Grade original 4K MOV files from the pre-production Panasonic GH4 here - https://copy.com/EoeMcoA2T9L4
Is the GH4 a match for full frame in low light? The answer, surprisingly, is yes…
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I’m afraid it’s time to put the creative urges to one side and get down to the nitty gritty. Just exactly how does the GH4′s image stack up against the competition?
Aside from Blackmagic there’s only one other company endeavouring to give us affordable cinema cameras at the moment and that’s Kinefinity. The MINI is a smaller cut down version of their S35, shooting 2K uncompressed raw to SSD from a Super 35mm sensor. It has an option for 4K to an external record (Q1 2014) and it’s a powerful piece of kit, though I have some reservations about usability.
Is the KineRAW MINI the early stages of a new Arri? A Chinese cinema camera industry?
With the new version of Blackmagic DaVinci Resolve (10.0) you can grade and edit 5D Mark III raw DNG sequences, with image quality at the Adobe Camera Raw level for the first time and performance through the roof.
EOSHD Film LUT is an instant cinema style which quickly and easily improves the look of 5D Mark III raw video in Resolve 10. No grading skills required.
This LUT gives you a more film-like image, a less harsh electronic look compared to the standard Rec.709 colour space and default settings. It gives you more detail in the highlights and a smoother more natural feel to colour.
The €3199 KineRAW MINI is the latest affordable raw cinema camera to be released. Featuring a 4K Super 35mm sensor it is a rival to the Blackmagic Production Camera and an alternative to shooting raw on the 5D Mark III with Magic Lantern. It shoots 2K / 1080p Cinema DNG uncompressed raw internally.
Having now spent more time with the camera for the full review (coming soon), I was curious to see how 5D Mark III raw video stacks up against a dedicated cinema camera with a sensor purpose built for video – not stills.
With the help of a new EOSHD test scene, we’re about to find out -