JLemos

Also, if i'm not wrong, they don't really tell how the lut and grading was applied. For example, if they just plaster it over the image in Premiere with Lumetri, there may be some problems like those if the sequence isn't at "Maximum Bit Depth".
That is even seen if you're using a native ProRes file, with a h264 file should be even worst.
You can see the difference in a fast example i made with a 10bit prores v-log file from a GH4 (recorded with Ninja Assassin), left without "Maximum Bit Depth", right with "Maximum Bit Depth" active.
p.s: I just applied the native "Alexa_Default_LogC2Rec709" from Lumetri

Adding to all those specs, the GH5 would blow every other camera if it had a HDR mode in video at least in 25 and 30fps, in theory even the GH4 could be capable of that as it easily makes 50 and 60fps in 1080p.
What could be sweet for creative work, besides selecting a different ISO for each "frame", selecting also the white balance for each High and Low ISO frame one would be awesome.

The A7S is a achivement but when you grade it against F5 footage you end up finding that the footage from the A7S is much more stiff, the richness of colors isn't so good and you end up with many colors blending into others (you can see it with skin tones more easily).
That's why i have serious doubts about the usefulness of a totally Flat profile in 8bit color space, in my opinion it narrows the colors you can have in a limited color space, they end up blending several color tones in only one because there isn't more space available.

​I have a good amount of experience grading SLog footage from a Sony F5 and i may say that the Slog from a A7S is just near it in terms of how it looks after recording, it's completely different how it reacts to grading comparing with a file from a F5, probably the 8bit and 10bit takes a big part in it.
The A7S files are much harder to grade.

That looks nice, i'm about to buy a Shogun and this was one of my concerns,  
I'm also concerned about the build quality that everyone talks about, i'm thinking about building a cage for it or finding one that fits.

Aside from the anamorphic goodness...

 

The camera shoots at 96fps, so there's many frames per second to spare, could it be hard to them to make an HDR mode like the one on Magic Lantern but with the final file made on camera?

 

This would be great and a stand point over A7S.

Just to let you with this music video i directed and shot with a GX7

Nice to watch a video and not think about the camera. The lighting in this was lovely, looked up a few sets immediately afterwards to see how much they'd set me back.

Anyway, thats beside the point, really liked it. I loved the shot of the stone (?) with the fire in the middle. I'm curious what the creative process is like on this? How do you brainstorm an idea for a shoot like this? A lot of it is very ambiguous and much of it is all about the power/aesthetic of the visuals I'm guessing.

Hello Greg.

 

Thanks.
The stone is a old ashtray that my parents had since i remember, no one knew were it was but everybody remembered it, i ended finding it in a old closet  :) 
The creative process in this was about not to think about a story in the beginning, thinking just in images, with time a storyline emerged made of several parts of that images. Researching for something takes you to other things that you can connect to it.

 

There were several parts of what we shoot that didn't end in the final cut, many of them were the main part of the original idea that we ended seeing they didn't work from a technical point of view.

wow the image quality is remarkable! i imagine professional studio lighting played a part in that.

Not much, just a set of 3 softbox lights from Linkstar wich are very cheap, close to 400€ for the 3 if i remember, a ring light http://www.amazon.co.uk/Walimex-Macro-Light-Bracket-Camera/dp/B002M3FGX4 like this one, a Meike FC100 Led Ring light like this http://www.amazon.co.uk/Meike-Macro-Flash-FC100-Nikon/dp/B005KJZGYQ and a Yongnuo YN300 http://cheesycam.com/yongnuo-yn-300-led-video-light/
 

I was amazed how the footage handled when i was doing post-production.

We shot this music video with my Lumix GX7 after comparing the image quality with other Canon cameras that we had available.

Samyang lenses were used with a EF adapter.

 

Just speculating...

 

I wouldn't be surprised if Sony charged for a "Low Light Firmware Update".

Then, when the internal codec can't handle the low light they will sell you the external recorder, plus, you'll have to buy the decoding software so you can edit the footage.

 

:)

Anyone in the UK had any news from your suppliers?

Not from UK but pre-ordered from UKDigital.co.uk
No news also.

Most people doing video work (that looks like film to them  :) ) usually only have one lens beside the stock one, the cheaper 50mm from Canon, that's a safe lens, you can get easily good pictures without much work involved.

With wider lens you have to be more careful, there's much more going on in the image, many people don't get it right easily, i think that this short is one good example, it was made in a hurry also.

The light is mostly bad, the color grading… at some times looks like it came from a Canon DSLR, too much red tint, again made in a hurry maybe with bad reference monitors and maybe by inexperienced grader.

The "actors" and editing… it's that kind of things that can work within a group of friends but you should't show it to everyone else.   :)

 

It's not the camera, it's how and what you do with it. Not so long ago we were putting lens adapters in front of our DVX100, HVX200, PD150 so it could have the "film look", without it it was a video camera that made videoish images. The film that Gareth Edwards made before the new "Godzilla" was shot with a Sony EX3 with a lens adapter http://nakedfilmmaking.com/2010/10/05/naked-monster-the-future-of-film/  

 

I respect Nick Driftwood a lot but i think he got carried away with this hype around GH4 and with everyone trying to show new footage.

