mercer

If you added a curve adjustment, this would be sick. I am a huge fan of Color Finale as an all purpose, fully formed color tool, but the LUTx adjustments are genius, so if you guys would give me one less effect in the inspector by having a simple curve adjustment tool... That would be great!!!

I just recently bought the FZ300 and it has the 5 axis in 1080p, but not in 4K. And even in 1080p it is a dual IS system that requires the in body and the lens stabilization to work. With 4K it just uses the ois from the lens. But the worst part is how confusing they describe the IS. So, that is my fear me with this camera. From the announcement, it sounds like there is in body, 5 axis stabilization, in 4K, but then they discuss the need for OIS lens stabilization for dual IS. So are they being vague and you need the OIS lens to get the full 5 axis in 4K, or with the OIS lens you are getting like 7 axis? Is that a thing? So, the question is, can I use manual lenses, in 4K, and get 5 axis stabilization? To be honest, I find it a little suspect that their latest models cannot even do 3 axis, in body stabilization, in 4K without an OIS lens, but this can do in body 5 axis?

Exactly this is the reason I listed my NX500 on eBay this week. Of course, when I was getting it ready to list, I remembered how amazingly ergonomic and light, yet solid the camera is. I had second thoughts for a minute, but for me I have no interest in hacking it and there are plenty of good options out there. So, it must go.

Edit...

If I was plugging it, you'd see better results...

The ability to adjust the LUT with highs, mids and lows independently is a very helpful feature. Also, I really like the ease of importing and organizing all of your saved LUTS. Very cool.

Okay, this is the last test. I really like this plug in. It works really well with Color Finale and for 30 bucks, there's no reason not to have it. With this one, the original was shot in CineLikeD with my Tokina 35mm f2 lens. With the LUTx version I did a basic curve in Color Finale and then used the Nikon Camera LUT and the Candy Crush LUT.

I messed around with it a little more this morning with some of my first shots with the G7. This was shot in CineLikeD with a Cosmicar c-mount lens. The first grab is... Straight Outta Camera. And the second I adjusted the curves in Color Finale and then used LUTx and their free LUT... I think it was Maxximus.

Yeah, I'll have to mess with it more, but it seems like a very simple and effective tool. I have been using color finale and I think a combo of the two could be great. Color finale for exposure and balancing and LUT-X for a quick look. Of course, if you use the RGB Parade, you could balance your color with this plug in as well.

I just downloaded the trial and I really must say that this is a cool plug in. I honest don't need the 15 days to decide to buy it. I did a quick "look." This shot was taken with the FZ300. The first grab is corrected and balanced. The second is graded using the CoreMelt PlugIn... I think it was High Contrast.

That does sound cool. I am actually a fan of the M31(orange and teal) look, but a lot of times the teal will blow out lighter colors in the highs, so the ability to adjust the highs to next to nothing, could really help get some great looks.

I would like to hear more about this sci-fi film.

Looks great. I really like the idea that you can adjust the LUT intensity separately in the Lows/Mids/Highs Their free LUTS look really nice as well. I think I'll download the trial.

Yeah, I love flares. I shot this video on the NX500 a while back. That was shot with a Tokina AT-X 24-40mm. If you're looking for some lenses that flare nicely, those vintage Tokina lenses do the trick, but they are very low contrast.

I actually had both out when you asked, so I tested it with a lamp... and I couldn't get it to flare for the life of me. It is sharp and contrasty though. I have to stop using the NX500, every time I pick it up, I am so impressed with the ergonomics of that camera and how light it is. If I just liked the clinical look it shoves onto its images, I would keep it and get rid of the G7. Good luck with the OM 50mm!!!

I have used it once or twice with my NX500 (which I'm selling) and it's a nice little combo. The OM lenses are very contrasty and sharp. The 50mm 1.8 are very cheap on eBay and there are a ton of them. I also have the 28mm f2... a beautiful little lens (am selling that too) They're great lenses, I just already have waaaaayyyyy tooooo many lenses, so some have to go. The problem is that if your theory is true, then that will lead to a sell off of NX1s. If current casual users, cannot get lenses for reasonable prices, they will sell their bodies and move on. But I predict these lenses will start getting very cheap by the end of the summer... probably sooner.

I've said this a bunch of times, but I always felt the beauty of Canon "color" is due to the large user base back when they were the only option. Between vision and Cinestyle and Prolost Flat, the best settings were defined by extensive R&D by some of the best DPs, colorists and enthusiasts that gave a neutral starting point for grading or just simple lens selection to achieve a desired "look." For someone like me... A beginner in practical terms... This made the entire process palpable. When Magic Lantern became a viable, stable option, the opportunities were tremendous. But in some ways, the implementation of ML may have hurt Canon's video segment growth because I am almost convinced that the pencil pushers felt the video popularity of their cameras since 2012, was based on their own internals and were oblivious to the impact that ML had on their video segment sales. Well, that and their innate desire to protect their cinema line and their lack of market placement in the consumer 4K television market, led to stagnant development in their video segment. Either way, I hope Canon extends their lines and update their video functions because I would love to use Canon again. As far as auto focus... When I started the hobby, I couldn't afford any good native lenses... So I went with manual vintage lenses. Just recently, after I bought my G7, I picked up a Sigma 30mm f2.8 and although I use it primarily with manual focus, sometimes for a quick punch, I'll hit the af button and get it close... Very useful. And with my recent purchase of the FZ300, the continuous AF is so spot on, it's like having a focus puller following you around with a tape measure. And as long as you're judicious and creative with your shots, I can't see why it couldn't be cinematic. So, I can understand why a filmmaker of any level or discipline could find it useful.

WAIT... Hold up... This has been you all along?!

As you probably know, I have the G7 and more recently I picked up the FZ300. I love both cameras, but I am trying to find a balance between an in camera look and post. So far I like CineLikeD 0, -5, -5, -3 and Natural -5, -5, -5, -5... Sometimes, I'll bump sharpness up a tick or two depending on the lens. I'vd seen a lot of videos online with FilmConvert, so I got the trial, but unless the trial version is limited... Which I don't think it is, I just cannot seem to recreate some of their looks. So, now I am going bonkers over this. I am out testing different exposure methods... ETTR and a stop under. Ugh. This is driving me crazy. Do you expose to the right? Do you use zebras, histogram, or exposure meter? Or just your eye? My last shot, I just used the exposure meter and tried nailing it. It worked okay... I guess. Anyway, thanks for the help.

I've commented on this video before and I feel the need to again, because every time I see it, I am blown away by this combo... Just beautiful. I love how solid the video looks. It has a filmic weight behind it. Gorgeous slow motion and a really nice grade. Do you remember your in camera settings and anything you can attribute to this "look?"

Would love to see some footage with 110 lenses on the gm1? That camera, those lenses and that cool GM1 60p sounds like a killer combo. I hear the next GM will have 4K, so that could be interesting.

Yes, there is always a minimum of neutral density, you lose a stop or two. So, indoors or in lowlight, you would need a different adapter. But if you have a full day of exteriors, especially in bright sun, it can't be beat.

OT, did you have the chance to try out the G7? On Topic: That footage looks amazing.

Well, thanks. Honestly, I just really enjoy this. I find it meditative and relaxing. And this is such a great community that I learn a ton from everyday.

Thanks Panny, but I think a lot of people on this board that would disagree with your first two sentences. But I think that would be a great challenge. I've never used the FZ1000, but it seems like a fun little camera. That's what I like about the FZ300... OIS, full manual control, all of the picture profiles and control that are present in the G7, Mic input, impeccable continuous af. It's a camera you can just pick up and go and run and gun some decent footage.