Tim Fraser

Absolutely, raw is still a benchmark for ultimate image quality. Let's be clear, I'm not denying that.
 
For me, now it's all about how close we can get to that beauty....but with more practical solutions like the GH4, A7S and D750.
 
I am over regular raw shooting now, as I ran out of space at the local aircraft hanger where I stored my hard drives.

Coming straight from the camera (no grading)  handheld with a olympus 45mm 1.8 lens, I wish Olympus is giving us 24 and 25 & 50 and 60. But I do like the stablisation and the colors (also the skin color) On you tube there is a1080 file.
 
 

They'll care if the footage is shaky and the audio is bad. Use a tripod and get good audio and most brides will be crying regardless of overall IQ

Yes it's a native 4k crop recording pixels 1:1. The size of the sensor area used is the same as the GH4. The "max resolution" of the LX100 sensor is cropped from the true full sensor size, making all the equivalence numbers a little less straightforward. You're close though. Panasonic lists it as 26-81mm in 4k 16:9 crop. Truth be told, the difference between the two in use is very subtle, but attention to detail is important so I appreciate the specificity of your questions.

Wanted to share my first video shot with the V2's burst mode. I used in camera JPEG for this video. My girlfriend and I are on exchange to Singapore for half a year and I had to leave my desktop workstation behind. My 4 year old MacBook Pro doesn't have the power to cope with raw burst sequences and since I'm on holiday at the moment I didn't want to spend too much time editing this. Premiere Pro already crashed on me enough times during this project xD Next time I'd like to make some more 'longer' shots using e.g. Twixtor.

I rendered a 4k ProRes proxy and uploaded the 2gb video to YouTube so 4k is available for people with a 4k monitor.

The "Compulsory Viewing" title was intentionally provocative to encourage debate. :) As you say, the video makes it clear it's a complicated issue, particularly at the top of the filmmaking ladder. But I think it also makes it clear that it's not necessarily top of the list.
 
My personal take on it is that I wish Panny and Sony had offered really robust in-camera HD (i.e. 10bit 422) before jumping to 4K with their prosumer cameras. It doesn't take a genius to see that it's a company-wide marketing strategy rather than an obvious fit for hybrid cameras. I'm not too tech savvy, but I don't really understand the argument that 4K is great because it avoids line skipping etc. The A7S outputs 1080 from a high-megapixel sensor, as do a lot of camcorders like the C100, without any such image problems. I know they are compressed codecs but then there is the 5DIII with ML RAW - superb HD image from a superb stills camera (I assume this does line skip?). My point is that it can be done. Blackmagic aren't making hybrid cameras, but they've proved camera size and cost is not the problem with the Pocket. Robust codecs can be put into small cheap cameras - even hybrids.
 
I'm not against 4K personally - in an ideal world I would choose it. But not at the expense of the other stuff. A genuinely robust image, with real filmic dynamic range, colour depth and grading latitude are much more important to me than a 4K compressed codec with 'decent' levels of the above. Don't get me wrong - the GH4 is an incredibly great camera. I just don't think we should pretend that 4K is the answer to our prayers. AFAIK there's no reason any of these companies couldn't have brought out a hybrid that shoots nice, sharp ProRes HD if they wanted to.
 
For most of us - other than the reframing aspect - 4K is a workaround. I say call a spade a spade!  :)

It's not that simple. They did it in GH4  - 200Mbit 2K. While the image is great, downsampled 100Mbit 4k is still better.
 
There is one more thing - these all are hybrid stills/video cameras. That means they just can't go lower than 8 megapixels in 16:9.
For 2k video the best sensor would have 2 megapixels - 1:1 full sensor readout with best DR you can get. But nobody would buy still camera with 2-3 megapixels :)..
 
So 4K video looks like natural resolution for hybrid stills/video cameras. Sony did a 12 megapixels A7S and it is the lowest limit for photographers I suppose. And GH4 example shows that it's better to output that native 4K image than try to downsample internally.

They said it all. It's not about whether 4k is too detailed or cameras have too little DR. It's about lighting. 25 years ago they had to have tons of equipment to shoot a scene at night. Now cameras are powerful enough to shoot with minimal other stuff.
 
You have to remember that these guys are professionals. Their frame of reference is different. They were using high end cameras anyway, not soft Canon/Nikon/Sony DSLR video. 4K is another step up from those high end cameras. It's detail that they see as unnecessary. 
 
Also I think it really depends on what you're shooting. I think 4k consumer cameras give us the flexibility. If you're shooting 50 year old actresses then yeah sure, by all means use a diffusion filter. If you're shooting landscapes, you might prefer to have a tack sharp image. 
 
And besides the Sony a7s and Canon RAW, the hybrid cameras with the most dynamic range for video are the Panasonics (GX7 and above). And they just happen to also be the ones that resolve most detail. I also find the image pops more because of this detail.

For documentary work, AF can be useful to eliminate focus hunting.  The dual pixel AF has actually opened up a new world of opportunity to tell a story so differently than what we are currently used to.
 
