Zach Ashcraft

The quality of 1080p had barely been made film-like before being cast aside for 4K and now manufacturers are racing to make 8K a reality, which is in the region of 36MP, before 2018.
It seems the megapixel race has truly come to filmmaking.
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My biggest frustration with color is just the difficult of grading video vs. raw stills. I feel like I have complete control and understanding of my images when I open up a raw file in lightroom. When it comes to compressed video files its an entirely different story, theres just so much less I can accomplish with ease. 
It seems like the new lumetri interface in premiere is pretty similar, but still not nearly as flexible unless you're shooting raw. Looking forward to the day where its practical from a space/processing perspective. 
 
 

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.

My biggest frustration with color is just the difficult of grading video vs. raw stills. I feel like I have complete control and understanding of my images when I open up a raw file in lightroom. When it comes to compressed video files its an entirely different story, theres just so much less I can accomplish with ease. 
It seems like the new lumetri interface in premiere is pretty similar, but still not nearly as flexible unless you're shooting raw. Looking forward to the day where its practical from a space/processing perspective. 
 
 

You could make a strong case that the 1DC is still the best 4K camera in the DSLR/Mirrorless bracket. If the 5D4 has a similar image, perhaps with a nicer 1080/60p mode, it would be a very in demand camera.
I think the 1DX II may actually give us a few more bangs and whistles though... Possibly even 10bit and a big DR increase.

I'm still a big fan of Canon's dslr's, I'm hoping the 5d4 has enough to bring me back to Canon. I love the image from the A7rII, but I really prefer the handling of the 5d3. I just don't have the time to shoot raw and Canon's 1080p leaves a lot to be desired.
Dual pixel AF on the 5d4 is a given since its all over the entry level cams that have been introduced since. I think there's a good chance for C-log. I'd be surprised if it didn't have 4k just because its the big buzz. The Cinema line appeals to a different user base, lots of TV productions, rentals and such where ND's, built in XLR's and manual controls are the norm - and stills aren't needed.
I still think the 5d4 gets two variants, one with a bump to the 32-36mp range and 1080p and one with fewer MP and 4k - maybe like a s35 4k mode with 1:1 pixel readout. The lower MP sensor and 4k will also anchor the next 1dx that will spell the end of the 1dc.
That's my prediction and the 5d4c will get me back to Canon.

The thing is, between 5D IV, C100 II, C300 II, C500 and respective successors I don't see why Canon would implement these things in the 5D IV. Looking at the focus of the cameras and their respective price points, Canon seems decidedly to go in direction of a clear segmented product portfolio with no cannibalisation. You probably won't get the C100 II features in the 5D IV, at least it would be a huge surprise, they clearly try to make the incentive for people to upgrade to the Cinema EOS line.

Thanks Don nice post.
Meanwhile on a Mac I recommend to simply use EditReady, transcode to ProRes 422 LT and you will be able to playback full quality full res 4K on a laptop. There's no quality loss from XAVC-S.
The only way you can lose quality from XAVC-S is to go backwards significantly from H.264 100Mbit/s and that is quite hard to do

Are you sure? I loved using the 60fps on the A7s. Could it be that you're using a LOG profile and underexposing?

I imagine most are interested in seeing footage shot from the 5 axis stabilizer you claim to have created,  not another 3 axis model. Notice I said from... you need to show the gimbal in action and the resulting unaltered footage. If you can't show this then pack up and go home. 
 

Hey all,
Just shot/edited my first piece. I'm coming from a radio producer/documentarian background and have produced some stuff for television, but this is the first thing I've shot and edited myself.
It was done strictly as a learning exercise. I've dabbling in video in my spare time (which has been scarce and so painstakingly slow) for about 5 years now and have learned a lot on these boards. I definitely appreciate the information and experiences shared here and would greatly appreciate any constructive criticisms and advice.
Password: Malvern
I did basic color correction as I'm just beginning to learn how to grade, and honestly thought it looked decent until it got uploaded to vimeo. So any vimeo tips would be appreciated as well. 
Here's a run down of the stuff I used:
Camera: 5D MKII (ML Raw)
Lens: Canon 28mm F/2.8, Canon 100mm F/2.8 L, Canon 80-200mm F/2.8 L
Audio: Sennheiser G3, Marantz PMD661
Lights: F&V R-300, Lowel Rifa Ex-88
Conversion: MLVMystic
Edit/Basic Color Correction: Da Vinci Resolve 11 Lite
Export: ProRes 422 HQ (resized to HD 1920x1080) 
Password: Malvern
<iframe src="https://player.vimeo.com/video/145473746" width="500" height="281" frameborder="0" webkitallowfullscreen mozallowfullscreen allowfullscreen></iframe> <p><a href="https://vimeo.com/145473746">People I Know - Kevin Jones (No Grade)</a> from <a href="https://vimeo.com/tyharper">Ty Harper</a> on <a href="https://vimeo.com">Vimeo</a>.</p>
 

Out of the blue Blackmagic sent me the new Video Assist, which isn't quite yet shipping at B&H (pre-orders are available) or CVP but will be soon.
Here is an early look at the device and what it can do.
Read the full article

The Canon's are going nowhere anytime soon. Some of the stuff you hear about Canon on this forum is far from reality.
I wrapped a shoot yesterday as part of a big team of camera operators, all of which were hired for a project for a big major football team and their sponsor. We prepped all the gear - and there were 5 C300's, 6 5D Mk. III's and a ton of EF lenses. (there were also 20 GoPro's). I setup a bunch of C300's but was tasked to operate a 5D Mk. III. Every single camera operator knew exactly what to do with these cameras, no questions asked. 
A few of us brought our own cameras as backups. The A7S and RX10 II popped up, but nobody would use them because they were like some kind of foreign objects. When I said to someone I could operate the Sony's, one of the camera assistants looked at me like I was insane. 
Because of the Canon's, the process was smooth and reliable as everyone knew the brand and know they work well. Canon have a major presence in big commercial work. People who say they are "toast" because of Sony's spec sheet monster products don't know what they are talking about. Canon know this, and if they didn't, we'd be seeing 4k and 120fps in all their DSLR's very, very soon. (won't happen). 
In credit to Sony - there was an FS7 on set capturing behind the scenes footage. It was the most talked about gadget on set. They've done a great job of that camera.
 

They announced this gimbal at the end of August, so I don't think two months is unreasonable or too quick to expect a demo video.

s-log and a proper LUT from Adobe.  I agree, it looks lovely.  

Description states S-Log and Adobe Lumetri to grade. I'm a fan of the look

Just tried this weekend with some footage I had, to do something similar. Its far from good, needs a lot more training, only the last transitions worked, I think. But still its quite fun to edit this type of thing, and including all the little sounds (no camera sound) is quite fun and something I dont usually do. Anyone know any good webiste to download free sound effects ? I took all of those from youtube, but it would be great to know a dedicated place for it..
https://vimeo.com/143796710
Password : Test

Sorry, but the Box has poor color science. 

Product was supposed to ship now, yet no demo video on the web.......

Take a little break and smile (or laugh).
Sony A7Rii BOX unboxing.
https://www.youtube.com/watch?v=29BiYaKkMDM
 
 

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.

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.

I don't know, seems like there will be a lot to leica bout it B) 

The Zeiss 135mm 1.8 (A-Mount) is my dream 135! Still dang pricey, and not the best mount really
 
http://www.bhphotovideo.com/c/product/463924-REG/Sony_SAL135F18Z_SAL_135F18Z_135mm_f_1_8_Carl.html

This was actually all internal. Never used a shogun to be honest! Thanks for the kind words.