hyalinejim

Kept expecting Larry David to walk into frame...

A half decent calibrated monitor should be fine for that, viewing at a 1:1 pixel ratio to check for pixel level artifacting... AKA pixel peeping

Has this been posted? Not even sure if it's genuine GH5 footage, but it did make me chuckle.

Great pic! I recently got a Dell UP2716D, which I calibrated to Rec709. However, it comes with a bunch of presets like SRGB, Adobe RGB and P3, amongst others. I was a bit horrified to see how all these factory presets varied in terms of colour. Nevertheless, I do believe that your eye gets accustomed to whatever you're working on. So if one particular display is too green, for example, it doesn't necessarily mean that everything you grade on it will come out too pink. Your eye is already compensating every time it sees something grey (like your GUI) or white. So although your different devices have significant differences, you probably don't notice it when using them singly. As long as you can get your reference display close to Rec709 or SRGB, I wouldn't worry too much about how it looks elsewhere. Think of all the consumers that have never changed the excessive default contrast, saturation and sharpness of their HDTVs (not to mention the dreaded frame interpolation) - that is their frame of reference and they're happy with it.

I'm sure you've already read the thread. Bottom line: XC10 is a great camera in good light. You won't regret its purchase for daylight shooting and it feels great in the hand. For low light, try to stick to the wider end to keep ISO down as the image starts to fall apart from 1250 plus, especially if underexposed.

I'm considering selling my xc10. @Ken Ford are you in the US or Europe? Mine is a PAL model (I'm in Ireland).

This. I'm finishing up a documentary short that I shot on 5D3 MLRAW, mostly in crop mode - that is, a 3x crop compared to full frame. There are around a dozen shots in the whole piece. Ten of these are at f8. I debated, prior to shooting, whether I'd bother with anamorphic at all, as I was dealing with such huge depth of field. I decided to use my Iscorama and it was totally worth it. Firstly, the 2 shots that were shot wide open in non-crop mode are immediately recognisable as anamorphic. However, to the extent that the deep DOF shots go out of focus, that anamorphic feel reveals itself. And there were occasions when the occasional flare made it all worthwhile. For me the drawbacks are to do with stability and time: having a heavy anamorphic on front of your lens might mean you need extra support so that you don't shake things up when racking focus. And it can be a bit of hassle to switch anamorphic when you change lenses, trying to keep accurate alignment, or even screwing and unscrewing diopters for close focus. This doc I'm talking about is mainly a landscape film. And I actually stuck an Isco 36 on a Tamron 24-70 2.8, which gave me an effective focal range of around 55 to 160 without changing lenses. I wouldn't shoot like this every day of the week though.

Just download some VLog footage and check out how organic it can look: http://www.mediafire.com/file/nu2l117hjj4hjpq/Neumann_Films_Lumix_GH5_180fps_Footage.zip Emmanuel Pampuri Night Shots (download original) Emmanuel Pampuri nice girl and flowers (download original)

FYI there's probably going to be a shortage of GH5s on release, at least in UK and Irealnd. I spoke to a shop in Dublin which has 7 kits on pre-order and were very surprised to be told that only 2 of those will be arriving on release date. The guy in the shop said the Panasonic rep has never seen anything like this level of interest. I've just placed my pre-order which hopefully will be fulfilled a few weeks after March 23rd. 10bit stuff looks great - plenty of scope to get the look you want.

What did you shoot on? Can't speak for other cameras, but for Magic Lantern Canon footage ACR has the edge on Resolve in terms of colour, noise reduction and highlight reconstruction. I've found Cinelog to be a great solution for an ACR to AE workflow, retaining all tonal information in a log format. It's available for a range of cameras. To get back in to ACR in AE, select clip in project panel > Interpret Footage (ctrl alt G) > More Options

Yes, do you? But if I didn't, does that mean I shouldn't complain about Panasonic colour rendition? Take a look at the Kai W boating in Cambridge video. The GH5 footage looks like shit, in terms of colour, and the C300II footage looks lovely. Do you think you could match the GH5 footage from that shoot with the C300 footage, @funkyou86, if you're so fucking amazing?

