PannySVHS

Its Scandinavian photo that still has one 16-50S combo in stock. After that its probably gone.
 

Nope, it is a rx100 iv. Have to say that i am quite pleased with the results!

it is alot cleaner in low light - the blacks are stunningly clean, cleaner than the Red Epic we tested it against, image looks very similar to the Arri Alexa we tested it against - there is hardly anything in it !! amazing camera from Panasonic   , the G7 camera lets you shoot in the shadows very cleanly in very low light. I am using 4 Panasonic G7 cameras for the new Pandora feature film I am DOP on , Panasonic have partnered up with us for this movie and we are working together to show how good the G7 is a film making tool. I am using Metabones XL Speedboosters on all the cameras, Brian Caldwell and Metabones have kindly supplied them for us to use in Nikon and EF mount . We are using these with Atomos Ninja Assassins and all the rigs for the movie are supplied by Gini Rigs , I will post some pics of these rigs soon.

Andy, can you post some frames from any test shots? You've peaked my interest in the G7. That video maker test shows some crazy clean video at 6400, I'm impressed.

yes the video stream is clean of icons etc and its better than the compressed internal 4k @ 100mb/s , this 4k Pro Res is 744mb/s

Interesting guesses, but all wrong.
Hint: manufacturer and sensor were not mentioned yet

Sony A6000 I reckon

Since i found those threads quite interesting, I would like do one on my own
Here we go:

Hey Merc!
One thing I recognized, I had to be pretty careful with the color sliders on the Cine D file. Also, light in this scene seems challenging to pull something magical out of this file. We nerds love to talk about thick colors when it comes to the technical side of the digital pipeline. I think thick light would be just as much appreciated. These dull winter days don´t often provide that at them moment. I think one can immediately recognize the magic glow of light by eye. Not talking about magic hour but the very different beasts of light depending on time of the year, day, haze, dust, sandstorm:), region,  whatsoever...:)

Here you go... I did a regrade using an inverted curve, only 50% strength on the cinelikeD LUT and a different finishing LUT. These were both shot in CineLikeD with everything dialed all the way down. It seems like there is a lot of latitude in the shadows... which is good because I underexposed these slightly. And both were shot with the RMC Tokina 35mm f2 lens.
Have at it.
 




Also they look like they could use a little noise reduction and some sharpening, but I don't have neat video... or even a good photo editing program.

Hey Mercer!
thanks for the material. Went for a quick one on the Cine D in PS. So maybe the layers would work the same in Premiere. Did color balance, gradation curve, exposure and alpha with the blue channel as softlight layer on top. I would say light in this particular scene didnt really provide that much magical nuances to pull out of the file. Looks like shot on natural profile. So why not just film in natural anyway:)

 

Hey guys,
Yesterday I did some grading to relax- it´s still cold ouside, so nothing better than to enjoy some tea in front of Davinci:)
I came across a very underexposed and wrongly white-balanced shot. Filming was done with the Panasonic G6 in Natural all -2 but color at 0.
I think, quiet amazing, though some posterization and false color cannot be ignored! So I bet GH4 would be a fantastic camera in many ways and
natural is a tested and well received profile.

 

Did some quick color balance of the original ooc shot in PS. Worked very well. Maybe in Davinci next time I won´t go all that crazy on the color wheels, exposures and layer mode but rather put some simple gentle touches on the color sliders. Still a little off but enough for now:)

You really nailed the gloomy mood of the day. I am kinda amazed that a little color balance would get so much out of this H264 file. Learned so much today. Thanks a lot! Now I can go crazy on the screenshot with the channel mixer in PS:) cheers and good night:)

Hey mercer, thanks:) Was going for a more stylized look. Day to night wouldnt hurt to put up some night like lights for sculpting the scene. Other than that low exposure and done:) Scene was shot with a Canon FD 50mm 1.4.
 
Hey, that is a very nice approach. I was falling into the redish and hazy contrast too much:) Wanted to promote the idea that the GH4 would be indeed a very liable decision, showing what a G6 under extreme conditions is capable of. Maybe thatfore my "intense" grade:) Did you pull the grade off the ungraded or the graded shot?
 
 
Hey, with Cinegain, you (and me as well:) we got some nice looking filmic gestalt out off that G6! So one more proof that G6 and GH4 more so
are pretty gradeable. Bluish hue from branches could be eliminated in Davinci by combining a Hue vs Hue via colorpicker and a mask for protecting the rest of the scene.

