hyalinejim

That makes sense, considering that if a certain value gets applied in Linear, then the conversion to Log would reduce that difference the brighter the Luma value is.  
Funnily enough, my post to you took about 20 minutes to write, as I would write something, have a think about it, google it, read a forum thread / blog post / etc, think about it again, and then adjust or delete what I wrote.  My post ended up stating that the grain was higher in the mids and highlights as that was one of the dominant sentiments from what I read.
Thinking further about it, and thinking about motion picture film, wouldn't there be noise in both the shadows and highlights, as in a two-stage development process (original negative then positive for projection) one stock would put the noise in the highlights and the other would put it in the shadows (which is why there are rolloffs at both ends)?

It's actually the other way around! The shadows have larger and more pronounced grain than the highlights.
 
Grey card, Portra 400, exposed at -4 stops, 24MP scan to middle grey, 100% crop:

 
Grey card, Portra 400, exposed at +4 stops, 24MP scan to middle grey, 100% crop:

 

I haven't watched the video yet (looking forward to it), but from my very limited testing I found DR Boost noisy in the midtones in a way that I wasn't used to seeing.

I haven't watched the video yet (looking forward to it), but from my very limited testing I found DR Boost noisy in the midtones in a way that I wasn't used to seeing.

I also noticed blotches (compression artefacts?) on flat areas of 60p GH5 footage that I didn't find in the same shot taken on a GH6. It was most noticeable in the first couple of frames of clips shot in long GOP, and not as noticeable but still present in subsequent frames. So if you're flicking through unedited clips then it definitely looks worse on frame 1 of each clip.

I got it! The shop I bought it received just 1 copy!! This is the second shipment and it seems that Canon send just a dozen or so for the whole country..this camera will be back ordered for a long time..Canon is giving priority to full frame production anyway.
It is interesting that Canon gives these limited copies to specialized shops and NOT to big chains at all..
The manual is 963 pages(?!), not included of course, I got the 16mm RF, an extra battery and the Canon dumb adapter as a launch gift. They run a promotion giving some reduction in price in selected lenses and varies from 75€ (50mm) to 600€ to more expensive ones. I had already ordered the 16mm, as I have other EF and EF-S lenses, but I was tempted also by the 50mm one. Is a brand new design of an old concept, seems like the best cheap 50mm in the market.
Unfortunately, I am starting an A.D job and I am reading scripts at the moment, I barely switch it on today.
2 things. It seems that zebra and focus peaking do not work together, and I couldn't find a way to zoom in to focus while recording..the second issue, if true, is a major disappointment for me..
As I said I didn't have time to search thoroughly, I took a couple of videos in glorious desert weather here (Athens, GR) and the camera did get hot a little in the touch. I will have to make some kind of test, or whatever, but it seems to me that it won't be temperature - proof as we hoped it will be.

Yes, I had been looking at that first and was about to get one but then I stumbled on a mention of the Tokina and it seemed to me after a bit of research that it holds sharpness a bit better towards the corners and also there is very little vignetting other than the limits of the image circle.

I'm a sucker for cheap wide angle and have found a nice contender for APSC and speedboosted M43.
The Tokina 12-24 f4 is a well regarded wide angle lens for APSC Nikon and Canon DSLRs, but you can totally get away with using it on larger formats to a certain extent. It has good build quality, very little vignetting, is fairly sharp out to the edges and has very little distortion in the middle of the range. They go for very little now and I picked up a copy for €150 including postage on eBay.
Here it is on a GH6 with 0.64x Speedbooster wide open at f2.5
12mm (15mm full frame equivalent, 7.5mm M43 equivalent). Vignetting is evident. This is a lens for APSC formats, after all.
 

15mm (19mm FF / 9.5mm M43 equivalent). Vignetting is mostly gone. Could maybe go a little wider stopped down a bit.
 

18mm (23mm FF /11.5mm M43 equivalent). This is the minimum you can use it on full frame, where corners are quite soft at 18mm but speedboosted on M43 the corners look decent. Any distortion levels out around here and is quite good as we zoom in further.

20 (25.5mm FF /13mm M43 equivalent)
 

24 (31mm FF /15mm M43 equivalent). Purple/green fringing is quite bad at 24mm, probably the biggest problem with the lens. It cleared up for me using Digital Film Tools Chromatic Aberration effect.
All in all, I'm quite pleased with it and would definitely recommend it as a cheap wide angle option for Speedboosted M43. On full frame it suffers a lot with corner softness, but is still good for square format photos if Insta is your thing!

