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Was on a makeup shoot the yesterday and decided to test how well I could use the 3K Raw mode on a job. The primary camera was the C100MK2 and after I captured the main shots I broke out the 5DMK3 to experiment. I captured about an hour worth of footage in 3K. Resolutions higher than HD are not recommended on productions until the liveview is fixed. You can only effectively shoot static shots or shots that move but stay within a fixed depth of field range as the choppy grey/color liveview is nearly impossible to use to follow focus on moving subjects.

Thanks for keeping us updated. The mjl forum can be daunting for non tech people just getting interested in it. It's hard to figure out the nomenclature. Would be great to know when or if ever this will be ready for production by having a usable live view, playback functions and hdmi out monitoring for resolutions around 3k. She looks nice in your video. Besides Arri some of these down res 3k are the best 2k images I've seen on the internet. Pretty unbelievable for a five year old camera you can get used for under 2 grand.

I think in a lot of the heavily graded films you cite, the skin tones are kept to an acceptable color while every other color goes nuts. That's the real talent of a world-class colorist.

So.....FLOG then. I've done a very brief, not exactly creative test recording FLOG to the Atomos Ninja Inferno. First things first, the Ninja Inferno is a fine piece of kit but it isn't all plain sailing when its paired to the X-T2. One glaring issue is that it can't lock to the 1080/24p coming from the X-T2 and just blanks the screen every half a second. All other sizes and frame rates are fine and the issue definitely appears to be coming from the X-T2 side as a quick test with a BMPCC showed no issue at all. Another issue which caused me some head scratching until I worked it out was that if you have the eye sensor on then it blanks the HDMI output when it switches over. This looked like another blanking issue or dodgy cable until I realised what was happening. Surely no one at Fuji thought that was a good idea? Switching it off and leaving it on rear or EVF solved the issue so I'll have to remember that when switching to video recording as the eye sensor ON is of course my default for stills use. The final thing was that the Fuji FLOG monitoring LUT on the Ninja Inferno actually shows less detail when active than just leaving it in REC709 so they both need to do some work on that. Or maybe I do and download the LUT that Fuji have on their website for editing with to see if that makes a difference. I'll do a separate report for the Ninja Inferno when I've used it with a few more cameras but for now, lets crack on with this FLOG thing. Activating FLOG switches the ISO of the X-T2 to 800. So if you have the ISO on the dial set to less than 800 then it will ignore it and you won't see any changes until you move the dial beyond 800. This explains the couple of stops difference on the meter when switching to FLOG when I was just looking at it on the monitor as the even though the ISO dial was on 200. To keep the test consistent then, I've set the ISO to 800 for both FLOG and non FLOG shots. The comparison is to show the difference between FLOG and using what has become the defacto setting for flattish recording on the X-T2 which is ProNegStd with -2 highlights and -2 shadows. The shots were exposed using the (excellent) luma parade function of the Ninja Inferno so that the brightest part of the image was just kissing 100. Apologies for the not exactly inspiring nature of the shots but hopefully the nature of them means you can get a feel for what sort of DR you can expect when using FLOG. These frames are completely untouched out of FCPX (no FLOG>709 LUT) so that you can shape them yourselves to make your own judgement. If you want to use the official Fuji LUT it is available here http://www.fujifilm.com/support/digital_cameras/software/lut/

It grades really well. First one is an M31 LUT and the second one is a a straight curve in colorista.

Thanks Don, I really appreciate ! I included a .VLT version of the LUTs in this update, so the users will be able to load the LUTs in-camera on the GH5

Thanks to the morse code speed of my internet here it will be file in the singular. And even then, the X-T3 might be released before it finishes uploading it.

That would be very cool. I already like F-log better than V-log ...and thats from just grading two compressed jpg's. looking forward to the prores files.

