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Thanks. I’m using DaVinci Resolve on my desktop and AE 5.5 on my laptop. ‘Binoculars’ was graded in Resolve and ‘ungraded C-log’ in AE, but the setup I use is the same and could be used in any NLE. In AE I use Adjustment layers, as if I had the nodes you can find in Resolve. First three nodes are my basic setup, second set of nodes I use to color grade. The middle node of the first set is always the curve of the profile the footage was shot in. The two other nodes are used to balance low middle high. From Left-to-Right: 02, 01 C-log2_180, 03 ACABADABRA… the middle node could probably just as well be a simple S-curve or something, but for some reason when I use the 180 degrees rotated curve of the profile the footage was shot with, the first and third node curve “keep close” to their initial shape. Come to think of it, al those curves have more or less the same shape (C-log2 and CineD are almost identical (if you fit them in a square)) so no wonder it fits my workflow First node (04) second set is usually just the red and blue curve adjusted to my likings in the lower left corner in this case I manipulated middle and top as well. Second node (05) is a correction on the previous node. Dragging those curves can make you do over the top things. My favorite tool for this is the RGB mixer or Channel mixer (in AE). I start with the Blue-Blue channel. Just touching it makes you aware if there is any need to shift in the blues. I then do the same with the Red-Red, if it looks weird you know you don’t have to use that channel. I hardly ever touch Green-Green, but I realize now that I hardly ever touch the green curve in the previous node , there might be some correlation. When the “masters” are done I continue with the minions, Blue-Red Blue-Green etc. By this time I’m completely colorblind and tend to look at some other picture on my HD to compare with what I have done so far. In this case I added a third node to add some contrast, I then called it a day. However you can go crazy and keep adding nodes as there is no end to color grading.

Here you go... There is some macro blocking in the sky

I'm afraid there is no such thing. The sky is more or less completely blown. What I did is color the highlights, you can see it in his hair as well. btw In the upper left corner in the sky there is a weird stripe, shows in the occ as well ...any idea what it is. Insect flying by?

I like that one the best!

I'm not Kidz 'r Evil, but gave it a try anyway... Feels like solid footage.

Don't now how representive this is but here you go. http://www.eoshd.com/2014/12/lets-see-samsung-nx1-really-capable-shooting-4k-sunny-lisbon/#prettyPhoto/4/ Shot with a flat profile I believe. Let me now when you dug up your shots with crushed blacks and uploaded them ( just not h.625). Thanks.

I have been trying to find examples of this. Can't find any. Willing to share some preferable in Prores? ...as free converters are not an option to judge the OOC files.

My go at it, but only after I read "I'm trying to push some cold-blue colors (to the shadows) at the girls footage, and some warm colours to the band." Top two have the same grade, lower one slightly different.

I love the road bars/ tennis ball/ tripod head stabilizer. Way cool! Thanks for sharing. I have been thinking about the cowboy rig in the past. In the end it looked a bit too much as if you're filming for me. With the tripod I still could be taking pictures. The monopod remarks made me thinking …why not use the third leg with the pocket knife case on my waist belt. And that is how I use it now. Talking about spare parts of a bike. I use an inner tube as an eye cup on the EVF. With careful use I can open the screen without removing the cup. My feelings weren't hurt. I'm a hobbyist trying to get a more steady shot. If I were a pro I wouldn't come up with such solutions …or maybe I would, just to provoke a bit

How does this look ridiculous? As it hangs around your shoulder without camera it looks as if you carry a tripod with a belt. Used as a shoulder mount you hardly can see the tripod at all since your arms are in front of it. As far as ridiculous goes. I walk around with tie-wraps around my lenses. I couldn't care less. You think they notice a tripod on a belt? I did something similar with the case of a pocketknife I could attach to a belt. Soon as tried to focus or zoom in/out the camera turns from left to right. That's why I figured I needed two legs. Couldn't find another case fast enough, so I used some tie-wraps to test it out …which then became the permanent solution for me. It works for me up to 70mm, before that 35mm already was a challenge.

