Hitfabryk

Right, the A7S could possibly do better with more available DR, however the skintones won't look as good. Just as with real film, we light for faces/skintones and make sacrifices for hightlights/shadows as needed. IIRC, the A7S's sweetspot for skintones puts more useable DR in the shadows vs. the highlights, so it may not do better than the 5D3 for this condition.
 
What elements don't look filmic? Do you have examples of your Alexa work you can share showing how and why it looks more filmic?
 
Regarding looking like an Alexa: there are many examples showing 5D3 RAW comparing well to Alexa footage in the exact same conditions. Do you have examples showing otherwise? (I would expect an inside to outside window shot to favor Alexa (DR)).
 
Here's a tutorial and example footage for converting 5D3 RAW into an Alexa rec709 look:

 
 
Regarding dynamic range- I think we both covered the same points in the same way (clipping, optimization), however mathematically 14-bits (16384 steps) provide for more color and luminance manipulation in post before artifacts appear due to color compression (from e.g. a curve slope) and quantization. Amazing things are possible with ACR highlight/shadows and 5D3 RAW:

There's more detail in the shadows- I crushed them to focus attention on the sunset. I'm not sure if the A7S could do better for this shot (perhaps a slightly smaller sun clip area. If the shadows needed more light, the A7S would do better, but again, was not needed for this shot).
 
Ideally we'd want to use all available DR for every shot, however that's not always possible (and rarely possible outside of a studio if we're optimizing exposure for skintones).
 
From all the tests I have viewed, 5D3 RAW and Alexa can perform similarly except in extreme conditions for color (Alexa can record 2.8-3.4K resolution (Amira will do a scaled up "4k")). 5D3 RAW even compares well to film (see the Atlantis video in this thread). At $40+k for an Amira, no one is arguing that 5D3 RAW (or A7S) matches or exceeds ARRI, however in many conditions it's amazing that it comes close enough to easily cut between cameras.

Yes shot tons of it.

Hay, here's a quick video i put together using the d750
 

I've been playing with the GH4 today in RAW stills burst mode. My workflow needs some refinement to get the motion blur looking more regular, but I actually quite like the filmic staccato of 12fps. The image quality is insanely nice though:
 

 
Note: Plus members can download the original Prores LT file on Vimeo. I REALLY RECOMMEND DOING THIS - motion looks much worse when streamed.
 
Vimeo blurb below:
 
First test of using GH4 in RAW stills burst mode to make video. 
RAW stills converted to ProRes 444HQ and slowed to 50% in 24p FCPX timeline. Graded in FCPX and some grain applied. Also used REVisionEffects' RSMB to add motion blur as most of this was shot with a very high shutter speed. This has caused some unpleasant motion artefacts here and there. The final shot in the video (of blowing leaves and cars) used a 180 degree shutter in-camera (1/25s) and looks better I think. I will try using that setting for my next attempt. Rolling shutter looks quite severe. The GH4 buffer can only do about 40 frames in raw burst mode, so you can't really get longer than a 3 second clip. My card is a Sandisk 95MB/s U1 - I don't know if a faster card would do better.
I actually really like the 12fps look, particularly when used with film grain and the really bold colours you can get from raw. I like the excessive motion blur. I think if you avoid severe camera movement so as not to draw attention to the rolling shutter and low frame rate, it can look very filmic. Obviously this can't be used for everything but with some refinement I think I will be using it a fair bit. If you like the 12fps look (12fps is right on the border of human perception of individual frames - I think this makes it rather interesting) and can live with the short burst times, there are a lot of good reasons to try this out. Yet another great thing about the awesome GH4. 
Check our blog for further testing of this mode: lintelfilms.co.uk/blog/
Note: I tried using 'optical flow' (FCPX's version of Twixtor) to create 'real' 24fps, but it was a mess, with lots of the usual warping around movement (even though I used a very fast shutter speed). 
Music by Chris Zabriskie.

Wow, this topic is on fire!

I still shoot most of my stuff on my GH3. I get paid for it. Nobody complains. So the fact Canon have been reserved in their product features doesn't bother me in the slightest. It doesn't affect me at all.

