kaylee

Congrats on the NX1. Great camera. That F2 zoom is good too.
Get EditReady for $50 and it is pretty painless.
RX100 IV overheating mainly in 4K on long shoots, not a problem in the 1080/120fps/240fps modes so far for me.
I have used the RX100 IV as a 1080p camera more than a 4K one. It has the best 1080p of anything I've ever used. Like an FS7 but smaller sensor and 1/8th the price.
Yes that 1" sensor does give you a bit of a flat image at times but S-LOG helps make it look cinematic if you're good at grading. Really helps get rid of the 'video' look to highlights, better dynamic range, smoother roll off, etc. Digital Bolex also has a Super 16mm sensor but it looks cinematic as hell because of the colour, grain, texture, so it is not all about shallow DOF and you have your 1D C for that anyway
My footage from the RX10 II and RX100 IV is coming soon... it doesn't look like camcorder footage!
I'll be interested to see how you get on with AF on the NX1. It is occasionally magic but mostly unreliable and doesn't do what you expect given the specs. Same with the RX10 II and RX100 IV though, continuous AF is really quite terrible in movie mode and HFR, but not as disastrous as it would be on a larger sensor like Super 35mm.... so approach with caution I'd say.

Perhaps the A7sII will also gain S-Log3 and 10-bit output..... yes please.

Thanks, I think you will enjoy your rx10ii very much. As for the haunted house it is now sold. Not to me I'm sorry to say. I think the new owners already have experienced some nightly disturbances so maybe it'll come back on sale......

Trying out the 100/120 fps in real life, shots I'm interested in. Trying to find weakness in the image like aliasing etc.
Very impressed so far:

lots of different issues in this thread. 1) does log in 8bit ruin colors? 2) does much power come with log and is it magic? 3) are wide gamuts the real problem? 4) does Kodak choosing 10bit for Cineon  mean that 10bit is the least you can get away with before you see artifacts? 5) is it really all about the camera as a package and the sensor, codec, even the lens for example? 6) should we be more concerned with chroma sub-sampling? 7) is this debate incredibly boring and useless?
4) trick question, Cineon was designed to re-print a film negative, not based on digital to digital tests, it was also R',G',B'. so unfortunately i don't think it can be used as a fair comparison, even though it was how this workflow started. 
7) not at all, i just wasted several minutes. 
i think log has the same advantages with 8bit that it does with 10bit or any other depth, even though i disagree that 8bit is not distinguishable from 10bit unless doing keys. when you combine 4:2:0 compression with 8bit you get a negative re-enforcing effect (the blocks get much larger in dark areas because they have fewer codes to use), which shows up when doing lifts in particular. but all that is slightly separate from the initial log color question, of which log is the easy part to untangle; figuring out all the other stuff is really the challenge. so in that sense i think the "other" things that affect color, such as everything in question 3 and 5, are really the problem.
the thread started with 8bit log and color, but sub-sampling and bit depth came up so i thought i'd re-post this old video i did, it's exaggerated but hopefully useful. hit spacebar (pause) when the description changes.
 
 

thanks, ha, didn't realize that was a link at first. Very informative. Just was surprised that you could get anything at all from a log image with like 3 sliders considering the way people talk about it

There's no way to get anything wrong IMO.  if youre outdoors shoot with the correct wb for the setting.   or better - go AWB - awb is surprisingly trustworthy in natural light.  I trust it better than my own judgement in fact.  if youre in mixed lighting indoors - tungsten, led's and a bit of light coming through the windows from outdoors, choose the wb setting which best suits - somewhere in the middle of them all, or the setting for which ever light source is the most important to be 'correct'..  again, AWB is often the most effective system for these problem spaces.  
Dont touch your r, g or b curves at all.  just adjust the curves for the R+G+B until you have a smooth gradient from highlights to blacks and everything in between.  8 bit only seems to break up for me when I need to hit a single channel a lot more than another.  if Wb is set correctly very rare does it take much more than a tiny tweek to one channel for me to see stuff I like.
 
