tusoli5

I admit that this is a bit of a nerd attitude. ;-) Ahahahahah!

@jonpais both picture styles developped by canon and/or users allow you to go way further in your color correction in post production. It allows you to adjust your scene and angles to your color desire for post production and thus gives you more color integrity from one shot to another because you see it work while doing it. That is what can be as close as professional filmaking. The aptitude to put a log (or a lut for canon Raw) in the camera is even much more efficient. Without it you might have a bit too much differences from one shot another and will loose the few dynamic range you have left from H264 to adjust your shots before laying your real color correction. Not so many projects require heavy color correction for tv or shows but a filmick look for cinema, tv commercials or serials is always kind of heavy. That's why a good neutral style (for example) helps you to get back the more dynamic range from what your camera is capable of. This is a thing you can achieve, on a lot of cameras, but the few DSLRs that can use log, lut or color profiles precisely made it efficient (and not just pushing down contrast and gama in the camera's menu), these few cameras really help to get the most neutral preset and effective to edit color in your movie and with another picture style make you preview in some test what is possible to achieve with their files and what will fall appart in post production. So, yes the color correction stays in post production, but you can concieve it before on the most efficient way with this tool and most of the time you can even tweak your picture to get the most your sensor could get for it to be done well. And I think that's a pitty that such nice sensors as Panasonic can't benefit from similar tools, as, for me, since the gh2, they have been on top of what DSLRs could expect for home-made filmmaking with real ambitions. That's much more a frustrating comparision point than a real flaw, I admit it, a flaw would be it not working or not concievable with these cameras. The frustration comes when you clearly see that panasonic, nikon, etc could provide such a color profile tool, but they simply don't. And taking pictures is about color, isn't it? Blackmagic, is much more a personnal experience for me, if you like them, then that's good but until now my experience with them show that they are not reliable enough to prepare profesionnal projects on their products. Blackmagic are good cameras nearly professional broadcasting tools for 1/5 the price, at least, wich is fantastic when they work fine, but their distibution was so hazardous since the beginning, their distributors spent so much money taking the orders for a long period of waiting line, it did put so many people in danger financially for small structures (distributors and projects waiting to get it, just remember how they promised delivery dates for some pre ordering people that never touched them in time), this really has been the weirdest thing I have ever seen since a long time in this domain. I waited to be able to get one for one year and I have been working with their other products for post production on many times, if it works that's terrific, if it crashes you're out alone in the desert facing your black magic equipment. The after sale service is simply not ready yet to deal with their amount of buyers. That's why for me blackmagic, until now cannot be taken seriously, their design and effectivness are great but only as long as they work. When they don't, compare to panasonic, sony, nikon, canon, you're done.

@jonpais Thanks for your appreciation ! ;-) I hope to shoot with my D800 hacked for my next shoot, I still am testing it and it feels really great. For 4K I hope to find something else than gh4 or nikon or black magic. It could be a sony or a canon. Why? And this could explain the main adavantages of sony and canon in the dslr industry. Considering moire or not, rolling shutter or not there is a tool that is forgotten too often, it is real color calibration while shooting like the one from canon with their picture style, the one we could create presets with on our computers and log it on the camera to go on field with our "color madness","absolute neutrality", "cheap yellowish style" or "deep blue drama queen" picture style. I had a Canon 550D (it is no more, I sanked it in the ocean falling in the sea at the end of a shooting, it was the abolute not to do thing, I was pissed off, but it was a great fun at the same time, great shooting and the movies in the sd card were intact, so lucky...), the picture style was making this camera nearly perfect, even with all its flaws and blurry 1080p. This is what gives you the opportunity to render a professional look out of the box, to see, while/before shooting, if it gets right the color you want or if you'll just fall down on your edit with a too pretentious color correction. I had the pleasure of making my own profiles and it made me learn a lot on color in digital filming. Sony also starts to ship dslr that can preset logs (A7s ?) and it is the soul of a strong identity on your project. It is the y key to having a look and a personnal touch, it is the way to tell a story from the first to the last image. None of any others DSLRs are made with this. That's why in my opinion (and you don't need to think the same way) CANON really understood DSLR filmmaking from the start and still do. You put it in Panasonic, in nikon, in Black magic (if it works or if you find a way to buy one without waiting 2 years) and you create canon killers, otherwise, people will just go on with canon, even if its blurry looking, even with rolling shutter, even with 1080P only, even whith too high pirces. It s the only thing I miss on my D800 and it is a huge miss. So, my next camera should have this with outstanding 1080P or decent 4k. And as much as I loved the GH4 (so tiny for so much quality is what comes to my mind to resume it ), I still long for my old 550D picture style that you can find in all canon DLSRs. ;-)

