Inazuma

First off, it looked very nice. Natural. Second, the actress was great! I'd expect to see more of her in the future. He was very good too. Amazing work for having to do so many in such a short span of time. 
As far as your statement about you wishing you had done more continuous shots to make the editing easier... I'm not sure I agree. Since this is for actor's reels, I assume the goal is to see the actors shine... They need their close ups for that and you need the ability to edit out the bad and put in the good. Also, shot selection is vital to telling the story. In this story you have two people that aren't together any longer, but both, in some way, wish they were. If you had too many two shots, or movement, the disjointed disconnect would be gone. So, I think it worked. Good job. 
OT, a while back I had posted a video where I used a Miranda m42 lens, were you the one interested in it? If so, I noticed there is one or two up for sale in the UK on eBay. If that wasn't you... Then never mind, I liked your short. 

Yes, Premiere Pro

This is one of 27 films I shot over four days using my new Canon C100 Mark II. It's my first time directing, shooting and editing short films. And to do 27 of them in a short space of time with not much prep was very challenging!
Shot CLOG handheld with the 17-55mm f2.8 IS. Two softboxed lights at different positions depending on the camera angle. Wish I had done more continuous shots to make the editing easier.

Great video. And the song is giving me goosebumps for some reason!

Every shot in this video except the rooftop was shot with V-Log L 10 bit on the GH4/Assassin.
Thanks to Sandro and Nicolas Maillet for helping me with a couple of Twixtor shots.

How fast is the AF and how much hunting is there? And does the x0.71 booster have the same speed? Does the AF speed vary among different m43 cameras?

And here's the finished edit:
I have to say that this works quite well, at least sufficient for my needs

If you didnt already have Canon glass I would recommend the D600 since it has a superior image sensor to the 5D2. Better DR, low light, etc. 

I have created a new set of LUTs for Panasonic cameras. Having spent the last year and a half reviewing footage from my camera (the GX7) and various others, I have become quite familiar with its colour characteristics. In general I do find them very pleasing but in some respects they are quite flawed. And I wish to have pleasing colours without resorting to film emulation.
My new LUTs do the following:
Fixes the shift of reds to orange Gives greens and blues a subtly deeper and more satisfying colour. Stops the abrupt shifts of orange to yellow (which is generally what causes the poor skin tone rendition) Stops yellow from becoming overpowering. Allows film emulation LUTs to be applied without certain colours going mad  
The set includes two types of LUTs. One is called “Pleasing” and it gives a Canon-like rendition. The other is called “Neutralising” and gives a RAW photo look (ie. very neutral). Within each type, there are several alternatives. “A” is the main one to use, whilst “B” and “C” are offshoots with slight differences.
Each LUT is actually quite subtle in how it changes the image, but its the subtle differences that can change how natural an image looks. The LUTs will also make it easier to apply film emulation LUTs without certain hues going out of control (eg. yellows becoming nuclear).
Download now: Inazumas_Panny_LUTs
A note on camera settings:
Having done a lot of testing of camera profiles, I do believe Standard is the best. Some people recommend Natural but it shifts a lot of colours towards orange, which looks good for grass but is a bit unnatural. It also makes people look orange. Contrast at -5 is good but saturation at -5 is a bad idea if you plan to increase saturation in post anyway. This is because when you increase saturation in post of the 8bit footage, you will get loads of colour noise in the footage.
I also have iDynamic on Low and highlights at -5. I use preset whitebalances with the adjustment dot set to M5 (5 points below the centre).
I don’t have a GH4 so I can’t say how well it will work for CineD footage.
Some images:
Without LUT:

With LUT:

Without LUT:

With LUT:

Without LUT:

With LUT:

Original post here

I don't wish to start some kind of argument but from my tests the D5500 has shown to be far noisier at high iso's than my Panasonic GX7 and moreso, the LX100. And Matt's comparison video of last year also proved the D5300 as being inferior to the GH4 and BMPCC for noise. The a6000 is the only non-fullframe camera I have tried that has bested my GX7. 

I don't wish to start some kind of argument but from my tests the D5500 has shown to be far noisier at high iso's than my Panasonic GX7 and moreso, the LX100. And Matt's comparison video of last year also proved the D5300 as being inferior to the GH4 and BMPCC for noise. The a6000 is the only non-fullframe camera I have tried that has bested my GX7. 

Im sure I sent you them a couple months ago?
Theres not much to say about it really. It is what you expect.  A cconvenient camera for a one man band. The sharpness of a Panasonic with the colour/tonality of a Canon and the usability of a camcorder. And some ludicrous low light ability.  

I have created a new set of LUTs for Panasonic cameras. Having spent the last year and a half reviewing footage from my camera (the GX7) and various others, I have become quite familiar with its colour characteristics. In general I do find them very pleasing but in some respects they are quite flawed. And I wish to have pleasing colours without resorting to film emulation.
My new LUTs do the following:
Fixes the shift of reds to orange Gives greens and blues a subtly deeper and more satisfying colour. Stops the abrupt shifts of orange to yellow (which is generally what causes the poor skin tone rendition) Stops yellow from becoming overpowering. Allows film emulation LUTs to be applied without certain colours going mad  
The set includes two types of LUTs. One is called “Pleasing” and it gives a Canon-like rendition. The other is called “Neutralising” and gives a RAW photo look (ie. very neutral). Within each type, there are several alternatives. “A” is the main one to use, whilst “B” and “C” are offshoots with slight differences.
Each LUT is actually quite subtle in how it changes the image, but its the subtle differences that can change how natural an image looks. The LUTs will also make it easier to apply film emulation LUTs without certain hues going out of control (eg. yellows becoming nuclear).
Download now: Inazumas_Panny_LUTs
A note on camera settings:
Having done a lot of testing of camera profiles, I do believe Standard is the best. Some people recommend Natural but it shifts a lot of colours towards orange, which looks good for grass but is a bit unnatural. It also makes people look orange. Contrast at -5 is good but saturation at -5 is a bad idea if you plan to increase saturation in post anyway. This is because when you increase saturation in post of the 8bit footage, you will get loads of colour noise in the footage.
I also have iDynamic on Low and highlights at -5. I use preset whitebalances with the adjustment dot set to M5 (5 points below the centre).
I don’t have a GH4 so I can’t say how well it will work for CineD footage.
Some images:
Without LUT:

