PannySVHS

Colour looks partially too desaturated in the skintones. Colour in this video reminds me of some GH4 videos shot in Cine D and graded. Not bad but also not astonishing.
Here is an example of a GH4 video which compares pretty well to the Fuji video imo. Dynamic range is recognizably less in some parts of the video. It´s a different colour palette and a good example of 8bit goodness under these harsh light conditons. At 2.10 it´s falling apart for a few seconds but other than that, not bad for an 8 year old 8bit camera.
 

Oly 17mm f1.8 (24mm in S35, 35 in FF), Panasonic 14mm f2.5 (supposely one of the sharpest mft lenses, 20 mm in S35, 28 in FF). First one has a clutch for mechanical feel of MF if I remember correctly, the 14mm is fly by wire without stops. For mechanical pleasure I would go with a Meike 12mm Cine lens, which can be had for around 300 USD. I did not like the 12mm SLR Magic but I (still) have the one with the focussing ring close to the mount. Optically it´s nothing to write home about nor has it the awesome characteristics or colour of my C-mount Fujinon 12.5mm which does not cover full image circle btw. @Kisaha

Colour looks partially too desaturated in the skintones. Colour in this video reminds me of some GH4 videos shot in Cine D and graded. Not bad but also not astonishing.
Here is an example of a GH4 video which compares pretty well to the Fuji video imo. Dynamic range is recognizably less in some parts of the video. It´s a different colour palette and a good example of 8bit goodness under these harsh light conditons. At 2.10 it´s falling apart for a few seconds but other than that, not bad for an 8 year old 8bit camera.
 

Colour looks partially too desaturated in the skintones. Colour in this video reminds me of some GH4 videos shot in Cine D and graded. Not bad but also not astonishing.
Here is an example of a GH4 video which compares pretty well to the Fuji video imo. Dynamic range is recognizably less in some parts of the video. It´s a different colour palette and a good example of 8bit goodness under these harsh light conditons. At 2.10 it´s falling apart for a few seconds but other than that, not bad for an 8 year old 8bit camera.
 

https://www.youtube.com/watch?v=RM8ejsR_-MQ
 
Pretty good footage with better narrative... 
First watch on my tablet I didn't notice anything but later on my desktop monitor I found weird noise in the shadows. What do you think guys ?

this is a product that makes sense from a manufacturers perspective, rather than from the customers perspective, since i'm sure this is just production parts-related. i guess it would just be weird to see new p6ks in stores looking very different without any anouncements? dont really get the point of the p6k anymore since the release of the pro anyway, i just would've discontinued it. the 6k g2 lacks the most important quality of life upgrade so why bother?
i also dont think the internal battery life of the 6k pro is that bad for the type of camera it is. its a bit more than the included battery you get with the fx6 from what i can recall. how is the battery life of your alexa @TomTheDP?
i hope they ever end up doing a 4k pro with internal nds, or sort of a smaller mft ursa with the same sensor. would be cool to have a version of the 4k that isn't annoying to use as a shoulder camera. a lot people would probably appreciate a new micro cam with the 4k innards too probably. 

I guess you could use TomTheDP's Arri in it and look like you are 8 months pregnant with triplets!

The Canon 5D3 is the most stable of all the Magic Lantern cameras. So, it ought to work pretty well. Isn't a bad photo shooter either. 😄

"Version 3"
Started again, and used a few global tools to get closer, before employing the selective tools.  I also backed away from accuracy to get the "spirit" rather than an absolute match.



I smoothed out the grade, trying to ensure it didn't break the image, like the last one did.

Here's that grade applied to some real footage.
At first I thought that maybe there was some luma vs sat action going on, so I used a node in HSL mode and using the channel mixer I tried mixing in the luma channel to the sat, and vice-versa, but neither generated anything useful.
Then I tried using a YUV node, which made it into the final grade.  YUV is a strange colour space, where the U and V stretch the vectorscope in two directions, and the Alexa is skewed a little towards amplifying one of those directions.  This is a great transformation as it is applied to the whole colour space and therefore does not break the image.
Then I applied another colour warper:

This time paying careful attention to smooth out the transitions.
After the last one breaking the image, I also wondered if I needed to desaturate the transition into pure white, but it turned out that it wasn't necessary.
This is pretty subtle stuff, and I'm not really sure if anyone would bother with it TBH.  I'm happy to share it if anyone is interested, generating a LUT is very easy.
Really, it's a testament to how good the Panasonic colour profiles are to begin with, considering that in comparison to straight "correct" 709 they're both massively far away from that.

