JazzBox

For straight NDs, I like the Tiffens. Very affordable and good performers. 

I just tried it with the a7Rii with IBIS turned on, looking at the footage I feel like a professional now.

It's something I "discovered" after shooting a 2 camera shot with both GH4 and G6.
It was some months I did not use the G6 (normally I use the GH4) and I tried to match them in order to have less problems during the color correction.
And with "natural" with saturation all the way down and contrast -3 I had pretty consistent images between the two cameras and great skin tones - something I normally have to work with when I use Cinelike-D.
Wow, amazing footage! Never seen something like that from a GH4! 
If you have any suggestion to share... I'm here

yeah, i shoot in the "Natural" profile. The only difference between that and "Portrait" is one step plus or minus in color saturation (i forget which). but the Alexa LUT i have is a nice tool to have for GH4 clips. Lately I've been using my own LUT generated form Davinci that used the Kodak 5207 ImpulZ LUT as a base with a bunch of my own adjustments on top of that. 

yeah, I tend to keep contrast at 0 in camera because there are things that the GH4 does to the colors in the image when you try to flatten things out that are permanent and kinda ugly and better handled in post. I like a low contrast image and have better results dropping contrast in post than i do in camera. with the GH4, that is. 

Sorry for off topic, but i want to purchase a 4/5 stop nd filter but  do not know what to get.  The main thing for me is that there is low color cast on the image.

yes sir it works great with 1080P and 4k.  I also think it produces the best possible results with the 96FPS mode if you plan on using that as well.

I have the Genustech Eclipse Variable ND and really, really rate it. Never really dealt with any sort of bad colour cast.

http://www.genustech.tv/products/eclipse-nd-fader-77mm

GH4 in C4K recorded externally to an Odyssey 7Q+. for day exteriors i'm usually trying to shoot at T/2.8 with ISO at 200. 

I haven't run into an X pattern with the SLR Magic yet but I know they (SLR Magic) have stated it can happen. I use it with step-up rings as well (49, 52, 62 to 77). I believe the only hesitation I have about it is that it maxes out at cutting 6 stops. And sometimes, especially on bright southern california days, I wish I could cut as many as 8 stops.

Which Hoya NDs did you have? Their ProND line is very good. But their others, not so much. If you want a variable ND, I've have very good experiences with SLR Magic's. In this video I compared it to the Tiffen VariND.
 

Well that took a bloody long time! But I've just this minute completed my new reel and site. It's not "announced" until Monday.... social media campaigns etc blah blah. But it's live! Check them here: 
View my new showreel and website!
Some info
Each and every image -  I shot, lit, edited, graded. A little directing. Very involved in creative ideas.  Core crew was mostly 4-5 regular people in these productions (Director, DOP, Production Manager, Spark, Make Up Artist).  For the geeks - cameras used are Sony F55, FS7, FS700, RED Epic, GH3, BM Pocket.  All images are music videos, but going for commercial/corporate work aggressively into the next year. (and still many music videos).  The aim is to have 100% new material for Showreel 2016. Max creativity required.  Anyway, if you like it or don't like it, whatever. Just thought I'd share.
 

JazzBox, LUTs are resolution independent. You can shoot at any resolution and apply it.

the Penatx 110 lenses are superb - very cinematic in their look - I've written alot of posts about them on this forum over the years -
I also add small washers onto the back of the lenses to stop them down (using blutack) this works a treat and also get a set of ND filters for them ....you can get them to fit these tiny lenses then you can shoot ourside full wide open at f2.8 - it doesnt get any more cinematic than that if you tried!!
 
Also stick some nylon fishing wire in the adaptor vertically behind the lens and you can turn them into anamorphic style lenses with ;loads of blue horizontal streak flare !!
 
