Inazuma

austinchimp, I have the a7s since a couple of months and I am still on a path to get decent skin tones while having accurate colors. Trust me, I tested all those profile guides that I found on the net.
s-log is at the moment no option to me since I want to have ISO 100 and i did not start using ND filters yet. Anyways, you might give those settings a go:
Take PP2 as a base (with default values of course) and change the following:
gamma: cine4
color mode: pro
color phase: +5
 
These settings work amazingly well for me, here is one quick example:

Another very important aspect I found out is setting the white balance manually to appropriate kelvin values. You can look them up using Google if you are not familiar with them. Interestingly, I found myself nearly always using 5600k during daylight circumstances, no matter whether it is shady or bright sun (even with snow!). Only on tungsten light or halogen, I change the white balance to about 3900k and within the above mentioned color profile, i change color phase to +2 (i use PP3 for that to change it more quickly), otherwise the image is very yellowish.
 
You could give those settings a try. I would love to hear from you if it helped a bit since I am sure that this journey is not done yet.

Hi everybody, my first comment on this forum, very nice to meet you.
I like Andrew's review for EOS M3, and I find it to the point and I find very useful the videos "Japanese Garden" and the "Studio Test Scene".
Well I am from the first who bought EOS M3 body from Amazon Japan at under $500 with free EVF included.
I already have a Nikon D800 and when I compared it with EOS M3 in movie mode side by side, I was impressed to see that the EOS M3 video is much more clear and full of details than this of D800.
After I liked the freedom that M3 gives me: small size, tilting screen, standard external microphone port, focus peaking that make manual focus quick, and a variety of lenses to choose from Canon, or Nikon, or legacy Pentax, Tamron etc.
You cannot find all these at this price.  Not even an external microphone port unless you go more over $1.000.
I also want to inform other M3 users that if you search the settings in "Picture Style" you will get a movie output much more rich in details: not only remove sharpness but remove contrast as well.
But I was really surprised to see that magnification assist for MF doesn’t work in movie mode, while it offers focus peaking, which is related and has to work together with MF assist. I hope that they fix this, it is crazy: every time i want to fine focus or to check the accuracy of the focus peaking, I have to: rotate the selector from movie to photo mode> fine focus>rotate again the selector to movie mode.
In general am happy with this camera and for this I made a short "Low Light High ISO Movie Test" which i can share with you:
 
 
Chipped and unchipped lenses were used for shooting the samples of this movie, which are:
1. Nikkor 50mm f/1.4 non-Ai (adapter used).
2. Tamron Adaptall-2 SP 60-300mm f/3.8-5.4 (23A).
3. Tokina 12-24mm f/4 AT-X 124AF Pro DX II for Nikon (adapter used).
4. Tamron SP AF 17-50mm f/2.8 XR Di II LD IF for Canon.
And here is a picture of EOS M3 with the lens: Tamron Adaptall-2 SP 60-300mm f/3.8-5.4 (23A).  With this long lens, the first clips of the movie test were shot:

Best Regards!

Hi guys just wanted to share my mac pro upgrade DIY style. I wanted to build new power PC for resolve and rendering but i was thinking why spend 4k when i can just upgrade my mac pro with a bit of modification. i have Radeon 5770 for monitors and gtx 770 4gb and 550ti for resolve and premiere and any other application that needs it In few months i will add 6core 3.4 cpu and 32 gb memory and another gtx 770 4gb to replace 550. Some people might say oh no what did you do to mac but i really don't care about look only that it can do the job and its under my table where i don't see it at all. I have power supply powering 770 and have relocated my HD where DVD use to be i have used DVD sata connection to power the HD there is one more sata connection for another HD and on top of that i can run extension sata for another 2 HD from the free bays
 
That is it Thanks

I've got to ask... Is there any meaning to the numbers at the end of some of your posts? I've been noticing this for a while now and got me intrigued.
Are they referring to passages from the Andy Lee's Bible of Filmmaking? If so, where can I get one?
404

Thanks.  I'm getting close to doing the online for my documentary.  I'll dabble with your settings and see how they play.