Bringing in a larger crew just for focus pulling can alter a real life moment, but keep it minimalist to a one man band and you have a completely different way of telling a story.
 
And they really shouldn't call it "Dual Pixel AF" with the "AF" in there, because it's not the "auto" part of the technology I am interested in but rather the Servo part of it.  It's the fact that you can drive focus precisely to where you need it to go without physically touching the lens then LOCK the focus.
 
From a storytelling perspective this offers a more polished way to tell a story while staying minimalist - an extra tool for me to use.  Of course if I want the footage to feel a bit more organic then yes I would do 100% manual focus to get the focus hunting look in there.
 
I can't wait to test out this feature on the 7D Mark II to see how it performs.

I used to see it like this, but now I'm on the other side. I'm really happy that most people still buy the big-brand stuff and think it is the best. It's much better for me and my business when they do. People always ask me 'wow how did you get that sharp footage / nice slow-mo?'
 
And my clients see the difference too. They don't care which camera I use, they just like how the footage looks.
 
I have stopped sharing my techniques, lenses, etc. I have done it before and given the community back what I've learned but now I'm protecting my 'look'. If everyone knew how to shoot like I do, then what is my advantage?
 
I say lets all promote the glorious Canon 7D Mk2!! All video enthusiasts should buy it! Great camera!

mine would be a digital back with a monochrome sensor measuring 56mm x 56mm with 4000x4000 pixels all reading out into a clean 1080p signal at 24/25p 10bit prores files direct to a ssd.  multiple crop modes from 1:1 right to 2.2:1.  takes large sony batteries.  single 4k feed out of hdmi at 10 bit to feed a monitor/recorder.
 
i'd then place it on a rollei hy6 or hassy and be shooting 65mm with a camera system smaller than a fs700.  

On the E-M5 I use a custom picture mode (in order to save the settings) that uses picture mode natural, sharpness -2, saturation 0 (though this could be -2 if you really want it flat), contrast 0, with a custom curve of shadows +2, highlights -2. The idea is that the custom curve is more controllable than setting contrast to -2.
 
Never use auto WB as rather than setting wb once at the start of the shoot (as most other cameras I've used do), it will continuously vary the wb throughout the shot.
 
NR to off.
 
You have to shoot with the mode dial on "movie", as it is the only way to lock exposure (yes, even in manual mode, exposure doesn't lock in video for some reason). Unfortunately movie mode is a kind of baby mode that gimps the best features of the u.i:
1. it removes the exposure meter from the display (why, Olympus why??).
2. it overrides your custom settings for the down button and right button. I have these set up for one touch access to ISO and WB, the same as on a Panasonic. This setting is only recognised in the photo modes.
3. it replaces the fantastic quick menu that the photo modes get with a stripped down menu that doesn't include, for instance, picture styles.
 
So you have to jog the dial round to one of the PASM photography modes if you want to see the exposure meter, check which picture style you're using, have one touch access to wb ISO etc etc. For photos, the UI is absolutely perfect. For video, it's gimped, for no reason that I can fathom. There's nothing remotely deal-breaking of course, but it will come as a bit of a shock coming from a Panasonic, which has a wonderful UI for videographers.
 
Of course, perhaps all these UI complaints were fixed on the E-M1. I'd be very interested to hear.
 
To maintain 180 degree shutter, shoot at 1/60. This will make electric lighting flicker in 50hz environments though, so use 1/50. Honestly, I don't think you will be able to tell (did you watch my video on one of the OMD firmware threads that mixed 1/50 and 1/60 shutter? Could you see a difference?)
 
If you retime 30p footage in a 24p timeline, you'll get a nice 80% slow motion effect. I'm not sure that you'd want to put it in a 25p timeline, but presumably it would be 83 and a third % slow mo. 

My method for keeping noise at a quiet enough level:
 
Fractal Design Define case http://www.fractal-design.com/home/product/cases/define-series/define-xl-r2-black-pearl
- The cases have bitumen on sidewalls to suppress fan noise: "High density noise-reducing material for an optimal silent case - To achieve a high level of noise reduction, material with mass should be incorporated which is what we strive to achieve with the dense bitumen used on the side panels"
- Very happy with these cases. I have one for my file server, one for my workstation. Unordinarily well-built cases for the price level.
 
Anandtech GPU Bench 2014: http://anandtech.com/bench/GPU14/815
- I check noise levels, power usage and performance, and try to pick the best option for my needs.
- Current GPU that I decided was enough for my needs: GTX 760 with 2GB mem. (You might want more power for 4k)
 
In the computer case I add large 120mm fans that run at low speed to suck in air at front and blow out air in back. Hence the temperature in the whole case is usually lower and the GPU doesn't need to run fans at full power too often.