 

Hey video and film lovers,
Messed around with an Input Lut for flatening the footage before grading. More messing aroung with curves and color wheels.
Don´t know, if it would have done better without the Input LUT?
Footage is lowlight. Rest of the info in the video. It´s G6 all -2 on Natural. Quiet happy, though I recognize the obvious flaws, not the less obvious ones though:)
If I can be happy with my G6 for low light footage and a somehow filmic Gestalt, then GH4 should do easily. 10bit, killer!
By the way, why doesn´t anyone put out a YAGH like device, little smaller with big internal battery?
 
 

Hallo Aaron,
Was looking for some G6 profile for Resolve and found this. The author states, Portrait has the most amount of Reds. It´s supporting your find,
which I will check out definately! I will be watching out the greyish spots in skintones and not going too flat, keeping color and contrast around
0/-2, like Zak Forsman is doing too- rather flatening the footage in post.
 
So here are the findings about Portrait and other Panny G6 profiles:
http://gro.solexiv.de/2014/02/panasonic-g6-color-profiles/

Andrew,
I purchased the GH4 log converter and all I can say is that it is great. I'm using it in final cut pro x and just dropping the converter in as a out, and then the canon log lut.  I just started using it with film convert as well, again it works great.  This was by far worth the money, I would have paid more.  Thanks again.

I'm...aware...

My point was that it's possible to like the same focal length on two different formats. I like 50mm lenses on everything but FF. Can't say why.

"Crop sensor" is not a format. It could mean S16, M4/3, APS-C, APS-H, or even 135 if you're a medium format shooter. 

35-50mm is around what the human eye sees in real life. I think that is why exotic lens choices like 28, 16, 60, etc. seem surreal and thus more cinematic. At least that's what I gathered from the article by Noam Kroll.

I say untraditional in the sense that primes sets are usually like 16, 24, 35, 50, 85, 100, 135.
I'm very guilty of using those set focal lengths and also using the opposite ends of zooms, 17-55, 12-35.
I've been reading some interviews with cinematographers that really like using odd focal lengths such as Deakins with 21mm, and Speilberg, Scorsese, Malick with 28mm.
http://noamkroll.com/28mm-lenses-the-secret-ingredient-for-achieving-a-film-look/
I'm going to start experimenting with using some of these untraditional focal lengths myself with intention. Not sure if it will make a noticeable difference but I'm very curious.
Does anyone else have a certain focal length that they love for a specific reason?

http://www.rogerdeakins.com/forum2/viewtopic.php?f=6&t=1580
http://www.rogerdeakins.com/forum2/viewtopic.php?f=1&t=2505
http://www.cinematography.com/index.php?showtopic=21447
http://reduser.net/forum/archive/index.php/t-2061.html
My personal favorites are:
35-40mm equiv--wide shots and steadicam
70-75mm equiv--medium close-ups and general use
135-150mm equiv--intense close-ups, shallow focus/macro, and compressed perspective shots

I find the really wide angles hard to use effectively, distractingly dramatic with their perspective, and unpleasant on people shots. Generally, I use my 75mm (25mm SLR Magic on the BMPCC) the most, because my movies are heavy on acting and dialogue. 

But that's just me. If that last thread taught me anything, it's that there's many different ways to shoot, and all can produce cinematic results. Malick loves his wides. Deakins stays between 28 and 50 for everything. Ridley Scott shoots everything crazy long. Park Chan-Wook shot everything with normal lenses on Sympathy for Mr. Vengeance but used nothing but wides and teles for Oldboy.

As long as you choose your focal lengths with tact and intention, there's no wrong answers--only different preferences. 

Slow zoom and all!
http://www.engadget.com/2015/08/20/vhs-quality-videos-ios-app/

You have to use something like LUTutility for that, or you can try ColorFinale.

I've had luck with Andrew's LOG converter with Portrait and Natural. You'll then be able to use LOG LUTs.
Yes it is 10 bit. I'm curious to see 8 bit flexibility as well, but if it's anything like the C100 it won't be much different.