Sekhar

This is way too blue. If you have people in the shot, one common way to grade is to isolate the skin and grade it so they line up along the "skin line" in the vector scope. The interesting fact about skin color is that it always lines up that way regardless of the race, so this procedure always works except for extreme black and white.
E.g., here's a simple grade of your original (ungraded) shot adjust just for colors. It may not be what you want, but at least it's adjusted more or less for the skin.
 
Grade.tga

I use waveform and vectorscope.(YUV). I prefer waveform to RGB parade because:
You get the whole width for each color, whereas in an RGB parade you split the width You can tell if the color is neutral for the area you want by checking if the colors in the waveform overlap at the area to show white...can't do that with parade And I always also use vectorscope. It is invaluable for checking a bunch of things, like color casts, skin color, over saturation, etc.
IMHO curves are for still photography, not video. And I believe folks who use curves in grading are old timers who are just more familiar and comfortable with them. You can never get the kind of 12 dimensional control you can get with lift/gamma/gain x overall/shadows/midtones/highlights combination. They can be useful in some special situations though, as well as act as poor-man's LUTs that you can store and apply each time to your footage.

Generally speaking, you'll want the luma adjustments out of the way first as they can drastically affect color. I.e., adjust the lift (AKA offset)/gamma/gain for the overall/lows/mids/highs as appropriate first, and then work on the colors. Unfortunately, it's not a strict 1-2 order since the levels can shift too as you make color changes, but that is typically not as drastic as the effect of levels on color. So, adjust levels first, then colors, and go back/forth as necessary till you have both the levels and colors the way you want.
I agree it's best to have NR first in stacking, but you might end up having to do it last (or disable it as you grade) since the previews can be dog slow if you have it enabled.

Totally... and it's more than welcome. But i've been around this forum long enough to know how things work here. Some people will always just give you the pat on the back, but I've seen good honest feedback on this forum... and I think that's mainly what I was getting. I think you were honest, and I also think the others were honest. Thanks for your feedback!

The problem with AWB is that it varies from shot to shot, making shot matching a challenge in post. If the lighting is non-standard (say you aren't using regular tungsten or day light, and standard profiles don't work), I suggest going with custom WB or even manual K setting.

The contest was for a Gin company, the moral of this tale is that Gin brings people together and can cure the last man on earth of his loneliness. 
The short was shot well, the story was told well. What's not to like? Sure, maybe it can be a little tighter in spots, but all in all it is a successful piece. 

I've found the focus peaking to be pretty accurate with the 16-50, though it can be a bit tricky at the wide end since so many parts of the frame show the peaking. I generally have to go back/forth till the peaking is maximum at the point I want.
Also, hunting has reduced quite a bit with the latest firmware update. I covered an event a few weeks back, and it held pretty steady. Do you have the latest update?

I haven't had that problem with my 16-50 S. Maybe try adjusting the peaking strength, I have mine set on high.
Also, the focus peaking isn't stripes, the stripes are for exposure. Focus peaking is outlines around objects or where dark areas meet light areas. I switched my focus peaking to red so I wouldn't confuse it with the white stripes of the exposure function.

Oh something new and people are immediately negative... Thats a first

Why not just get a Microsoft Surface Book?

Wow, such great response ! Thank you all  
It was indeed shot on a T3i, I still think this is an amazing camera if you put decent glass in front of it.
I agree with you, the blacks are dark grayish without detail (not enough DR), but it was an artistic choice, I just liked how it looked in the end.
Gear is important, but not as important as we think sometimes, its hard not to get "drunk" with all the gear talk, upgrades and all that, more DR, more resolution, more detail. Most of my gear is "beginnerish", and im glad it is, having quite a short selection of lenses (just the 24mm Samyang and the Canon 50mm f1.8) made me very comfortable with them and the FOV. 
Of course its a bit uncomfortable, when you get to a job and guests have better gear than you, but hey, what matters is the end product

OK, I tested the camera, shooting non-stop for 3 hours, immediately restarting every 1/2 hour with each time limit. Quite amazingly, the camera showed zero signs of problems (was barely warm) and probably could have gone indefinitely. Also, you can use the USB cable for power if you need. Bottom line, NX1 should work fine for arbitrarily long shoots.

