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It's like an exaggerated response to what I often get at weddings

@Zach Goodwin If I'm not mistaken, Dan was just asking if there was an alternative filter to the VAF, not if he should get a camera to replace it :p

In this Instagram post Levi Siver is working on a windsurfing feature with a crew, for an "unreleased Canon camera". In the picture you can indeed see a Canon camera on a rig, although not clearly enough to make out the model. In the comments he's asked if it is a 5D Mark IV, and in his reply he says "Yep it is", smilie face. Read the full article

I believe the corrections are already made in the raw files. There are some raw converters that open Panasonic files without the corrections

Yeah it is a concern sometimes. I hit the 70 limit once while recording a concert but thankfully stopped it in time. Would be nice if the hack had an option to automatically stop it at 70

It really does look like good super sixteen millimeter

If you aren't going to grade it, I would use neutral -1 +1 -1 or -1 0 -1. The sharpness variable depends a bit on the lens. With the 16-50 E kit lens, I've to turn the sharpness down to -3 to avoid halos when sharpening in post. It seems that the radius of the in-camera sharpening is too large. It's a shame you can't adjust it. But with some careful sharpening in post, most of the halo problems can be 'repaired'. It also depends on the scene: if there's a lot of detail I prefer not to turn down the in-camera sharpening too much (so I use -1) as otherwise the detail gets lost in the codec. But I think simple edges and details get best resolved (without halos) with sharpness -3 and then a lot of deconvolution sharpening afterwards. But this also sharpens all the codec artifacts/damage... so not perfect for scenes with movement. In general the neutral -3 -1 -1 (aka Philip Bloom?) setting tens to work very well but it indeed looks a bit dull ungraded. However in most occasions I don't (yet) do too much hocus pocus with the colors so I set the saturation to 0 (or +1). This gives slightly less colored codec artifacts in post. Sometimes I set DRO to +5. This retains a lot of DR in the shadows! For higher ISOs, you might want to use a higher sharpness value as the noise reduction can't be turned off and blurs the footage. The sharpness value can be easily set by first bumping contrast, saturation and sharpness to +3 and then zooming in to 1:1 in video mode. If there are too much halos, decrease the sharpness value and check again. During daylight neutral -3 +1 -1 looks very flat (at least, the luma channel) but for a theater recording or other scenes with a lot of DR it may look great even ungraded (at least, on a screen with a high contrast ratio :)). You can also try neutral 0 +1 -1 with DRO 2 or so. If you want to try achieve a 'special' look, you might want to try the 'portrait' or 'autumn leaves' settings. For the rest, make sure you get the WB just right (AWB messes it up sometimes). For slightly warmer, a bit Nikon-like colors you can put the color square (WB fine tuning) one or two steps to magenta and then set the kelvin value. Take this with a grain of salt, I'm also still learning :).

And where are Panasonic and Olympus lenses??? It's a bug?

Do you like to be filmed? I accept that people feel uneasy when someone holds a camera (or smartphone) to their faces, because I know how impertinent and ignorant that can be. I feign respect for their privacy and kindly ask for permission. I smile and reassure them nonverbally that they can feel safe. Works in 90% of all cases. The remaining 10%? Well, it's their right to forbid it. Simple as that. People like to be respected, but they also, in my experience, like to be asked and then directed. It's more about psychology than about personal rights. You've got to have (and show) empathy and then exploit that. Polite words aren't enough, it's your body language and your whole manner. That's why I still shoot weddings. The lens is their 'magic mirror'.

I understand that, but that example doesn't show a true representation of the X5R's lowlight capability. Who on earth goes around filming at ISO 3200 at f16?

Yes, it passes through. Same goes for the FS700/7Q. I use the C300mkii at work and the image is absolutely amazing. It's just beautiful to look at. I believe the C300ii and C500 have a comparable image.

I believe this is fake

Thank you, guys! That totally did the trick. Now it's sharp even with the 50mm @ f1.2 (well as sharp as it gets at this aperture). I'm excited

whahahaha :D this post made me smile ! thanks Andrew.

Just got my 120t. Definitely brighter that the LS1. Shooting with it this Thursday and will post some pics.

If its a desktop, you can get a Mac Pro with a 4k monitor in the same price range. The 5k iMacs have a fan that I found annoying, if you're editing/rendering video or anything else that's processor intensive its on a lot. They also get really hot because there's so little space for air to move. You can get a 6-core with the dual 3gb graphics cards for $3400 from the refurb store. I have the same matching, bumped RAM to 64gb and it plows through everything. Plus you get more ports and its whisper quiet, it sits on my desk next to my monitor and I never hear it.

I've just finished filming a short film. We used 5D Raw, A7s + speed booster, GH4 + speed booster, and the XC10. The best looking and "organic moving" footage in my opinion came from the 5D Raw and the xc10 in 4k. The a7s was the 3rd best and the gh4 was the sharpest "out of camera". We could have comfortably shot the whole thing on the XC10. Unsharpened ungraded CLOG frame grabs. Having a 1 inch sensor is no hindrance for a shooter like me...i own multiple cameras and i light my shoots. I'm invested in canon gear, it uses the same batteries as the 5D3, has good battery run time, doesn't overheat and captures excellent video quality that compliments 5D Raw. I don't have to carry around a 25lb camera bag with various lenses and accessories to be able to shoot dynamically with the xc10. The only accessory I carry is a variable nd filter. I like to minize rigging as much as possible and I don't want an xlr input on this form factor, a rode videomic pro is good enough. The only thing i would like is a constant f/2.8 and true DPAF. I wouldn't even bother with a C100-300 if it had those 2 features. More ungraded frames of CLOG + Variable ND filter of me testing the cam on a poor trapped dog.

I also find the footage has very strong jitter. Any idea if it is wrong shutter speed. Not good motion cadence.

Looking forward to IQ, RS, and DR comparisons with some of the others like the NX1, a6300, 1dc and even the a7sII. Could this little guy be a giant killer?

Regarding colors and A6300: I really liked the skin colors in the shots of the kid where he/she is lit by daylight flooding in through the windows:

Simple reason for me to choose Adobe is it is compatible with both windows and mac OS, so when I change my computer from windows to mac, I can keep using it without prchasing again.