Geoff CB

Hi, couple days ago just for fun i shot this awesome yamaha grizzly ATV, ursa mini 4.6K in raw 3:1, 4.6k 50/60fps and 2k 120fps. I used canon 16-35 f2.8 L II and canon 70-200 f2.8 II IS lenses. I recorded everything to ssd drive via cfast to sata breakout cable. 70-200 shots are handheld, for 16-35 i used glidecam devin graham signature series. Graded in resolve 12.5, edited in premiere CC.
 
 

Tell them that you have the expertise to fulfill the director's vision and that you have extensive experience in using the language of the camera to tell the story.
 
Of course, you must be able to follow through from such statements, and it certainly helps to have a reel that demonstrates such ability.

@Andrew Reid Any chance you could upload a clip in 1080p with the standard picture profile and l-log?  Would be interested to see how the 2016 firmware improved the l-log. Do you think dynamic range is any better? 

Still a big fan of the LG 31MU97-B I picked up a while back (open-box on Amazon for $700).  Fonts certainly are small at native res but so very sharp.  And the screen space is insane.. huge timeline in Premiere, full 1080 preview in a nice 1/4 of the screen, and of course just browsing the web I can have two or 3 browsers side-by-side in full res.
http://4k.com/monitor/a-review-of-the-lg-electronics-ips-digital-cinema-31mu97-b-31-0-inch-screen-led-lit-monitor/
 

The LG 31MU97-B I mentioned is 10 bit BTW.  No affiliation, just a fan.

IMO, that comment is what makes FCPX so damn special, especially if you ever used iMovie HD. To me it seems like they took the best parts of FCP7 and iMovie HD and created this amazing hybrid. It's not for everyone, but I can appreciate it. 

I have a rule. Even with A7S. If you need more than 1600ISO, you probably shouldn't be shooting there in the first place. Either change the scene's location, or use lights. Simple.

Yeah, no question, but when I was watching films at run-down grindhouses during the 1dollar matinees, the print and projection was not all that great. So the quality perception is skewed regarding "film" if all one is used to is watching a pristine transfer on blu-ray. 
My movie going experience as a kid growing up was decidedly less refined.  Memories of sloppy screenings of "Corvette Summer" or "Fort Apache The Bronx" or "Phantasm" are more my recollection. 
...this doesn't even touch on the reality of VHS home viewing of movies. 
So yeah, film is great!  But by the time copies of movies filtered into my rust belt neighborhood, the IQ reality had taken a beating. 

Resolve with the Dongle I have found is very smooth with NX1 footage.

Personally I think the image is fantastic for internal. Also don't forget the far higher bitrate as well.

The blueness of those coatings makes me want to vomit. There's far more complexity to good anamorphic flares than the coatings that SLR Magic has been slathering on their otherwise exemplary optics. I also consistently find the images out of 1.33X systems to come off as awkward: not clinical enough compared to good spherical, but not unique enough compared to a good 2X Ana. Just.... Awkward looking, checking all the boxes on paper but missing the mark in practice. There's no reason not to shoot 2X now that 4K is so accessible. 

Voigtlander 58mm 1.4 on Ursa 4.6K  ~F5
 

As someone who was a Nikon shooter for a LONG time and was looking forward to the 18-50 this is very disappointing.

Honestly give me a D750 with the same DR/color in 4K 10-bit and I will buy one immediately. I still to this day go back and forth on buying a D750 again, but I hold out hope it's successor will have 4K. I wanted these compacts, badly.

It seemed like when Nikon released the D750 and D810 they were on a roll and then THUD rolled into a ditch.
They have done nothing interesting for 3 years.
And between the D5300 and D-whatever they are on now, also nothing interesting.
GoPro rival was a joke... Released just as the action cam market was over the hill... Yet to give the whole show to it at Photokina last year smacks of management issues too.
Nikon could have entered the cinema market, they have the optics, sensors, everything...
They could have gone into high end mirrorless market, the brand is stronger than Sony.
Didn't... didn't... didn't.
They won't survive like this... They are taking zero risks.

As someone who was a Nikon shooter for a LONG time and was looking forward to the 18-50 this is very disappointing.

As someone who was a Nikon shooter for a LONG time and was looking forward to the 18-50 this is very disappointing.

Personally I think the image is fantastic for internal. Also don't forget the far higher bitrate as well.

@Kisaha you are right! it can't be 4 years... definitely feels like I had it for that long. the AF and the touch screen is amazing on the NX1. and the 16-50S is an outstanding piece of glass that is built like no other. it's a shame that they didn't make an NX2. it would have been something. 

There is nothing that can be done, best practice is work with a proper grading monitor that has been calibrated for the space you want export to, sRGB, Rec709, P3, etc.... That way you know you at least it can be properly displayed on a calibrated device. But as you have noticed devices out there are all over the place so you there is no way to know how it will look on someone else's devices. I have seen two computer monitors of same age, manufacturer and model that are impossible to get to match, even with a calibration device. This is not an isolated case and not un-common.

I'd be worried you're not gonna like going from full frame to m43 and you won't like going from Canon to something else. I'm not all that crazy about "Canon colors" but a lot of Canon users are absolutely miserable when they move to something else. The move to a smaller sensor and the change in colors, it's a constant complaint you see on forums from Canon users. "I don't like what I'm seeing." I would hold onto the 6D and make sure the company you get the GH5 from has a liberal return policy.

Voigtlander 58mm 1.4 on Ursa 4.6K  ~F5
 

Blackmagic Micro Cinema Camera.
Bonus points for them being Aussies too.

Wow that has a very nice look to it! Jesus I have camera, lens lust.