benymypony

Great, hope manual is clear enough to understand how it works...
Regarding OSX there are still few crashes and I hope to find issues soon. Use lazarus with free pascal for programming crossplatform.

Since I am a run & gun type of guy I can tell you about my experiences with The LX100, the RX100 IV and the GX80. In my opinion, the whole choice boils down to the following aspects:
- how important is a zoom for you?
- how important is size for you?
- how important is focus pulling / grading for you?
I first started with a GM1 in combination with a fully manual prime. Loved it, but due to GAS i thought i could even ante it up. Then I had a odysee of different cameras: A7s, which I liked for low light and hated for the price and the color (although one can achieve pretty good results out of the box with manual WB and a good profile). Went with an A6000. Liked the Zebras, the punch in zoom (in fact i liked the functionality), didnt like the colors that much. Then I went with the LX100. Perfect compromise for a small package with decent DoF and a good stabilized zoom. Didnt like focus pulling, started to hate fly by wire. However, although I did know better, GAS once again striked back after reading the awesome review of the RX100 IV by Andrew. Bought it, it has amazing features, but the image just dont feel right. In the end, i kept on tweaking and tweaking and did not take the camera for many shots with me because I just was not satisfied. And DoF just sucks. Really, if you want decent DoF control, dont go for it.
After using both the LX100 and the RX100, i kind of went back to the roots. Rebought my Voigtländer - back in prime land. Bought the GX80 and I love it. Awesome stabilisation and the image feels right.
Long story short: 
RX100 iV if:
you need 120fps you need the smalles package you dont need DoF you dont mind fly by wire you somehow are able to grade Sony cameras LX100 if:
you need a compact package with zoom and stabilisation you somewant need DoF but it is not on your primary list you dont care about shitty focus pulling due to fly by wire GX80 if:
you dont necessary need a compact package with a zoom that has a better f-Stop than a kit lens you like stabilisation you like manual lenses you like easy grading capabilities you like changing lenses in general In general I can sign all the people saying they dont "feel" the Sony image. I tricked myself by telling "i can surely do better". However I dont. In fact I like the Panasonic image.

I totally forgot to mention IWTLKBAP lut pack, but I use them quite frequently, they are totally awesome IMO and worth the price.

I second James Miller's Deluts, they're fun to play with although a lot of them are a little too 'instagrammy' for me, sacrificing too much highlight detail for milky blacks, that sort of thing. When you find one that works though, most so the time it looks awesome.
I've had great success with the IWTLBAP LUTs that Benjamin sells on the forum here, fantastic value for just $20 and he is constantly updating them too.
I also have really like using Neumann Films' cinema LUT from their blockbuster looks pack. It's free, and just goes really well with the gamma dr profile I use. If I have to grade something in a hurry I can pretty much just slap it on there and it looks great right out the gate.

Sony cameras employ dual stage gain so noise in the shadow will be very blocky, solution is to overexpose, for low light scenes it's not necessary to use s-log as the scene dynamic range is low.

Hey Michal. I am glad someone has noticed this.
I have all the rumors sites in my news feed and I visit some of the other blogs, the truth is these are majorly demotivating for me.
It seems the general direction of the internet is going away from long form reviews and articles, into quickly thrown up deals and clickbate, along 2-3 minute quickly knocked up youtube video which are nice to have on in the background as you have a cup of tea in the morning, but contain very little actual useful information. If all the attention is going into the wrong content, so what motivation do I have to carry on with EOSHD?
There's still some great stuff out there but it's few and far between, and getting worse.
So I actually share your depression with the state of affairs.
EOSHD articles I used to do are almost unviable today... the formula is broken... the amount of effort required versus the lack of reward in putting so much information out there for free.
Geez. Thanks for the support... not.
Facebook and Instagram content is where it's at, sadly.
A finger swipe, 2 seconds, next.
In the end the audience will regret allowing the internet to dissolve into a trivial social network where appearances are valued above substance.

Just seen than ! So cool. I'm really happy :D

WoOt!! You got featured. Nice going!  
 

Nick Driftwood's GH4 V-Log L Atomos Shogun 10-Bit ProRes, 6 sample clips : https://www.dropbox.com/sh/eek5jx5j7hzk5x9/AACzLTCNjdnCzm57nJ9yGYEta?dl=0

You should receive each update to your email address.
Can you send me a message at contact@iwltbap.com with your payment email address and I'll resend you the download link

Test of color grading using my free LUT Aspen on a footage shot by Johnnie Behiri with the new Sony RX10 III.
To convert LOG to standard (Rec.709), I used the generic LUT "U-9992-LTR.cube" (75%) from my conversion pack with some Lumetri adjustments in Premiere Pro CC (Exposure +0.7, Contrast +20, Shadows -10, Blacks -10).
The free LUT Aspen can be downloaded here : http://luts.iwltbap.com/aspen

Nick Driftwood's GH4 V-Log L Atomos Shogun 10-Bit ProRes, 6 sample clips : https://www.dropbox.com/sh/eek5jx5j7hzk5x9/AACzLTCNjdnCzm57nJ9yGYEta?dl=0

Here is a 4.6K DNG from the Ursa Mini.
https://www.dropbox.com/s/x5cefn7xt2y43xg/Blackmagic%20URSA%20Mini_1_2016-04-14_0619_C0023_000130.dng?dl=0

Blackmagic Design have announced an affordable 4K recorder and 7″ monitor. Unlike the existing solutions on the market, the View Assist 4K records to UHS-2 SD cards and costs under $1k.
Read the full blog post

For gods sake people. He makes hundereds of LUTs in all shapes and forms. Its a matter of adjusting them. I dont care if its Deluts or Impulz, you have to adjust in post or expose for them in order to get them in the styles you want

