tomekk

Sometimes we need to enhance the detail of a shot: a very soft lens, slightly out of focus, slow motion, post cropping (for story/emotion or after stabilization), and so on. Most are familiar with the sharpen effect and the unsharp masking effect. We can combine both effects, as well as use unsharp masking to create a local contrast enhancement effect as well.
Canon 1DX II and Canon 50mm 1.4 at 1.4, 1080p (Filmic Skin picture style):

 
Multi-spectral Detail Enhancement (let's call it MSDE, based on the physics of Acutance)
Fine noise grain: adds texture and increases perception of detail (Noise effect: 2%, color, not clipped) High frequency sharpening: in PP CC this is called Sharpen (as a standalone effect) or via Lumetri/Creative/Sharpen (as used here: 93.4) Mid frequency sharpening: Unsharp masking effect with amount 41 and a radius of 5 Low frequency sharpening (Local Contrast Enhancement or LCE): Unsharp masking effect with amount 50 and a radius of 300
While this may be a bit too sharp/detailed for some, it illustrates MSDE, and one can add detail to taste using this technique. Note we didn't use a contrast effect or curves to achieve this look.
MSDE can also be use to improve HD to 4K upscales: apply after upscaling. Also a great way to use Canon's soft-ish 1080p along with DPAF (since it's not currently available in any other cameras on the market). The GH5 is the new kid on the block with excellent detail, however Canon still looks more filmic to me and has excellent AF  
Someday Adobe will GPU accelerate their Unsharp Mask effect (it's a trivially easy effect to code too!), so this can easily run in real-time while editing.

As above, stay away from Benq for colour accurate work, you can't calibrate broken monitor ;). Uniformity is much worse than in NEC's budget EA series. Unfortunately, for colour accurate work, monitors are expensive. Not only that, you also need to take care of your working environment. Proper colour accurate lighting, neutral colour walls, optimal light levels... You don't want your environment to affect how you see colours on the monitor, do you? So don't worry about it too much, unless you're going real pro and don't mind spending tons of money on it. 

Any monitor is good for video editing you are just editing but color accurate monitor I would stay away from benq monitors for any color accurate work they simply are not accurate  if money is not an option i would get EIZO or FSI monitors these are the only two monitor brands you should be considering for any kind of color correction and grading workflow. Plus you will need calibration device to calibrate your monitor for color accurate work that is another ball game. PS if you are feeding your monitor via graphic card then your monitor will not be 10bit since your card is not 10 bit what you need is something like black magic mini or video card that supports 10 bit.

The GH5 has the chunkiest 10bit files I've ever seen for $2000. Some of the lenses are even more of a bargain.
Read the full article