I read the post by JonPais in the Fuji thread where he hopes to get rid of micro jitters with the help of a gimbal. Like him I tried all kinds of solutions and some worked better then others but I never got rid of what seems to be my biggest handicap; a too flexible spine. So the other day I thought why not use a belt to connect a small tripod to my hips and circumvent the spine all together. Sounded cool and it kind of worked, but if you want to use the EVF as well it is not optimal. At some moment I used the belt around my shoulder and it dawned on me I just made a swing, meaning any abrupt move would be absorbed or slowed down …and the seat of a swing always stays horizontal. It's my favorite way of stabilizing now. All jerks, jitters are gone. It's not that you don't move anymore but it's more like you film slowmo. And there are no extra costs. I'm pretty sure everyone already has some kind of lightweight tripod, I use the Sirui T-0005KX. If you want more weight or stability, mount a video head on top of a ball head. Both shots were taken with 1/30 of a second with a 200mm lens on a GH4 with a Speedbooster (0.72). It illustrates the use of the tripod shoulder mount trick vs handheld.

I made a grade for the 5550 version In DaVinci and next applied the same grade to the 5555 version. All I did to make up for the difference was adding an extra node to the left of the grade with saturation set to 75. Everything looks slightly more blue to me, as in hardly noticeable. The 5550 version without saturation adjustment. The 5550 version with saturation adjustment (from 50 to 35)

I think there lies your problem. I keep saturation to 0 or even plus 2 when shooting in the dark. It doesn't prevent the 'grain' but it keeps "grain clouds" to a minimum. Not a huge difference, but visible. Apart from that I think your choice of lights (green red) might have amplified it and explain why it didn't happen at other occasions. ...for what it's worth.

I hope these shots are not straight from the camera, as this girll is bathing in macro blocks

The footage slightly clips, besides that here is my go at it. @Michael if all other grades look completely weird to you, you might want to check your monitor as your grade doesn't look like the describtion you gave on both my monitors.

I think you're victim of a typo. Try 8640x3840 instead of 8540x3840. I tried it with a 3D render in AE and it worked fine ...even better than I expected.

You can find one now on ebay, although not completely functional. If I lived in the States I might have bought it. http://www.ebay.com/itm/Canon-EOS-1DC-18-1MP-DSLR-Camera-w-4K-Video-1D-C-PLEASE-READ-FIRST-/272293706219?hash=item3f65f839eb:g:JWYAAOSweWVXdwOz

I lived for over thirty years in Amsterdam and all I can say is that since I live on this small island in the Netherlands, everything is faster. Postal services are way more reliable. When I order something and they made the promise it's there the next day , it's there the next day. If I'm not at home they leave it inside my house and sign it off themselves or if the house is locked they leave it in the shed ...the upside of a small community.

I live on an island so I basicly can't get anything. But there is something like the internet and if I order the samsung 850 EVO 1TB today I have it on my doorstep by tomorrow. I think they mean 'non proprietary' when they mention 'standard'.

They use standard m sata solid-state-drives. Atleast my pix E5H does.

What exactly do you mean by 'rear optic'? I have two Lens Turbo's and both were adapted ...but I did so by adjusting the lens unit, not a by adjusting the rear optic within the unit. First thing that come to mind is the little screw on the side. It should only fastened so slightly. Enough to not get stuck within the mount and loose enough to not push the unit out of it's center position ...and mess up yor corners(?)

OSX

Cool shots of the bees. If I hadn’t seen it with my own eyes I would not have believed it. Your 125 ss has single frames (each frames is a unique frame) and the 60ss uses double frames (every second frame is a unique frame) in effect shooting at 30 fps, hence the feeling of missing frames. Can only think of four options. a] You ran into a bug b] Limitation of the camera. In that case it should be documented. c] Some setting you missed, that prevents a 60ss when using 60fps. d] Panasonic claims the camera can do something the camera can’t do in reality.

I see now and it's not surpricingly that it looks like that. The 60 fps is an 30fps file. Each frame is doubled to create a 60 fps. Is it the .mts format or is it Panasonic pulling your leg by saying the GX7 can do 60 fps. Jase his footage is true 50fps. If I were you I would check the 125ss footage as well. I'm pretty sure the it will turn out to be a doubled 30fps as well.