755 RAW Megapixels 

Up to 300 fps

Up to 16 stops of Dynamic Range 

Integrated High Res Active Scanning Systems
POST-CAPTURE REFOCUS
& EXTENDED DEPTH OF FIELD
With Light Field cinematography, creative camera controls transform into flexible post-production processes, liberating shots from restrictive on-set decisions.
COMPUTATIONAL FRAME RATE
& SHUTTER ANGLE
Adjust frame rates and shutter angles in post-production, so motion blur becomes a flexible creative decision.
DEPTH SCREEN
With depth screen, it's as if there is a green screen for every object in the scene. But it's not limited to any one object. It's anywhere in space.
LIGHT FIELD CAMERA TRACKING
Combining an integrated high resolution active scanning system with the Light Field data, Lytro Cinema is providing precise camera tracking information that greatly simplifies the task of CG integration and match moving.
https://www.lytro.com/cinema
 
Media Coverage:
"This camera is essentially military-grade technology, so Lytro is initially working on getting this camera in filmmakers’ hands when they need it rather than selling the entire solution to studios. Lytro says rental packages start at $125k for utilizing the Cinema hardware/software suite."  techcrunch
"The cold hard fact was that we were competing in an established industry where the product requirements had been firmly cemented in the minds of consumers by much larger more established companies," wrote Rosenthal. "This issue was compounded by the fact that the consumer camera market was declining by almost 35% per year driven by the surge in smartphone photography and changing consumer tastes." theverge
"" That means there's also nothing stopping one from simulating short dolly motion or perspective shifts in post, with nothing but a static camera at the time of capture. "You can shift the camera to the left... [or] to the right, as if you had made that exact decision on set. It can even move your camera in and out" says Head of Light Field Video, Jon Karafin." dpreview

Shot with lx100 with no tripod. Travelled light
 

kgv5, commercials are almost all shot in RAW when possible... This is a choice guided by the production and nothing else... Like 4K when only 1080 needed... Productors want 4K to have the ability to resize... This is not a choice made by the ones who shoot...
5d mark III has RAW... cool !!! I've used it on a big French National TV broadcasted commercial 7 months ago... I don't say it is a bad camera or anything else... i just say this is really not the best option to shoot with today... And today an A7SII is better to my eyes. Way comforter... non hacked, 81 minutes on a 64 GB card, and everything with a slight better dynamic, and slow motions... I don't speak about high isos... lights are always controlled on my sets :

1DC right here 3 years ago... used in 8 bits 1080 only... No 4K MJPEGs... Reaaaaaallllly small budget... But broadcasted on French National TV channels during these three years... Just youtube it : "Pièces jaunes 25 ans"... Shoot with what you want !!!! One time i did replace the F55 we're used to shoot with by an A7SII, my personal A7SII... We had time to play in post. Dynamic and colors are not the same, but the result was here : the client didn't say anything about the quality... No strange skin tones around...
 
Take a look at this too : 
 
 
I don't shoot 5D mark III anymore. Too limited camera. Great picture but limited camera, not flexible, and not matching cameras of nowadays.

Try upscaling it to 4K and uploading again. That will give the HD file roughly tripple the bitrate. Works wonders for my videos at least.
Just 1440p will double it but save some space/time.

 

I'm finally working on a short. It's a sequel to my 2012 short "The Ballad of Crazy Pete":
Shot on the bmpcc. 

Welcome to my rolling review of the Sony A6300. Like the rolling shutter of the A6300 this review takes a long time to get from the top to the bottom so grab a hot drink (be careful not to overheat) and enjoy the ride...
Read the full review on EOSHD here

The new titanium PL mount SLR Magic Anamorphot cinema lenses are designed for RED users, Arri and Canon professionals. They're also a great fit for the Sony A7S II and Samsung NX1.
Read the blog post here

Hello, Few days ago I made a free set of LUTs to convert LOG profiles to standard (Rec.709) and standard profiles to generic LOG.
This library of conversion LUTs includes :
Alexa Log-C to Rec.709 BMDFilm BMCC to Rec.709 BMDFilm BMPC to Rec.709 BMDFilm BMPCC to Rec.709 BMDFilm URSA to Rec.709 Canon C-Log to Rec.709 Generic LOG to Rec.709 Generic Rec.709 to LOG GoPro Protune to Video Panasonic Cine-D to Rec.709 Panasonic V-Log to Rec.709 REDLog to Rec.709 REDLogFilm to Rec.709 Sony S-Log2 to Rec.709 Sony S-Log3 to Rec.709 Technicolor CineStyle to Rec.709 I'm open to all feedbacks for improvements and new profiles.
Hope it will be useful 
Download (ZIP 10MB) : http://lut.lu/conversion

Some video stills from Flickr's album of the movie 
https://www.flickr.com/photos/43243778@N04/albums/72157665903659526

I'm happy having managed building a system for using my baby anamorphic on a 4K compact camera. I used an accessory tube made for the Canon G7 and managed to screw it on the bayonet system of the LX100. then I screwed another tube on it to allowed the zoom going at it's end of it's range (84mm in 4K, because it's vignetting below), then the Redstan clamp for my baby Hypergonar, and finally the SLRMagic Rangefinder focus system, and here we go !
For me the result is very promising ! What do you think ? 
camera : Panasonic DMC-LX100 on tele zoom position (84mm) always at it's full aperture (f2.8 in tele position)
3:2 4K 25p photo mode exported in UHD
baby Hypergonar anamorphic 1.75x lens
SLR Magic Rangefinder focus system
no color correction except slight upper whites on 3 clips
-5 personnal color settings
Howa ND 32 filter
music : The Cure
Thanks to the students from Master, Nina, Céline and Charles, Arnaud and Tchie-Kung