Hello, I have been testing GH4 for a few days and am quite mixed in my conclusions. Firstly, 4k is really time consuming to edit and if you don't have a >1000€, at least, graphic card, you'll be in real pain to edit it even with a very good computer that seems ready for 4k. Needless to say the price of the last mac pro is quite expensive too. Secondly, shooting 4k to get the best 1080p is really fun when you look at the results, but isn't it a bit tricky? Thirdly, what the F... are we still doing with .H264 compression? It is a dull nasty compression even in 422 and WE DON'T LIKE IT ! There are better codecs ready for the 4k, waiting to be put into the last DSLRs to come and asked by the whole film industry (BBC for example) to make 4k light and easy to see AND edit. Fourthly, picture is beautifull, crisp and stellar in video, but... crisp is the word, crisp everywhere, on the center, the border, I really have to open to f1.4 to get a real bokeh and softness in the compositions of my shots. Which leads me to say that Focus is not as precise as with a full frame camera AND leads to a camera that gives you video images, but no real cinema quality. It remembers me ot camcorders (there I said it). So yes, you can produce out of focus in post prod so easily that this comment can be seen as pure nerd attitude, but let me explain. At full aperture, nearly all lenses are in their most flaws everywhere (even professionnal expensive primes of every companies), focus, color franging, flairs, distorsion, as an effect it can be good sometimes, but to create soft focus, bokeh etc, I like not to shoot too much in my limited field of full aperture. And this camera makes you shoot too often with all the flaws of your even great lenses to produce images you would get at f2 or f2.8 with a full frame without any flaws to correct in post or even worst flaws you could not take off as soft corners or soft focus lightened with color franging (so beautiful 70's pron italian style, ahahahah! ). Last but not least, I am very happy to see better still quality pictures in the gh4 than in the preceeding gh, but as a professional I still think that Panasonic stills are pure crapp comparing to other brand for 1/2 (to be nice) the price in still cameras. For example, a fuji x20 really does way better and that's where I say, hey ! HOLD ON ! 1700€ for this????!!!! It has a lot of qualities, for sure, but has anyone really seen its flaws they are nearly as big !!!! Moire can still appear (yes anyone who says the contrary really didn't test it that well), and rolling shutter has simply no improovements. Don't consider this as a denial of the groundbreaking camera that gh4 is, I simply felt the need to say hold on, some better things, more adapted to filming in the same range of price might come very soon as this one makes a wow effect, it might not last in the long terms of its use. Of course, I stay very enthousiastic using GH4, needless to say. ;-)

Nikon really intends to make a 4k dslr in a while, for now they are simply following their usual shedule of updating their already released cameras as they did since D100, D1 until now. Usually for nikon you have the new camera and its "s" or .100 or .300 or .10 etc, and then you get the real new deal after. Working with a D800 and a Hacked gh2 has been really fun for me and it produces absolut mint images when you know how to use them in shooting and in post production. I don't feel the urge, with such a good camera to switch to the newer or the last 4k. My clients are always blown away by everything produced on this camera. And for stills, I can say that it has been a real breakthrough that allowed me not to deal anymore with hasselblad for fashion shoots and its been a real relief in terms of investments. Furthermore, the 24mb/s codec provided on the d800 amazed me as I could produce as good images as my hacked gh2 in 90mb/s //100mb/s and they allow me to go far more deep in color corrections than gh2 and 5DmkII allowed me (Hacked and magic lanterned - not talking about raw). Needless to say that the last nikon hack of 60mb/s for the D800 really does the trick and allows to avoid all ninja external recorders and is a really light solution for heavy shooting, I have been processing some tests and edit that really makes a good 1080P camera. My advice is, after you've done your edit cut, encode your video files on DNXHD 350 and then post prod them as you want you'll really have something quite heavy looking to deal with that will compare easilly to more "professionnal" video solutions. For example, a trailer for a photo shoot I did for ELLE: Vimeo compression makes it a bit blocky, but it does the same with every good quality pictures lately (gh4, 5dMIII raw, BMP), like if there were too much quality to handle for the compression. For moire, the video filter to put inside that corrects it really works like magic, it is expensive (around 300€), but brings you an image so beautifull and a flawless free - of - moire picture that I find it essential to deal with, while preserving the mind blowing quality of this 24mb/s h264 video files. Putting it to shoot video really allows me to separate the video from photo situations for my clients as they understand that while shooting video the camera has been changed so they can't ask for one little photo while making videos. And yet, I never felt the need to psuh forward details in post prod on this camera. Not so many can say that. ;-) So, yes, if you are a professional and have no d800, d600, no 5DMkIII yet, this D810 can really be a great deal for you on both stills and video.