This camera is better in almost every way than the A7R II and A7S II.
Lenses... I'll get onto those in a minute but A mount is nothing to be afraid of. Will be selling a lot of Canon glass after this and will end up actually saving money at the same time as increasing quality and decreasing weight.
The AF is definitely better than the A7R II and kicks the A7S II into the dust. At F3.5 it tracks like a hawk. I can now see why Sony did this because at F1.4 on a softer lens it doesn't work nearly as well as Dual Pixel AF on the 1D X Mark II. But to have this bonus feature on the 24-70mm F2.8, losing just half a stop, but gaining amazing run & gun AF for video.
The 1080/24p and 1080/120p are the SAME QUALITY. This makes the 1080/120p the best on the full frame camera market. The nicest ever. There's no crop, it's full frame. A7R II was 720p only and A7S II was a big 2x crop!
What's more it is not just an S&Q mode but a fully continuous normal video mode with 5 axis IBIS and AF tracking, at 100Mbit. The S&Q mode is only 16Mbit.
The 4K full frame quality is also very good but Super 35 does still have advantage in low light and to eliminate moire.
Nice to have a top LCD for shooting info. A7 series lacks this of course.
Buttons are better arranged than A7R II and A7S II. It is not laid out like a RX10 III. It is its own beast in terms of ergonomics.
You can now assign Super 35mm mode to a button, which you can't on the mirrorless cams. The new menus are in there and do group stuff together better but they're not a big enough overhaul to make me really appreciate them. I try to go into the menus as little as possible. Unfortunately you can't assign 4K/1080p to a func. button or the func. menu, you have to dig into the menus when switching between 4K 24p and 1080/120fps.
You can assign video recording to the exp. comp button next to shutter release, really handy. Default video button is better placed than A7 series but on the rear not the top.
Exposure compensation can be assigned instead to rear or front dial when in A-priority mode, then it automatically reverts to shutter speed / aperture control in manual mode.... again super handy.
The LCD can face forward for VLOGs and stuff, cannot do that with the A7 series or A9. It can also sit on top of the hotshoe almost (reminds me of Sony R1), or flips away to the base. More articulation options than the A7S II.
AF for photos.... hmmm lovely. Super quick and reliable.
The A lenses...TOP stuff. Particularly Zeiss 135mm F1.8, 50mm F1.4 and 24mm F2.0.
The 85mm F1.4 is a bit noisy and slow for AF but great in MF. Super optically. The Zeiss 24-70mm F2.8 is like the G-Master lens, and just as big unfortunately.
I prefer wherever possible the SSM lenses (24,50,24-70 but not 135 and 85) if using AF for video - much quieter internal focussing.
I love the green indicator boxes in manual focus mode for video. Way less intrusive than peaking. It stops you from diving into the punch-in zoom mode or racking the focus ring back and forth a little bit to be sure. As soon as you get that green dot you can just stop and relax knowing that area is in focus. LOVE IT
Have dialed EOSHD Pro Color into PP1. Looks WAY better than the default. Not tried S-LOG 3 to see if the banding is improved since A7S II yet. S-LOG 2 and S.Gamut Cine 3 with view assist all present like A7S II and an improvement over A7R II.
42MP stills and 18MP Super 35 mode. This for photography is significantly more in resolutions terms than the 1D X Mark II and allows you to effectively get two high quality prime lens focal lengths in one.
The camera is more responsive than A7R II / A7S II. Starting / stopping video has zero lag. Start-up time very good. Writing the 42MP RAW+JPEG files - MUCH smoother. Max write speed is 60MB/s to UHS 1 cards. Dual card slots. Not Compact Flash speeds (80MB/s plus) on the card controller but much better than A7R II 30-40MB/s.
This isn't a DSLR. EVF quality is very good, translucent mirror doesn't flip. It's instant-on like mirrorless camera.
Body size and weight is similar to the GH5. So far far less than 1D X Mark II.
Has a DC-IN port, but doesn't seem to take charge from USB. Battery is probably too big for 5v 2-amp charging.
There's a very smooth and nice front dial near the lens release which is assignable to things like ISO... It can be clickless or clicking.
Now the bad stuff...
The LCD dims in movie mode when you're shooting 4K or 120fps 1080p. It's either a power management thing or a heat thing. Makes exposure look totally different and 2 stops darker than same settings in stills mode. Very silly Sony!!! It seems all unnecessary on this camera because of the bigger battery than A7 series. Although the screen does get very slightly warm at full brightness outdoors, to think this would contribute to overheating problems is unlikely and it can be flipped completely away from the back of the camera where the hot main board and chipsets back directly onto the rear casing with no proper heat sink (I've seen the tear-down photos).
Sadly my camera came with a small faulty part... a sticky joystick in the 'right' direction. Apparently it 'wears-in' over time but I don't think mine is proper...why would it only need wearing-in to click right responsively and not also up/down/left? We'll see if my next unit does the same weirdness. On this point, I think Sony still have work to do to convince us they can make buttons. Can you imagine this on a pro body like a Canon 1D X Mark II? Journalists would be rabid, foaming at the mouth.
That's it for now, can't actually use it much more as it has to go back to DigitalRev but plan to do the review soon.
I think this is a real rival to the GH5... No 10bit but you gain full frame, better slow-mo, 42MP stills and maintain pretty much all the other features.

That's it with the Zeiss 50mm F1.4
The Sony 35mm F1.4 G is also a nice one... forgot to mention that. It's much smaller and lighter than the Sigma ART 35mm.
Size comparison with the GH5
Although lens mount makes the A99 II look much larger, the tops of the bodies are practically level (look at hot shoe and mode dials)

The grip is a bit deeper on the A99 II and card door a lot wider... dual card slots on both.