Yesterday I shot on the FS700. The fact any Canon camera can't do what this camera can do didn't change anything. I got my shots. Client was very happy.

I think everyone needs to chill out. The options available now are ridiculous. Who cares what brand you use? Pick your camera, shoot and delight. :)

The Gh4 is my workhorse camera, is very easy to use, the battery keep running for a long time, many video recording options, long recording time, in camera 4k recording. Is a great camera for almost any situation.
The a7s has a much lovely image, greater dynamic range, cleaner image at high iso. Is the camera i use when want to create a more artistic aproach, and a is a great photo camera too.

I hope Olympus can take lesson from Fuji!
 
The IBIS is such an invaluable assets for videos especially on shooting lens without IS.

https://crashthesuperbowl.doritos.com/gallery/submission/2589
 
Roommates Revenge filmed in Banff Canada on Sony A5100. The quality is for you to judge. The camera is a little small to hold but on a tripod and steadicam it worked well. The new codec and full pixel readout are a huge improvement.
 
If you like the commercial 5 star ratings might really help my chances of making the finals. That is my little plug but I really wanted everyone to see what the camera's quality was like. I opted to buy the A5100 because I could not afford the A7s at this time and I like the Sony's because I shoot my stills with an NEX 6 which I love.

I recorded so much footage back then that it was simply too much for a one film. Thats why I decided to make one more video. Enjoy :)
 

Hi.
I just wanted to show of my latest short film STORM. I shot it on the Panasonic Lumix GH4 with Kowa/Bell and Howell Anamorphic
 

 
Please let me know what you think.
 
//eric

Hi all,
New here! I'm a student hoping to get some feedbacks from the community here! Would like to share with you a video I made in Cambodia.
 

 
The video is about the dreams of a Khmer. Hope I can get some feedbacks on improving it! Thank you!

Hello! I'm a student hoping to get some feedbacks from the community here! Would like to share with you a video I made in Myanmar.
 
I am trying to highlight the happiness within the people despite the rapid development of Myanmar through this video. 
 
Hope you like it! 
 
 

Nikon AF 35-70 f/2.8
 
same great glass as the superb 28-70mm f2.8 nikon I use alot ...BUT its A PUSH PULL ZOOM .
now of you can live with a push pull zoom then its agreat way of getting super Nikon glass alot cheaper
 
 
Nikon AF D 80-200 f/2.8 - the other 'Bourne' Lens also used on Casino Royale and Quantum of Solice
 
I cannot say enough good things about this lens - its VERY VERY GOOD everyone should have one,
 
I use dumb Nikon to Canon EF adapters on my Nikon lenses then I put them on Canon EF - Micro 4/3 speedboosters/Lens Turbos.
 
so yes you can do that with no issues
 
hope this helps !! This Nikon Glass is amazing!!

Ive never used the Pentax 30mm f2.8 , it does have a good reputation
 
the Canon fd 28mm f2 is very good the fd 28mm f2.8 is also very good and cheap on ebay
 
I do use the Sigma 30mm f1.4 all the time its a superb lens one of my favourites! especially on a speedbooster
 
the Zeiss Distagon 28mm f2.8 in c/y is a killer lens very good too
 
if you are shooting micro4/3 check out the NEW Sigma 30mm f2.8 - it has amazing reviews its very very sharp and great value

Canon FD 28mm F2.8 Test. 

I worked on a Neve V series with flying faders for many years - i produced alot of big hit records on that desk.
http://www.discogs.com/artist/11911-Love-To-Infinity?type=Credits&subtype=Remix

There is ALWAYS a better, cheaper camera coming soon. Every person who buys a camera is "that guy."

I've bought the first feature film from Joshua Caldwell, "Layover": I've bought the version with special content, and I'm very happy, because it is full of great informations.

http://layoverfilm.com

I heartily recommend it to you all, it is really amazing and it's great to see that it's not the camera, but the man to make a great movie.