The Lighthouse was actually 1.19:1 (19:16) which was used in the 20s and 30s, notably Murnau's Sunrise and Lang's M. It was a standard super 35 frame (so 4:3) with an optical soundtrack overlaid to yield a more square 1.19:1 -- it was called "Movietone."
I'm not sure if they did that on the Lighthouse or just cropped it in post. Interestingly, any theatre that hasn't moved to digital projection can use that optical soundtrack without modifications.
Xavier Dolan's Mommy was shot in 1:1, though.

Yes, I had been looking at that first and was about to get one but then I stumbled on a mention of the Tokina and it seemed to me after a bit of research that it holds sharpness a bit better towards the corners and also there is very little vignetting other than the limits of the image circle.

Yes, I had been looking at that first and was about to get one but then I stumbled on a mention of the Tokina and it seemed to me after a bit of research that it holds sharpness a bit better towards the corners and also there is very little vignetting other than the limits of the image circle.

I'm a sucker for cheap wide angle and have found a nice contender for APSC and speedboosted M43.
The Tokina 12-24 f4 is a well regarded wide angle lens for APSC Nikon and Canon DSLRs, but you can totally get away with using it on larger formats to a certain extent. It has good build quality, very little vignetting, is fairly sharp out to the edges and has very little distortion in the middle of the range. They go for very little now and I picked up a copy for €150 including postage on eBay.
Here it is on a GH6 with 0.64x Speedbooster wide open at f2.5
12mm (15mm full frame equivalent, 7.5mm M43 equivalent). Vignetting is evident. This is a lens for APSC formats, after all.
 

15mm (19mm FF / 9.5mm M43 equivalent). Vignetting is mostly gone. Could maybe go a little wider stopped down a bit.
 

18mm (23mm FF /11.5mm M43 equivalent). This is the minimum you can use it on full frame, where corners are quite soft at 18mm but speedboosted on M43 the corners look decent. Any distortion levels out around here and is quite good as we zoom in further.

20 (25.5mm FF /13mm M43 equivalent)
 

24 (31mm FF /15mm M43 equivalent). Purple/green fringing is quite bad at 24mm, probably the biggest problem with the lens. It cleared up for me using Digital Film Tools Chromatic Aberration effect.
All in all, I'm quite pleased with it and would definitely recommend it as a cheap wide angle option for Speedboosted M43. On full frame it suffers a lot with corner softness, but is still good for square format photos if Insta is your thing!

It looks good!  Thanks for the test!
I bought the Canon 10mm-18mm EF-S lens on the strength of this video by @ZEEK:
 
 
@ZEEK says that the lens works on full frame down to about 14mm, but he mainly uses it with a speedbooster on the EOSM.

I'm a sucker for cheap wide angle and have found a nice contender for APSC and speedboosted M43.
The Tokina 12-24 f4 is a well regarded wide angle lens for APSC Nikon and Canon DSLRs, but you can totally get away with using it on larger formats to a certain extent. It has good build quality, very little vignetting, is fairly sharp out to the edges and has very little distortion in the middle of the range. They go for very little now and I picked up a copy for €150 including postage on eBay.
Here it is on a GH6 with 0.64x Speedbooster wide open at f2.5
12mm (15mm full frame equivalent, 7.5mm M43 equivalent). Vignetting is evident. This is a lens for APSC formats, after all.
 

15mm (19mm FF / 9.5mm M43 equivalent). Vignetting is mostly gone. Could maybe go a little wider stopped down a bit.
 

18mm (23mm FF /11.5mm M43 equivalent). This is the minimum you can use it on full frame, where corners are quite soft at 18mm but speedboosted on M43 the corners look decent. Any distortion levels out around here and is quite good as we zoom in further.

20 (25.5mm FF /13mm M43 equivalent)
 

24 (31mm FF /15mm M43 equivalent). Purple/green fringing is quite bad at 24mm, probably the biggest problem with the lens. It cleared up for me using Digital Film Tools Chromatic Aberration effect.
All in all, I'm quite pleased with it and would definitely recommend it as a cheap wide angle option for Speedboosted M43. On full frame it suffers a lot with corner softness, but is still good for square format photos if Insta is your thing!