Hey Everyone,
 
Last month I finished editing my last job with my T3i (since then i've upgraded to the Nx1), most of my jobs are weddings, even though I like doing some of them, I'm burnt from having quite a few this summer. So I've been doing some tests lately with Luts and finally decided to grade a job with it, I very much liked the end result, got a "cinematic" feel, but theres always room for improvement, so I'd like to know what you guys think of the video in general (editting, grading, filming and so on).
 
Password : Memoryshop
Thank you guys  

OK, I tested the camera, shooting non-stop for 3 hours, immediately restarting every 1/2 hour with each time limit. Quite amazingly, the camera showed zero signs of problems (was barely warm) and probably could have gone indefinitely. Also, you can use the USB cable for power if you need. Bottom line, NX1 should work fine for arbitrarily long shoots.

OK, I tested the camera, shooting non-stop for 3 hours, immediately restarting every 1/2 hour with each time limit. Quite amazingly, the camera showed zero signs of problems (was barely warm) and probably could have gone indefinitely. Also, you can use the USB cable for power if you need. Bottom line, NX1 should work fine for arbitrarily long shoots.

OK, I tested the camera, shooting non-stop for 3 hours, immediately restarting every 1/2 hour with each time limit. Quite amazingly, the camera showed zero signs of problems (was barely warm) and probably could have gone indefinitely. Also, you can use the USB cable for power if you need. Bottom line, NX1 should work fine for arbitrarily long shoots.

Guys, I was asked if I can cover a 3 hour indoor stage event shoot. It has a series of performances, each separated by a brief (1/2-1 min typically) breaks, but is otherwise continuous. Is it possible to cover this with NX1, stopping/starting during the breaks? I also have NX500 that I'll use as second camera.

Benching 300 one time is still impressive though. Max days are a thing. 

There's a shocker! I often wonder if stories like this are the result of Apple's marketing push, mostly made up: TV stations switching to iPhone, reviews of iPhone beating Nikno D750 as posted in another thread here, filmmakers making movies with iPhone (with $10K worth of accessories and a big crew, BTW) as we saw recently, commercials by the likes of Martin Scorsese, etc. All to give the completely false impression to credulous masses that somehow this is a new world in which all you need is creativity...and an iPhone!

Holy smokes, the iPhone 6S blows lo-res Arri Alexa out of the water! Wow, 4K! What will Apple think of next?

Here's a video I made of this week's lunar eclipse. Shot on NX500 with Canon 70-200. I also composed/created the music BTW. If you also shot the eclipse, please post here.
 

Here's a video I made of this week's lunar eclipse. Shot on NX500 with Canon 70-200. I also composed/created the music BTW. If you also shot the eclipse, please post here.
 

I don't know where the Red Raven fits.
It's cheaper than the C300 Mark II but the fs7 is cheaper too and the ursa mini 4.6k is on the horizon and well...it takes away some from people wanting their red weapon - the crop factor is random - again, just wait till the camera is out and in people's hands.  Until then its worthless.
 
And still, the red one mx is still the best red deal to have.  Because it exists and it works.

If you have After Effects, try pixel motion blur. I've found it to be quite good, but be sure to bump up the frame count for good results. It is dog slow though, so you'll need to add that to your workflow time. The ReelSmart motion blur is really fast (especially when using graphics card), but produced strange artifacts, at least in my testing. 

I did a lot of weddings. You may detest them, but you hardly find better occasions to test your equipment and your skills - as well as videographer as as storyteller. A wedding is as good a proof of a camera's strengths and shortcomings as any image video or fictional short, imo.