André Eriksson

My first look is live! HOLY CRAP THIS CAMERA ROCKS!! 
 

Just to reiterate:  in regards to a sensor with a given quality/configuration, it is the photosite size that influences maximum sensitivity/DR -- not the size of the sensor.
 
When comparing a full frame sensor with zillion megapixels (tiny photosites) to a M4/3 with much fewer, larger photosites, the M4/3 sensor will exhibit a higher maximum usable sensitivity and a greater capture dynamic range.  Again, this principle assumes that all other variables are equal, such as:  the sensor internal configuration/design; the A/D converter; post-sensor NR; etc.
 
Of course, if we compare a full frame sensor and a M4/3 sensor having the same resolution and the same internal configuration/design, the full frame sensor will have larger photosites, and thus greater max sensitivity and dynamic range.
 
So, if you embiggen the photosites, you generally embiggen the sensitivity/DR, regardless of what the "jabronis" say.
 
embiggen:
 

I've been using 5D3 Magic Lantern RAW for a few years now and it's my personal gold standard for image quality as I'm very familiar with it, can predict the results I'll get in various situations and have developed my own look that I like using in post. I do a lot of documentary and corporate stuff and wanted to do more handheld, so I got the GH5 for its IBIS, 10bit V-Log, 4K and general ease of use. Although the GH5's colour is an improvement on its predecessors, the 5D3 is nicer looking to me. So I wanted to see if I could tweak the GH5's VLog colour to be more similar to the colour I get from Magic Lantern Cinelog-C, processed via Adobe Camera Raw (other debayering workflows will give different results).
I shot a chart with both cameras, extracted the squares and put them side by side in Resolve. V-Log on the left, ML on the right:
 

 
I used Hue v Hue and Hue v Sat to line up the signal on the vectorscope:
 

 
Here you can see the effect of this correction.This is accurately white balanced V-Log (default colour) with a curve and saturation added:
 

 
And here's the same shot with the colour correction applied:
 

 
Skin goes from green-ish to pink-ish. Reds become more saturated, blues are pulled back. Foliage separates out into varying shades of yellow to green to blue-sh green, rather than being one big block of pure green. So next, I wanted to test this by comparing the same shots to Magic Lantern RAW. Would this correction really turn my GH5 into a handheld and more usable version of my 5D3?
I stuck the GH5 on top of the 5D3. I shot the 5D3 at 3520 x 1320 (the maximum resolution I can get that's both continuous and at a sensible aspect ratio) - this has a crop factor of 1.63x. ISO was 100, and aperture at f5.6 on the Canon 24-105. The GH5 was 10 bit V-Log, Cinema 4K, ISO 400, aperture f4 (roughly equivalent) on the Leica 12-60. I used shutter speed to control exposure, so motion blur is different between shots. It seems like the GH5 has around 0.66 stops more info in the highlights at the same exposure as the 5D, so I shot it one stop over to maximise DR.
 
 
First I corrected the 5D shots to the way I wanted them to look. Then I tried to get the GH5 to match. It's not a perfect match by any means, there are individual hues that tend to go awry a little, especially in the first shot. But for me the exercise is a success: the GH5 footage looks more like Canon Magic Lantern than it would straight out of the camera. And I would be happy to intercut the two, or to use the GH5 in situations that are more suited to its features. The take home message is that V-Log has a lot of grading potential - you're not necessarily stuck with Panasonic's colours on this camera.
A nice surprise for me was how much detail is in the 3.5K 5D files compared to Cinema 4K GH5, especially when sharpened. However, it's not very practical to shoot in its high resolution modes at the moment, due to the slow refresh rate of the LCD preview.
If you want to check out the files yourself, here are a series of matched pairs of 5D DNGs, and GH5 V-Log TIFFS.
FOLDER:
https://drive.google.com/open?id=0B1exEpCRAfgFdi1FZ3hma09YZms
ALL FILES ZIPPED:
https://drive.google.com/open?id=0BwzsbjMgrAwzTFJZby0xSTV6VmM

The Oscars are rubbish. These days, anyway.

I believe filmmaking is the most powerful art-form. It has the power to influence hearts and minds, and allow people to feel things - truly feel things.

I really believe filmmakng can make the world a better place by means of subjective immersion, empathetic response, and telling the story of the human-condition.

