Andrew Reid

You broke the skintones entirely. Back to the drawing board with that one.

Here's what I don't get though - the 5D Mk IV is a noisy as hell camera with 30MP, yet have you seen the ISO score on Bill's chart and at DXOMark? Makes no sense for it to be so high.

Just shows how much room there is to expand the sensor if they wanted to.

Come on reveal all. The image is a bit lacking! Some aliasing, a bit soft 1080p, is it the Canon 80D?

Then there is the curious case of the missing Pentax 645Z score http://pentaxrumors.com/2015/12/25/pentax-645z-scored-101-at-dxomark/ Missing in action! Yes it is. I want all my cameras to be IMAX white from now on.

Take a look at this... GH5's sensor seems to fill out the entire inner circular part of the mount with no black border. Is it really bigger?

The RED Helium 8K camera (approx. APS-H size sensor) just leapt to the top of the DXOMark charts with a score of 108. Read the full article

DXOMark have some questions to answer... How can they put a score out for a sensor which applies high ISO noise reduction to the RAW files and benchmark it against sensors which don't do noise reduction on the raw files? I seriously doubt the RED's Super 35mm chip with those densely packed small pixels beats an A7S II for noise. The DR score also comes from heavy processing. The sensor probably has twin A/D converters and other tricks going on for dynamic range. The back end processing is necessary as well.

Are their any step-changes in quality as you go down from 180fps with the variable frame rate option? Say 120fps or 96fps - any more detailed and less aliasing?

Dave has done a great job matching colour in this. 1D X Mark II is a bit softer out of the box, as it doesn't have any digital sharpening in-camera when it is turned all the way down.

Can't really confirm it. The chart is open to interpretation with the yellow shading. The camera is only still in pre-production, nothing is locked down yet. On second glance at the chart it looks like the DCI 4096 x 2160 at 48p is 150Mbit 8bit 4:2:0 if you follow the row and boxing lines, whilst 24p is 10bit 400Mbit

180fps looks like it does suffer aliasing and moire to quite a severe level but it's great as a creative bonus.... NX1 120fps probably a bit better but that still has aliasing and moire.

Of course it's enough for H.264 at 400Mbit (4K 48p) - it may be half the bitrate of MJPEG for 60p 4K on the 1D X Mark II, but H.264 is a much more efficient codec so will maintain image quality at half the bitrate.

Well remember with the GH3, the ALL-I mode didn't quite have a high enough bitrate to maintain quality per-frame, for all those individual frames, so IPB looked a bit better. Now 400Mbit/s is another story, it should be better than 150Mbit IPB, in same way 500Mbit MJPEG on the 1D C looks better - not a huge difference but there will be one. Big files sizes though! Motion cadence should be the main thing that benefits in terms of image quality with ALL-I. But IPB is perfectly good at giving you individual frames with little compression, even at 150Mbit - and it's a nice big step up from 100Mbit on the GH4. 400Mbit ALL-I on the GH5 will be 4K 48p 10bit 4:2:2 and 30/24p. 4K 60p remains capped at 8bit 4:2:0 / 150Mbit IPB. As it is IPB, 150Mbit is reasonably enough.

You should really never shoot with auto-aperture, it's bad technique even for auto. If you're going to use auto then it's less of a trade off to have the shutter speed and ISO control exposure, rather than the aperture. Who wants to have the camera ride the aperture all the way down to F16 in some instances? Even the staccato look of 1/4000 is less noticeable than using yukky slow apertures on a scene which really demands some composition in-depth. Only scenes that need a deep DOF should be shot at F8 or slower.

I talked to Panasonic's Matt Frazer to clarify the use of H.265 on the Panasonic GH5. Read the full article

I really hope Panasonic can do a de-squeeze in camera... and remember to crop the edges from 2.66:1 to 2.39:1 with the 2x glass

Scorsese said cinema's now officially dead. May as well be a theme park ride. Event a good director can't save the system... Duncan Jones on Warcraft. Peter Jackson on The Hobbit Part 10. Looking to Netflix to save cinema... They have picked up the Blade Runner style sci-fi shot by Bowie's son Duncan Jones, set in Berlin in 2050 called Mute. And more stuff good coming out soon. As for 2016... I am voting 5D Mark IV!

Exactly. One could be an absolutely brilliant filmmaker but produce dreadful colour from LOG footage, it takes years to learn how to be a good colourist. It's really a separate job altogether OR another thing to learn and to hope and pray you have talent for. Then there's the fact that all displays are different and you could be getting one thing on yours and people will be seeing quite another thing. I cannot believe for example that one of the guys on this thread really wanted to put saturation to the levels he did!! Must be something else going on. This is partly why I came up with EOSHD Pro Color to sort things out so that they only require tiny, simple changes in post to get the most out of the sensor. V-LOG is nice and all that but it so often goes horribly wrong - just like S-LOG.

This shot was the exception... very nice. Not seeing much detail in the shadows but the colour is great.

Ah OK I get it now, people on the thread are trying to break the footage. That must be why it looks so horrific. Either that or V-LOG colours are off.

That would explain it. Panasonic think I am a girl! Maybe I need to shoot my parkour and dogs before EOSHD can get a pre-production unit. Remember when they gave me a GH3... and a GH4... and invited me to feedback sessions... This time - nada. Maybe it was the Panasonic CM1 smartphone review?!

Dynamic range is more than just counting the number of grey shades at the end of a chart. It's how colour is handled, the roll off, the codec, noise, a lot of stuff. C5D say nothing about what is usable, what isn't. My Leica M9 came out 7 years ago and it has more usable dynamic range in the raw stills than the latest full frame sensor from Sony in the A7S II (which remember, Sony claimed had 15 stops!! Yeah right)

You only have green, brown and black in your grade. The blacks are crushed big time. I'd recommend starting from scratch and reading up on how to grade properly. There's already too much crap out there that has been graded terribly. You don't want to add to it... trust me.

Have you tried CVP?