mercer

Most Hollywood movies end up looping their dialogue. Of course they're going to try and get good sound on location, but the real reason they hire all of those people is probably due to union contracts. 

perhaps this?
https://***URL not allowed***/aputure-amaran-m9-pocket-friendly/

Hey Merc,
show some mercy and shoot some beautiful lucious greens with the xc10, mixed with some 60p ,
if time allows. Was kinda thinking about eosm, but g6 has it for me. Next step g7 or gx80, meanwhile renting the xc10.
Got hooked to its look when its promo vid came out with the old guy chasing two guys who robbed a girl´s purse.
 
While It takes some effort to grade those Pannys it is definately worth it. Great hybrids with some of the best price-picture quality
ratio out there, if not the best for G6 and G7. I think it would be interesting to test A3G3 and such settings more and post
some curves and nodes that go along well.
cheers

The 1DX Mkii seems just as cinematic to my eyes. However, it seems to lean more towards the more modern variety of cinematic which is becoming the new look of cinema. Times change, and it appears Canon is moving ahead with the newer look. 

Of course working at color grading is a great idea. I've spent years at it now. But getting a good LUT for particular footage and then grading it can give you great results, save a lot of time, and help you get stylistic uniformity to your footage.
These Canon C300 MK II LUTS (there's a bunch of them)--the C-LOG LUTS for the C300 MK II work very well. Try to use WDR luts because they give you better dynamic range. Rec. 709 LUTS will clip and the highlight will washout--especially clouds and even the skies will turn white. Use WDR Canon Mk II LUTS you and you'll get better results in the highlights.
I think this is pretty good advice. But, keep in mind, I just an amateur.
PS
I'm in the process of posting another tweety bird video (only 4 minutes)--but uploaded in 4k, so the quality, once they fully upload it, should be much better than the first bird video, which I could only upload in 720p because of the slo-mo footage.
 

I know, my purchases are getting out of hand. This time last year I couldn't dream of affording an XC10, no matter how much I wanted one. And then on my quest for my perfect camera and lenses, I acquired enough gear to resell for enough money to afford it this year... It's my own weird savings account. But now, I still have a bunch of lenses to sell and I still need a good interchangeable lens camera. I'll probably just get an Alexa next year...
Seriously though, I am probably leaning towards the GX85 for my interchangeable lens camera, but I'm gonna wait and see what Canon releases at Photokina. One of my favorite things about my first outing with the XC10 for a couple hours yesterday was it reminded me of the good old days with Canon, so I'm intrigued to see what the new eos-m4 will bring, plus the rumored full frame mirrorless that Canon is supposed to release. 

