Deadcode

Could you please upload few DNG from the video above?

We will see it in @mercer 's example.

It's simpe. He will not see any difference in regular cases. The statement of 700Mbps could be almost twice as good as 400Mbps is only true on paper. I just want him to prove it for himself.

You are shooting with 5D right? Could you please show me what is the difference between ProRes LT (88Mbps for 1080 24p) and ProRes XQ? Just convert Raw to ProRes do a grading and crop the difference please.

"How hard can it be to at least make a small effort to try to match the shots from the two cameras. The one on the bottom is from the video, the one on the top a two-second color correction." For me this comparison felt like they wanted to make BM look better in most ways. Skintones: bad grade for GH5, Stabilization: "Dont worry, we put it on a gimbal. I mean the BM only," Dynamic range: let's shoot in natural PP with the GH5, and shoot in RAW with BM.

The dynamic range is impressive. This shot is waaaaay underexposed and still "just" ProRes. But it can be lifted easily

Eastern europe wedding cinematography starts from 400 eur. Average price is between 700 - 1200 eur, 1500+ range is very rare. Weddings costs around between 8000-12000 EUR all together including photographer, videographer, clothes, makeup, hairdresser, meals, and a hotel for 80-100 people. Average wage is below 1K EUR. In UK 1500 gbp is low price, 3k is usual. Insane. I should move to UK ? And you too Jimmy ohh, and the iPhone XS Max 512GB costs about 1800 eur, actually phones are fckn status symbols.

Here in eastern europe, 1500 usd for a wedding cinematographer means you have a very fancy wedding and your are hireing a pro group with 2 or 3 person ? the wage gap between here and the west is insane.

You should start another thread for each cameras individually. Plus the 3 new lenses also deserves they own separate threads.

Actually Cine 4 has a very nice highlight roll-off. But it uses 0-255 data level, and even Davinci Resolve cant recognize this in Auto mode, you have to switch it manually. So technically you have worked with Cine 4 like you throwed away the darkest 0.5 stop and the top 1-1.5 stop DR. (where the roll-off is actually happening :D) Exposing for Cine 4 properly means 50-60 IRE luminance level for the skin tones, and not 0EV AE Actually exposure does not really affect skin tones if it's above the noise level, which is around 40 IRE (ok, this statement is true mostly when recording in 10 bit) Mark Romero 2 "Well... according to the sony help guide scroll to the bottom of here: http://helpguide.sony.net/ilc/1420/v1/en/contents/TP0000435736.html ), that seems to be what they are saying: "Setting [ITU709(800%)] or [S-Log2] may cause an error in the white balance custom setup. In that case, set the exposure bright first and then perform custom setup." Although it is hard for me to interpret that..." Slog2 is designed to use with S-Gamut. S-Gamut has to be mapped to REC709 Gamut properly (which is not happening usually because the lack of knowledge, this is the reason why everyone is crying about how hard is to grade sony footage) and only 3200K and 5600K correction LUT's are existing right now. So if you are recording for example in 4300K, the mapped colors will be off. I know everyone is using SLOG2 with S-gamut3.cine, but without gamut mapping the skin tones will not have enough thickness. Now back to topic: every LOG footage has it's proper exposure levels for skin and 90% reflectance white, and every gamut has to be remapped to REC709 (or wider) colorspace in the grading process.

With +2 stop overexposure, you still have around 12 EV dynamic range, and each stop represented about the same amount of luminance levels. If you are shooting regular gamma, not each stop has the same amount of luma data which can cause limitation in colorgraing. I tested extensively Cine4 (0EV) against SLOG2 +2EV which represents the same amount of dynamic range, but the low end of the Cine4 is heavily compressed compared to SLOG2. If you lift your shadows Cine4 falls in to pieces. Of course with regular grading both looks good and very close to each other. My conclusion after tons of testing: expose for the highlights in wide DR scene, using SLOG2 for best looking image, and always expose for the skintones when using Cine4, and let the highlights clip, if necessary to get out of camera nice results.

The idea is great, but now, at the beginning of the affordable 10 bit recording era it is pointless. From technical point of view, 8 bit LOG recording only lived for a few years, from 2014 (A7s) till nowdays. I think every camera manufacturer will step up to 10 bit in their next camera where throwing out half of the data will not means visible image degradation

Want to see good looking image from Hero 7? Check this handheld shot And yes, the banding still occurs because of the youtube compression.

You guys are even real? ? Vimeo is using 12-15 VBR codec to compress 1080p footage. And hyperlapses require much higher bitrate then usual. Why dont you check normal footages with higher resolution...

There is a a lot to read here for you Yes, the bitrate should be higher, but man, you are judgeing the image what you saw on a 8Mbps compressed youtube clip... It actually holds up pretty well, even after colorgrading.

GoPro's have around 11 stop dynamic range in Protune Native Flat mode. Actually the dynamic range is very good for the sensor size

What else do you need?

No it's not. The max resolution in full sensor mode is 2240x1260. 4K raw is barely possible, the SD card interface max writing speed is 95MB/s just like the CF card interface in 5D3. Which means with 10 bit compressed raw around 3.5K will be the max possible for continuous shooting. And because of the 30MP sensor it's gonna be over 2x crop. But let's hope for the best.

Introducing Blackmagic RAW in 27 minutes long video

The built in EVF is dimming too in 4K just like the back LCD. It is almost impossible to see anything on the screen or on the EVF in bright sunlight when you are recording 4K. At 1080p both are perfectly bright. With field monitor it will be fine. The image is identical in 4K to the FS5. The rolling shutter is much worse on the A6500, but the low light performance is much better.

The minimal amount of jello while shooting handheld is good, it means the rolling shutter is minimal. Also the low light section is nice. I agree with @Anaconda_ "look" is decided in post with this camera, however that Contax Zeiss 50mm 1.4 is smoooth.

I'm still waiting the Part 2 of the following reviews: 1Dx Mark II, A7S II, A7R II, KineMax, Atomos Shogun, A7s, Digital Bolex, BMPCC Long ago, cameras like 5D3 deserved a lot of tests and comparison on eosHD. Nowdays barely any footage. Fortunetly the skill is still there (M50 sample, Pro Color V4, 3.5K ML RAW) but the passion is fading..

You are an influencer, just like vloggers. Your articles reach a lot of people. The tone of your voice in your last article is not appropiate. What did you expect?

This is the post what clearly explains why you dont get invites to any brand anymore. Childish. John's post are perfectly reasonable, Blackmagic dont want comparisons against other cameras, they want to provide enjoyable images and emotions with the camera. Have you see the parachute footage from Eos R? It's all about smiling people enjoying the moment in the sunset. You want to capture the feeling, and we can provide you a tool for that, this is the message. Not low light noise comparisons.

Use Colorizer. It was created by @Attila Bakos and this is exaclty what it was made for. Nice image!