kidzrevil

Yes. For instance, if you were to place a FF, non speed boosted 100mm on either an a6500 or a GH5, you'd tell both cameras to stabilize a 100mm. Same logic goes for speed boosted lenses, where you'd tell either camera the "focal reduced" length, in this case 71mm.
Just remember, any FF lens on a MFT will look exactly the same as the same mm MFT lens on a MFT. The only difference in those lenses will be the size of the image circle, but the MFT sensor will only ever see the same smaller portion.
Hope this isn't getting complex, so to summarize: Since all you're trying to do is figure out the math to tell the camera what focal length to stabilize, there's actually no need to do any math for the sensor size, JUST the focal reduction. All you've got to do is tell the camera what the "mm" is, and when you add a speed booster (0.71x), you're literally placing a 71mm lens on, whether it's APS-C or MFT.

8 bit is not the cause of banding - it's the high compression 4.2.0 internal codec. 8 bit HDMI out to an ext recorder won't band unless you really abuse it ( and that's the only way I use S-LOG on my Sony's). 8 bit (RGB)Tiffs generated from RAW stills are very hard to produce banding in unless you do very aggressive tonal changes  but output a highly compressed jpeg from the same RAW and it can have banding even without touching it. Also with a video camera we are not talking RGB but YCbCr which should be better than RGB in this regard as most of the data is in the Luma channel but due to the massive compression found on internal codec's it bands oh so easily. 
 

I've started combining SGamut3.Cine with SLog 2 on 8 bit. SGamut3.Cine is much better suited both for 8 bit and the cheaper color filters that go into Sony's below F55, and S Log 2 makes better use of the entire range of code values. S Log 3 is designed for 16 stop sensors, and cuts off at 94IRE on current 14 stop sensors. Not a big deal on 10 bit but important on 8.
Have you tried this combo, @kidzrevil? One cool thing is that using standard SLog2 to 709 LUTs creates some very "cinematic" colors straight off the bat. I've started doing this even shooting 10-bit.

No problem @kidzrevil - I think people nowadays really need to have it hammered into their brains that this sort of complicity really needs to be addressed. I mentioned Leni Riefenstahl's Triumph of the Will in an earlier post; just because the film looks great (the lighting, camera angles & the Hugo Boss uniforms etc.) & has loads of innovative cinematic techniques can never outweigh the fact that it is a piece of Nazi propaganda - propaganda that enabled a World War & millions of Jews to be exterminated! To state that we know it's racist, but that's ok because of what it might have given future filmmakers just simply isn't good enough. People need to wake up!
You know what, i think the Blade Runner fans are completely befuddled by the new film as they are used to a disposable product that normally doesn't mean anything past the spectacle aspect of a Hollywood film. This new film rests within a more Eurpoean model, where art & ideology mix to form a deeper experience - a film that can be watched numerous times & interpreted on numerous levels - it's a tough film to understand if you were expecting an all action spectacular ride. One thing no one has mentioned is how inportant the 3 short prequal films are to the main film itself - to be watched in the following order: Anime first, then the other two.
As far as BOAN is concerned, no one is saying it should be banned, but just understood within its context of being a racist film. Yes, it uses cinematic techniques that have influenced future Hollywood films, but these techniques helped propagate a racist naarative & that can never be a good thing. Another point to make, is that whilst it might have influenced future Hollywood films, it certainly didn't influence the rest of the world in quite the same way, if at all. In fact, Non-American films have had a far greater influence on modern filmmaking than Hollywood can ever have hoped to have had on the rest of the world. Hollywood has plundered & copied other nations filmmaking styles far more than the reverse, which is the real elephant in the room when talking about film history. If you want to look at innovation in filmmaking, Hollywood is the last place to look for or find it.
There are so many great films that aren't American, films that you can learn style & technique from in a way that you simply can't do with the watered down versions that find their way to Hollywood productions. If your top 5 favourite films have more than 2 American films in it then you simply haven't watched enough to appreciate the magnitude of the world of cinema, or should that be world cinema.

beautiful looking footage. But why am I thinking about this after watching your footage?   Maybe it´s my love for the arts. Wowi wow wow:)
 

