobe PR/AR doesn't even have local correction functions (you can only skew the entire frame). With Rolling Shutter plugin from The Foundry it's hard not to get any artifacts when doing a matte to isolate the subject.

Doesn't make any difference, both will get your 4K footage downscaled to 1080.

D810 in 50/60p mode resolves around 800 TV lines: some 50/60p video clips straight out from D810 for download: http://editorup.zol.com.cn/upload/201406/53da037f7d2b1.MOV http://editorup.zol.com.cn/upload/201406/53da033545c37.MOV http://editorup.zol.com.cn/upload/201406/53da0287d9a9b.MOV

It's called a GH4 with YAGH

I think you guys are over complicating things, S-GAMUT on A7S uses x.v.Color to caputre extended gamut (1.8 times of sRGB), no post-processing softwares support this colour space, it will be scaled back to standard sRGB upon ingestion, which may cause issues. S-GAMUT, although shares the same name between many Sony cameras (F5, F55, F65, A7S, FS700 etc.), are very different from each other, for example, S-GAMUT on F5 uses standard BT.709 with reduced saturation, while on F55/F65, it's a very wide proprietary colour gamut that pretty much covers REC.2020.

C500 RAW and F55/F65 RAW can be processed to support Rec.2020.

S-Log2 and S-Gamut on A7S use standard BT.709 colour primary, same as F5.

The perceived sharpness comes from inferior scaling algorithm. My guess is that the scaler box uses "Nearest Neighbour" and the resulting aliasing is severe. It's fast though so it can be done on the fly. Regarding dynamic range, DXO Mark rated 10.5 stops at ISO3200, which is the base ISO for S-LOG2.