I wouldn't say that easily as they were already looking suspicious at the apparently randomly placed camera on the table pointing in their general direction without me pointing lights at them

Check out my picture of lens. From left to right. 2 Baby Hypergonars, 2 Kowa 1.75x Inflights, Kowa C35 1.5x, Bolex 16/32 and Bolex 8/19. The Kowa C35 has a much bigger back then Bolex 16/32 and the Kowa Inflight is much bigger then the C35.

Nonsense - nothing wrong with overclocking if done properly within the manufacturer's limits for voltage and temperature and lots to gain from faster processing.

Log (with at least 10-bits) provides more creative options, so if you want the most creativity shoot log. Once you learn the tools you'll find you can quickly get a standard look (your standard- for which you can create a preset, etc., so one click and you are done). And if you want to do something wild and/or unrealistic for emotional effect, you can do that too. It's important to use the correct input LUT to get your flavor of LOG and color space into the correct format back to linear gamma and Rec709 color space. In some cases you can get an acceptable look by just using curves and saturation (I can do this with Canon Log 2 and Cinema Gamut with Production Matrix, for example, though I typically use the ARRI input LUTs for speed). I've purchased a few creative LUT packs, including FilmConvert (plugin which does more than a simple LUT) and I almost never use creative LUTs. Ultimately I just dial in the look I want with Lumetri in PP CC vs. scrolling though 100's of LUTs looking for something that will work. If you want to focus on just the creative part of shooting and skip the extra post work, there's nothing wrong with shooting with baked in gamma and color. It will simply limit your creative options in post, and will save you time on the plus side.

Where does this misconception come from? Ask yourself, do you need a 16bit graphics card and display to work in 16bit in Photoshop?

Many people do not know what they are doing or why they are doing it when it comes to 'grading'. You can spot a professional colourist a mile away.

Dear EOSHD community, I am an independent french graphic designer and I regularly work in photo and video. Over the years, I created a collection of 3D LUT files to ease the color grading of my projects. Recently I created a pack with my 38 original LUTs. They are profiled on high-resolution color matrix and were built to preserve skin tones as best as possible. I had the chance to work with many different cameras and I spent a lot of time creating these looks and testing on raw footages, from 5DMKII and 7D with Magic Lantern, GH4, A7S, BMPC 4K, and stills from RED EPIC. About HDSLR, these LUTs are calibrated on CineStyle/Cinelike profiles. Also in my pack is included a LUT to properly « flat » a footage and get a good working basis before grading. Website for more infos : http://luts.iwltbap.com Instagram with short video samples : https://instagram.com/luts At the end of this post you will find some sample images before-after. My LUTs pack is for sale $20, but I created a discount code of -25% for EOSHD community. So you can get it for $15 instead of $20 via : https://sellfy.com/p/Ainy/-EOSHD My pack is regularly updated with new LUTs and all updates are free. On my website you can download a free LUT with the famous teal-orange look. Also, I offer for free a 4K film grain based on 35mm film scans (10sec video encoded in Apple ProRes 422 at 25fps). Hope you will like my LUTs. Best, Benjamin

I'll throw in the first suggestion: Be able to toggle on and off the vector scope and the waveform while shooting--like Sony cams can. And also show the vector scope and waveform on an external display--like Canon does.

I like it too. It doesn't break easily. There is chroma smearing/shift as wel but it doesn't jump in your eye. I like the noise as well. Here is a grade The footage is very sensitive to contrast, before you know you're shadows get this burned in look.

Jvc stole it as their last attempt to survive in the video market. Shame on you jvc.

