mercer

Yup that's the one... but I think the 810 and 750 are pretty similar for video.

There was a great documentary shot with the D750 posted here about a year ago about a fishing boat but I can't seem to find it. I think unless you really want full frame, the D500 is the better buy right about now. There is a 2.25x crop in 4K but you get all of the same features in 1080p plus IS.

You ain't kidding. I bought and tested so many cameras this year I want to cry. In the end I am going to sell them all and get a BMPCC. But first I need...? Seriously though, if you or I can't make a good movie with a 70D, the GH5 isn't going to help us either... in the end, story is king. Character arcs and themes lift stories. With indie, streaming cinema the camera used is such a microscopic part of the equation. Casey Neistat is successful because he is himself in an unapologetic way... and his wife is hot. I admit I enjoy his vlog. I enjoy the way he tells his story. Good for him for the deal. Hope he shoots his new show with a couple 70Ds too.

Moral of the story... cancel the GH5 preorder and buy a 70D?

You should like it. Everything you need is right there and it runs real smooth with even an entry level Mac.

I have Color Finale and it is a great tool with a lot of support from the maker at Color Grading Central... Denver Riddle is his name and he sends a shit ton of emails. Hah. What is really great about it is that it is the simplest layout for pro color tools. I used that before I ever tried Resolve and Color Finale spoiled me because it's so simple. I probably should have watched all of his tutorials, but I tend to lack patience and prefer to tinker... probably a big reason my coloring skills are lacking. But seriously, Color Finale is great and well worth the price. I think there's a pro version now as well and the newer version has an X-Rite color checker tool that is supposed to work great.

You can't be any worse than I am and it doesn't stop me from using CineLikeD. I think Andrew made an interesting point the other night in the GH5 download thread about coloring log and that it takes people thousands of hours to be any good at it... Damn... I don't have thousands of hours and I don't want to be a colorist. I respect the craft and I want to get nice images but in the simplest way possible by utilizing the most DR I can. So with that realization, I started wondering why I am trying to understand nodes and telecine wheels and curves when I can instead use simple slider tools from a program like Mojo II and get better color results in 3 minutes with what used to take me 10-30 minutes. I still have to get better with the program and calibrate my monitor, or get an X-Rite chart, but for someone like me, I think it makes more sense.

Nice video, natural handheld... Good stuff!!! ML Raw with the MKii?

Yeah I had to transcode and downscale to 1080p Prores. It was a quick conversion with EditReady.

Dang it... my monitor must be messed. It looked fine on my computer but now her face looks too orange on my phone... in my narrative, Neumann's wife just went to a tanning salon before her walk in the woods...

Took another try using Mojo 2 and added a little grain...

Doubt it would work, but did you try a camera reset?

Are you unclicking create optimized media on import?

D500 and a6500 Two cameras. Both shoot good video and stills.

Okay, I thought maybe the aluminum on the camera side may be tweaked a little. So it doesn't work with the Sigma 18-35mm and speedbooster either?

So no discernible difference between 20mm 1.7 version 1 or 2 as far as AF is concerned? BTW happy New Year Panny... sorry about my lack of manners.

Does the mount look bent? Camera side.

Does the Panasonic 20mm 1.7 not work well with AF in video?

D750?

Are you getting the snow that just went through Jersey? If so, I'd love to see some NYC snow falling footage with your set up. Are you going to trade up to the GH5 when it's released? @kidzrevil Oh yeah, what's the secret lens you were talking about... 58mm 1.2?

Yeah, both cameras look great. I have the GX85 and I noticed a slight tweak in color with it from the G7. If I didn't need the high bitrate 60p, I probably would have gone with the G85 instead of the GH4. The GH5 looks amazing, but again I am only interested in the high bitrate 1080p right now and since the 10bit 4:22 won't be released until April or the summer, I'll probably hold off a while. As soon as I am done this film I am working on, I am moving onto a BMPCC... I'll have the 10 bit 4:22 1080p... but that ibis does sound appealing. I loved it with the GX85... but one project at a time. But yeah... to answer your question... the footage coming out of the GH5 is insane. Really impressive. I dug your last video with the G85... how does it compare to the NX1 and XC10?

And he's a waaaay better colorist than I am, so he can stretch footage a little further than I can. I'll probably end up splitting the difference with saturation but I have to do some further testing. With the FZ2500, his numbers worked nicely for me, but we'll see.

I really like Noam Kroll's cinelikeD settings. Contrast 0 Sharpness -5 NR -5 Saturation -5. With cineV he flipped the Contrast to -5 and Saturation to 0. I exclusively have been using cineD with saturation at -5 as Kroll suggested. I do my post with a MacBook Air and the monitor does not calibrate well so since saturation in Panasonic cameras seems to be so robust, as you mentioned, I prefer to record less in camera. But I just got my GH4 this morning and only did a quick cat test in the 200mbps all-i... so we'll see when I get some further testing in.

So, you only work with the RGB curves and not the Master Curve? Or do you use only curves and correct your exposure with the master curve?

I toned down the saturation a touch... but with the limited controls in the Lightroom app, I lost some of the cold, rosiness to her cheeks.