Hallo, wouldn´t have assumed a LUT:) Lookin great. Doin some grading with my G6 at the moment. Codec ist quiet robust. Bet the G7 is pretty awesome!
Focus lever sounds like a good idea. Wouldn´t assume Christopher Doyle used a focus puller on Chungking Express but on Hero he surely did:)

Hey guys,
Yesterday I did some grading to relax- it´s still cold ouside, so nothing better than to enjoy some tea in front of Davinci:)
I came across a very underexposed and wrongly white-balanced shot. Filming was done with the Panasonic G6 in Natural all -2 but color at 0.
I think, quiet amazing, though some posterization and false color cannot be ignored! So I bet GH4 would be a fantastic camera in many ways and
natural is a tested and well received profile.

 

Overclocked?  My old i72600 would also shutdown on  renders until I returned to a stock clock speed.

I've been working on a show with the zacuto recoil and z-drive. I also use this lanparte v-mount plate and a wooden camera d-tap cable. Very nice setup- the recoil plate makes it easy to precisely balance the camera depending on which lens you use (I'm usually on a 70-200- there's a nice little lens support built into the plate). We also have the VCT quick-release plate for easy tripod mounting. 
I don't like the stock sony monitor, I use a SmallHD 501 that I basically attach to a long rod coming from the handle.

OK...it SHUTS DOWN.
That's beyond software. 
That's something in your Operating System being triggered to do that intentionally (like as a safety precaution - overheating of the processor etc..) or something is causing a massive root-level error.
It's one thing to crash a program, but it's something entirely different to kill the whole system itself.

My suspicion is the enormous demands placed on the processors by Optical Flow and everything else running at that same time is overwhelming some physical tolerance within your core.

I'm not a super PC tech guy, I've just been through almost every typical problem myself already because I never have $5,000 to get some monster computer.
My first suggestion would be to super-uber-totally back up your Resolve Database, then uninstall Resolve 11 and install Resolve 12.1 or 12.3. Again - word around the farm is that 12.1 has been the most stable.
I don't think there's any reason to stay with 11. 
12 is really a great advance, and you'll figure out where they moved things to in just a matter of minutes.

You get into a LOT of variables in a situation like this.

Everything from Motherboard compatibility issues to bugs in the Software App itself.

At a glance your system seems decent enough - one of mine is nearly identical to yours - but again, from driver incompatibilities to version conflicts and on and on and on......
The usual Editing Computer madness....

First question: Which exact version of Resolve are you running? 
(FWIW - V.12.1 has been reported to be the most stable even though 12.3 has other aspects more straightened out...)
Also: Exactly what file formats are you using in Resolve? And exactly how are your creating the Transcodes? Are you even using Transcodes?

Haha, I'm so bad at color grading, I probably couldn't duplicate it. But thanks, this one I actually liked. I liked the first grade so much I just copied the grade to the second clip. I didn't do the proper thing and color correct first, so you're right, it looks a little funky. And I also used LUTS. I have color finale for FCPX and I used their GH4 to rec709 LUT at 50% first, then I tweaked the curves and color wheels a little and then finished with an M31 LUT at 50%
No speedbooster, but I am thinking of getting one and I had the camera on my Sirui monopod and used a focus lever. Basically a poor man's follow focus, you can get them for about 10 bucks on eBay or Amazon. Thanks again. 

Hey Mercer,
 
Really like the colors you were able to pick up with the grade, last part seems a little bit dark compared to ungraded material.
Grade looks really filmic, rich colors, naturalistic, not LUT mud like:)
How did you manage to hold the lens so steady even with focusing? Did you use a speedbooster for a wider angle of view?
cheers

A couple weeks ago I ordered the RMC Tokina 35mm f2 in the M42 mount. It was the first time I had ever seen the lens for sale, and there is little written about it online. I did manage to find a couple photos where it was used. They looked so good, I had to have it. It came in the other day, so I took it out this morning for a few minutes...
 

https://convergent-design.com/company/blog-news/entry/odyssey7q-now-includes-256gb-ssd-prices-slashed-and-five-samsung-ssds-qualified.html

The sigma 28-70mm f2.8 is very very soft fully wide open at 2.8 ....it is unusable for me so I sold mine ......at sharpens up a bit by f5.6 .....not stellar though .......