How successful a LUT is really depends on the camera.  For example the VisionColor stuff is terrible on Panasonic cameras (if used on their own) but really nice on Nikons. And I've found the opposite true for FilmConvert. 
Also I have to say that they are a little overused. It's fine for narrative stuff but does every travel video need them really? 

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

now i know that this new camera with bigger sensor and 5000 bagllion dynamic range will make me better film maker  those 8 other camera that i  have are keeping my creativity down but i know this is the one

Hello. I've made a few special effect lenses lately for myself and friends, and recently decided to try and sell a few. What I have now is 35mm 2.8 with interesting blur and boke effect, and 58mm 2.0 enhanced flares with anamorphic flare imitation. They are M42 mount, so can be put on Canon or any mirrorless camera. If anyone's interesting please send me a message or reply here. I can sell through Etsy, eBay or directly, ships anywhere.Thank you. 
 
 
 

Are you serious? A GH3 + Speedbooster + Sigma 18-35 f1.8 (f1.2 with SB) is not bad in low light at all. Sure, there might be better low light camera's, but this isn't bad at all. Also, I need the 50p 1080p for slow mo and I simply like the current look I'm getting. At the time I invested in these camera's, C100's couldn't even do 50p/60p at 1080...
Many people don't take these Panasonic 'toys' seriously but I guess that's actually a good thing. 
By the way I forgot to mention that I need this wide angle mainly for the 2nd camera, in this case the G6, to record a wide view of the ceremony.
​

​While I do agree with this, I don't think you can really draw that conclusion from this list which consists majorly of very-extremely expensive cameras.

I felt compelled to reply to this topic. I've been on many sides of the fence on this issue, I've been the guy who, when the fs700 was released, absolutely had to have 120fps for camera work. I was so enamored by the possibilities that I could implement with slow motion, then I actually used it and realized it wasn't too special and I probably overdid it (https://vimeo.com/109775095) but can definitely add value here and there SO AS LONG as you keep the idea/feeling you want to portray in mind.

THEN I became the super jaded guy who was getting irritated with test videos all using slow motion, and tons of videos being uploaded in Vimeo all implementing their respective cameras slow motion. I would say things like "slow mo is cliche" or "slow mo is played out" and basically felt like it wasn't all that special anymore since everyones iPhone could do slow mo.

THEN I realized I was merely projecting my insecurities on others. And just like that I didn't care anymore. It no longer matters to me if people are using slow mo, lifting the shit out of their blacks, the important thing is they're trying to make things. If it's slow mo that captivates someone into doing something creative, so be it. I like that. I like seeing people with cameras, trying to explore a side of themselves that pretty much all modern societies try to surpress. Is it overdone ? Absolutely. Does it *actually* affect me, and my ability to deliver ideas? No, the only thing that could ever affect that is myself.

Overall it's a tool, and I think it's important that ALL camera manufacturers, at this point, include at least 120fps to be there when people need it.

I enjoyed watching this film a lot but I find the above comments by Ebrahim etc a little astonishing  

poor quality

I enjoyed watching this film a lot but I find the above comments by Ebrahim etc a little astonishing  

Congrats on the feature in NoFilmSchool

https://www.youtube.com/watch?v=D9brRGknqFc

Shot and directed it.
 
 

With a static image you might not notice it too much, but with a flat profile the noise is much finer and tweaking color will not end up with macro bloking hell.
Good luck tomorrow, I wouldnt rely on the d600 too much, get the thing done with the gx7.

