hyalinejim

In that case, I wouldn't get too excited as it's the same as shooting at 200 and pulling one stop in post - ie: you lose one stop of highlight headroom in comparison to a theoretical analogue ISO 100. At 6:00 he mentions a hybrid 4k gamma for HDRTV - I presume this is Rec2020. And just when I'd got my head around Rec709! And speaking of Rec709: I don't see a huge difference in colour reproduction but maybe it would help in improving Panasonic colours a little?

That could be a digital ISO @Vesku ie: ISO 200 pulled one stop. What is the "L." in "L.100" - does that stand for low or something? Cellulite!

lol, at 0:35 the GH5 is fresh out of the shower

Trying to get a bit of contrast into skintones at 8bit 4:2:0 reveals macroblocking, still visible when downsized to 1080. I'm finding it hard to avoid the classic Panasonic colour palette with that one without resorting to LUTs, despite the malleability of 10bit. The detail in the image is amazing, though.

If anyone is interested in learning the hows and whys of grading then the Alexis Hurkman book is very good. Here's a sample chapter: https://www.google.ie/url?sa=t&source=web&rct=j&url=http://ptgmedia.pearsoncmg.com/images/9780321929662/samplepages/0321929667.pdf&ved=0ahUKEwjlgrruyq_RAhWCWhQKHUB2DhIQFghXMAk&usg=AFQjCNHuTeG-lmowcqdfRUZ8zworMOaAkw&sig2=YNPI28RQXi8sbr7FeOp61g As with so many creative endeavours, for people starting out, learning how to hold back can be valuable. Usually, a grade should not call attention to itself. In the past, I've found it useful to download frame grabs of iconic movies from (not a porn site, although it sounds like one): http://www.blubeaver.ca Bring a few of these into your grading software and check them out on the scopes. Will give you a concrete idea of what to aim for. Some of the examples in this thread are very poor, as has already been pointed out - the visual equivalent of the "music" generated by someone who has never played an instrument picking up an electric guitar and thrashing around like a madman. Yes, it's fun and that's good. But don't expect your neighbours to like it! So if you are a "tone deaf" fledgling colourist making a lot of noise, it might be possible to improve with careful study.

Yes, because the Lumetri curve comes after the lut.

Put a curves effect in the Effects Panel before your Lumetri effect and pull down the whites.

Don't hold your breath for 5d4. Same goes for lossless DNG. Current functionality is for still images only. May never happen for video.

It's good to be aware that actual grain on film lives mostly in the midtones. That's why overlay is generally used to add digital grain.

Also interested in this, if anyone has any advice.

It depends on what you consider an accurate WB to be. If I had to choose a WB that my camera would be stuck on forever, I'd choose 4500. This will make tungsten look warm and shade look cool, as they should be. In my opinion, a custom WB in these situations leads to unnaturally clinical colour in tungsten light and unnaturally warm colour in shade. I'm not suggesting leaving your camera on 4400 for the rest of your life. But it's actually not as bad as you might think. And the Kelvin scale is not linear. The jump from 3000 to 4000 is very noticeable, while going from 7000 to 8000 is relatively subtle. So 4400 is not as far from 8000 as you might think from looking at the numbers. Before I shot RAW on my 5d3 I would usually begin from 4500 and dial up or down depending on my intention for that scene. On my XC10 I leave it on cloudy all the time (as colour seems nicer with this preset although I've no hard proof of that) and the 422 codec is tough enough for me to bring it into the correct range, even when shooting tungsten. I should mention that I use the now defunct GingerHDR Color Temperature plugin, though. This is way better than anything else I've tried.

Kelvin lets you adjust blue to orange only, and not magenta to green. I get WB close to what I want in camera using any of the WB methods and then fine tune both color axes in post.

That sucks ass! I like to believe that the tough jobs balance out with the pleasant ones. And if not, THEN wine!

Yeah, but it's not unreasonable to expect a level to be, well... level!

Yes, I have the Ace and while it's not a travel tripod by any means (too heavy and doesn't break down to a small size) the bubble level is actually accurate! A hot shoe bubble level will get you close with any tripod as long as it's not a cheap one. There are manufacturing intolerances and sometimes the hot shoe itself is not perfectly level. But of course, it means that you can't mount something on the hot shoe while using it.

It's not unusual at all unfortunately for Manfrotto tripod levels to not be level. I have a pair of Manfrotto legs - 190xproB - the level on that is totally off. If I center it then the level on the tripod head is off. If I center that then the hotshoe level is off. If I center that, the camera is still not level because none of these levels are truly level! My solution is to level the camera on the horizon and then note and remember how much each level is off by for future reference. Some people have suggested trying to push the tripod level down fully into its socket. If that doesn't work and it's really annoying you, send it back and try another copy of the tripod.

"Invite" is also used informally as a noun that means "invitation". Video invite sounds better to me than video invitation.

Just watched Listen Up Phillip - shot on handheld 16mm. Beautiful colours and a real retro feel.

@jpfilmz What's the BM camera in your shot and how do you like the XC10 colour and gradability in comparison to it?

Ok, so "clickbait" is too strong a term, but "waste of my time" isn't quite as snappy. My point is that in cases where it's difficult to discern a difference, people will choose the camera with preferable colour. So if you're going to do it, do it right and do a white balance. If not, expect to get called on it.

Thanks for posting this. It's very interesting to read (I used google translate). Regarding which picture style to use they say, like all reviewers have so far: "The first two gamma curves burn very quickly highlights, while the Wide DR and Canon Log preserve. So we will avoid using the first two" Yes, this is true when comparing at the same ISO. However, nobody has thought until now that standard picture styles should be compared at 1.66 ISO stops lower than WideDR and C-Log. That's why "base ISO" for C-Log is 500... it's actually 160 pushed. And so Wide DR is noisy (shadows are lifted) and C-Log is mushy and ghosty - (extra noise reduction). The second part in the quote above, if I understand it correctly, seems to be about sharpening - just dial it down to 0 in camera. Looking forward to your tests!

Will PM you a few DNGs of random things at different resolutions. I asked the Canon service guy I'd been in contact with if the XC15 has ghosting like the XC10 and he said he's not able to find out...

@hijodeibn Would a second hand C100 suit you? Lovely image from that. I know it's only 1080p but it's downsized from a 4k sensor, and the XC10 4k is just marketing rather than real resolution. @mercer I can send you some 5D3 ML DNGs if you wanna play with them to see if it'd suit you. @kidzrevil I think the gh5 will be something special

Yes, I can't believe more people didn't cotton on to it, but the dvinfo review did indeed point it out.

"I think the white balancing sucks, and I'm sure why" I know what you mean. I've had good results with Cloudy preset rather than manual WB or dialling in K. It seems to actually capture different colours. When I manual WB I get a lot of green-magenta shit going on.