It seems to be a common mistake to associate video card = video editing. That's (almost) completely wrong. GPU acceleration is used only by some editing software like Premiere Pro and only for some effects, actually from CS6 they added a lot of effects. Also keep in mind that GPU acceleration is used only for rendering effects not for decoding and encoding. 
So my advice is not to spend a fortune on video cards, just the best you can get that supports acceleration with your editing software and invest on CPU, RAM and dedicated HDD for videos. I'm not saying that GPU doesn't make a difference, I mean that high end GPUs can be an overkill.

Blackmagic pocket - similar colors, different dof,
Sony a7s - different colors, same dof,
gh4 - different colors, different dof :P

Well, as an owner of both 7D a a6000, I believe the video functions of the a6000 would make your life much easier.
 
- 60D has a mic input but no headphone jack, which renders the mic input useless (recording without monitoring??) unless you install ML and use a miniUSB to jack adapter to monitor through the AVout of the 60D. For paid work I personally would never use a hacked camera, and the 60D is not the most recommendable ML camera for raw video, not to mention the hassle of raw file mangement and workflow.
 
- Exposure is hard to judge with the good ol' Canon DSLRs. The meter is just a reference that won't tell you if part of the frame is overexposed. Zebras on the a6000 make it easier. The AVCHD is not the best codec, but keep in mind not all implementations of the codec are the same (Sony FS700 vs. Olympus EM-10, for example). The AVCHD footage from the a6000 is at least as gradeable as the quicktime h.264 from the 60D.
 
- I use legacy Nikon and Tamron glass + Samyang Cine Lenses on the a6000 and they are much easier to adapt to the Sony e-mount via speedbooster than to the EOS mount. I can't speak about AF speed beacuase I hardly use it, but I can tell you that having focus peaking is a must for video (in the Canon you have to either measure exposure and focus distance first or eyeball everything).
 
As for the a6000 EVF, I like it for stills but for video is not so comfortable and I still prefer to use a kinotehnik loupe (120 €) on the lcd screen (which you would also need on the 60D).
 
Canon batteries last longer, but Sony's are smaller and you can easily fit 3 in your pocket
 
So unless you really go the ML way (which is not my cup of tea), the only advantage of the Canon is body sturdiness. Though the a6000 is well built, it is so tiny that it doesn't feel nearly as robust as a Canon body with its large grip and big buttons, but I guess that's a matter of taste. Fully rigged with separate audio recording or on a tripod the difference is not so noticeable.

Argh. I want to like this camera so much but the colours are still bothering me a lot. This footage is some of the punchiest/most saturated I've seen but the colours do not imo come close to 5D RAW. They look cruder and significantly more artificial.

It doesn't fit on the GM1. Not tested on G6 yet! It does fit GX7 (just), GH3 and GH4, but still yet to test infinity! Beware for now.

4K when edited in 1080 has so many uses I don't think I could go back.  Here's an example of a video I did last week. Shot and edited in one day. No color correction, to be viewed at the wedding.  There are many shots where I cropped into a 4k image and it gave me a two camera shoot look without doing a darn thing.     The chase around the tree scene for example here.
 

I bought a GX7 with 20mm lens for £600 and thanks to it, I decided not to sell my Kowa 8Z. With focus peaking and smaller body form, compared to D7100, the whole setup is now way usable than I'd ever asked for. 

Chris, obviously this is only my opinion but I feel quite strongly you should stick with Canon! Or at least not go with the GH4 ... The stuff you get out of the 5D h264 is really very nice and I think you've developed a particular look that works well for you. Knowing the stuff you shoot I think you also need a camera that's great in low light. 
 
If you're interested in the GH4 because you want a camera that's more video-orientated and sharper, I think a C100 would be a great upgrade (will hopefully drop in price again soon?). Or the A7s would be the other obvious option (FF sensor too).
 
I really love this wedding film you made - for me it just wouldn't be the same without that full-frame, noise free, lovely Canon-colour aesthetic ...
 

plus £10 shipping outside UK
 
see this Kickstarter project!
 
project in the hands of Raspberry Pi fans, but don't see why this product can't be used for pulling focus in the studio?
 
It can be battery powered, hence also portable.  Anyone for a 9" portable monitoring screen :-)

plus £10 shipping outside UK
 
see this Kickstarter project!
 
project in the hands of Raspberry Pi fans, but don't see why this product can't be used for pulling focus in the studio?
 
It can be battery powered, hence also portable.  Anyone for a 9" portable monitoring screen :-)

Hello, this may work, someone else's downloadable burst NEF shots here from the V1 if you want to try this idea out:
http://vimeo.com/61774105#

The workaround I was able to use: import directly into After effects. I used the basic (Ctrl + I) importer, select first frame of the series (And only first frame)...imports the rest that are in the same folder on your hard drive with it. From there you have access to the Raw controls (exposure etc) without transcoding to DNG or any other format... No conversion was necessary. Repeat for each set you want to import. Create a comp with size desired for your end result and drop the imported clip or clips into the comp. Transform the clip to the comp size (if smaller than clip of raw files). The only other thing you may want to do is separate your clips into different sub folders on your hard drive so you can edit each "group" take / scene individually (White balance per 30 frame shot etc) when you import them into after effects. I hope that helps,