andrgl

Actually it's a Canon 5D2 upgrade program. Hence the 200 moniker. Sensor unlocked to shoot in 16K resolution up 9000 fps. Only thing is you have to send the camera into the factory as they take a hammer to it and rebuild it with super glue.
Oh yeah, plus they need to stencil on the two 0s, so you know it's a 200.
What do you mean I'm full of shit? I heard it from a Canon rep.

Im loving resolve 14.
The lens distortion tool seems to be super useful at emulating the bend of anamorphic lenses  

I've been using 5D3 Magic Lantern RAW for a few years now and it's my personal gold standard for image quality as I'm very familiar with it, can predict the results I'll get in various situations and have developed my own look that I like using in post. I do a lot of documentary and corporate stuff and wanted to do more handheld, so I got the GH5 for its IBIS, 10bit V-Log, 4K and general ease of use. Although the GH5's colour is an improvement on its predecessors, the 5D3 is nicer looking to me. So I wanted to see if I could tweak the GH5's VLog colour to be more similar to the colour I get from Magic Lantern Cinelog-C, processed via Adobe Camera Raw (other debayering workflows will give different results).
I shot a chart with both cameras, extracted the squares and put them side by side in Resolve. V-Log on the left, ML on the right:
 

 
I used Hue v Hue and Hue v Sat to line up the signal on the vectorscope:
 

 
Here you can see the effect of this correction.This is accurately white balanced V-Log (default colour) with a curve and saturation added:
 

 
And here's the same shot with the colour correction applied:
 

 
Skin goes from green-ish to pink-ish. Reds become more saturated, blues are pulled back. Foliage separates out into varying shades of yellow to green to blue-sh green, rather than being one big block of pure green. So next, I wanted to test this by comparing the same shots to Magic Lantern RAW. Would this correction really turn my GH5 into a handheld and more usable version of my 5D3?
I stuck the GH5 on top of the 5D3. I shot the 5D3 at 3520 x 1320 (the maximum resolution I can get that's both continuous and at a sensible aspect ratio) - this has a crop factor of 1.63x. ISO was 100, and aperture at f5.6 on the Canon 24-105. The GH5 was 10 bit V-Log, Cinema 4K, ISO 400, aperture f4 (roughly equivalent) on the Leica 12-60. I used shutter speed to control exposure, so motion blur is different between shots. It seems like the GH5 has around 0.66 stops more info in the highlights at the same exposure as the 5D, so I shot it one stop over to maximise DR.
 
 
First I corrected the 5D shots to the way I wanted them to look. Then I tried to get the GH5 to match. It's not a perfect match by any means, there are individual hues that tend to go awry a little, especially in the first shot. But for me the exercise is a success: the GH5 footage looks more like Canon Magic Lantern than it would straight out of the camera. And I would be happy to intercut the two, or to use the GH5 in situations that are more suited to its features. The take home message is that V-Log has a lot of grading potential - you're not necessarily stuck with Panasonic's colours on this camera.
A nice surprise for me was how much detail is in the 3.5K 5D files compared to Cinema 4K GH5, especially when sharpened. However, it's not very practical to shoot in its high resolution modes at the moment, due to the slow refresh rate of the LCD preview.
If you want to check out the files yourself, here are a series of matched pairs of 5D DNGs, and GH5 V-Log TIFFS.
FOLDER:
https://drive.google.com/open?id=0B1exEpCRAfgFdi1FZ3hma09YZms
ALL FILES ZIPPED:
https://drive.google.com/open?id=0BwzsbjMgrAwzTFJZby0xSTV6VmM

im kind of glad they dont listen lol. its for the cool kids ?

One major warning:
Regain steps focus motor. It's not as smooth as pulling mechanically. Do not for one second think this is a good substitute for a wireless follow focus.
 
I made this mistake and ended up selling my set, as the focus transition looked ugly when focusing short distances.
 

There's a bunch of Tiffen Pro Mist videos on Vimeo, here's one example: 
These types of filters typically perform 3 main functions: soften image, reduce contrast / boost shadows, provide glow / halation around bright elements. One of the secrets to providing the film look.

unrelated - but the first two pieces on your vimeo are gorgeous - is that the ursa mini?
 
and what are you using for lenses and grading?
really impressive stuff Aaron!  i was just in chicago like 4 times this year - we should meet up!

