Andrew - EOSHD

  It is unlikely to be a problem with your methods.   I just think the only way to avoid this is raw.   Actually as luck would have it I took a GH4 JPEG and a raw still around the same time I took this 4K shot.   Try grading those the same and see if they hold up! http://www.eoshd.com/uploads/gh4-tower-stills-jpeg-raw.zip   The way to fix this issue is to record 4K via the HDMI port or the YAGH interface box. That is uncompressed and 10bit.

  I got it to replace my NEX 5N and 7, but to be honest it could end up replacing my A7R as well.   Speed Booster gives me the full frame look.   The A6000 has much better AF and a much shorter EVF blank-out time when taking stills... like 0.2 sec compared to nearly 1 second on the A7R. Just overall feels much more responsive, smaller and quieter shutter to boot. Of course video quality is miles better too.

  ISO 640 I seem to remember.

Maybe it depends on how people are doing the downsampling.   Using FFMPEG or just a simple scale in Premiere?

EU version has both, it is switchable between PAL and NTSC in the menus.   Not tried the 1080/60p mode yet, will check it soon.

  Depends on what sensor. On FS100 it worked well on my Canon 35mm F2.0 IS.   Full frame a different story.

Of course it has an internal mic, yes :)   AVCHD clip uploaded https://copy.com/edilC2jd0kbi   Investigate what you can put in the hotshoe in terms of audio support. I am researching this for final review but it will be a week or so away yet.

D5200 sensor had Toshiba on the die markings but likely is a Sony design   D5300 has Sony on the die markings and is likely a tweaked version of the old sensor, because it has a cleaner readout in terms of noise and less fixed pattern noise. Perhaps lower power consumption too. But the way it does video sampling is very similar to the D5200's Toshiba  one.

Sony A6000 with Zeiss 50mm F1.4 on Speed Booster The Sony A600 is the best Sony consumer camera yet for video. A Nikon D5300 in a mirrorless body, with far more features, the image quality is closer to the FS700 in 1080p than to a NEX 7 or A5000. The pristine sharp EVF, a magnified focus assist which can be activated whilst recording (rare!), peaking, zebra, 16:9 screen and of course the mirrorless form factor. This is arguably the best current 'cheap' camera for video, de-throning the GH2 and GH3. At just $650 it is an absolute bargain. Read the full article here

People loved CineLike on the original VariCam.   If its a warmer image like Canon you want, just dial it in. Either in post or in-camera.

Some more news on the VariCam.   It has raw output like Alexa, for external raw capture on Codex.   http://panasonicprovideo.tumblr.com/post/81453564820/varicam-raw   If they price this camera lower than Canon C500 it will leave Canon for dead in terms of sales.

Yes all CineLike-D, but not dialled down completely flat. I left contrast and sharpness in the middle (0) - I'll have a go at -5 for next test shoot.

Because it gives the grading tools 10bit colour space to work with and higher data rates.   Elbow room.

  Nice!   Colours look natural. Wow what a difference. New slogan for GH4 - "I can't believe it isn't raw!"

The GH4's internally recorded 4K files can be converted to a chunky 2K 10bit ProRes 4444 image which grades extremely well. To test this theory I call on colourists to have a go at it. Arri Alexa ProRes files are available from their FTP server. Details below. Read the full article here

  No, not the flattest possible. I left CineLikeD on default contrast settings (middle 0, not -5).   I generally prefer not to have too flat an image in an 8bit codec, because you have to push it further in post. That usually results in more banding and more break-up.   I have just downloaded some Alexa ProRes from Arri's FTP server. Anyone want a go at grading that against the GH4 ProRes?   First I recommend you downsample the GH4's ProRes LT from 4K to 2K and convert to 444.   These files LT files are here - https://www.copy.com/s/EoeMcoA2T9L4   Then download the 2K Arri ProRes and compare.   Unfortunately the Arri material is mega boring shot wise... just some old dude playing a xylophone!   But colourists might enjoy the experiment. The GH4's 4K H.264 makes for a very weighty 2K ProRes image for grading, me thinks.   Arri FTP details are here: http://www.arri.com/camera/digital_cameras/learn/alexa_sample_footage/   Server:        ftp-footage.arri.de User:           ALEXA Password:  samplefootage

  You're making it sound only about the lens. What about the nut behind the camera!?   The 18-35 is very nice, almost as sharp as the Cookes.

Like I said in the blog, the sunny shots and highlights are not optimal because I exposed too far to the right. Very little is blown out but they could have benefitted from coming to the left a bit.   Believe me the roll off is smooth and the dynamic range is very wide on this cam.   The pink comes from my grade. If I wasn't in such a rush to show it to you, I'd have spent another 6 hours on it and put it through Resolve or something  :)   Furthermore, still experimenting with what picture profiles to use, though I love what CineLike D is giving me so far, despite having a name like a vitamin supplement.

  Cheers. This is just a very quick test.   The proper project is the Spreepark with Frank. I can't wait to get started!! More to come.

Try using VLC Player. Quicktime is s**t

jcs, a few comments...   Windows 7 running on a Mac? Virtualised or bootcamp? If virtualised you will have lower performance. Also the MOV ProRes from Copy are much larger, higher bitrate files than the 4K MP4 (H.264) from my Vimeo account so you will be putting more demands on the drive read speed and the player.   Your grade is ok but could benefit from losing the yellow tint as the bonnet and cobbles no longer look brown.   Cheers

  Yes very good and built brilliantly as you'd expect from German engineering :)

  I agree 100%. Weird philosophy their law takes, from such an otherwise lovely country whose people have impeccable logic.

Recorded internally, 8bit 4:2:0 4K. Exported from Premiere Pro CC as ProRes 422 LT.   It isn't even ProRes 4444. Try converting it to that before grading :)

  Hmm, might do. But it is Speed Booster for Canon I really want, even a passive one would be better than nothing! To see more of the glass, closer to the full frame look.