Zak Forsman

I'd be inclined to suggest going full frame (a7s or a7r2 (or even a 5dmk3 raw hacked)), Even 1080p full frame, cropped to 4:3 and losing horizontal sensor resolution will outperform smaller sensors shooting 4k with most lens options.  there are no anamorphic lenses that shoot with exciting apertures and that also resolve 4k resolutions on sensors as small as the sensor area the gh4 uses in 4k 4:3 mode.  INFACT, most down even resolve 1080p onto a 4:3 provided by the gh4.   I'd sooner shoot full frame, cropping the 16:9 unsqueezed image, and making use of a proper frame height and the associated fov and dof you need for anamorphic to be worthwhile.
I think the a7s immaculate oversampled internal 1080p full frame mode (and associated DR, small file sizes etc), and a 2x anamorphic, cropped to 2.4:1 and losing 1/3 of the horizontal res is way better than pointless extra resolution where most lenses dont deliver anyway.    

I have the Rectilux 3FF-W and have considered it money well spent, but woke up this morning to this press release in my inbox and... well... looks like I'll need a little more money to spend well....
http://transferconvert.co.uk/cinemania/PressReleaseRectiluxCoreDNA.pdf

Received my color checker a while go, but just got a chance to audition it. and well, I wish I'd sprung for one of these sooner. Now I get the skintones I prefer from the GH4's Natural profile and can quickly balance the image before grading it. I'm thinking I should just permanently mount the color chart to the slate during production.
Here's a sample. Uncorrected frame followed by the instantly balanced version using the color checker grid. I did no other adjustments.
GH4, SLR Magic 25mm @T/2.8, Kowa Bell & Howell, Rectilux 3FF-W, Hoya ProND 4.
ISO 200, Natural, Contrat 0, Sharpness -5, NR -5, Saturation -2, Tint 0.

 

I really don't think that's the case. it's much more likely that GH4R just means V-Log is pre-installed. And I'm sure the pricing will reflect that too.

GH4S ???!!?!?! Oh Shit!!  

Hello,
I would like to purchase a Rectilux 3FF-W kit for use with my Kowa anamorphic for Bell & Howell lens.
Thanks!

Received my color checker a while go, but just got a chance to audition it. and well, I wish I'd sprung for one of these sooner. Now I get the skintones I prefer from the GH4's Natural profile and can quickly balance the image before grading it. I'm thinking I should just permanently mount the color chart to the slate during production.
Here's a sample. Uncorrected frame followed by the instantly balanced version using the color checker grid. I did no other adjustments.
GH4, SLR Magic 25mm @T/2.8, Kowa Bell & Howell, Rectilux 3FF-W, Hoya ProND 4.
ISO 200, Natural, Contrat 0, Sharpness -5, NR -5, Saturation -2, Tint 0.

 

The "GH4R" rumor just seems to bolster the notion that it will be a paid upgrade. Otherwise, why would they need a new designation for a version that has V-Log pre-installed? We already have GH4KBODY (body only), GH4-YAGH (with yagh), GH4H-K (bundled with lens). And maybe others I'm not aware of. If true, GH4R is probably just the designation for: "bundled with V-log".

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, who is it ?

i don't use multiple step up rings. i use a either a 49, 52, or 62 to 77mm. i've got step up rings coming outta my ears. i'm silly with all these step up rings.

"In order for the EditReady file to look “right,” you’d need to apply a LUT or color correction to adjust the signal."
When I developed my LOG LUT for the NX1 I had better results in Premiere when the camera was set to 16-235.
Trust me 0-255 is asking for trouble, it is a whole host of complexity on top for virtually no gain!
Whether 0-255 or 16-235 we are splitting hairs because the NX1 has banding in both modes.
As the EditReady blog post said, NLEs expect 16-235 and the ProRes files won't look right in them if you shoot 0-255.
They don't explain HOW the LUT should correct for this.
Even if you use a LUT in EditReady like my LOG converter, Premiere will still crap it up in 0-255.
Is it worth getting confused about? Just shoot 16-235 and be happy!
Rocky Mountain probably remaps 0-255 to 16-235 anyway.

it's probably the same glass as the Rectilux 3FF-W which doesn't restrict wide open apertures. it's pretty much neutral optically.

same ballpark. but has some differences. for one, the front element on the Rectilux Core DNA doesn't rotate so you can use a variable ND, if i'm reading the press release correctly.

I have the Rectilux 3FF-W and have considered it money well spent, but woke up this morning to this press release in my inbox and... well... looks like I'll need a little more money to spend well....
http://transferconvert.co.uk/cinemania/PressReleaseRectiluxCoreDNA.pdf

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. 

i don't use multiple step up rings. i use a either a 49, 52, or 62 to 77mm. i've got step up rings coming outta my ears. i'm silly with all these step up rings.

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.
 

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.
 

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.