Andrew Reid

Putting a 4K 10bit recorder in there would be possible as well. Enough room to cool it with a heat sink. Panasonic missed a big opportunity... They came out with a shit brick with wires in it for $2000. It should have been a battery, a recorder, as well as an interface unit, or at the very least an ergonomic interface unit for XLR like what Sony have with their hotshoe thingy. There is a wide open gap in the market for a battery grip recorder which extends battery life, uses single battery for camera and recorder, no extra bulky screen, just use the one on the camera. Shogun battery life, separate battery to worry about, big bulky screen, no thanks.

External recorder go for A7S. A7R II is all about internal 4K codec... and 5 axis but that isn't more effective than what you get already with Canon IS lenses on the A7S.

Definitely doable on Kickstarter. Massive 13,000mha battery is quite small these days, only slightly larger than a 2.5" HDD and smaller than a 3.5" one An HDMI interface chip inside, from GH4 HDMI port... out to XLR, HD-SDI, probably an off the shelf component. I've seen more complex stuff done on Kickstarter. The YAGH was a sales DISASTER though due to dreadful ergonomics and need for external power, however they listened to with regards feedback on that should have had his mouth taped up.

Publishing mine today, merely to make people stop cracking the whip.

1D C keeps an astounding amount of colour information in the 500Mbit/s MJPEGs. The weird thing compressed 8bit footage should not have that amount of colour information in it. And of course it is 4:2:2 but I never see the same advantage on other cameras when switching from 4:2:0 to 4:2:2 over HDMI. So either those other cameras are lying to us and simply wrapping 4:2:0 colour in a 4:2:2 ProRes file or the 1D C is doing something else that the specs don't hint at. Fact is, 8bit 4:2:2 internal on the 1D C just looks WAY better than ALL my other cameras doing the same 8bit 4:2:2 over HDMI, hell it has better colour than the GH4 doing 10bit over HDMI. You know when I shot with the 1D C and NX1 side by side, the NX1 ended up having a crazy amount of green and less info in the reds, yellows and blues... If you look at the way 4:2:0 vs 4:2:2 colour sampling works, far more red and blue is thrown out in 4:2:0 but the green is kept... Source: http://www.creativeplanetnetwork.com/news/news-articles/dv101-411-444-422-and-420-understanding-digital-cameras-and-color-dissemination/423608 But if that really had such a dramatic effect on the image and didn't just pixilate the edges of red highlights (the most visible 4:2:0 artefact I always see), why don't the reds and blues come back with a vengeance when switching to the 4:2:2 HDMI output? HUH?! From a Canon white paper on XF100... Sampling at 4:2:2 takes advantage of limitations in the human visual system to avoid transmission of unnecessary colour information. The human eye is more sensitive to black and white detail than colour. The 4:2:2 ratio refers to the ratio between black and white and colour. 4:2:2 sampling is especially useful where advanced video processing, such as compositing and colour correction, is required. Both models in the XF100-series capture twice the colour detail of camcorders which use 4:2:0 sampling, and combined with Canon’s powerful DIGIC DV III processor and CMOS sensor, offer unrivalled image quality for camcorders in this category.

Yes it is 20 years of cutting edge modern colour know-how, the accumulation of 15 years of CMOS sensor development and the 1D X all rolled into one hell-of-a-cinematic beast. It kicks the arse of the A7R II for colour. Whenever I am handling the Sony material in post there is something I have to do to make it look better. Never spent so much time fiddling. With the 1D C it just looks right on one of the standard image profiles and C-LOG takes about 5 seconds to grade.

I had to send mine back to the Sony shop as couldn't get the slow-mo in focus half the time due to a bug. Apart from that was great Review is written but didn't shoot as much nice footage as I'd liked to have, which has made the edit a difficult chore in the midst of a lot of other interesting stuff to be doing, hence the delay Wolf33d maybe you could crack the whip over my back a bit more, I am your unpaid slave after all.

Manners? The whole point of this LUT you missed above. It is to make the GH4 compatible with LUTs designed for Canon LOG / S-LOG / Arri LOG-C footage. You can't apply a LUT that was designed for a flat LOG image out of the camera to CineLikeD and the GH4 still does not have V-LOG. Also with carefully fine tuning the in-camera picture profile for more dynamic range it actually captures in rec.709 space nearly all of what the sensor sees and the LOG converter allows you to better utilise that in post. No it doesn't mean losing information in the process. Opposite in fact. Thanks Charlie. Canon LOG is quite light LOG, not as extreme as S-LOG. So I was able to get the GH4's image really close. Yes it is like having Canon LOG in-camera once you do the conversion... same amount of shadow detail, same contrast curve, same saturation, etc.