We could do a GX85 challenge, including GH2, GH1, GH3, G7 and GH4 aaaand the LX15. The Seven Sisters 8bit Challenge! Let´s do it 🙂

Creamy BW! Lookin tasty! 🙂

Creamy BW! Lookin tasty! 🙂

Thank you so much! 😀 Yes, it was shot in VLog and graded in Davinci Resolve.

Well done!!! I just love this. Great shadow work. It reminds me of Ilford Film. Was this shot in vLog? I knew the S5 would be great for run & gun B&W!!!

First attempt at B&W grading with the S5, Canon FD 50mm f/1.4 and Helios 44M-4 58mm f/2. These are shots from a street fait in Athens. Shot on two different occasions. Music is done by me, I was feeling a bit melancholic at the time hence the title "Low". Hope you enjoy it!
 

That was part of my motivation...   to completely obscure the camera with treatments in post.
We all focus on the camera, debating the fine points of the limits of camera features, and then only take advantage of a tiny taste of what is possible in post-production.
It's like shopping all over the world for the finest ingredients, then taking them into the kitchen and boiling the crap out of everything.  Will overcooked fine ingredients taste better than overcooked cheap ingredients, probably, but it's hardly the potential that existed.
We're all running around shopping for ingredients and steadfastly refusing to learn to cook, or for those that do know their way around a kitchen, passing up the opportunity to learn to cook well.

I suppose, but filmmakers shot feature films for years on film without any playback. It's a modern comfort. Now I'm using an old build from 2017, so it's possible they've figured that out since then. For me, the 5D3 was so very liberating because once I used the camera, I didn't look back... or forward. The image was MORE than good enough for my humble hobby. I wish I could have that epiphany with some lenses.
Neat trick for the F5... let me guess... 9 out of 10 times you got the shot?
 

That's a MAJOR "gotcha". 

Not having playback. 
But then again... I did once start shooting a feature film with a Sony PMW-F5 that lacked playback!
As we'd schemed to get our hands on a Sony PM-F5 (this was years ago, when the only affordable options for 4K would've been I think the GH4 or the Production 4K camera? Or the a7Smk1 with an external recorder), but... discovered it lacked the paid 4K upgrad! wtf
Wasn't going to spend that huge chunk of change on a borrowed camera, so I did the Sony F5 4K hack for it. 
But meant we lacked playback 😕 😞 Oh well. so I connected my Atomos Samurai (which I already had and used with my Sony PMW-F3), so that I could have a way of viewing playbacks of shots! (as the F5 would automatically trigger a proxy recorder on the Samurai)

Yeah, a raw to raw conversion shouldn't take that much processing at all - almost nothing in comparison to the other processing required when editing and grading footage.

Yeah, you just take one frame and drag it on the timeline and it brings all of them all in. Magic stuff. Resolve is crazy powerful anymore.

Yup it's some kind of filing system you download so then you right click your mlv folder, scroll down and choose MLVFS, assign them to a different folder and open them in Resolve. Then somehow or another it tricks Resolve into thinking they're CDNG files. 

Exactly, but the workflow isn't really annoying either anymore. With MLVFS, the MLV files can be brought into Resolve as if they're CDNGS... then you can color and edit them like any other files. 

Magic Lantern isn't undependable. 1080p 14 bit RAW is a staple. It's just an annoying workflow.

Sure if the OP is basing his purchase of a 5D on the experimental builds, then it's probably not a good idea to purchase one. There's a crop and the last I checked there isn't any real, or accurate, Live View.
With that said, Andrew has a gorgeous sample of the 3.5K mode, and I've seen dozens of samples online. Even the eos-m has some nice features and IQ if you like to tinker. But based on what he said, it doesn't sound like that's his goal here.
I was merely correcting a false narrative that ML Raw is entirely useless on the 5D3. I mean, a filmmaker recently had his 5D3 ML Raw, narrative film debut at SXSW and received write ups in all the Hollywood trade magazines. Of course, he shot it in 1080p, but if it wasn't dependable, I doubt he would shoot a feature film on it.

It has been my observation that they get better by the month. So, using the latest one is probably the way to go, but, and a big but if you use the higher end modes they are pretty unreliable, but if you stick to say 1080p that works almost non stop anymore on the newer builds. 
ML is a crap shoot. Zeek seems to have it down pretty well, but I try it and I end up with pink spots and 5 second footage, Ugg it drives me crazy LOL, but damn you want to make it work so bad. When it does work wow impressive stuff. Crazy as it seems the EOS M has the most potential.