Hence, I think success is if your film allows viewers to feel raw emotion via empathy (even with the most questionable of characters), and allow viewers to learn/experience something new from their subjective interpretation of your film.

I say this in regards to narrative fiction filmmaking.
With documentary filmmaking, I have the same beliefs, but the responsibility of remaining objective on the filmmakers behalf is very important.

With documentaries, I believe filmmakers have an obligation to remain objective - to strictly document - like a James Nachtwey photo - for the sake of the truth. However, even then, no matter how objective a documentary maker remains, the viewer will ultimately determine their own truth by means of their own subjective interpretation/research - well, I hope they do, anyway.
 

I was a Windows user for 10 years.
Mid-20's, I just wanted to start getting on with what I use a computer for, rather than nurturing and babysitting a powerful OS and set of customisable options, custom hardware, etc. So far last 10 years I have been on OS X.
The simplicity of Mac OS doesn't mean it's any less powerful than Windows, quite the opposite - much better memory management, less legacy code, better optimisation, better drivers and newer architecture all-round.
The UX is more consistent and the presentation is less flakey. Across all apps, the user interface is familiar, similar and refined. Across all apps in Windows - BAM different every time.
Windows slows down and starts getting unreliable after 6 months and you need to Google constant issues. Eventually it needs a re-install every year, whereas Mac OS will run for 5 years and be as fast at the end of it as it was at the start.
The UNIX OS is it is based on is a fundamentally more optimised, minimalist piece of code than bloated Windows.
You see it in Windows 10 - you have the new control panel interface, but the old one is still there under the hood and you can open that too.
Also I fail to see what extra features Windows 10 actually offers over Mac OS to make it compelling... Aside from the Surface Pro tablets, which I've tried too and ended up returning eventually because touch on a desktop OS isn't all the way there yet in terms of how useful it is long-term for serious work... It is quicker for some things but holding a finger to the screen for hours of creative work is actually much more tiring than using a plain old mouse and keyboard.

Most very low budget (under $10 million) features and indies shoot prores. What's more remarkable is the success of such an inexpensive movie.
The Alexa's prores looks 99.9% as good as its RAW and 10X better than most other cameras regardless of recoding format. The difference between prores 422 and 4444 is probably bigger than Alexa prores vs Codex. RAW is not a distribution format or a format that you can see without it first being processed. RAW must be processed eventually and the in-camera processing is very excellent on the Alexa. It's not that the 5D makes a better RAW file than a JPEG; it's that the 5D turns out a worse JPEG than a high end PC turns out a .TIFF from the RAW. The 5D's built in processing needs to be quick and dirty to stay fast and consume minimal power. And this carries over doubly to the 5D's terrible built in video. But an Alexa has that high end PC built in (why it's so big and heavy and battery hungry) and beyond that you're going to a high quality intermediate codec, which you'd go to anyway for vfx, same as you'd go to a TIFF to get to Photoshop. So you're getting the equivalent of a 16 bit TIFF processed with the best settings of the best RAW developer, and that's the best you can get from RAW anyway. It just happens to happen in camera with the Alexa.
RAW is not an image until it's processed, so what's being debated isn't even the superiority of the format but where the processing is done. It is done poorly in a 5D. It is done well on a high end PC. And it's done well in an Alexa.
Unfortunately, this issue became politicized when Red marketed a problem (you need to offload the image processing because the early Reds lacked the power to debayer properly in-camera) as a feature ("in camera RAW"). Unfortunately it's still politicized and people are ignoring that this is among the least important aspects of technical image quality.
The DIT discussion is also politicized. It's a contentious position from both sides. Decent rates ($1k/day is very low for wet hire) that take others years to earn and an attack from producers trying to devalue the position on low budget work. Most of these politics do not relate to enthusiasts (same as Arri raw vs prores) except to further largely unrelated business interests by changing how conventional wisdom perceives something's value.

That's the old macbook. New one has a DCI-P3 Rec. 2020 display. Not sure what it means for color grading, but I looks amazing in the store.
https://en.wikipedia.org/wiki/DCI-P3
Don't know how it compares to the Blade.
 
(I will personally try to hold on to my 2012 Macbook Pro for one more year. MacOS actually runs better on it now than it did when I bought it 4,5 years ago.)

