Liam

​> use only ProRes-flavors
> use only Menu >Recording >Dynamic Range >Film
> use only Menu >Display >Dynamic Range >Video
> use exclusively ISO 800, no matter what
> use 180° degree shutter in standard situations (for 24p with 60 Hz power frequency, for PAL countries then 172,5°)
> use bigger shutter angles in lowlight for slow moving motifs, up to 360° (doubles exposure w/o more noise or worse DR through ISO 1600)
> use smaller shutter angles for slomos (down to 11,25°). Twixtor and the like don't handle motion blur well
> roughly guess the right color temperature, i.e. 3200 for Tungsten, 5600 for daylight. You have to grade anyway
> buy the Zacuto loupe if you want to see anything
> buy a camera grip with remote, like this, not a big cage, rods, mattebox and these gadgets
> if you need s.th. like an external monitor, beware! Not all will show an image. Lilliput has a compatibility table (1080p through HDMI)
> during recording, leave focus peaking on always (since latest FW update, it stays on after power off-on)
> rely on 95% zebra ("ETTR"). It gives better results than trying to get a wide range in the histogram, in my experience
> if there is no zebra, it means you don't 'fill the well' because the location is lit too poorly. This ain't the A7s!
> therefore: search the sun! or light the scene! High contrasts, backlight: that's where the Pocket's DR shines
> use an IR-cut filter
> use externally recorded audio (built-in audio only to sychronize it). Or this (resp. it's successor)
> use an app that allows to load LUTs (i.e. the free Resolve lite). Try Captain Hooks LUTs, here (download), from this site (starting point for your grade)
> don't grade too flat. One gets used to flat looking images very quickly. But others don't.
> To quote Stu Maschwitz: plan your shoot, then shoot your plan! Follow the suggestions above, then make a small doc, no cats, no flowers, no landscapes
 

Someone please stop me! I'm thinking of buying a C100 mark II!

new vlog/anamorphic video up https://vimeo.com/125215026
shows how he shot the vlog/anamorphic video
http://www.eduardoangel.com/2015/04/17/shooting-anamorphic-with-panasonic-gh4/

​https://www.youtube.com/watch?v=pTmj6NoByz0 - 10:05
^Faymusmedia says the production camera can be used at iso 3200 (boosting in post), and the ursa mini is supposedly better
this test could be faulty - he seems to maybe have some bias, and of course the youtube compression is denoising it a lot for us (I've heard plenty that it is completely unusable by that point, those with experience will probably confirm)

kJust a little home movie of a trip to LA, shot on the NX1.

​S-LOG mode standard settings
 
Graded in Resolve and Tweaked in Final Cut
 
1) DaVinci Resolve first node adjust exposure (highlights / lows / contrast)
2) 2nd node applied LUT ( I believe it was Kodak or similar, I have a whole bunch) 
3) Tweaked in Final Cut (contrast) + fine adjustments to color in Colorista. I noticed A7s image has more green than normal so you simply bring it down judging by your waveforms and level them out & I like to push the blue (for skies , water, etc)
 
It's a pretty long process it seems, but I think the final image is worth it.... I'm used to working with RED LOG files all of the time (work) and the Sony A7s holds up incredibly well in comparison. The main advantage of RED files though is being able to adjust white balance / iso / etc. as the camera shoots RAW, something A7s to my understanding is not capable of. 
Thanks

austinchimp, I have the a7s since a couple of months and I am still on a path to get decent skin tones while having accurate colors. Trust me, I tested all those profile guides that I found on the net.
s-log is at the moment no option to me since I want to have ISO 100 and i did not start using ND filters yet. Anyways, you might give those settings a go:
Take PP2 as a base (with default values of course) and change the following:
gamma: cine4
color mode: pro
color phase: +5
 
These settings work amazingly well for me, here is one quick example:

Another very important aspect I found out is setting the white balance manually to appropriate kelvin values. You can look them up using Google if you are not familiar with them. Interestingly, I found myself nearly always using 5600k during daylight circumstances, no matter whether it is shady or bright sun (even with snow!). Only on tungsten light or halogen, I change the white balance to about 3900k and within the above mentioned color profile, i change color phase to +2 (i use PP3 for that to change it more quickly), otherwise the image is very yellowish.
 