This said, I dont bother with log myself since my a7s needs an inch worth of ND's to bring the native 3200iso down to a manageable base!  however if i was in a situation where I wanted to keep cloud formations unclipped i'd nd up and go s-log, with the correct wb setting for the scene.

Reviewed my stills again and you're right. Quite a few nice shots around 3200. The ones I complained about before, I've just noticed, just had fast shutter. I like the grain very much, too, looks nicely organic.

I for one am keeping the RX10 II, it's a really impressive compact package.

Cool pack! Hard to keep all of the names straight, haha. After testing each once, I think I like 9270 best. Only tested on C100 so far.
 

Transcend SDXC UHS-I U3 64GB (95 MB/s Read, 60MB/s Write) e.g.

​Yes you need the U3 card for the 100Mbit/s bit rate settings.
These are cheap on Amazon, nothing special thankfully.
The RX100 M4 will only go to 5 minutes continuous for 4K before it has to stop and cool down. If you try and make it go again straight away you will only get another 2 minutes before it stops again. And from then on it may shut down altogether.
This is a heat limit of the little compact, it does get very hot, poor thing.
The RX10M2 doesn't have the same restriction so if you plan to do long interviews, YouTube selfies or live event filming you know which to choose.

Wth. It's terrible in 2015 that they still have issues with heat. Hmmm ... 
 
Ebrahim Saadawi writes some of the best posts in these forums. And no arrogance or rude behavior. It's always a pleasure to read his posts. 

Not RX10mII, but RX100mkIV instead, here are some clips I recorded this weekend.
SLOG2, 24/120/240fps, mostly 1080 but a couple 4k clips downscaled
Also, haven't had any overheating issues with mine as of yet, though I rarely ever get close to five minute clips.

With LOG comes great power and it is down to the user how good ends up looking. There's a lot of terrible looking LOG footage out there due to the individual grade rather than any codec weakness and I don't think 10bit ProRes LOG from the Blackmagic Cameras looks significantly different or better to 8bit LOG. 10bit is overrated for everything aside from keying. I have graded 10bit from the GH4 to Shogun and didn't see an advantage in the grade even when pushing it to extremes to see what was lurking in the murky depths!! In my view, it doesn't suddenly benefit skin tones. That is more down to the sensor and image processor than 8bit vs 10bit.
Take for example 14bit raw as one extreme in terms of colour / bit depth... only way you can go more extreme on the specs than that is 16bit on the Sony F65! To make use of 10bit let alone 14bit and 16bit the sensor has to deliver an extremely wide dynamic range AS WELL AS a massive colour gamut. Now, we already have experience of 14bit with Magic Lantern raw. Is it significantly better than 10bit raw from a Blackmagic in terms of codec or grading flexibility? No. The sensor makes more difference. The sensor in the 5D Mark III is very good, very clean, wide colour gamut. The one in the BMPC is noisy and has a harsh run off into the highlights. Great codec, yes, but 10bit vs 14bit with that same sensor performance would have made very little difference.
Now we have a shining example of how good 8bit LOG can look for colour... he is called Mr Canon 1D C. You saw how it compared to the NX1 which I previously sung the praises of for being actually very very nice indeed at capturing vivid, rich, satisfying rec.709 colour.
What LOG does for a camera, regardless of 8bit vs 10bit, is quite frankly magic and should be highly regarded.
There's 'light LOG' like on the 1D C by the way, which doesn't go as flat as S-LOG and doesn't dramatically change colour, leaving it very saturated. I think S-LOG does go to extremes in terms of dynamic range... but it is not 8bit which causes the weirder colour vs the 1D C is it? Because they are both 8bit codecs! A7S owners, indeed RX10 II, RX100 IV owners can do an experiment. Shoot 4K 8bit LOG video. Shoot a raw still. Grade to match. Compare. Difference will be smaller than you think!

Thank you Emanuel for posting those links!!!
Ive found that this gentleman:
has graciously included a link to his original files for download! check it out
 
how do you guys think this early rx10II/rx100IV footage compares to other manifestations of slog2?