utsira

I've been out in Dubai for commercial work, and in my spare time I used the 5dmkIII + raw to shoot a travelogue.  Tried to capture some of the lesser-known parts of Dubai and the surrounding region.  Enjoy!
 

Another vote for the G6 from me, I picked up a second-hand one a month or so ago and love it. 
 
In the past I've used an NEX-5N, NEX 6, a Nikon D5200.
 
I love the detail and the colour of the G6. It's just a proper, solid 1080p image, with a good deal less moire, rolling shutter, softness, than some other cameras I've tried. I found with the other (APSC) cameras I wasn't quite getting that, and I'd end up just taking photos as I wasn't satisfied with the video (tho the D5200 comes in a close second IQ wise. I sold it for the ergonomic issues with video). I haven't tried the latest generation APSC cameras like the D5300 or the A6000 though.
 
There are a lot of fast (1.7 aperture etc), relatively inexpensive primes for M4/3, so I haven't noticed the low light issues mentioned above. Also, check out this ISO noise test, ISO 640 is very clean:
 

 
 
 
The ergonomics and feature-set for video on the G6 are the best I've used on a hybrid camera. Last night I just discovered the picture-in-picture manual focus aid (I guess newer Panny bodies like the GX7 and the GH4 would also have this?) 

Peters is wrong, it definitely goes from top to bottom in the inspector window, ie all effects first, then colour board.
http://www.fcp.co/forum/4-final-cut-pro-x-fcpx/3882-effects-before-color-correction

http://www.larryjordan.biz/fcp-x-stacking-multiple-effects/

Went home for Father's day yesterday and took some footage whilst we were out. I didn't really mean to make this into a piece, but I started doing colour grading tests with the footage and ended up obsessing until it became this. I'm currently writing/directing a series, so this was good editing practice.
 
Feedback welcome!

"A movie could Improve your life"
 
I'm going to print that out in foot-high Comic Sans and stick it on my wall.
 
Seriously, this is great! I couldn't decide whether this is ironic or not, but I think it's completely beyond irony. Their chroma-key layer needs tweaking though, I think.

A must watch for all students of film.
(Not shot on a GH4 or A7S)

I saw your post earlier and thought maybe there is some way to have an adjustment layer in fcp. Then I googled it and here it is, great stuff :)

Just found a way to use an adjustment layer in FCPX, used it with VisionColor LUT-s and renders much faster this way. Also you can make your primary corrections directly on the clip and put LUT on the layer. Here is the link for the custom made adjustment layer: http://www.rippletraining.com/using-the-adjustment-layer-title-in-final-cut-pro-x.html
 
Really like these ImpulZ LUT-s by the way

That was originally what film LUTs were designed for. But who distributes on film nowadays?
 
I think the ImpulZ LUTs are definitely meant to be part of a colour grading workflow, and not a substitute for grading. Some of them are very subtle. They're a lot of fun. I blog a bit about it here:
http://marginaliafilm.wordpress.com/2014/06/13/using-impulz-luts-to-grade-hdslr-footage/
And here's my test on vimeo, only 720p I'm afraid:

The generic Rec.709 LUTs work really well with the G6 footage. If GH4 users aren't keen on the Cinelike D profile they could shoot with a natural profile and try the Rec.709 LUTs rather than the GH4 specific ones. 
 
Right, time to watch Mexico v Cameroon

That was originally what film LUTs were designed for. But who distributes on film nowadays?
 
I think the ImpulZ LUTs are definitely meant to be part of a colour grading workflow, and not a substitute for grading. Some of them are very subtle. They're a lot of fun. I blog a bit about it here:
http://marginaliafilm.wordpress.com/2014/06/13/using-impulz-luts-to-grade-hdslr-footage/
And here's my test on vimeo, only 720p I'm afraid:

The generic Rec.709 LUTs work really well with the G6 footage. If GH4 users aren't keen on the Cinelike D profile they could shoot with a natural profile and try the Rec.709 LUTs rather than the GH4 specific ones. 
 
Right, time to watch Mexico v Cameroon

That was originally what film LUTs were designed for. But who distributes on film nowadays?
 
I think the ImpulZ LUTs are definitely meant to be part of a colour grading workflow, and not a substitute for grading. Some of them are very subtle. They're a lot of fun. I blog a bit about it here:
http://marginaliafilm.wordpress.com/2014/06/13/using-impulz-luts-to-grade-hdslr-footage/
And here's my test on vimeo, only 720p I'm afraid:

The generic Rec.709 LUTs work really well with the G6 footage. If GH4 users aren't keen on the Cinelike D profile they could shoot with a natural profile and try the Rec.709 LUTs rather than the GH4 specific ones. 
 
Right, time to watch Mexico v Cameroon

I've been using it with the G6, it's a lot of fun so far. I'll try to post some tests in a day or two.

Solution is simple: buy a cheap Canon EOS focal reducer, a Sigma 18-35mm with Nikon mount and a Nikon F to Canon EOS adapter with aperture control. Voila.

There is no electronic m4/3 speedbooster yet. All of the boosters currently available are "dumb", in that there is nothing electronic going on. However, the Metabones (and possibly now some of the off-brands, not sure) DO have a clickless aperture control ring built in.

This is possible because Nikon lenses use a little lever to communicate aperture position to the body. The Metabones interfaces with this lever and gives control of it via a ring on the adapter.

Your most-compatible option is to get a Nikon-mount lens, the Metabones speedbooster for use on the GH4, and a simple Nikon G-EF adapter ring (many are available with the same type of aperture ring as the Metabones) for use on your friend's Canons. You will have on-lens control of aperture on both systems, but no autofocus on either.

Going with an EF mount lens will give you AF and in-cam control of aperture on the Canons, but no aperture control on the GH4- you would have to remove the lens, put it in a Canon body, turn the body on, change the aperture, hold the DOF Preview button down while turning off the body, remove the lens, and re-mount it to the GH4... every time you need to change aperture.

Looks interesting, I might have to pick up a copy! 
 
Do you look at many lenses that have a short-ish flange distance (ie Leica M mount, Pen-F, and other rangefinder formats)? Is that the "small and compact" chapter? Is the "Contax Zeiss" chapter about the Contax G mount, the 29mm flange distance?
 
It looks as if you mainly cover SLR format glass. I've never been that happy with the ergonomics of, say, Nikon Ai-S on an NEX-6, because the adaptor is so long, 28mm or so. But longer-flange distance glass is so readily available, so cheap, and I guess doesn't have the CA issues that some wideangle rangefinder glass has on a mirrorless mount. Are you basically suggesting that long flange distance lenses are the way to go?

The link isn't working for me. It takes me to a copy.com page with no visible files, pressing "save all" creates an error.
 
Really keen to see this. I got a cheap second-hand NEX6, fantastic for stills, but as many have pointed out (Johnnie Behiri, Brandon Li), the video is awful, almost un-useable, worst moire and aliasing I've seen. A real disappointment after the 5N (which was reasonable on the moire front IMO). Looks like I might be trading the 6 in for a 6000 tho....

The link isn't working for me. It takes me to a copy.com page with no visible files, pressing "save all" creates an error.
 
Really keen to see this. I got a cheap second-hand NEX6, fantastic for stills, but as many have pointed out (Johnnie Behiri, Brandon Li), the video is awful, almost un-useable, worst moire and aliasing I've seen. A real disappointment after the 5N (which was reasonable on the moire front IMO). Looks like I might be trading the 6 in for a 6000 tho....