dwijip

Some are more impartial than others, put it that way.
When you have personal relations with a nice man or nice woman from a marketing company or a camera company, you're not going to risk burning that bridge for the sake of a fully honest review which focuses on a number of negatives. You're just not.
Yes I myself have felt the pressure as well. I resisted and continue to do so.
If I cared about my relationship with people in the camera sales industry above the one I have with my own readers and followers, do you think I'd be blasting CInema5D on Twitter? I certainly wouldn't. For me though the blog is more important and shouldn't be 'sold' to the PR world.
It has indeed.
Well the latter part is fine by me. We can have different opinions based on experience and figure out which opinion suits our own experiences and how we intend to use the cameras we buy.
It doesn't.
Regardless, whether you call somebody out or not is a personal freedom.
Especially when it comes to your own blog and some flawed test that claims the rather wonderful GH5 is unusable.
The hype machine is very persuasive... These types of articles get the most attention.
The truth is there is no silver bullet, you cannot buy your way to filmmaking greatness with camera purchases.
But it helps to put your $1000, $2000 or $3000 on the right horse!!

All camera reviewers/bloggers are no longer impartial, not even eoshd. It has been that way for a while now. It's become a whole marketing/advertising system in itself. Even when bloggers/reviewers aren't bending under capitalism they will still have some kind of personal views on different cameras and brands based very much on their own experience alone. It's become meaningless to call out on bias, exaggeration or disagreeable information. 
I've taught myself to take any information on gear with a grain of salt. I've experienced burns on hasty purchases based on early reviews that said all the things I wanted to believe was true. 

Gentlemen....start your lawsuits.

I think that's what people are doing with the A7S as well.  They are shifting the histogram to the right since the darker group of pixels are more likely to be banded together during compression.

Also from my tests, I haven't got any issue with the noise with ISO 1600 and below. But the real issue is the color falling apart easily when you try to tweak it a bit in resolve. I wish they can have a firmware update to bring 14bit raw external feeding like the A7R II. Everyone would definitely buy their package in order to release the V-log horse power..

Half life mf!

Looks fantastic.  I was doubting the practicality of v log because all the images thus far seemed like there was too much noise to deal with, but it looks like with the right settings and lighting situations, it's fantastic.

Tried this test with a harsh backlight, mainly iso1000, 1250. See any noise people? I can't assess the image properly at the moment, my eyes are going funny with all the pixel peeping today 

Tried this test with a harsh backlight, mainly iso1000, 1250. See any noise people? I can't assess the image properly at the moment, my eyes are going funny with all the pixel peeping today 

v-LOG



Varicam v-LOG to REC709 



Modified v-LOG to REC709 (as posted in this thread by Marshal Davis)



Varicam v-LOG to REC709 followed by a 709 to FUJI LUT

 
ISO 400, Speed 50fps, f5.6 - it was very overcast when I shot this and "original v-LOG to REC709" looks pretty accurate to what I was seeing when shooting...

No additional curves tweaked, colour correction, etc.

Just posted a VLog video over here: http://www.eoshd.com/comments/topic/9424-chicago-vlog-l/

I used one of James Miller's new V-Log LUTs (AA20) for a moody look. This was shot at ISO 1600 because I wanted to see how bad it would look, given all the complaints about noise. To my surprise, this LUT does a fine job of suppressing it. It's a darker grade but there is more going on than that. A pass of the same clips with the Varicam V709 LUT follows for comparison. That's also the LUT I had loaded into the Odyssey 7Q+ while I was shooting. 
GH4 + Helios 44 + Metabones Speed Booster + ISO 1600 + V-Log L (-5, -5) + Captured in 10bit ProRes HQ + LUT AA20 by James Miller
GRADED
 
V709
 
So while Vimeo compression has hidden half the noise, I gotta say I'm kinda okay with how the noise looks. It gets pretty disgusting when you move NR above -5, in my opinion. But leaving NR all the way down let's the noise be fine and detailed, which I prefer to murky and glompy. I rarely shoot above ISO 800 but given the right context, the right kind of movie, I think it works.

Log profiles generally retain way more noise in shadows than other gammas. If you prefer other profiles that's totally fine. It's all up to your workflow and personal preference anyway. In terms of this being not the actual version of the V log gamma, I hardly think that will be the case because its from their official firmware and Panasonic has already admitted that this was a mess up on their part

They went to all of the trouble to update through a physical key, and it's already hacked. Someone is getting fired today.

I thought the URSA 4k only had 12 stops DR, and the 4.6k had 14. I could be dead wrong.