Well, let me start by saying, I really liked the G7... but so far, I love the XC10... but I miss interchangeable lenses. But this is a long story for me... and it may be boring for you...
Last year around this time I had just my eos-m, then the lure of 4K and a ridiculously cheap price tag brought me to pick up an NX500. I had a love hate relationship with the camera. By the time I started finding it's sweet spot, the G7 went on sale. Since I had a small collection of c-mount lenses, and the bundle came with a Rode VideoMic Pro I jumped on it. The NX500 was a little sharper and shot in Cinema 4K, but the ease of use and external mic plug in led me to use the G7 way more than the NX500... so I sold the Samsung.
Shortly after that I decided to pick up the FZ300 for family stuff and I liked a lot of the features... I loved that camera. Without a doubt it was the most fun camera to go out and shoot with, but the IQ just wasn't there.
Still happy with my G7, and my lenses, I just went on writing some shorts and planning some shoots. One of the shorts I wrote required some slow motion. I had read that the Nikon D5500 had really nice and clean 1080p both in 24p and 60p... all of the videos I saw online confirmed that. And since I had a small collection of Nikkor lenses, i thought it would be the perfect option... it was out for over a year and I figured the price would be well below $500 for a body only... even if it was grey market. Well it wasn't... the cheapest I could find at the time was refurbished for $600... which was a little more than I wanted to spend for a camera I would probably only use for one short and then I realized the BMMCC had come out and was getting glowing reviews for it's 60p...
Once again I was lured in by the promise of natively shooting ProRes and Raw, so I sold a few things and bought one. For the first month I loved the camera... I was able to use old Kern Paillard lenses and the Raw image is just stunning... as is the ProRes... but it is literally the most unenjoyable camera to shoot with. I prefer to shoot handheld or with a monopod and the form factor of the BMMCC is not suited for handheld once you rig the camera up with even just the bare essentials. And the battery life is simply horrible. You cannot leave a battery attached to the camera, because it will drain almost as fast with the camera off as it does with the camera on in standby and the batteries take 2+ hours to charge, so you really have to prep your kit the morning before a shoot, so you can charge half a dozen batteries...
But the image is just damn gorgeous.
After a while I just got burnt out using it. It wasn't any fun rigging it up every time I went out to shoot... or break it down if I was moving to a different location. Since I consider myself a run and gun shooter, all spontaneity ran out the door because it was such a hassle to quickly reset shots... for me. Other shooters who are more used to rigs and the proper way of shooting narratives are probably fine with it... but for me... it's just not an option any more.
Then one day I was reading eos hd and I came upon Andrew's review of the XC10. Now mind you, I was in love with this camera when it was released... I may have been the only one. Over time, every negative I had about the camera faded away as more and more footage emerged. 
Basically my buying and selling of cameras and lenses over the past year put me in a unique position to afford the XC10 this year. So, after a little more research, I jumped in head first last week. I have only shot with it for a couple hours, but I enjoyed every second of it. I have been mostly shooting with the 1080p C-Log, but the couple test shots I did do in 4K... I was pretty impressed. Now I just have to learn how to expose C-Log properly... I'm starting to get the hang of it and how to grade it properly... I'll probably never get the hang of it.
Finally, I originally intended to keep the micro and use it for really small, contained shorts. I have a few short film ideas that are only a couple minutes long. But after using the XC10, I don't think I could go back to the Micro, I think I would feel stifled. This leaves me without an interchangeable lens camera... Hmm? I love my lenses and I know eventually I will want to use them again. If I had to purchase another camera today... which I won't... I am leaning towards either the GX85 or maybe I'll stay with the Canon family and pick up a used C100... I actually bid on one the day after I used C-Log for the first time, but I didn't win it... maybe next time.
Sorry for the long post. Basically, 5-axis ibis and IQ trumps the G7... even with the ability to change lenses. I also think the internal 4k to 1080 downscale, of the XC10 is better, to my eyes, than the internal 4K of the G7, with post downscale to 1080p. The G7 wins in the shallow depth category and with that in the lowlight category.
The GX85 seems to have a better image than the G7 and it has 5-axis... but no mic input. It seems like there is no perfect camera out there, but the XC10 is the closest i have come to thus far. It seems like the GX80/85 owners feel the same about that camera... if it had the mic input, I may have chosen that over the XC10.
Again sorry for the long, and boring, post but these things are so subjective, I wanted to give the history of how I got here... which may help people understand why I inevitably chose the XC10 over the G7, GX85 and BMMCC.

Lexar, San Disk extreme--it's a pretty democratic camera as to what works well. 
The right LUT can give consistency to your footage and make grading quicker. I did add sharpening. You almost have to in Log, since shooting in Log removes any and all in camera sharpening whatsoever. 
I got the LUTS from Canon web site---

Dave, this is effin beautiful!!! Was this 4K or 1080p? C-Log?

The sensor tends to be a bit bright. I usually shoot exposure lock -1/4 to 1/2. That exposes C-log pretty well. If it's not too bright I use -1/4, If it's bright I use -1/2 but either is pretty forgiving. If you can keep your highs below 80 IRE in C Log you're going to get pretty good exposure in most cases.
I just shot this yesterday with C log at -1/2 mostly---very, very bright in Texas now and 100 plus.
 
I allow zebras at 70 IRE--it's just an indication you're getting close to over exposing in log.
See if you can get the Canon C300 Mk II LUTS from this site. They work great for grading XC10 Clog.

Some graded screen grabs from the 1DC. Shooting on Leica R glass. 

So I had a good run with the camera today and I am pretty pleased with it. The 5-Axis is almost steady cam level... Not quite because I don't want to over play it, but I was able to track with my actor pretty darn well. 
Here's my first attempt at trying to color some c-log...
 
 

And here is my graded version.
 

Thanks.
I’m using DaVinci Resolve on my desktop and AE 5.5 on my laptop. ‘Binoculars’ was graded in Resolve and ‘ungraded C-log’ in AE, but the setup I use is the same and could be used in any NLE.
In AE I use Adjustment layers, as if I had the nodes you can find in Resolve.

First three nodes are my basic setup, second set of nodes I use to color grade. The middle node of the first set is always the curve of the profile the footage was shot in. The two other nodes are used to balance low middle high. From Left-to-Right: 02, 01 C-log2_180, 03

ACABADABRA… the middle node could probably just as well be a simple S-curve or something, but for some reason when I use the 180 degrees rotated curve of the profile the footage was shot with, the first and third node curve “keep close” to their initial shape. Come to think of it, al those  curves have more or less the same shape  (C-log2 and CineD are almost identical (if you fit them in a square)) so no wonder it fits my workflow
First node (04) second set is usually just the red and blue curve adjusted to my likings in the lower left corner in this case I manipulated middle and top as well.

