Tim Sewell

Those are, to me, very cinematic images. What ISO were you shooting at?

Unfortunately, this is a camera marketed for handheld use in unpredictable shooting situations - so let's hope for a firmware solution!

Typo, more like, probably used 1s instead of Is in the blog post.

Get saving! http://www.hdwarrior.co.uk/2016/11/06/new-sony-fs7-11-no-price-yet/

That was a great bit of work!

https://cgi.tutsplus.com/tutorials/davinci-resolve-fundamentals-power-windows-and-masking--ae-25585 https://library.creativecow.net/devis_andrew/AE_Creating-Masks/1 https://helpx.adobe.com/premiere-pro/using/masking-tracking.html

http://cpn.canon-europe.com/content/education/technical/get_the_most_from_canon_log2_and_log3_with_your_4k_workflow_when_using_canon_cinema_eos.do?utm_source=newsletter_november_1_16&utm_medium=email&utm_campaign=Newsletter

Hi @mercer - sorry for the delay. I've only just had a chance to look at the camera. First off I have to thank you - while I was fiddling through the menus the lens unstuck itself, so I now don't have to get it fixed! Unfortunately, except in HFR mode, there's no indication of framerate anywhere - however I found this on dpreview: So that seems fairly conclusive. https://***URL removed***/forums/post/50747107 Sorry not to be the bearer of better news. The video sure does look nice, though, even within the limitations of framerate and bitrate. I always shoot it at 1/50 and motion is as good as I'd expect from this kind of camera.

Ianiro are the original redheads and are still competitively priced (http://www.ianirouk.com/categories.php?CategoryID=40) - even better if you can pick up a used kit on ebay!

Gotta say - I just bought (in August) a new 15 inch Macbook Pro, the one with the i7, 16GB/512GB plus AMD whatever and I was a bit worried I might have jumped the gun, but I actually think, what with the price rises, that what I got is probably better bang for the buck than waiting for the new line-up would have got me. And it runs FCPX like an absolute dream!

Only in America...

Nice colours, but every clip I've seen from it has had horrible motion.

I'm about to go out trick-or-treating (groan!) with my 2 youngest, but I'll have a look this evening and get back to you.

LX7 was the first video-capable camera I ever bought and is ultimately responsible for the GH4/FS700/XC10-sized holes in my bank account. I was (and still am) blown away by the quality of the video you can get from it - although a fair bit of the credit for that has to go to the 1.4 lens. You can still get them - I bought one for my daughter last Christmas as her first 'proper' camera - but they're fewer and further between. Mine, which has been our family camera of choice for outings etc for several years now, has a stuck lens at present that I'm hoping to get repaired. Edit to add - and it has a 3 step ND built in!

I haven't done the festival thing - or yet made any movies of my own. I did, a long time ago, write a screenplay that was made into an internationally distributed (big screen) feature (it bombed). So one thing I would say is that if you are taking your feature script anywhere you definitely need what in the UK we call a selling synopsis. Basically getting your film onto a single sheet of A4 in a way that the reader can se what it is about the project that makes it deserve their money. No-one is going to read a full screenplay at an early stage so you need that elevator pitch on paper to even have the smallest chance of someone calling you a couple of days after the festival and wanting to chat.

So, @kidzrevil et al - inspired by recent chat here I'm thinking I'm going to buy a Black Pro Mist 2 or 3 and an Ultra Con 3, with a view to sending one of them back, probably. I've chosen the two because their seem to be 2 schools of thought about the best route to getting this look we're all crazy about - would you say these are the right two filters to start with?

Ouch!

You've got to love that this is a camera that you can sling around your neck and look like Joe Tourist yet grab images of this depth and colour. When it came out the reviews were dire, yet everyone who has actually used it sings its praises to the ceiling. Canon - shitty marketing department, sensor department on steroids.

Ha. Yeah, well I don't think it's gonna go to 3 or 4 stops (else Arri would have a problem here) - but, coming from a Canon stills experience, there is a depth to the underexposure in their imager that gives you tonality rather than just noise soup. Canon log, especially, seems to retain colour in underexposure that can give you really painterly tones. I'm experimenting with it now.

Hey guys - yeah, I know. I'm chasing that super 16 feel with this, so I'm selecting that grain structure - but I'm dialling it down to around 60% as I find the filmconvert implementations to be a little aggressive (plus, we're, like, in the digital age, right?). Thanks for the thoughts though - I respect the work you put out and I'm always happy to hear your comments. Coming from you I take that s high praise indeed - I love your stuff and aspire to be able to create anything even half as good! I thought that was pretty cinematic too - the beauty of this camera is that it has a depth in underexposure that allows you to grade to the image, not to the noise, which is kind of like... film!

A couple of stills from my Disneyland trip (don't ask!) that I've graded in FilmConvert with the new profiles. 5207 Vis3, 60% film colour, 65% Super 16 grain. Tweaks to curve and saturation. Edit: shot in Canon log at ISO 500 (apart from the last one, which I think was at 2000. I'm really loving the image I get this camera - it may not be for everybody, but it matches my sensibilities. Knowing it is capable of producing exactly what I want and that it's so easy to use makes me want to shoot a lot more, which is - obviously - the best way to get better at anything!

Heh - I think that might reduce the stealth factor a bit! More seriously, I'm reasonably happy to forego a constant fast aperture for the sake of the amazing reach. That, coupled with the IS makes the camera (to my mind) a lot more of a proposition than something with a faster constant lens with a much shorter reach would be.

Yeah, I was looking at standard too, probably with the sharpening dialled down a little. Would you still add any post LUTtage to that, or leave it as is (your work always seems highly stylised to me, so I'm guessing the former)? As an aside, just for fun, I manually 'legalised' some of my C log test shots then played around with some looks LUTS (DeLUTS) designed for Sony Cine4 and they didn't look too bad at all.

That's lovely stuff! Be very interested to hear your findings on a good WYSIWYG profile. BTW - are these Impulz Tetrachrome LUT again?

Apparently the flavour of c log in the XC10 puts a dull white at around 65 IRE, so you may find your highlights easier to recover if you set your zebras to 70%, and keep whiteish elements just looking like they're clipping. For myself, I'm currently trying a different, simpler approach, which is to expose so that the exposure meter shows around 1 stop over. I haven't had an opportunity to grade anything shot this way yet, but the ungraded files look to have a good tonal range. I'll post some still grabs once I've had a chance to look more closely and play with them.