Doesn't every camera which shoot raw stills is capable of delivering raw video? It's more or less just  a straight data dump to a media card limited by interface's speed. If so, GH5 is capable of doing it and why not all manufacturers enable it? Canon is not the only one holding back this feature! 

@tomekk- those look like fantastic LEDs. Excellent spectrum examples on their site as well, and excellent R9 performance. As competition heats up, expect even better light performance, not just in color but also thermal and luminous efficiency per Watt. Fiilex-sized (and build quality) point-source lights with more power will be amazing! (Aputure produces excellent light, however not in the same class in terms of size, build quality, and industrial design (to be fair, Fiilex are much more expensive lights per Watt/Luminous output)).
Fiilex is just releasing the new 360 Pro Plus: http://www.fiilex.com/products/P360_ProPlus.php. At $995 ($845 without hue control (still has color temp control)) it's a few hundred more than the Aputure 120d, however it's also variable color (including optional hue control!), much smaller, IP24 weatherproof, and has many cool modifiers available. The Aputure uses 135W vs. 90W for the Fiilex (+ Fiilex is variable color), so I'd expect the Aputure to be brighter, however we'd need to see independent tests for lux at 1m for both lights).
Fiilex has more powerful lights (e.g. https://www.bhphotovideo.com/c/product/1043613-REG/fiilex_flxq5ac_q_500_ac_5_bfresnel.html), at $2k we're no longer in the best-bang-for-buck category (the build quality and light quality is amazing. Would be interesting to see a comparison with the new Aputure 300d when released).

Jcs, have you tried daylight http://www.yujiintl.com/high-cri-led-lighting (CRI 98, not that it matters) ? They match sunlight entering my room very well and under this light colours in prints match what I see on a calibrated Eizo screen too. I believe they sell led strips which would be perfect for creating video panels https://store.yujiintl.com/products/vtc-series-high-cri-led-2835-ribbon-120-led-m-unit-5m-reel-1

Here's what I learned at CanJam 2017: https://brightland.com/w/the-best-headphones/
Such a great idea and nice meeting people and trying gear in person!

If you guys haven't been here and really want to do a deep dive into headphones for mixing, grab a comfortable beverage, get comfy in your chair and dive in! https://www.gearslutz.com/board/so-much-gear-so-little-time/508831-best-mixing-headphones.html (~3400 replies and growing and ~700,000 views. This is just one of many threads). Lots of good feedback. ATH-Mxx, HDxxx, BTxxx, AKGxxx, Grado, all popular in the budget range. Great points with pros/cons of each (ATH-M50(x) have a V-shaped response (reduced mids AKA boosted bass and highs), however that's what many consumers like). So perhaps mix on cheap/flat/dull 7506 and do sound check on ATH-M50... LCD-X gets more votes in the high end, though they are heavy (and can work on your iPhone too, unlike Stax). Gotta try 'em for yourself to see which works for you!
From the gearslutz thread (I'm sure lots more if you poke around): http://onthespeakers.com/best-headphones-for-mixing/
Here's how to do it, from https://www.gearslutz.com/board/12241241-post3265.html :
No reason to spend more if something lower cost does the job (for you, based on content you are familiar with on your own ears).
The Audeze EL-8's are much lighter (and on your wallet- $699) than the LCD-X ($1699) and along with a USB amp (say Dragonfly Red, $199), rave review here: https://www.amazon.com/gp/customer-reviews/RJHBNE8TYE0A3/ref=cm_cr_dp_d_rvw_ttl?ie=UTF8&ASIN=B01AIHUHUW . Got the tip from the Gearslutz thread. Also read more points for the AKG 70x's.

What you need are headphones with as flat frequency response as possible which basically means they don't change given input sounds on the output. Audio-Technica ATH-M50x that JCS recommended are actually pretty ok. They're fairly flat between 50 and 2khz. Beyond 2khz they get pretty messy so most sounds coming from beyond 2khz won't be accurate. http://www.innerfidelity.com/images/AudioTechnicaATHM50.pdf
Here is a nice chart showing what instruments use what frequencies which you can refer to  http://www.independentrecording.net/irn/resources/freqchart/main_display.htm
Avoid any headphones you can't find frequency response chart for. They're most likely really bad if you can't find it. 
 