The FSB is built for pro use/abuse but the pan tilt smoothness is very similar. The FSB 8 has 5 levels of drag ... the Ace and FSB 4/6 have 3. FSB 8 has a quick release plate and a LED light bubble level ... internally probably a bit higher grade build ... better be at 4 times the price. The FSB 8 can handle 2 to 22 pounds ... the Ace M 0 to 8. I am struggling to get a decent balance on the GH5 without my cage on the FSB 8 whereas I was dialed in on the Ace. Now that I have returned to video I assume that I may push above 8 pounds soon ... I prefer to shoot landscape and wildlife video and will be shooting with the Olympus Pro 300 F4 ... not that heavy but long enough to add a significant lever arm on the balance equation. Stability at a 600 FF equivalent will be paramount. I previously had a OConnor 1030 which was perfect ... other than the fact it and the tripod weighed over 17 pounds ... not ideal for a trek. Should Canon introduce a decently priced 4K replacement for the C100 Mk II I will be considering that and their 200-400 zoom. But honestly the GH5 is so good that unless I move to a RED or other RAW capture device I am unsure that I will see a major improvement over the Panasonic. The value of the Ace ... tripod included is ridiculous ... cannot imagine anyone passing it up at its low entry price ... and I assume Sachtler is giving them away in anticipation of future upgrade customers. Bob

They are both from the FLOG. OK, so here is one of the source FLOG files. Its 21 seconds complete with random people walking across frame and off camera audio from the internal mics of two ladies having a conversation that may have been fuelled by afternoon cocktails. 4K ProRes 422LT* https://mega.nz/#!RqxBkTbD!dqmFFG4fFjC792nc1Y9yj2EQNIYSm3hpAQRyjHJDG7w *Yes,yes I know.

Technical proficiency has never been an enemy of creativity. There is an expo in LACMA that pairs Picasso and Rivera's work from students to world renound paintors and the experimentation with all sorts of techniques only made them better focused on their message and masters of their style. What makes you creative is not log or raw or 16bit, is the combination of your knowledge and life experiences with the moment you are capturing and your raw gut feeling.

Idk, maybe I'm just bored today because I have no intent to buy a GH5, but I find these AF arguments to be kinda strange? Of course contrast based AF isn't going to be the best AF available... so why the discontent? The GH5 is an epic camera with insane features, for the cost, but AF just isn't one of those features it excels at. If you're looking for a solid get up and go AF starting point in manual mode... sure it works great, but it isn't DPAF or even PDAF... there are other cameras better suited for that if it's a major concern of yours. Now as insane as the features already are, I can't wait to see the footage after the promised firmware updates happen... if you guys are still arguing about AF at that point, then maybe you should go and buy a Canon.

Orangenz, no problem with the 14-140 lens. I took about 4 shots and each time it focused perfectly. Examples:

Oh my gosh! That's a ridiculously awesome collection. What I actually meant was to see the images shot through the bolex and c35, to compare the IQ and character they deliver, but again, it's so much to ask. Between c35, inflight and bolex, which one would you keep? Thank you!

Seems to be a lot of ? going on.

Support L-Fn button of some Olympus lenses. (Make it configurable as an Fn button instead of only focus hold.)

Now this updated pack contains 200 original LUTs... Can't see myself buying any other LUT packs.

I've struggled. But then I live under whispy chemtrails that don't have defining edges. That's with the Panasonic FZ200, incidentally.

Haven't been there for a while but you might try the Media Markt shop if you have a car to drive to it.

I too vote for - Anamorphic desqueeze PLEASE! YES, please!

Nice... Thanks for the LUT free image example. Looks definitely manageable, especially in controlled lighting conditions. Look forward to seeing any video you put together using this color profile.

For what its worth - and your mileage may vary considerably - my own view of this is that considering how much fiddling it takes for me to get the FLOG to a base point of the ProNegStd and the diminishing returns thereafter that aside from situations like the deliberate extremes of DR of the couple eating dinner I'm not convinced its a game changer for me really. Certainly not significant enough to put down the extra cash for the Ninja Inferno or similar. Fortunately, the FLOG was only going to be a bonus for me with this as its the edit ready ProRes and superb monitoring and metering that it gives to ALL of my cameras that is the big story here for me with the Ninja Inferno.

There is no need for a review, it's only 10 stops of dynamic range with V-Log :(((

Found another video this one is NX1 vs GH5 straight up... I believe hes a Korean brother... Figured I would post here rather than make a new thread... It seems the NX-1 is way sharper (can be good or bad depending) and the 10bit color on GH5 does look a little "Thicker" but I could easily get them to match in resolve... also I dont think he has NX-1 is in standard color profile if you dont want to correct much it looks great.. Guess im not the only one going down with the Samsung ship! Trapped in a velvet coffin! That is all..