Second node (05) is a correction on the previous node. Dragging those curves can make you do over the top things. My favorite tool for this is the RGB mixer or Channel mixer (in AE). I start with the Blue-Blue channel. Just touching it makes you aware if there is any need to shift in the blues. I then do the same with the Red-Red, if it looks weird you know you don’t have to use that channel. I hardly ever touch Green-Green, but I realize now that I hardly ever touch the green curve in the previous node , there might be some correlation. When the “masters” are done I continue with the minions, Blue-Red Blue-Green etc.
By this time I’m completely colorblind and tend to look at some other picture on my HD to compare with what I have done so far. In this case I added a third node to add some contrast, I then called it a day. However you can go crazy and keep adding nodes as there is no end to color grading.

Well, let me start by saying, I really liked the G7... but so far, I love the XC10... but I miss interchangeable lenses. But this is a long story for me... and it may be boring for you...
Last year around this time I had just my eos-m, then the lure of 4K and a ridiculously cheap price tag brought me to pick up an NX500. I had a love hate relationship with the camera. By the time I started finding it's sweet spot, the G7 went on sale. Since I had a small collection of c-mount lenses, and the bundle came with a Rode VideoMic Pro I jumped on it. The NX500 was a little sharper and shot in Cinema 4K, but the ease of use and external mic plug in led me to use the G7 way more than the NX500... so I sold the Samsung.
Shortly after that I decided to pick up the FZ300 for family stuff and I liked a lot of the features... I loved that camera. Without a doubt it was the most fun camera to go out and shoot with, but the IQ just wasn't there.
Still happy with my G7, and my lenses, I just went on writing some shorts and planning some shoots. One of the shorts I wrote required some slow motion. I had read that the Nikon D5500 had really nice and clean 1080p both in 24p and 60p... all of the videos I saw online confirmed that. And since I had a small collection of Nikkor lenses, i thought it would be the perfect option... it was out for over a year and I figured the price would be well below $500 for a body only... even if it was grey market. Well it wasn't... the cheapest I could find at the time was refurbished for $600... which was a little more than I wanted to spend for a camera I would probably only use for one short and then I realized the BMMCC had come out and was getting glowing reviews for it's 60p...
Once again I was lured in by the promise of natively shooting ProRes and Raw, so I sold a few things and bought one. For the first month I loved the camera... I was able to use old Kern Paillard lenses and the Raw image is just stunning... as is the ProRes... but it is literally the most unenjoyable camera to shoot with. I prefer to shoot handheld or with a monopod and the form factor of the BMMCC is not suited for handheld once you rig the camera up with even just the bare essentials. And the battery life is simply horrible. You cannot leave a battery attached to the camera, because it will drain almost as fast with the camera off as it does with the camera on in standby and the batteries take 2+ hours to charge, so you really have to prep your kit the morning before a shoot, so you can charge half a dozen batteries...
But the image is just damn gorgeous.
After a while I just got burnt out using it. It wasn't any fun rigging it up every time I went out to shoot... or break it down if I was moving to a different location. Since I consider myself a run and gun shooter, all spontaneity ran out the door because it was such a hassle to quickly reset shots... for me. Other shooters who are more used to rigs and the proper way of shooting narratives are probably fine with it... but for me... it's just not an option any more.
Then one day I was reading eos hd and I came upon Andrew's review of the XC10. Now mind you, I was in love with this camera when it was released... I may have been the only one. Over time, every negative I had about the camera faded away as more and more footage emerged. 
Basically my buying and selling of cameras and lenses over the past year put me in a unique position to afford the XC10 this year. So, after a little more research, I jumped in head first last week. I have only shot with it for a couple hours, but I enjoyed every second of it. I have been mostly shooting with the 1080p C-Log, but the couple test shots I did do in 4K... I was pretty impressed. Now I just have to learn how to expose C-Log properly... I'm starting to get the hang of it and how to grade it properly... I'll probably never get the hang of it.
Finally, I originally intended to keep the micro and use it for really small, contained shorts. I have a few short film ideas that are only a couple minutes long. But after using the XC10, I don't think I could go back to the Micro, I think I would feel stifled. This leaves me without an interchangeable lens camera... Hmm? I love my lenses and I know eventually I will want to use them again. If I had to purchase another camera today... which I won't... I am leaning towards either the GX85 or maybe I'll stay with the Canon family and pick up a used C100... I actually bid on one the day after I used C-Log for the first time, but I didn't win it... maybe next time.
Sorry for the long post. Basically, 5-axis ibis and IQ trumps the G7... even with the ability to change lenses. I also think the internal 4k to 1080 downscale, of the XC10 is better, to my eyes, than the internal 4K of the G7, with post downscale to 1080p. The G7 wins in the shallow depth category and with that in the lowlight category.
The GX85 seems to have a better image than the G7 and it has 5-axis... but no mic input. It seems like there is no perfect camera out there, but the XC10 is the closest i have come to thus far. It seems like the GX80/85 owners feel the same about that camera... if it had the mic input, I may have chosen that over the XC10.
Again sorry for the long, and boring, post but these things are so subjective, I wanted to give the history of how I got here... which may help people understand why I inevitably chose the XC10 over the G7, GX85 and BMMCC.

