tomsemiterrific

No. I haven't tried matching. I don't think it would be difficult with all the LUT choices you have with 3.0. Of course, the look would be very different because of the sensor size difference, but I think getting the colour close would not be all that difficult or time consuming.

I've been really enjoying shooting with these profiles and LUTs. Can't thank you enough. But I do have a question: Did you ever fine a solution to the jitteriness of the image when using 5 axis stabilization with the a7sii? It makes me a little crazy. Will Sony ever address the problem?

Here's a video I just posted. Shot with the Sony a7sii using Prolog Cinema settings, using Pro Color -1 LUT.

Here's a series of screen grabs from some video today...critique?!?

Went to a hot pot restaurant with my wife and Sony a7sii....and a Canon fd f.1.2 lens. Shot this, minimal editing, all natural light. No color editing. The point? To show what the Pro color 3.0 upgrade "original" looks like "out of the box." Restaurant was very dark!---child's play for the a7sii

I purchased the earlier versions, and just purchased 3.0 and Pro Log and the new LUTs as well as the three new pic profiles. I you give a discount I don't want one. These tool are so good, the colors are so beautiful--gorgeous is a better word, the "C Log" and the LUTs for it combined with the three new pic profile settings are, IMO, worth their weight in gold. The "Slog ii" works very well to and exposes well with the LUTs. You're really improved and simplified use of these cameras in one fell swoop. I've got them loaded in my a6500 and a7sii and they work fantastically well. I can't thank you enough. Now I believe I can use these cams with complete confidence my exposure is going to be good and the colors will be kiss ass good. Can't wait to test this out on the week end--with mostly FD primes. Andrew!! Thank you so much. Amazing.

That's nice of you. I think you'll be happy with the pairing--the colors are very compatible. Here's one on exposure lock--with this you'll never shoot manual while run and gun.

https://www.youtube.com/watch?v=Y-mUmcivfV4

This is the first of five videos on the XC15/XC10

Sadly, I think you missed my entire point. Thanks for playing. Annnnnnnh!

I don't mean to be a smart ass, but I just have to ask. Can anyone tell me why my iPhone has much better auto focus and face follow focus than my GH5? Is there any excuse for how crappy the autofocus is on this long awaited camera? Who cares how good the stabilization is if the image won't focus??? Anyone. Panasonic, are you listening. How do you feel being embarrassed by the iPhone and other phones, and by the three year old a6000 and the 70D???

This was a test for me to see how well the camera would do in run and gun while I framed shots and had minimal control of operations. It was shot entirely hand held, mostly autofocus, in TV mode, using Wide DR (no.8) pic. profile. There is frequent use of the Canon wide angle lens, which I mounted via the threads on the ND filter mounted on the camera lens. Fortunately, the ND filter threads were robust enough to hold the WD58 without any concern for the len's weight. At the widest angle the lens vignettes a bit. I caught one instance of vignetting in the final video, but mostly I was able to eliminate it while shooting by adjusting the zoom so it was just short of the widest setting. My only direct control, except for a few moments of manual focus, was with the shutter speed, and the decision of add the internal ND filter to the 3 stop ND filter mounted on my lens to assist the camera in getting correct exposure in the bright Texas sun. Otherwise, the camera made the decisions on focus and exposure. There is a section of the video where I shot a live marimba performance of African music from Zimbabwe...pretty cool, and it looks like they had a good time performing as did all the listeners. Video was shot in 4k 300 mbps, transcoded to Pro Res, and edited in Final Cut, with minimal adjustments in exposure and color. https://www.youtube.com/watch?v=iLJEUlekhsU&feature=youtu.be

Best article I've read here--and painfully honest (is there any other kind of honesty?). How many times have I been captivated by content and only, after the fact, did I think to myself---"What was that shot on? Shrugged my shoulders and realized I didn't care." Small cameras are freeing. They can go where no cinema camera can go, and free your imagination. Thank you for writing this, Andrew.

Posting a movie showing a comparison between EOSHD C-log created by Andrew Reid and original Canon C-log. Reid's C-log can be loaded into any Canon DSLR. In shooting I used the C-log in the XC-15 and EOSHD C-log shot with the 80D. Both clips are hand graded, and they are graded with a LUT (C-log to Rec 709). How similar do you think the results are? https://vimeo.com/218753403

Is there any way you can record 4k on, say, a Shogun from the a6500 HDMI out? I can only get my Shogun to read 1080p.