I'm a sucker for cheap wide angle and have found a nice contender for APSC and speedboosted M43.
The Tokina 12-24 f4 is a well regarded wide angle lens for APSC Nikon and Canon DSLRs, but you can totally get away with using it on larger formats to a certain extent. It has good build quality, very little vignetting, is fairly sharp out to the edges and has very little distortion in the middle of the range. They go for very little now and I picked up a copy for €150 including postage on eBay.
Here it is on a GH6 with 0.64x Speedbooster wide open at f2.5
12mm (15mm full frame equivalent, 7.5mm M43 equivalent). Vignetting is evident. This is a lens for APSC formats, after all.
 

15mm (19mm FF / 9.5mm M43 equivalent). Vignetting is mostly gone. Could maybe go a little wider stopped down a bit.
 

18mm (23mm FF /11.5mm M43 equivalent). This is the minimum you can use it on full frame, where corners are quite soft at 18mm but speedboosted on M43 the corners look decent. Any distortion levels out around here and is quite good as we zoom in further.

20 (25.5mm FF /13mm M43 equivalent)
 

24 (31mm FF /15mm M43 equivalent). Purple/green fringing is quite bad at 24mm, probably the biggest problem with the lens. It cleared up for me using Digital Film Tools Chromatic Aberration effect.
All in all, I'm quite pleased with it and would definitely recommend it as a cheap wide angle option for Speedboosted M43. On full frame it suffers a lot with corner softness, but is still good for square format photos if Insta is your thing!

Yeah I have a Viltrox II EF/M4/3.
 

Thanks for the test Mike I will have to look into one.
 
 

Just kidding...  🙂
My understanding is that Premier is probably still a better editor than Resolve (although Resolve is closing the gap) and that the main issue with Premier is that it crashes all the time.  Save early, save often.
In terms of colour though, we all love to think that the 5,984 controls that Resolve has are required for good colour, but it's not true - if you get the basics dialled in then you can get great looking images with the tools that basically any NLE has.

I would love to be in Resolve 100% of the time but I'm too tied in to Premiere to switch, at least for work stuff. Sometimes I get asked to incorporate bits from an old video by a client. So I have projects within projects within projects sometimes. 
The other great thing is bringing print material from designers from Illustrator and InDesign into After Effects and eventually into a video.
 

Photons to photos just released its stills dynamic range results and it's really confusing. I like P to P because at least you can compare one cam to another.  Xh2s has worse dr than my z6.  How that translates to 14 stops of video dynamic range I dunno. 

I haven't tested any of these things but from what I've read online there's very little to worry about. I think I remember reading that you can set the fan on low if you're worried about fan noise with an onboard mic.
It's too mild in Ireland to test these things. We're supposed to be experiencing Europe's heatwave at the moment. Here in Dublin the highest temperature today was 27C 😂

I haven't tested any of these things but from what I've read online there's very little to worry about. I think I remember reading that you can set the fan on low if you're worried about fan noise with an onboard mic.
It's too mild in Ireland to test these things. We're supposed to be experiencing Europe's heatwave at the moment. Here in Dublin the highest temperature today was 27C 😂

I you are happy I am happy. 🤐 But I agree with you, for the average person on here less is better in the long run. If you are not doing heavy grading why shoot 400mb/s. Hell, I was looking through some of my older stuff because one of my drives was getting full and Jesus, I had like 30 OG BMPCC Raw DNG projects on there. It was taking like a 1/4 of the damn drive up. And don't even ask about the Canon 1DC files. 😬
People that want the Sigma FP need their head examined if they want to shoot Raw out of it. Grab your ass on storage space.
I don't even need to turn the heat on in the room where my box computer is, it does all the heat I need!

I would add that from my experience of using a manual focus 58mm Rokkor 1.2 on a 5D3 for photography I found that if I used the optical viewfinder to judge focus, forget it, it was out of focus. I missed it nearly every time.
However, I got an almost 100% success rate by using an LCD viewfinder (remember those?). So you're magnifying the large, high resolution image on the rear LCD screen. It's actually possible to nail focus this way.
 

If you record 1080p Prores HQ then that card should be good for about 94 mins, 422 should be longer...  Just in case you're feeling like more testing would be fun 🙂 
Great to hear the 2h 17m GH6 result was with the DR boost mode on.  I can't think of what other features would drain a battery so much that it would reduce that battery life significantly.  Thanks for doing these tests.
I've said it before, but I'll say it again.  Even basic tests frequently prove that a significant proportion of "what everyone knows" is actually just plain wrong, or so oversimplified or limited in context that it is either so useless or misleading it has the same effect as being wrong.  If you can test it yourself, you really should.