 

My order is still awaiting for stock in Europe, i won't cancel it because of this.

First of I want to thank you Andrew for testing the camera in various ways and sharing your results with us, much appreciated!

 

This camera has really caught my attention and it feels like nothing can really compare at even a fairly close price point at this moment.

 

My concern though is that I come from Canon with a couple of L-series lenses that I really don't want to give up. I've been searching around to see if there's any news from Metabones on their EF-MFT speed booster but it seems like they've been quiet for a while. Anyone know the latest updates here?

 

Has anyone worked with using any other passive adapter/speed boosters for EF, like this one https://www.youtube.com/watch?v=ry0nuJrXhpg, on an L-series lens? I understand that the aperture needs to be set in advanced on another camera, so if let's say I'm using my 24-70mm f/2.8, leaving the aperture wide opened, and moving the lens over to the passive adapter/speed booster, my work around for controlling exposure would be to use shutter speeds greater than what's equal to the angle of 180 degrees right? Am I risking to damage the lenses by using them on a passive mount?

 

How would you rate this as a solution in anticipation of Metabones finally releasing an active EF-MFT speed booster?

 

Thanks!

 

I think I will give one of these a go. Problem is some EF glass like the 85mm F1.2L needs active mount even to focus and of course IS needs an active mount too.

 

For shooting wide open on the others, I'll consider it but I'm not sure the optics will be up to Caldwell (metabones) standard on it?

 

 

I have one of those i think, it's branded as Camdiox (german brand) http://camdiox.wix.com/camdiox for use with my GX7.

I've used it filming part of a music video but i've been to much focused on the post production of that than doing proper tests.

 

Altough i've noticed some things, there's a blue spot (faded) sometimes on the center on certain lighting conditions, i wasn't able to put the Canon 18-55mm on it, i was just trying the lens i had around, all of my Samyang (8mm, 14mm, 35mm, 85mm) work nice, all the others M42 and Pentax K work also nice with the EOS adapter atached to the Focal Reducer.

 

The optics seem good but i have to check when the blue center spot thing happens.
When i get the GH4 and when the Metabones Speedbooster is out i'll get one of those, but this one is fair for getting some things done while the original isn't out. Could also be used after on a secondary camera.
I'll try to do some tests on the next days.

 

This is where i bought it.
http://www.ebay.co.uk/itm/Camdiox-Focal-Reducer-Speed-Booster-Canon-EOS-EF-mount-lens-to-Micro-4-3-Adapter-/251456982191?pt=UK_Photography_CameraLenses_Lens_caps_hoods_adaptors_ET&hash=item3a8c010caf

What could be the resulting file converted to 2.5K?

I think that in terms of size it could be of general interest, or at least of my general interest.  :)

It looks fine to me on the dynamic range front. Very little of it is blown out. The actual shooting could do with a bit more imagination but I'm not seeing any glaring problems.

 

Dynamic range does not look like LOG or CineStyle BTW... Nor does it look like the horrible HDR sick. Dynamic range for cinema really is how much of the shadows and highlights remain while keeping a ton of contrast in the image. Alexa and BMCC are good examples.

It looks like it has too many crushed blacks and some strange purple noise on some of them, maybe it was badly graded or badly compressed?
Overall it doesn't impress, not bad but it seems far from the "unprecedent dynamic range". Let's wait for more footage and tests.

I don't see the "unprecedented dynamic range" here. It's just me? 

This could also be useful with Blackmagic or Aja PCIe Cards, if you already have one and need to have some portability.

This is a test with a Sony FS700.

The biggest downside of this camera is the internal codec, not very gradable, there's a lot of work to be done so you can pull more out of the images without loosing much quality. This was also shot only with natural light, nothing more, soon i'll make a side to side clip so everyone can check the before and after.

http://vimeo.com/61725983

Also i was surprised by the price tag that the staff at videohive put in it...  I've already sent them a message to be sure that it's not a mistake.   :huh:

This was a post work i've done with footage from FS700. Not impressed at all with the image, crushed and noisy blacks and very little detail on them. Not very color grading friendly. Hope you enjoy it. Cheers.

[url="https://vimeo.com/54260882"]https://vimeo.com/54260882[/url]

[quote name='fertigo' timestamp='1346974414' post='17482']
love them. and awesome preview video.
[/quote]

Thanks :)
I have a new item there in the same style [url="http://www.videohive.net/item/grindhouse-film-style-overlays/2939026?ref=SkinnyOldMan"]http://www.videohive.net/item/grindhouse-film-style-overlays/2939026?ref=SkinnyOldMan[/url]

Hi.
I made this pack of transitions, they are selling at Videohive.
Everyone of my coworkers were always asking me for something like that, so i think it can be useful for other people to.
The preview video was made with a Canon T2i, Samyang 35mm and a old Chinon 50mm 1.7

Check it at
[url="http://videohive.net/item/30-burn-leak-transitions/2827012?ref=SkinnyOldMan"]http://videohive.net/item/30-burn-leak-transitions/2827012?ref=SkinnyOldMan[/url]

Hello.
I've been a long time reader of your site.
Check this short i've edited and graded. I think it's worth 12m of your time.

[url=http://vimeo.com/35679059]Aqui Jaz a Minha Casa - Here Rests My Home[/url]