What's really troubling is the way people seem to think that this film's Pros out weigh it's Cons, when really all it's innovation was done in order to propagate & enhance a narrative that is pure & simply racist to its core. It really is of little consequence whether he then made a film to appologise about what he had done. The facts are that he made a racist film & nothing can erase that - you've got to be pretty naive to think that he didn't know what he was doing or what kind of film he was making. You've got to remember that America fought a very bloody civil war over the question of slavery (between 6-800,000 people died, which is more than the other wars America has fought put together) & then 50yrs later a filmmaker makes a film glorifying the south & their ideology!?
As I said before, this film is dangerous precisely because it used innovative techniques to advance its racist narrative - it should be a warning about how dangerous film can be & no excuses can ultimately change this fact. It doesn't matter if this film was the first to do this or that, what is important is that it did it in the service of reigniting & propagating a racist narrative/ideology & only 50yrs after so many people lost their lives in one of the most bloody civil wars in history.
To defend this film is to continue to propagate an ideology that is repugnant, completely out of step & deeply troubling.
Just because something like this exists, doesn't mean we should ever hold a torch up to it as something other than a warning about evil & the means by which dangerous ideologies will go to in order to re-enforce/normalise their message.

Just going back to BOAN quickly, just like to say that I've studied film (to PhD level) and lectured on film at University level & BOAN never came up as a film to be studied or watched as an example of anything worth while. The one time that it did come up was to do with it's blatant racism & not to do with any other qualites that people come up with. Perhaps its held with some regard in the US, but in Europe not really. The one film that everyone cites as the film to watch if you want to be a filmmaker is Citizen Kane - it has every shot type that you could possible ever want to use in a film & that's not even taking into account the editing or narrative construction.
BR2049 hasn't bombed at the box office & it is just about to get released in Asia, so still more revenue to come.
This sums up BR2049 quite nicely:
https://www.theguardian.com/film/filmblog/2017/oct/09/blade-runner-2049-slow-burn-blockbusters-denis-villeneuve

Yeah, and I just want to say, I love what you're doing artistically too!  But...
I think I understand.  I get bent out of shape because there's a fair amount of snake-oil sold out there in the way of color profiles, etc (which I know you're not doing) which actually hurts the footage that new filmmakers take.  This is a very interesting subject to me because, like you, I LUST after a low-contrast look.  Nothing beats a RAW workflow in my book.  It's just beautiful.  But I'm lazy, like everyone else, and want a short-cut.  So I've tried, like you, to make LOG work.  But I couldn't for most situations.  After some experimentations I figured out why it is impossible.  But in the back of my mind, I'm still hopeful.  So when I read your post I'm like, maybe he's done it!  But I need to see certain things addressed to be convinced.  So, all good.  I'm enjoying this!

You're going to get a standing ovation from me for sure   Being of that age, yes, I'm very familiar with rating film slower and developing long/shorter, etc.  However, even in film, you make a trade-off.   Shooting the grand canyon is different than shooting a portrait.  One pushes or pull films based on what they're shooting.  They aren't doing something smarter than the manufacturer who wants to optimize their product for most shooting conditions.  LOG can give you benefits in challenging lighting.   Never disputing that.   

No I have never noticed any in your footage, it looks great.

Hey, if you get the image you want, great!!!!  But I'm one of those people who are very critical of LOG profiles.  I don't see what you gain using them in those shots because you crushed the contrast so heavily you even removed the noise inherent in the higher ISO the camera uses to achieve a LOG distribution of visual data.  That is, you could have arrived at the same high contrast footage, with more color depth, shooting rec.709.  The shot where she is on the staircase and part of the background is blown out, I could see LOG used there, but you don't use it to bring out the background, the dynamic range is severely narrowed in the end.  
LOG profiles only make sense to me when there is detail in part of the image (5+ stops away) that one wants even at the sacrifice of color saturation.  One cannot get color back.  
Don't want to rain on your parade!  I love what you did. Nice images, however you got them! But to be fair to yourself, shouldn't you have shot the scenes both in standard profile and LOG and THEN compared them?  LOG trades higher saturation for higher contrast detail.  There is no exposure trick to get your color back   That footage can never be made to have more color depth.
In short, if you want to show how you get the most out of a LOG profile, shoot a scene where you make a trade-off you can't get with rec.709. Why do you believe those scenes were better shot with LOG?  Again, I know you put a lot of work into this!  I enjoyed it!  I think you should go out and do some more!
 

My problem with slog3 was never the grading. It was the banding which is there in camera and after.
Nothing to do about it really. 

And I wouldn't mind if it wasn't for the A7sii I had costing more than my complete Red package, a RX1rii + bmpcc combo, way more than a Leica Q and even more than my complete DSLR setup  including great glass that I use today.
If the camera was cheap.. then it would be ok imo.
 

As you know, I have been a fan of your work since your GH4 days, but I must say, your stuff has gotten exponentially better since you started using the G85 and the a6500. Your recent a6500 videos and this G85 stuff is next level. If I had any kind of real budget and was shooting something in the city, I would definitely try to hire you... I can only imagine what you could do with an Arri Mini.