I personally would use the G7 as my main A camera and the GH4 as B camera , the g7 does have the better newer cleaner sensor .
I would shoot it all in 4K UHD 24 fps mp4 (internal codec is very good in 4K mode )
Natural profile saturation -5 contrast -5
dont go over 800 iso
light your sets for about f2.8 or f2 max
G7 focus assis is great it has 2 settings I use H
I would use your Zeiss primes as they are superb lenses same glass as Zeiss Ultra Speed cinema lenses - no differance
yes use the internal camera audio as I guide track and ADR it all in post
All the above is how I shot the feature film Pandora

Good workflow. Thanks. I always find it very helpful to see before and afters and then the modus operandi. I have a lot of similar shots in a short I am working on. I am not that proficient with color, so these little tips are priceless. Thanks again. 

Here you go...

There is some macro blocking in the sky

Personally, I would not mess with the FS700. I shot with that a lot and the colors and skin tones are just off. Not too sure about the FS5, but I think an F3 is like 1/3 the price and the savings could be spent on glass rental...
I bought an F3 a month ago, maybe my favorite camera I have owned. The color you can pull from the camera is just so nice. Excited to be working with it. It reminds of the BMCC or the pocket, with NDs, really nice battery life, and the reliability you expect from a camera in that class. 
Attached a couple stills. There's tons of F3 footage online, but just wanted to give that camera an up vote. I would get the F3 and a the 7Q recorder used. The whole package should be under 3 grand.
 

Is awful when google results get messed up with bad misinformation :-/ Like many of us, I rely so much upon google every day!

I'm afraid there is no such thing. The sky is more or less completely blown. What I did is color the highlights, you can see it in his hair as well.
 
btw In the upper left corner in the sky there is a weird stripe, shows in the occ as well ...any idea what it is. Insect flying by?

Where are the results of this test? Lots of tests over the years, but the results are nowhere to be found, yet claimed to be proven true?
Since I am a new XC10 owner, I have been researching proper C-Log exposure. All of my research goes against this theory, yet this post is on the first page of the Google search.

Thanks man, that means a lot! 
Hehe, I don't know about lessons but I can tell how I grade with Color Finale. I'm still learning too. I guess you have you seen Denver's tutorials?
I didn't use any LUT as I was going for a natural look and I think most LUT's are too stylized. Some LUT's can be good for a base grade though. 
I used Standard 0, -5, -5, 0 with WB set to Sunny, which was to blue for my taste. I didn't set A3G3 as in my test it made a white wall yellow. I have to test more in different settings, but for now I prefer to fine tune WB in post. Most shots were f/1.4 btw.
In Color Finale I first add Color Wheels and adjust exposure looking at the RGB parade. Then I add another Color Wheels and set saturation, in this case 1,1. Mostly I raise it between 1,0 and 1,1 or don't touch it at all, and a few rare times I lower it a bit. Then I add a third Color Wheels and adjust gain to set WB, which is a little tricky as you probably know. Usually it is enough to adjust the gain, but sometimes I also adjust gamma and lift, although not in this video. The last thing I did was to add Curves and pull down the shadows in the blue channel. This really helped getting that warm feeling. 
So basically I adjust exposure and WB using 3 x Color Wheels, and fine tune with curves and vectors if needed. The reason I use 3 Color Wheels is to see what every little adjustment does so It's easier to go back and forth. 
Here's before and after:

So I had a good run with the camera today and I am pretty pleased with it. The 5-Axis is almost steady cam level... Not quite because I don't want to over play it, but I was able to track with my actor pretty darn well. 
Here's my first attempt at trying to color some c-log...
 
 

And here is my graded version.
 

I'm not Kidz 'r Evil, but gave it a try anyway... Feels like solid footage.

I was given the same advice from a festival programmer who recommended I cut my stuff down. But festivals are just one route. There are lots of online venues. You're right, but it's also the filmmaker's job to do research into the festival. 
Eh, forget the AF100. Get an XC10 or a C100.
Also, get a book on the aesthetics of color grading. Most of the grades I see here are hideous.