With LUT:

Without LUT:

With LUT:

Without LUT:

With LUT:

Original post here

I record in MP4 and all the video files go into one folder for each day

Nice footage. Far too nice for super8 though  

I used WideDR. 
The client requested "good sound connections" and "fresh faced" people. Even though I'm far more experienced with the FS7, I chose the C300 because of the "living" skintones. 
Peaking on the C300 is awesome, far better than Sony! 
I've flirted with the idea of getting an FS5, but I know the image very well in XAVC-L and it's not great really. I expect the BM Ursa 4.6k to have outstanding colour. This is a massive advantage over other cameras in it's price range. My gut feeling is they have a big, big winner on their hands here. 

I wrapped up over three days of shooting on Sunday and have done some little experiments since. Wanted to share some thoughts..
Firstly I have to say that I am finding it hard to find much of a dynamic range difference between it and the Nikon d5500 - and by extension the Panasonic GX7. 
Secondly I find the colours and tonality of the d5500 Flat to actually be preferable to CLog. And the Wide DR profile is rubbish really. It's not much different to a standard profile on other dslr's. However I have tweaked a few settings in Clog and am now getting a much better image. The main changes are to change the "Setup Level" under "Other Functions" to 0. And under "Color Matrix" set the "Phase" to +18. Now the blacks are no longer raised and the colours are much more natural and pleasing. I have not found any mention of these two settings on the internet though strangely. 
Good news is that I no longer think it necessary to use an external recorder because I found that Neat Video 4 completely removes all the colour noise and other compression artefacts. It's really fucking magic. 
Finally the resolution and noise performance lives up to my expectations. And the inbuilt exposure and focus aids are great, as well as the dual-pixel AF. Basically it's just an awesome camera to use. If I could just get a little more latitude in the highlights... 

well that's just what happens, Ed. that's what happens when you find a stranger in the Alps
 

It's basically like this
 

I have to say I find it hard to believe that an external recorder won't help because most of the image defects are just due to the high compression. Anyway once my video assist arrives I'll know for sure.
 
Aaron I was recording at various ISO's up to 16,000.

I would guess that an A-mount version with one of the Sony LE-EA adapters would be faster than a Canon-mount version with a Metabones adapter. I believe there is a version of the Sony adapter that has a translucent mirror and phase-detect AF sensors, but eats a third or half-stop of light... and there's a version that has no optics/glass and will just use the camera's contrast-detect AF (slower than phase-detect).

for me this is one of the most useful color grading videos I have seen - the amount of work he does in each scene is remarkable.
 
Basically he throws a lut on the end - even though it feels like it throws it on first - it's an output lut.  
then he makes the shot overall color, then tweaks the low, mids, and highs.  he adds power windows - brings down the window - lowers exposure on stuff you don't want to see - other than where the action is - and in these shots it's the person talking.
then he goes into the faces - he usually adds a power window to bring up the exposure on the face where he wants it.
then he isolates the skintones, gets those to look healthy, then he does secondary correction, like making the lips more red and adding some highlights to the head.
God, overall, as I say it again and again, as long as you are shooting with as much color information as you can on the camera you can get - the colorist does a ton of heavy lifting in addition to how well the DP can light the scene in the time alloted.
but the difference between hollywood and small films is usually in the grading, beyond good lighting, composition, etc - this is so often forgotten.
And this is why I go bonkers when I shoot something on the alexa and it comes out and looks bad.  I mean, I screwed up in how I shot it and lit it - I can't free myself of blame, but many times the piece goes to a colorist and I have no way to communicate with that person on style and look and it comes out screwbally.
I wish production and post worked together more.
But anyway I guess this is a weird way to learn about film worked since I have hardly shot anything on film.  Film hits the telecine since the 90s and is turned into a log called cineon and from there gets tweaked and then put out on an answer print - and back then they would simulate the answer print with a LUT.  
So I guess all this is part of how people have been shooting films for a while now.

When using C-log, there is a view assisted feature in the OLED/VF setup menu. It will show a more contrasty/graded image than what the camera is recording. You can also just cycle through a few picture profiles to make sure you're close before switching back to C-log to record. 
Personally, I've never used noise reduction and haven't felt the need to. Make sure you dont go BELOW 850 ISO as that is the cameras native ISO. You'll get ugly banding and compressed dynamic range. I shoot up to 6400 all day long and am happy with the noise. 
Not sure on AF speed. I've not changed it from the default settings which i'm generally happy with. I'm sure if you dig around the menu/manual that'll be easy to find though.

V-Log is a Panasonic 'brand' - that it has it at all is a clear sign of Panasonic's involvement.