Joshua made it "guerrilla-style", with available lights, handelded, but there are many great scenes that I don't understand how he made so stable without a stedycam or a gimbal stabilizer (i.e. the scene with the girl walking in the airport at 00:08) or the scene with the bike (from 1:37).

Some little parts were made with a GoPro, but the most is shot with a Canon 5D. 





 

I've been exporting AVCHD from my G6, in all frame rates, into FCPX for a year now without any problems. I can edit AVCHD natively without any problem. I've experimented with converting to prores but haven't found any advantages. I do have a powerful iMac though.
 
Having said that, although 24p AVCHD is the best quality image, I find 50p MP4 to be better than 50p AVCHD. 50p AVCHD has much more aliasing artefacts and looks overly sharpened to me.
 
I shot this with my G6 recently, using 24p AVCHD and 50p MP4. All edited and (quite heavily) graded natively in FCPX. No transcode to prores, AVCHD imported straight into the FCPX event from the SD card:
 

Thanks everyone!
Yes, those are Nikon colors. That´s one of the main reasons why I chose for shooting the movie with this cameras (D7100, D5300). Also the image gave me some nice dreamy look that really help to sell the atmosphere of the film. 
 
Also, some old Nikkor 35mm f2, creamy shots are in this teaser ;)

Hello,
 
Steve Huff (more of a stills photographer) certainly raved about the Olympus EM1.  You can see his review here.
 
On this forum another user >posted a topic called "Still like my EM1"   It's this video of skin tones that really got me wondering...if my own next camera purchase was really off.   Most people seem to find it a joy to use the EM1 filming handheld with it's excellent built in stabilisation, also hugely useful for stills and being in New York that frame rate of 30p might well be liveable with?
 
For portraits your partner might like the forthcoming LX100 you mentioned.  It's 4K "photo mode" while recording video, means he could extract 8Mp stills from any frame of video(this link illustrates process and a try out with professional still photographers using video stream from a 1DC).  Everything I've read describes "photo mode" on the LX100 as a feature you perform in camera.... hoping there may be post processing option on that too!
 
You'ill want to hear about the still quality of the A6000 from the point of view you mentioned, ie coming from full frame, from someone who has both cameras.  
 
A portrait photographer could potentially stand further away from their subjects using the longer zoom range of the FZ1000, perhaps making them feel more comfortable but it does have a smaller sensor...and doesn't go near as wide in video as the LX100.  Check if the LX100 can go long enough for your partner.
 
If m4/3 is too small a sensor, I found this video tutorial most interesting;  this tichy wee camera reportedly has the same sensor as Canon 7D and with adapter can take all canon lenses as well as the excellent native EOS-M fit 22mm f2 which is reckoned pretty sharp. Even the native kit lens is better quality than Canon's Dslr kit lens as the distance from rear element to sensor is less.  The video was a great demo for me personally as to one way to rig for audio monitoring and capturing high quality audio.   Bear in mind the EOS-M (with focus magnify feature of ML loaded and working DURING record) camera can record decent audio but it's preamps are not up to professional grade, but by feeding a properly amplified signal in, there is no post syncing.  A pretty decent tutorial I thought and well worth a watch perhaps.
 
How about this for a new EOS-M body and f2 lens :-) 

Some various shots using the awesome FF58 and other with a Voigt 50 1.5 (@2.8) together with the SLR Anamorphot.  Yes the low light ability is pretty insane on the camera, I wish I brought my Ninja Blade to record the footage though.  Hard to pack everything while on vacation since, you're supposed to be on vacation lol.  I hope there will be a 4:3 mode for 2X anamorphic on this camera one day...we can wish  :)
 

Thanks for sharing this.  I truly love the way your camera handles skin tones and handheld with a 90mm eq lens is amazing.
 
I like to ask how you were holding your camera?  Were you using the "optical" viewfinder against your face?
 
I'm considering getting the new LX100 for it's 4K photomode, and this camera is about the same price for the body and I already have the 45mm lens and it does render people beautifully.  So I hope I'm not going to miss out on something special here.
 
I learn much more about a camera from seeing this kind of footage over dark streets or green vegetation.

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.