At the risk of flogging a dead horse, 444 Log masters is the answer.

Many people can, and do. Myself included.

Also bear in mind that in option 2 above I mentioned editing the CDNGs directly in Resolve - no transcoding is required here. You could also edit them directly in Premiere but its debayering is shit. Regarding the robustness of log masters, simply transcode to a high quality 444 codec and you're in business in terms of being able to push the grade later. You can even pull white balance wildly on it without degrading the image, if you should ever need to. This is why Andy600 made Cinelog C - it's the next best thing to the RAW files themselves. Cinelog C master: LUT applied: LUT + Cool WB LUT + Warm WB Curves to show retention of highlight detail (here you would get better results directly from the DNG, but who is going this far in a grade?): Curves to show retention of shadow detail: Cinelog extracts as much info as possible from the DNG and packs it in a 13.5 stop container with a Cineon curve and Alexa Wide Gamut primaries. Or you can debayer into BMDFilm or Alexa colorspaces and gamma in Resolve if you wish. It's all starting to sound a bit complicated now! My point is that there are many workflows and options with pros and cons in the Magic Lantern world. But once you settle on one that works, you don't need to think twice about it.

Not sure if there are any concise and up to date videos @fuzzynormal, as things tend to be a bit fluid in the Magic Lantern world. But this is a quick and easy workflow, once you get it set up: 1. Virtually mount MLV files with MLVFS (this is just takes a few minutes) 2. Import resulting CDNGs directly into Resolve for immediate editing - OR transcode to Log 444 masters and edit elsewhere. Resolve transcodes very quickly. I'm finishing up a 17 minute short doc from 6 hours of footage using a similar method to this, except I use After Effects to transcode. This is the slow method that you might have used before. The debayering in Adobe Camera RAW through After Effects is slightly better than Resolve. My doc is destined for festivals so I want to squeeze every last drop of goodness out of the files that I could. But if I'm doing a corporate job with a fast turnaround I'll let Resolve do the transcoding. The quality loss is minimal - Camera Raw just has slightly different colours, better noise handling, better highlight reconstruction and lens corrections. You'd want to be looking fairly hard to spot the difference. Hey, if you want to mess around with an MLV to test it out and don't have a ML camera to hand, here's a file that's just a few seconds long: https://www.dropbox.com/s/9cgtnim7zwfmj71/5d3%20ML%20samples.zip?dl=0

So much love for the 5D3. If they ever get the preview fixed for crop mode 10bit (which enables 2.8k 24p continuous recording with a 2x sensor crop), I don't think I'll buy a camera for another 10 years. Being able to whack out a perfectly sharp 2k DCP from a 444 10bit source with beautiful colour is all I need.

I've never really been interested in Dual ISO because of the aliasing and moire.

Just chiming in to also stand up for 5Diii RAW. It can be very easy and fast to work with in post, once you master one of many possible workflows which are differently quick / slow and simple / laborious. I use it professionally every day. Image quality downsides: there is very slight aliasing, its 1080p is not as clear as a downsampled 1080p, dynamic range is "only" 11.5 stops.

cvp.com

@hijodeibn If you wanna check if the C100 has Xc10 style ghosting you need to crank up the ISO to check whether it's there or not. If it does, then you can start worrying about whether it's visible at base ISO or not. There's nothing would worry me in the samples you've posted and I'm a ghosting afficionado!

That's normal motion blur.

Lol. We all wear different hats at different times. I've run the gamut from installation art, tv documentary to bread and butter jobs... even the odd wedding film here and there. Some of it has been really fulfilling work that I'll never forget.... and some of it will hopefully stay swept under the carpet forever

Well, when you're making the usual corporate videos like I do from time to time, you need to get with the ridiculous.

We've had it for 3 years on the 5dMkIII Magic Lantern, if you don't mind not having 4K. What would be helpful is a 2 shot comparison of a scene with some areas of flat colour like blue sky in 8bit VLog versus 10bit VLog, with the clips available for download. That should show the benefit of 10bit. Remember the chroma artifacts in 8bit VLog on the GH4? That wasn't evident on 10bit that went out to an external recorder, IIRC.

Exactly the same but stretched.