Actually, I have one of those, and it is excellent; beautiful fit, smooth aperture adjustment, etc. But, alas and alack, I do need the increased speed and angle of view. I've concluded the speed booster I have for MFT is not very good. I'm still going to work a bit on it. But I really have to have something that will work well and not ruin shooting. So, I've ordered another speed booster from a brand I've found to be reasonably good---and we'll see.

The older Metabones version looked perfectly good. B&H still has it up, but a message saying it's no longer offered. The version they now sell on B&H, over 400 bucks, has electronics--that's nonsense for FD lenses. Is that the one you're speaking of, or the older version?

I have a speed booster adapter for my GH5 so I can mount Canon FD lenses. But the fit is loose--for both the camera and the FD lenses. My standard non-speed booster mount works really well--nice fit and solid. I know there are a lot of speed booster mounts for this combination--lots of knock-off products, so it's very confusing. Does anyone know of a good brand that produces an FD to MFT speed booster mount? I don't mind paying for it if it works well. There are some instances when those FD lenses are invaluable in my shooting.

It doesn't. I just belie It doesn't. I just believe all things on the surface of the camera, buttons etc, that are assignable ought to be in one place on one list. I think it would save time and confusion in set up. Just my opinion.

Absolutely. There's a lot to think about when you're shooting--it's very complicated. I fine it very easy to accidentally hit or brush the back wheel---and when you do you change the shutter speed. It's very easy to do. If you don't notice it you can shoot several clips with the wrong shutter speed. If you do notice it you have to stop and take the time to correct it. I would be perfectly happy for the shutter wheel to be in the back IF there was a lock button you can toggle on and off, like some companies put on the selection dial for priority settings. But as it is there is nothing to secure the shutter wheel and prevent it from accidentally changing. Since that is the case, I'd rather have the aperture wheel in the back because any change in it is quickly apparent when it changes even a small amount. Those are my reasons.

Well, that clarifies a lot for me. I finally found the issue with the audio. The fan. It was on all the time. I changed the setting to "auto." So, the fan shuts off during recording and starts when the recording stops. I don't shoot for long stretches---maybe four or five minutes of continuous recording in clips. And I only use the C300ii in studio with controlled room temps. Is there any problem with having the fan set on auto, and having it shut off under the conditions I described?

This has been enormously helpful. It was stupid of me to not do a reset---so basic. I did the reset and everything looks normal again. Can't imagine what skewed things so much. No time to check audio tonight--WAY past my bedtime. But tomorrow I'll check. If the audio works out I'll have a functioning cam again. I've got two educational presentations to send to Canada---and, as much as I love the GH5, I'd really prefer to shoot it on the C300. Is there any reason skin colors look so zombie-like in 2020? I thought this was a larger color space than 709--but I can't see it in the colors it produces.

I think reset it sage advice. Before I do anything else I'll try that. As long as you're kind enough to respond I have one more question. Using the XLR attachment on the C300ii I get a lot of noise in recording. I don't have any trouble like this with any other XLR settings on other cameras. I have the XLR attachment for the XC15--and audio comes out clean. Also, the attachment for the GH5---clean audio. But lots of hum and high noise floor on the C300 mk ii--really disappointed in this and have done everything I know to fix it. I'm not looking for anything fancy--just clean audio with a low noise floor. Any suggestions? Thanks so much for your input.

Great response. I'll work with those things and see what I can come up with. The thing that makes me crazy is, with the "other settings" set to "off," the Log, 2020, and even the 709 preset come out totally unsaturated---flat. So I have to grade them or use LUTS--even with the 709. Where am I going wrong? The other issue that frustrates me is when I expose C-Log 3 correctly according to factory recommendations the C-log LUTS just look awful and require a LOT of grading. Crazy.

I own a C300 mk II--and it's a wonderful camera. But I feel like I'm not getting close to what I could get out of it in color. I must say the "other settings" where the color matrices can be adjusted constitute a daunting challenge for me. Can anyone offer any help in using these settings for color adjustment--or can anyone suggest a source they believe would be helpful---tutorials, etc?