As Don pointed out, if you want to put a pack of frozen peas anywhere on the A7R II put it on the back behind the LCD. Copper piece is the heat sink. To be honest it is quite a basic solution and not that clever considering the warm LCD screen blocks it entirely when closed. If they make a pro body it could have a heat pipe down into the grip, problem solved. It is the other way round, unless you count rolling shutter. Yeah all the 1080p modes look the same but the HD 120fps has heavy moire & aliasing. Very true. External HDMI recorders are still at the mercy of the camera's image processor. 10bit 422 doesn't mean anything. If you want to see a real boost in image quality from an external recorder, record raw onto the Odyssey 7Q+ from the FS700. I doubt that helps the heat issues, though a slower card might run a few degrees cooler. It looks to me actually like the low power ARM processor faces the sensor block along with likely just a tweaked A7 image processor (JPEG?). Hot chips like the memory chip, 4K processor / system on chip seem to back onto the heat sink side. Enjoy!

I don't see anything wrong with wide angle. Kubrick used a lot of extreme wides in 2001 a Space Odyssey as well. Maybe it is because we're so used to watching fisheye GoPro stuff on YouTube. I am sure if you saw Revenant on a proper screen in a cinema it would be fantastic. Trailer looked great to me.

3D LUT export from Resolve 11. Much of the work in creating the 1D C LUT was to keep fine tuning it across a ton of shots from both my GH4 and 1D C until I had something that closely matched.

If you're used to Nikon then get the D750, and don't forget the lenses are as important as the camera. What do you use with the D200? If D750 is out of your price range get the D5300 or D5500.

Windows 10 is decent. Big improvement on 7 and 8 Resolve 11, I tried in Windows 7. Wasn't impressed with performance vs Mac version! Maybe 12 in 10 is better? Might give it a go.

Hand puppets. High end - Nikon D750 and Sony A7S (D750 is easier to get nice colour out of, the A7S is more feature packed), Sony FS100 (used price quite low now) Mid range - Nikon D5550, Sony A6000, Blackmagic Pocket Cinema Camera, used 5D Mark II (raw is lovely if you can do the workflow justice) Cheaper end - Panasonic G6, Nikon D5200, GH2 GH4 and NX1 are all about 4K, their 1080p is nothing special

Glad you got the unit Ebrahim, enjoy.

If the NX500 got Gamma DR with the V1.1 firmware update then yes.

Looks like it might be a white balance issue, but it's easily fixable. Adjust tone to preference in FCPX or experiment with the in-camera tone. May I ask a favour? Can you upload the file of the lady in the red top or at least a bit of it (1-2 seconds) so I can test a few things for you?

Yeah the Animators 7S is great in low light

That's because it's not designed to be used with portrait. Feel free to keep experimenting though

Great job One of Manchester's finest

Very nice Aaron. And thanks for your support with the purchase. Nice that people are experimenting with different in-camera profiles before taking it to the EOSHD LOG Converter. Curious to see the results of that as well!

Why not make the tweaks in a rec 709 LUT? As I have already said, most LUTs and almost all the pro camera ones are designed for LOG, be it Canon LOG, S-LOG, Arri LOG (LOG-C), etc. My LOG conversion workflow is designed to make the GH4 which cannot record LOG compatible with those. If you want to carry on using a Rec 709 LUT nobody is stopping you. I don't see why you need to keep justifying your own choice over the top of mine, distracting everyone from the topic. LOG in-camera is designed to capture more highlight information, so it is not just a grading assist. However because you can underexpose with my workflow, as the blacks aren't as crushed, you do protect the highlights more and also bring a ton of tonality in the highs down into the sweet spot, rather than really close to the clipping point where they look terrible, colour wise. Here is some good reading from Arri: http://www.arri.com/camera/alexa/learn/log_c_and_rec_709_video/ As people have been using this thread to critique the LOG Converter without even trying it first I've had to clean it up. Please stay on topic. I am using this workflow myself. If it didn't do what I claimed I wouldn't be using it. Go figure.

No, most LUTs out there are meant to be used with LOG. If you're applying the final Output LUTs to Rec709 you have to bend the image further to where the LUT wants to take it. Often Rec 709 will have crushed blacks and the LUT would create a flat grey out of this without the nice variation in luminosity you get from the blacks with LOG.

Difference between 422 and 444 isn't really perceivable. You won't see much benefit from the 10bit 422 and you can have that anyway with the GH4 and external recorder. F3 - nice price, but big heavy bulky unergonomic old-style camcorder. Same sensor as FS100 but with 10bit internal and S-LOG. It's a nice sensor in low light. I'd consider the FS100 instead, it is much smaller and lighter, more modern.

You don't need grading skills as a filmmaker, usually most filmmakers pass their footage onto a colourist anyway. What would help, and what you might find enjoyable is simply to learn how to apply a LUT and what LOG is. As the NX1 guide explains basically... a LUT is a style, a mood, a file describing the look of footage, a bit like a picture profile in-camera (Standard, faithful, etc.) or a film stock (Kodak, Fuji) but with the advantage of you being able to pick this in the edit and not being lumbered with whatever the camera was set to when you shot. A LUT is applied like an effect. Couple of clicks and you are done. LOG is the gamma curve that makes the image work with the LUT, the foundation for nice colour correction basically. Again that is applied with a few clicks on the timeline or in your transcoding app - i.e. EditReady (can't recommend that app enough!) Have you used Film Convert?