Hello, My name is Daniel Kharlak. I'm a long time reader and lurker and I've decided to join the forum and share some of my work.
This is a film I shot in my senior year of film school for my friend John. We were looking for a look that was reminiscent of intimate 70s photography and wanted to avoid the crisp, shiny look of modern DSLRs and large-sensor cameras, and go for something grittier and all-together more old-school. So in a fit of monstrous insanity, we fitted an Eiki 16mm anamorphic adapter to a Panasonic HPX already wearing a Letus Depth-of-Field adapter. It was a Frankenstein-esque contraption that required calibration at the top of every day. It's a procedure and a look that I don't think anyone else has tried before.
I hope that you guys enjoy! And try to spot the one single shot that we actually pulled focus on!
 

Been doing these little film exercises with an actress and a composer. Collaboration to practice camera work, acting, sound design, anamorphic workflow etc. Great way to build relationships with new people with similar interests who can mutually benefit from eachother. Doesn't cost any money and not too time consuming either.  Thinking of using these exercises as a tool to build teams, ideas and work ethics before diving into bigger, more costly projects like shortfilms. 

The Focus Module is very sharp if you know how to use it
 


Regardless of the FM, Rect or Rangefinder, sharpness and performance is dependent on your 1) taking lens 2) anamorphic lens.  As far as the Rangefinder goes, stopping down 1 - 2 stops helps with sharpness.  In the pictures below, I shot at F4, stopping down 1 stop.
 

In my experience FM works well with most lenses and doesn't work well with some. I couldn't get a sharp image using some really fast lenses wide open in some instances, but in most cases, especially when using a slower lens or using lenses stopped down, or using vintage primes with simple element designs produced very sharp images and it didn't add or subtract from the image that you would get from the anamorphic attachment alone.  I guess in that respect the performance is pretty much the same with the Rectilux, although not speaking with any scientific comparative knowledge.  
However both the Rectilux and Focus Module has significant lens breathing and both are quite cumbersome in size as well. It really depends on your style of shooting but FM was a bit too big and heavy for the type of work I mostly do thesedays. Which is why I really like the idea of the Rangefinder. 

In my experience FM works well with most lenses and doesn't work well with some. I couldn't get a sharp image using some really fast lenses wide open in some instances, but in most cases, especially when using a slower lens or using lenses stopped down, or using vintage primes with simple element designs produced very sharp images and it didn't add or subtract from the image that you would get from the anamorphic attachment alone.  I guess in that respect the performance is pretty much the same with the Rectilux, although not speaking with any scientific comparative knowledge.  
However both the Rectilux and Focus Module has significant lens breathing and both are quite cumbersome in size as well. It really depends on your style of shooting but FM was a bit too big and heavy for the type of work I mostly do thesedays. Which is why I really like the idea of the Rangefinder. 

In my experience FM works well with most lenses and doesn't work well with some. I couldn't get a sharp image using some really fast lenses wide open in some instances, but in most cases, especially when using a slower lens or using lenses stopped down, or using vintage primes with simple element designs produced very sharp images and it didn't add or subtract from the image that you would get from the anamorphic attachment alone.  I guess in that respect the performance is pretty much the same with the Rectilux, although not speaking with any scientific comparative knowledge.  
However both the Rectilux and Focus Module has significant lens breathing and both are quite cumbersome in size as well. It really depends on your style of shooting but FM was a bit too big and heavy for the type of work I mostly do thesedays. Which is why I really like the idea of the Rangefinder. 

First time actually utilising the Anamorphic option on the GH4 as there is no HDMI out in this mode. This was a just a little sketch I did in my room, by myself using the ImgApp. It is really great that the anamorphic mode can produce a 4:3 ratio image but it comes with some catchlines like no 1080p, no HFR, no HDMI out etc. For me it kind of gets pointless trying to use a tiny LCD screen for monitoring when you've got your camera heavily rigged up for shooting with other gear. So I guess I will stick with just 16:9 and cropping and hope for a firmware update. Speaking of firmware updates, jesus christ are they going to ferment V log before they release it. 
 

Hi Julian, thanks for the feedback. I agree with you 100% but the thing is this was a favor for a friend so naturally I had to include all the shots of his daughter's team to full extent haha. Thats why those odd long shots are there. I would say he's some sort of a client even though he's not paying me or anything. I also agree about the engine sounds but I just couldn't get a consistent track together because half the time I was too far away from the riders to capture any decent volume sound and the slomo mode doesn't capture any sound on the GH4. If I had enough time to edit I would've sort of faked it with sounds from other shots but had to edit in a day. 
Anyways really appreciate the comment and your honest opinion. It's really something I value as most people don't care enough to be honest about my work. Thank you. 

You've got some pretty cool actions shots in there. Mostly in the 2nd half of the video in my opinion. I really love the shot at 2:42!
Overall I think it is too long. I don't like the intro. Some of the slow motion scenes are boring (when nothing spectacular is happening, slomo is just annoying).
And I want to hear those engines scream...! Even if you didn't record proper audio, maybe you can try to put some of the internal audio under the music?
I think a shorter cut, with just the action, only the best shots, and some engine sound, would make a pretty good action video.