One month has passed since i bought my NX1 and i thought i would share my thoughts so far.
Coming from full frame as my main camera i was hesitant to the change in the beginning. I started my hobby with a Canon 550D/t2i and then later upgraded to a 5D Mark 3 which was really pleasant, i loved the full frame look. The choice to abandon both Canon and full frame did not come easy but a Panasonic G6 (Micro 4/3 entry level camera) helped a lot in the transition.
The NX1 really fits well in my hands and after a not so steep learning curve of the controls i feel comfortable to just pick it up and shoot. I have pretty large hands so when i changed from a 550D/t2i to a 5D I pretty much decided to never again buy a smaller camera. That didn’t work out as I later bought, tried and sold the A7s as i was reminded why i don’t like small cameras. This is of course a very personal opinion, i know that many people prefer portability. Somehow the NX1, being smaller than a 5D, feels really good to hold for hours.
 
Image quality of both stills and video are great, just great. You can throw whatever specs and lab test at me you want saying that the NX1 is inferior in dynamic range and what not but i just love the sensor and the colors it produces. With that being said, im not a professional and i don’t have professional needs. What i also like to point out that this is a $1500 camera, not an Alexa. And what you're getting for your $1500 is in my opinion a very capable camera.
 
On a lot of videos posted from the NX1 there have been comments on banding and macroblocking, including my own. As there is no/almost no banding or macroblocking in the raw files this is a result of transcoding. I use Samsung Movie Converter which comes with the camera and it’s clearly not the best option yet every other software i’ve tested seems to fail me in some way (Maybe i should invest in a new computer?). Still waiting for Adobe to support H265!
 
To sum it up. I feel that i have finally found a camera that will stay with me for a long time. I'm not over the "wow i have a new camera let's see what it can do"-phase but i have high hopes for this plastic monster. This camera has been discussed a lot on this forum but if there’s any questions i'll be happy to answer them.
 
Here’s my latest video shot with the NX1, 16/2.8, 30/2.0 and 45/1.8. Shot in both 4K and slow motion 1080p. Standard picture profile with sharpness and contrast set to -5. No change to luminance or master black levels. Edited, stabilized and graded in Adobe Premiere with Visioncolor LUTs Osiris M31 and KDX as base and then RGB Curves. No sharpening in post.
 

Ignore

Hello everyone !
This is my new movie.
It's entitled « eet Gourmandise ».
This is a film about the preparation of cake, a "entremets", specially created for the film.
You can see it there :
It was shot with : Canon 5D MarkII with Canon 24-70mm f/2.8 L  + 70-200mm f/2.8 L + 100mm Macro.
It was editing with Avid and color graded with DaVinci Resolve.
I wanted to show you and to have your feedbacks.
So if you like it, do not hesitate to share the link of the video on social networks, with your community (Facebook, Twitter ...)
Thank you.
Have a nice day.
...and "Bon Appétit" !!
Florent.

Ancient Greeks had a mind exercise that involved infinite numbers and division.  They reckoned that since numbers are infinite that any time between two actual moments must therefore be infinite.  Transfinite infinity.  Zeno's Paradox.
A trillion moments within a second?  That's getting close. I like that notion.  Time is not just how we perceive it.
Excuse me while I go eat some pot brownies now, dude.

​The problem is *not* the camera (GH4, etc).  The problem is not understanding how to light your subject.   If you don't want an HD TV sitcom look, for gods sake don't light it that way.  The Kinemax shots are lit like a TV drama or sitcom.
As usual, it's not the camera, it's the entire pipeline from composition and motion to lighting, filtration, lens selection, sensor latitude and post production.   You could name the specific touchstones along the way, but the time for blaming your camera is long past.

I think you're being a bit overly critical Vesku. It does show exposure value, just not when changing ISO. But its not exactly rocket science to work out what your EV value will be as you change it.
No DSLR-like camera except for the d750 and d810 can change aperture steplessly.
I've never seen problems with the AE/AF lock. What are you talking about?
Its got plenty of button options and saving options. More than most other DSLR-like cameras.
Why are you using AF for video?
OIS is worse than other brands, but still much better than handholding. Lens stabilisation is kind of overrated anyway. Rigging the camera against your chest or shoulder generally gives a more weighty, cinematic feel.
Noise at ISO 200? Who cares really. Real film has noise at that ISO too.