I meant "flat"/neutral headphones not flat frequency response, that's why I said, they shouldn't change sounds from input to output, but yeah, my bad. Won't "flat" headphones have flat frequency in an anechoic chamber measured at the microphone, anyway ? Then you add a person and it's not flat anymore, gets complicated and confusing because people are different with different ears and bodies. The goal was to point Dan to where he can read more about it without much pain. It's not clear for audio engineers how to properly measure this stuff anyway. Innerfidelity has quite a bit information on how to read their graphs if he wants to know what they mean.

It could be impossible to find something like that on the cheap. Usually, only higher end headphones offer better quality. Then again, you'd need a proper amp and dac to go with it as well. 

Lol. Guys, you do realise you sound like diehard Canon fanboys but in IT world?  

Lol. Guys, you do realise you sound like diehard Canon fanboys but in IT world?  

Lol. Guys, you do realise you sound like diehard Canon fanboys but in IT world?  

Lol. Guys, you do realise you sound like diehard Canon fanboys but in IT world?  

Lol. Guys, you do realise you sound like diehard Canon fanboys but in IT world?  

Lol. Guys, you do realise you sound like diehard Canon fanboys but in IT world?  

Lol. Guys, you do realise you sound like diehard Canon fanboys but in IT world?  

I created a Clog emulation in May 2016, right after purchasing the 1DX II. Along with Highlight Tone Priority (HTP) it appeared to be useful at first. However it became clear in production that skintones became challenging so I stopped using it (still use HTP). Actual Clog which isn't just a picture profile could be useful (highlights and preserving skintones), especially for matching other Canon cameras quickly. I was able to quickly grade GH5 log footage so a convergence on log formats that can be graded similarly is very helpful in production.
 
 

Who says it's a business?
It's about highlighting the truth and putting good info out there.
If a consensus builds and wrong information is accepted as true, like with the regularly bad tests Cinema5D put out ("A7S 14.1 stops dynamic range" - in 8bit codec!!) then it's worth correcting.
No you can't be the internet police as there's too much crap out there... But you can at least do something about the murder on your doorstep.
Himm bit cynical that.
I bought the GH1 in a heartbeat after seeing Bloom's early Hawaii footage
I'm not an idiot and back then I wasn't rich
If you read multiple sources you will end up with the sum average of a big PR effort to sell you the camera.
That's the way it is. Well done camera press.
It's not quite as life or death as that.
Ever heard of Amazon?
If you don't like it you just send it back.

Some things to know about this -
Panasonic understandably were not happy with the flawed test.
C5D - "We have decided to temporarily remove this content while awaiting further feedback from the manufacturer."

Rediculously Seb is still blaming the removal of the test on "agitation from the community" rather than plainly putting his hands up and saying "we got it wrong", which I for one would have welcomed.
Full statement: "Due to the agitated discussion and hostility arising from our test of the Panasonic GH5, and our commitment to re-evaluating our test methodology based on reader comments, we have decided to temporarily remove this content while awaiting further feedback from the manufacturer. We value feedback from our audience, and our common goal is to find the most affordable and portable cinema tools out there."
Forgive me for thinking C5D's goal was to blog about professional gear, all $6000+

@Andrew Reid I registered here in 2012, and was lurking around here since before that. I used to read a lot of the other people & sites like Nofilmschool, Philip Bloom's & Dave Dugdale's blogs. Been reading most of them for years and have since abandoned them, but I've stayed on this site not just because of the excellent forum, but also because I've loved reading your articles.
I get that it takes motivation, time and effort to write your articles. But I for one would be happy if you didn't stop!
My own favourite articles and what gets me really interested is when you review cameras in the 500-3000 euro range. I've learnt a lot about the video quality from those cameras from your articles. 
I visit the other video related sites max once a month these days. EosHD is the only weekly video-related site I can bother with (no click-baity headlines, proper articles instead of the copy-paste type of content that exists on nofilmschool today...).

Not a big fan of moving a camera, but if you must, see below for inspiration! Just because you can, does not mean you should...unless you can do this!!