I was planning on doing a more in depth test, but I only had a few minutes to spare during a shoot to compare the two cameras with our actress.
GH5 Settings: UHD, V Log L 10 bit, ISO 800, 24p, Sigma 18-35, shot at 28mm f4 using Nikon Speedbooster.
Ursa Mini 4.6K Settings: UHD, ProRes 422, ISO 800, 24p, Sigma 18-35, shot at 28mm f4.
Grade: I started with Comet Color A Side for the UM46K. Added a bit of contrast and saturation. From that point I tried matching the GH5's color/exposure to match.
Lighting was mixed conditions. Her face was lit with a Quasar Science 5600K LED tube + natural daylight coming in the window. Background lights were running at around 2600K. Walls are a greenish yellow color naturally.
 
password: test

Microsoft should stop work on everything  else, and sort out Windows 10 first.
It had more bugs than a graveyard. Seriously !!!

Resolve has truly come of age.
Read the full article

Actually it's a Canon 5D2 upgrade program. Hence the 200 moniker. Sensor unlocked to shoot in 16K resolution up 9000 fps. Only thing is you have to send the camera into the factory as they take a hammer to it and rebuild it with super glue.
Oh yeah, plus they need to stencil on the two 0s, so you know it's a 200.
What do you mean I'm full of shit? I heard it from a Canon rep.

I seriously considered the Kinemax...liked the image from that camera a lot...but found communication with both Beijing and Berlin a bit vague...not quite sure how else to put it....but if I was going to spend $10k on a camera, I was looking for more in terms of support and clear communication...I thought the image lovely though!

Actually it's a Canon 5D2 upgrade program. Hence the 200 moniker. Sensor unlocked to shoot in 16K resolution up 9000 fps. Only thing is you have to send the camera into the factory as they take a hammer to it and rebuild it with super glue.
Oh yeah, plus they need to stencil on the two 0s, so you know it's a 200.
What do you mean I'm full of shit? I heard it from a Canon rep.

Actually it's a Canon 5D2 upgrade program. Hence the 200 moniker. Sensor unlocked to shoot in 16K resolution up 9000 fps. Only thing is you have to send the camera into the factory as they take a hammer to it and rebuild it with super glue.
Oh yeah, plus they need to stencil on the two 0s, so you know it's a 200.
What do you mean I'm full of shit? I heard it from a Canon rep.

Actually it's a Canon 5D2 upgrade program. Hence the 200 moniker. Sensor unlocked to shoot in 16K resolution up 9000 fps. Only thing is you have to send the camera into the factory as they take a hammer to it and rebuild it with super glue.
Oh yeah, plus they need to stencil on the two 0s, so you know it's a 200.
What do you mean I'm full of shit? I heard it from a Canon rep.

You can read about it here: https://www.pugetsystems.com/labs/articles/Premiere-Pro-CC-2017-AMD-Ryzen-7-1700X-1800X-Performance-909/

I know it uses GPU more, but it still relies heavily on CPU for rendering.
I just switched from a GTX 570 1.2gb to a GTX 1060 6gb and my render times with  HD pocket raw footage increased exactly 0%.

I'd guess that image was taken with a f-stop above 8?  Looks like maybe something as high as a f16?
When in doubt I shoot more open on the f-stop (using ND if you have to) and the dust particles won't "resolve" onto the image (as much).
Since, when traveling, I'm shooting video most of the time run 'n gun style and also swapping lenses, I default to using f2-f4 as a "safety" to avoid any aggressive dust issues I may be unaware of.  It hides the problem.

Cool shit that's been announced at NABs passed:
A7S URSA Mini Micro Cinema Camera C300 MKII XC10 Terra 5K GH4

I'm still dreaming of a pocket 2 (pocket pro?)

I might pick up a GH5, but definitely waiting for NAB to see what camera bodies are announced. A new A7s or something killer from Fuji would be intriguing. And I'd love to see more compact designs from Blackmagic. A Pocket-Micro revision or an Ursa Micro with a 2.3K slice of the 4.6K sensor would be kinda dope. I'd scoop that up in a heartbeat.

BMPCC upscaled to 2K. 90% is Lighting/Cinematography. 10% is stylised grading based on my BozBMDFilm to Rec709 LUT.
 

Cool shit that's been announced at NABs passed:
A7S URSA Mini Micro Cinema Camera C300 MKII XC10 Terra 5K GH4