You could give those settings a try. I would love to hear from you if it helped a bit since I am sure that this journey is not done yet.

Being that there is such a lack of info online about this camera, I figured that I would see what I could do to provide info for those interested. I have no problem trying out Chinese manufacturing in general and have had good results overall.
The video:
http://www.youtube.com/watch?v=LxebYAeneaA
First impressions with the Kinefinity KineMini after using DSLRs for professional work for ~6 years:
Bought this for shooting anamorphic, which it is brilliant at, but I'm really liking what this might offer for commercial projects. The color latitude on this feels incredible. Dynamic range seems good, I don't really care to scientifically test it, but being able to control the highlights in camera is a nice professional feature. 4k is remarkably clear. 1080p slow motion, not so much. Not sure why, but I get a lot of RGB mud in the shadows if you want to be picky on the image. It may be Cineform, I will have to test a few options. I really enjoy the development-type workflow with raw. File sizes are large, but really not that much worse than uncompressed 5D raw. Although it is much heavier (considering all accessories) than a DSLR setup, it's completely possible to run and gun and not that hard to get used to. I often cheated with exposure on a DSLR- using shutter angle instead of using a Vari-ND filter like you're supposed to. That doesn't seem to work with this camera, as a low shutter angle feels extremely video-ish for whatever reason. People think you're filming a movie, not taking pictures (this can be a good or bad thing) Can't wait to get the new speed booster for this thing. Super 35mm is OK, but I am used to depending upon my 35mm Zeiss (no longer a wide on s35) and 100mm Zeiss (far too telephoto for most of my shooting)
 
 
 

​It was the moderators that locked the threads, not Ed.
I don't think we need to have a public thread where we call Ed one thing or the other.

Try not to judge Canon too hard on their new C300 Mark ll promo/short film.
But I will. 
Horrible story, horrible actors, horrible composition, horrible lighting, horrible directing..making the cam look bad.
and Horrible 720p upload.
Canon makes great cams, but they haven't a clue to what a good filmmaker is. Not a damn clue.
Embarrassing on so many levels. 

How wide do you need? The 14mm pancake will be a dream for copter shots, with global shutter and 13 stops DR... I'm buzzing for it.

Nice video with the new sensor half way down the main URSA page
https://www.blackmagicdesign.com/products/blackmagicursa

I think those labels are still there from last year. 

It could be Micra yet.  A camera specifically disgned to be mounted to a nissan micra.

Why is Blackmagic spelling RAW all caps? Don't they read EOSHD?

here's the name: Blackmagic Micro Cinema Camera. 13 stops of DR.

At the sky high price of the XC10 I'd rather spend a little more and get an old second hand C100 and glue a 24-105mm f/4 to it. 
 
But yeah.....  not going to do that either. Instead seriously looking at the Samsung NX1, but waiting to see what NAB brings. 

Good point. Canon could try giving a fuck about people shooting movies for cheap.

It seems obvious Canon wants to protect it's higher end products, but get real Canon. $2500 gets you slow fixed glass, and a 1" sensor? As pointed out, Canon would not even have a higher end video line if it were not for the success of the 5D series. I remember the Canon XL-1, awesome for the money at the time, sold like crazy. What happened Canon?  Samsung should put together a rig with a super 35 sensor, internal/external recording with 422 10 bit codec, XLR connectors, internal 4K (like NX-1) and higher bitrate recording options. They have no higher end to worry about cannibalizing. Sell it for 5K or less, and they would OWN the enthusiast market. 

What other 4k s35 camera is there in the price range that can use native mount as well as M39, MD, AR, m42, ef, Nikon and so on, because I would love to buy it.

Even if they do come out with the LX, its not like the NX1 is a bad camera and I can't see Samsung isolate or drop off their firmware updates with the product and create an issue with many people moving to Samsung for video and not getting support. 

So basically what you are saying is A7S = perfect camera to shoot The Simpsons with?

All cameras at 25p and E-M1 can suck my balls!!

Wasn't that 20fps?
Nikon are turning back the clock! Soon they will be giving us silent movies!!