Andrew Reid

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?

The difference: The in-camera picture profile is extremely basic and not designed to deliver results compatible with professional colour grading methods. It has a few sliders - contrast, saturation, tone, that is about it. Resolve it isn't!! A LUT applied to the image in post is much more advanced than the Photo Style. This is a 3D matrix of a huge amount of numbers. Look at the complexity of DaVinci Resolve's entire user interface and compact it into a LUT file. As Hene1 pointed out above, the Rec.709 image out of the GH4 is not LOG and needs to be made compatible with this 3D LUT for you to benefit from that kind of control over colour and mood. If you dial contrast all the way down and try to make it too flat in-camera it looks terrible. Contrast -5 is a big no-no because it kills tonality, skin tones and colour. It is better to use the optimised EOSHD Cinema settings for this and keep as much colour information as possible, then the LOG conversion uses a very sophisticated 3D LUT to convert the file into a gamma curve and overall Canon-LOG style profile that is compatible with the final Output LUT. The final output LUT is whatever you want it to be. It could be one of James Miller's excellent DELUTS for example, or you can use the beautiful 1D C LUT which I included with the download. That really does wonders for warmer skin, healthier looking actors, no more weird yellow casts, and highlights look more cinematic, colours have more impact, it overall looks more stylistic than without. It sounds complicated but in practice it is easy, as the guide that comes with the files will show you. Aside from the advantage of basically being able to choose your "Photo Style" in post (rather than being stuck with the crappy ones in-camera) from a range of thousands and share your own "styles" online, you really are getting a drastically more cinematic image out of the camera by using this workflow.

Calm down sir. It is only a way of explaining it which makes sense. If it had a LOG profile in-camera yes you would get around half a stop of maybe 1 stop extra dynamic range as it would optimise the image processing for the sensor. The conversion in post gives you all the other benefits of LOG.

No only the GH4 actually The G7 doesn't have the advanced in-camera picture controls to make it suitable for the LOG Converter.

Yes all correct sir. Also you can apply the LOG LUT in the transcode, then you get the LOG ProRes as if it has come straight from the camera as LOG. I prefer to edit ProRes to H.264. 4K bogs down too much in H.264 on my Macbook Pro. In actual fact you don't need to understand any of this, or anything about LOG and LUTs as the instruction manual that comes with the EOSHD LOG Converter has a beginners tutorial on this stuff.

Nice to have LUTs working with the GH4. Who needs V-LOG now

Here's a quick example - fixing yellow cast of original shot by converting GH4 footage to LOG in Premiere (based on Canon LOG) and applying my 1D C LUT. Forgive my rather crowded LUT folder

I'm working on an edit as we speak. It transforms skin tones. Much less yellow cast to warm hues.

More details here