Antonis

Love the colours in this one! Mind sharing your settings/post-workflow?

It's already happening on Youtube. Many vloggers just film with their iPhones nowadays.

This was brought up in another thread, but I did not want to derail it too much. So, for those who hadden seen it yet, this video showcases the Coen brothers and their way of filming dialogue on a single (semi) wide lens: And to quote Ed David:

I found these two articles very informative on all the work and ideas behind those amazing transitions: Leonardo Dalessandri on creating Watchtower of Turkey: http://www.fcp.co/final-cut-pro/articles/1582-watchtower-of-turkey-a-stunning-piece-of-cinematic-editing-and-sound-design-created-in-final-cut-pro-x-gets-nominated-best-of-vimeo-2014 Interview with Matty Brown:

Here is a still from a 4K shot on the NX1 with the Leica 100mm F2.8 macro Elmarit-R: Original 4k: 80% Crop:

Canon 5D MkIII ML Raw filmed with a Canon 24-105 IS f4 lens and converted with MLRawViewer to C-log DNG's: https://drive.google.com/open?id=0B7jxay72e2zEMzF6b3JzRGd3cGc https://drive.google.com/open?id=0B7jxay72e2zEdlFJNWlqOUJVYUk https://drive.google.com/open?id=0B7jxay72e2zEdmZwbFRCY1ZueFk (This was an earlier ML version with silent DNG's, no audio included.)

^ Could not agree more with you! Also, I found the BMPCC screen a nightmare to use for judging proper exposure. The histogram doesn't always show you the finer underexposed areas of your subject and I found that the BMPCC doesn't deal well with underexposure either. Ideally you would want to use an external monitor with a (optional) LUT table if you go down this route.

Samsung NX1 H.265 files, old Sigma 30mm F1.4 lens (Standard Gamma, minor tweaking of contrast and saturation): 1080p 120fps: https://drive.google.com/file/d/0B7jxay72e2zEdVJRLWFSRUFyYVU/view?usp=sharing UHD 29.97fps: https://drive.google.com/file/d/0B7jxay72e2zEdVJRLWFSRUFyYVU/view?usp=sharing

I used the 5DMKiii for a whole day's shoot and it did not skip a beat for us. https://vimeo.com/122567314 I have also used the BMPCC a couple of times and whenever I have the choice, I would go for the 5Dmkiii 99% of the time. The audio is much better on the Canon and the FF look is much more appealing to me. Plus I prefer the overal image and colour from the 5D over the BMPCC. I'll try to upload some 5Dmkiii DNG sequences for you in that other thread tonight.

Great thread idea, unfortunately the first couple of upload links have already expired. Andrew, maybe you could post some instructions for people who want to share their files, to post them on a permanent hosting platform? Mattias, would it be possible to reupload those RED files again? Would love to try them out in FCPX. Here are a couple BMPCC ProRes LT files with the 14mm Lumix lens at ISO800: https://drive.google.com/file/d/0ByLAHzgYdPquTFVZaVZOZy1FY3M/view?usp=sharing https://drive.google.com/file/d/0ByLAHzgYdPquOHY5NW1hOXYzWXc/view?usp=sharing

Interesting to see a similar look on the recent Philip Bloom video promoting the FS5: http://www.sony.co.uk/pro/article/broadcast-products-pxw-fs5-philip-bloom-review-no-limits Both cameras look lovely if you ask me. It really comes down to the skills of the operator/editor. Props to both Ricardo and Philip and their craftsmanship!

Looking good Ricardo! I used the Kodak 2393 lut from the Osiris lut pack on an adjustment layer, set at 50% opacity. Camera settings were pretty basic. Gamma control was on "normal" with luminance levels at 0-255 .

Recently got my NX1 for a bargain price. The 120fps mode is actually pretty good and can be edited flawlessly with any other Canon DSLR footage.

True, although I didn't see any Nikon-NX adapters on B&H that offer aperture control. However, this one on eBay seams to be the one! |http://www.ebay.com/itm/Nikon-G-AFS-Lens-to-Samsung-NX1-NX3000-NX300M-NX300-NX-Adapter-Aperture-Control-/221804455384?hash=item33a49365d8:g:xf4AAOSwEeFVI4Zo

If the aperture iris blades are in the actual adapter like this one, then NO that doesn't work and it will just create vignetting when stopped down. However, there are adapter that can control the lens aperture on NIKON mount lenses , like this one for example: link (this one would also work on any Sigma Art with Nikon mount lens) So potentially you could "double stack" adapters to retain aperture control on the NX1 with Nikon lenses. [ NX1 - NX to EF adapter - EF to Nikon adapter - Nikon mount lens ]* *might be a bit wobbly, depending on the quality of the adapters

And it can be applied to non Russian individuals just as well.. Back on topic// Quite impressed with the dynamic range and ease of grading such flat images. I did see quite a lot of macro blocking on the edge pillars of the window shot when you don't crash the blacks too much. How easy was it to judge the exposure with the flat profile?

+1 for using Resolve! There is also this program called MLVFS which "virtually" encodes your MLV files into cDNG. This way you don't even need to convert the MLV files and can thus save some harddisk space. Here is a how to: https://www.youtube.com/watch?v=xr2pT5mrn8Q

No doubt the XAVC-I is a superior codec. My point was more the "revelation" of how Slog3 does not actually use all available data when recording internally on an FS5/A7SII etc. Just another case of knowing your camera and it's limitations.

At 1h50min. into the video, does Alister basically say: "If you record in 8bit, do not use SLog3, period." Or am I mixing something up? Edit// This comparison makes a lot more sense to me now, after hearing Alister talk about Slog3 in 8bit vs 10bit: https://vimeo.com/143132608 There is so much more colour information available in the 10bit files from the FS7.

If you are using Apple, I would definitely transcode to ProRes 422, that codec works very fast with Premiere (and other NLEs) and at the same time doesn't loose you quality when transcoding. I am not 100% up to date on Windows codec systems. DNxHD is a good ProRes alternative but if I remember correctly it doesn't support QuadHD/4K resolution. Another option would be to work with proxy files (like the small mpeg2 files you already created) and relink to the original files once your project is complete and ready for export.

I would like to add that editing native 4K 1DC clips will require a heavy machine. The C100 files will be much easier to work with without the need of transcoding. And don't forget to add additional backup storage which you will need when shooting large files with the 1DC.

I think you overlooked the part where the X5R shoots 4k and the BM Micro "only" 1080p.

X3 vs X5 sensor size comparison:

I updated my BMPCC to the latest 2.7 firmware last week. Still have "Raw" and now also functioning "Frame guides".

Sorry to hear about that yellow cast Ebrahim, sounds like a fabrication error to me if it only occurs on one side of the screen. According to this article from the same website, the iPad Air was performing rather well and on par with the first retina screens from the iPad3 series: http://www.displaymate.com/Tablet_ShootOut_3.htm