Oh I wish we did. 
If you need to fight over the camera settings to find something that works sometimes, then you know you don't have reliable AF  

Sony release a high end stills camera with some video capability but astonishingly it's not a video orientated camera with some stills capability added on......................

If Sony only had 64 couolrs would 58 of them be different shades of green/yellow? 

Very interesting opinion from someone so young as @kidzrevil, and I completely agree. 
I can see that in younger people's edits as well, while I like to edit on a slower pace -as for the brain to comprehend and process information- I see people edit 5 shots in 1-2-3 seconds! I seriously can't follow, or understand what is going on most of those while I have noticed a better visual communication between them than oral. 
For me, the opening scene of Satantango is one of the brilliant way ever. Cows moving for 10 full minutes!

@kidzrevil Can you propose any specific way (software/process) to handle those H265 files?
What do you thing are the benefits of such a transcode?
As of the NX, I have 2 NX1, 1 NX500 and 1 NX3000 with all the lenses I need, natively.
Every time there is a new camera, I am consider the pluses and the minuses, even now, there isn't a clear winner in front of me. Right now I am thinking, to just keep everything I have, and go on, until they broke.
Ibis for me ain't a big deal (I am old school monopod/tripod kind of guy), and I am using gimbals for when I really need it (even AF with the right settings is great on Ronin and even lighter ones). I recently started using DIS also, good to have, works quite well if you do not expect the moon and the earth (it is good together with the cropping that it does with some primes)
The other cameras I use most (Canon C100mkII, JVC LS300) ain't 10 bit either, and do NOT have any high speed capabilities, while the 120 frames of NX1 are perfect for me (and too much most of the times, I shoot PAL 100frames).
Unlimited recording (73 minutes in reality), even relatively slow and cheap cards do the magic, the ergonomics of the NX1 is unparalleled, the touch screen UI just out of this world (most competitors do not even have proper touchscreen functions!), monitors do not dim, stays cool even with hacking bitrates, best mirrorless battery performance (GH4 was good also), and some unique lenses I LOVE to use (such as the tiny 10mm fish eye, a gem of a lens)
Most of my footage ain't even 4K(UHD), so I do not feel like I have exhausted everything these cameras can do, and also, great photo cameras!
I add the 2 things that eventually will lead me to change though, High ISO is terrible above 1600 (NR and all), I wish that the limit was 3200 and 6400 usable with Neat video or something (I know, just 1-2 stops, but it makes a lot of difference in my line of work, and I could use easier slower lenses, such as the excellent 12-24 and 50-200) and I can not zoom in to focus while the camera records. I am considering the Small HD Focus (for other cameras too), but it will add to a very light and small camera, but I want to see if it is solving the problem, and focus peaking on NX seems to me that is working great.
 
 

I thought you have already switched to some of competitiors (A6500?)  ;-) So NX1 is still better?

I find it easier to get my kids to read than to watch 'old' movies. The visual entertainment made for them now gets them into a terrible habit of requiring a beat in every scene to keep them interested - even what seemed like fast paced movies when I was younger now seem interminably drawn out to them now. It's a terrible shame and I can't see it getting much better - I think as time goes on the enjoyment of 20th century cinema will become a micro-niche pursuit.

kidzrevil you did exceptionally good job in this thread. Your grades are awesome and filmic.
However i have to point out some misunderstandings:
There is no point to use Slog3 on 8 bit cameras
why you lose color tonality with sgamut on 8 bit sony cameras
In one of your post you said you could overexpose about +5 stops without clipping. In this case you used only a small percent of the available tonal range with slog3. But the grade looked very good. But if you film in Cine4 and use Filmconvert on it, it would look the same, but it would hold up much better if you have to grade it heavily with Power windows in Davinci Resolve.
Don't underestimate Pro gamut, i think it's the most accurate of all but yes it can clip colors compared to s-gamut.
I dont want to offend you and i think you did a great job, but if you read those threads above, maybe you reconsider some of your findings.

Used the Tamron 70-200/2.8 G2 for the first time today.
Im very satisfied with everything accept the weight, but thats a trade for the amount of glass and new build.
 

@kidzrevil amazing photos mate !

Beautiful! Is this Standard SOOC?
I really dig the colors/look of this one. Is it standard, too? 
You and Kidz have me seriously thinking about a 6500.

I hope the GH5 pressures them to offer 4:2:2 10 bit. I made a promise to myself that I'd never buy another 8bit video camera after my NX1.