You are absolutely right, and I don't defend my grade. Regarding the clipping, I already wrote that I did this on purpose. I wrote "This belongs under subjective opinion, individual taste ...". I found the 'legal' values to look too romantic and boring, still do. I didn't use Resolve but just the very limited CC of FCP X, where you can't adjust RGB per channel with lift, gamma, gain. Should perhaps follow wolf33d's advise and use CFP in the future. I can read all scopes, and I use them for CC. If it comes to tasting the dish they don't help as little or as much as kitchen scales. Grading is not about good scrambled eggs, it's more about indian cuisine - something unexpected that explodes in your mouth and lets you forget about all traditional menus with known ingredients. But again, I don't disagree with your judgment of my results. 
Saw your Imagine Cuba, and you are talented. And you have been arrogant with your remarks. 
Fair. And mostly constructive. Like, come on, do a better job! 

I have found that the master curve just plays with contrast. As you can see in my grade, the image is almost too contrasty already so I use master curve not often. 
The independant R G B curves are much more interesting. They change contrast but colour in a nice way. Basically moving anything in the bottom of the B curve will increase blue in shadows. But you want a S shape. So the bottom goes down and the upper part goes up to get a S shape. The trick is to do different S bigger or smaller depending on the mood you want. What I did here for this atmosphere is a little bit of blue in the shadow (so a less pronounced S in the bottom of blue curve) and a little bit of red in highlight (so a more pronounced S on the upper part of Red curve) then I adjusted green curve accordingly. Doing so of course also increase contrast that's why I did not use the master curve. 
Playing with RGB curves is amazing, it gives ANY log footage a great look and can be tuned the way you like. I have compared to everything else (filmconvert, easy color in Premiere, Magic Bullet, ...) and I always got best results with RGB curve in color finale which lets you play easily with each curve then select a master opacity to adjust result. Also use sometimes the saturation and exposure sliders of Color Finale, a LUT, or the selective color corrector which is amazing (you pick red for exemple then you can adjust hue staruration of it in one click). 
All of the change have an opacity slider which makes perfect adjustment. Honestly guys try this thing and tell me if you ever look back. 
@Axel i am not a pro colorist, just an amateur doing travel videos (latest one here https://m.youtube.com/watch?v=qO603YjuIoY )
As you say we are here to learn and I am sharing a good tool and a good method I found to make nice grades. 
 

Not to be such a downer but this thread really shows the importance of a professional colourist. 
Many of you at least need to learn how to use waveforms and scopes. (Including myself, I didn't really bother with them)
 
(Original Neumann film as has perfectly fine neutral "basic" grade which I think is fitting a product launch movie.)

Exactly.
One could be an absolutely brilliant filmmaker but produce dreadful colour from LOG footage, it takes years to learn how to be a good colourist. It's really a separate job altogether OR another thing to learn and to hope and pray you have talent for. Then there's the fact that all displays are different and you could be getting one thing on yours and people will be seeing quite another thing. I cannot believe for example that one of the guys on this thread really wanted to put saturation to the levels he did!! Must be something else going on.
This is partly why I came up with EOSHD Pro Color to sort things out so that they only require tiny, simple changes in post to get the most out of the sensor. V-LOG is nice and all that but it so often goes horribly wrong - just like S-LOG.

Thank you. 
I don't understand what's the matter with all the horrible grades. People should shoot in standard profile if they can't grade an image which is the easiest thing ever.
I used color finale for Final Cut Pro which is amazing. 
The only thing you have to do is play with the three RGB curves independently. You make a S curve for each but adjust the S to your taste so that you independantly add or remove blue, red or green in each highlight or shadow. 
Then 20% saturation. And that's it. Add a LUT also with Color Finale and adjust opacity with the slider if needed or want a special look. 
I advice anyone here to get FCPX and Color Finale. The two best tool I have used. I tried millions of color grading techniques and tools and nothing come close for easiness of editing and grading. 
 

For me GoPro slaughtered DJI. I don't care about its speed or other specs, I care about the fact that for the same price I get a GoPro 5 that I will use on ground a lot, a handheld gimbal that is amazing, and a drone that is a perfect mix between size and stability. This thing is too small and shaky (see the verge video). 
Anyone using a GoPro for action videos should get the Karma instead.