I never accused any reviewers of purposely trashing the GH5 and never even mentioned anything about viewership or hits on their websites. I have no idea why some of us owners have discovered the effectiveness of 1-area (it didn't take a brain surgeon to figure it out) and these reviewers have not. Now Panasonic has come out and agreed with us. So clearly we were correct and some of the reviewers missed it. Jon, if you or anyone can come up with a logical explanation for the oversight of these reviewers, I'm all ears. I have been nothing but honest with this community. I've posted examples of my tests and posted additional tests at the request of members here. If that honesty and those efforts aren't appreciated, then I'm simply wasting my time and everyone else's.

By now it should be obvious that if you need useable and consistent af-c this camera is not for you. There's only 2 cameras I can think of with decent IQ that do it - $15k c300 mk ii and little box of compromises A6500. I probably missed a few... Xt2? But it has no touch screen and no ibis. You will need to wait a while until the next cycle or two...

Well he does have some good points. It is pretty much about creating shadows, and sometimes the lack of them. http://nofilmschool.com/2017/04/watch-you-can-light-whole-movie-single-lightbulb

You read my mind! I thought about that a long time ago and I think this would be awesome.

Anamorphic desqueeze. No drop in exposure when using Shutter Angle for slow motion.

V-Log with an additional no processing mode (no sharpening, no noisereduction etc.). Just a clean output.

AFC in VFR mode V-log activation code by email Anamorphic desqueeze Full screen mode on the mobile app.

Don`t waste your money and time with cheap chinese crap, get a Tiffen, they are very good for the price, I have a variable ND and I can assure you will satisfy all your needs...

Hey there, first time posting here, just wanted to drop one of my recent films here which I shot while in Vietnam. Used a DEC Lens Regain and simple Canon 18-135mm kit lens (which became 2.8) btw. Love how it enables IS on Canon glass. LUT grading. Cheers for looking

Shot in 2 weeks on a Blackmagic 4.6K and a Sony A7r 2 with Voigtlander Lenses. Aerial video on a DJI Phantom 3. Rip it to shreds!

Nice shots and interesting looking shortfilm. Problem was as mentioned above that we didn't see why and what she is actually hiding. In trailer we just cut to hiding and sneeking without telling/revealing a bit why she does that. Just make me think if she was on normal running route and sees something scary wouldn't she just turn around and go back same way? Maybe trailer should just build up tension towards revealing what she finds from her routine running track one day. And that's it. It would build up tension more. In this trailer there was maybe too much material from different moments of movie cut together like mashup of everything. Also mentioned earlier that it is missing sound effects. I wished trailer to build up tension with those. If we think we are on running route: just nature sounds, footateps and breathing. And slowly building up towards the reveal and exploding soundtrack at the right moment it would make also the soundtrack much more important.

Hi Guys, Happy new years to all of you. Long life to EOSHD and I'm looking forward to another round of heated discussions with complete strangers in 2017 Here is my best of 2016

I shot another yoga video with and this time with a lavalier. The language might be a little strange to some but it works pretty good I think. I had to shoot with the GH3 as I sold my GH4 when I got the GX85. Didn't think we had to wait this long for the GH5...

I agree with what Geoff said. Otherwise it looks good I think. If you're gonna make more videos like this I would check out CodyApp for inspiration. Like this one for example: https://www.codyapp.com/plans/true-strength-evolution?ref=soh_fp_all_4 I actually made a few yoga videos too and will be making more in a couple of months. It's nice to see how others are doing it so thanks for sharing! My videos are a bit simpler and with music instead, but maybe it's helpful to see something different? Have a look if you want:

Use Phase One Capture One or DXO Optics Pro instead of Lightroom. The pictures from Panasonic cameras look hugely better in them.