Andrew Reid

1D C MJPEG 4K is just over 500Mbit/s, less than ProRes 422. ProRes LT hovers around the 350-400Mbit/s mark so a reasonable space saving. That's what I'm converting to at the moment. Absolutely in love with the images.

​What happens if you don't enable video mode (it's not really a mode, more a standby preview thing) and just hit record straight from live-view?

The purpose really was to look at the source file and see the differences. You can certainly grade it that's what you're meant to do with LOG. Though even after grading I'm not happy with what's going on over HDMI with S-LOG. Needs a fix!

It's fine in 2D 4K as is the IMAX 24p stuff. I know what JG means about focussing audience attention on the wrong details though But you can only do that if standing really close the screen. 4K on a big screen from the right viewing distances is simply gorgeous! Now I get more distracted when something is too soft but because I'm used to it, I can just forget that and enjoy the story.

It's HFR 3D that's the problem not 4K. It destroys the mystery of the image and makes it seem real. Still depends on the subject matter though! Reality is good for showing reality not so much for showing a wizard with makeup on.

Unfortunately I don't think that 150 mins will last me out the year

Agree 100%

  I decided to put the Sony A7S and Atomos Shogun to use shooting some of the snow over Christmas. Shot in Derbyshire (North of England) in 4K with family and at Chatsworth House. Music by singer-songwriter Anne Haight of Berlin (hear more on SoundCloud here) Read the full article

  ​ ​Thanks for the tip, I'm going to try 5DtoRGB. iFFMPEG does well but there is a slight colour shift in the reds going on between the original MJPEG Canon LOG and ProRes.

It is just such a shame they overpriced the 1D C. The 1D X should have had 4K and the would have sold so many and demolished the competition.

Try as I might I just can't reproduce the problem at the moment. With Samsung lens attached (30mm F2.0 pancake). Does it still do the exposure change in live-view when the SD card is removed?

The Metabones Smart EF adapters for Micro Four Thirds support Canon IS, it works 100% on the GH3 and GH4. I have the 35mm F2.0 IS and stabilisation is great on the GH4 with it.

The 24-105 has a lot of distortion on full frame. The Sigma 24-105 (new version) is better anyway. Much sharper. Consider the 24-70mm F2.8 or older 28-70mm F2.8 intsead.

​It is in the upcoming 4K shootout I'm working on. D750 sensor is actually bloody amazing. The stills are the best I've ever seen. The video is good for 1080p but obviously times move on

​The poor Nikon didn't make it to the 4K party

​I'm pretty sure the A7S S-LOG is better internally. In 4K there's something not right. Would have done my usual trick of 2 stops to the right but the highlight was already burning out. Looks like Doug was right. Anyone know a good restaurant that serves words?

​WRONG!! IDIOT!! It's 100% actually

Another finding... with the 1D C MJPEG 4K LOG footage Wondershare applies its own contrast setting, slightly crushing the blacks - less severe than with the NX1 but still a problem. iFFMPEG is a real find, thanks a lot GMaximus.

Just double checked the conversion rates. Wondershare took 28 seconds to convert a 5 second long test clip from the NX1 to ProRes LT. 7 seconds of that were at the start whilst it said "Waiting" iFFMPEG for the same 5 second H.265 clip to ProRes LT took 13 seconds. Even if you subtract the 7 seconds from the Wondershare time it's still nearly double the time. That's for one clip... might be quicker with multiple clips as Wondershare can use 4 cores, one clip per core so simultaneous conversions on the go. iFFMPEG is doing a 1 pass encoding, not sure what Wondershare does but iFFMPEG produces the nicer file so it's all moot.

Strange, I found it faster! What system are you using? Contrast, not sure, but if it drops any further I don't think it'll reveal any more usable info in the lows / blacks, just more blocking. Will be interested to see what your macroblocking bit rate changes do. You're right that is a weakness of the NX1, it does compress the shit out of the shadows

Focus is off a hair and different lens used so ignore that. Was purely concentrating on the spread of light from the highlight to the shadows. But that blow-up reveals something else interesting... The contrast of the A7S shot is much higher. You seem to have dark dots and the sellotape tab doesn't look right, kinda muddy and same colour as the rest of the board. The 1D C looks like it contains 10x the colour and shades to the A7S shot.

A7S + Shogun 4K in S-LOG exposed for highlights. 1D C the same, but 4K internal (Canon LOG). 1D C seems to have a dynamic range advantage. Maybe of 2 stops more usable information. I don't understand why the A7S is dumping so much data in the shadows. Big holes in it and lots of noise. Blacks should not be crushed like that in a LOG profile! When you have a shot without a really hot area (like a window or light you want to expose for) you MUST bring S-LOG 2 up away from those lows to get a good image, even if it means putting the ISO to crazy levels. The 1D C is different. It's applying ISO at an analogue level, and ISO 200 seems to have the same dynamic range as the other ISOs. A7S needs to be at ISO 3200 as we know. Not trying to justify my purchase here, just giving you some of my research early ahead of the blog post for commenting on. Will add depth to the final article to hear your thoughts. But it seems 1D C is looking like a real bargain if the price keeps dropping...

Somebody got a serious bargain with the Cinegon one. That thing is ultra rare. On that Iscorama movie camera vanishingly rare in fact. Also the Cinegons were the earliest of all the Iscoramas and perhaps the nicest looking. Great flare. Good luck with the sale Ben!

Ah wondered about that (directory issue). Thanks neo!

​Apparently they bought two C500 EFs when they first came out and haven't been able to shift them. Park are a stills photography store.