Here's a list of great things about the 5D Mark IV...
Read the full article to see the list

great! please also release one profile based on EOShd suggested settings (0.95 on the green channel, gammaDR). Most are using these settings to get good colors ooc and great dr.

MODERATOR INTERVENTION:
Moderator Jonpais and myself as fellow Moderator have been talking and we are going to keep this thread open for now BUT
THESE ARE THE CONDITIONS :
the thread stays open for the four people involved in this crime to communicate, it stays open to keep Ebrahim Sadaawi honest and full fill his promise to refund everyone involved ......eveyone one else back off and let them resolve this issue .
NO MORE POSTS on this thread from now on or we will delete them if you are not involued in this situation.
Ebrahim Sadaawi you keep in contact with Tim , Thomas and James who you have stolen money from , you stick to the plan to refund them , you keep in regular contact with them and let them know exactly what is happening no excuses and no stalling .
Tim, Thomas and James you keep in regular contact with Ebrahim Sadaawi and you can use this thread to keep us all informed how it is progressing .
If Ebrahim Sadaawi goes back on his word and starts stalling post on here and keep us informed what is going on .
 
Everyone else does not post anymore on this thread,   yes that means you  !!    no more lynch mob and wolfpack tactics . lets get our fellow EOSHD members refunded - that is the priority now.
let Ebrahim Sadaawi repay Tim, Thomas and James .
If Ebrahim Sadaawi does not keep his promise to refund all three people he scammed , Andrew Reid will be taking this futher with the authorities - this is his forum.
EOSHD MODERATORS

As a long time lurker watching the progress happen and trying out some of the hacks my self here is a brief summary of main accomplishments.
Current hack achievements in no particular order
Increased bitrate on both NX1/NX500. So far there is no consensus on the optimal bitrate. Further testing is required by experience videographers who are good at analyzing footage. Added 2.5k full sensor readout with increased bitrate on NX500. I do not own an NX500 so I am not sure what is really happening with this hack. Perhaps someone else could fill in. Removed video record time limit on both NX1/NX500. This is something I haven’t personally tested as I do not need it but reports sound like it works perfectly fine and can be used to record videos that will fill up your card. Fully electronic (silent) shutter on the NX500. Not yet working on NX1 from what I understand. There are currently three main ways to apply hacks to the NX1/NX500. The original method by running in factory mode by running a script on the SD card root called info.tg that can run other apps such as Otto K’s keyscan The WiFi method. Similar to the blue tooth method below but more risky. The best method is the blue tooth method. This is done by modifying the file /usr/sbin/bluethd in camera to execute a scripts that can run whatever other program you want. Telnet (busy Box) can be run from the SD Card to remotely execute any command on camera.  Alot of the built in camera commands have been figured out and you can now write scripts to make the camera do pretty much anything you want. Even I was able to written a few scripts .  
Current progress
Lately (past few weeks) the majority of the activity has been around trying to remove the in camera NR for video. There has also been quite a bit of talk about creating a GUI for all the hacks. If you are a programmer and are interested in getting involved I think this is likely the area where you could really help out.
  If there is anything I got wrong or missed please don’t be shy and call me out on it

This is great comparison. I am using glidecam almost every day (couple years now) - the best tool in my toolbag I can imitate tripod, dolly, slider, jib, if i had to take just one thing with me beside the camera i would take the glidecam. No firmwares, no batteries, easy to handle, can take it as carry on baggage, can take it to the mountains for a hike, can use it in the rain (DGS version with improved gimbal), most people doesnt pay attention to it, it is quite stealthy, can go through the crowd with it. It requires a lot of training but it pays of.
 

I often feel the reason people are so in awe of cameras Red and Arri are because they are invariably used in productions where there's a team of highly skilled professionals working with good lighting, locations and post-production/grade. They see the finished shots and immediately think its down to the camera, not all the other stuff that's going into it. 
I feel my work has improved massively in the last year through nerding up on lighting techniques and working with some great people. Invest your money in those sort of things...
 

Did a short 1 min test with 160 mbit. Camera was very responsive this time. The macroblocking I remember is essentially gone, but the biggest improvement actually seems to be in motion cadence. No tearing or anything even with a manual non-stabilized lens. 
Has anybody done any longer stress tests?
I'm thinking of shooting a short film (just a personal project) with this hack tomorrow... but I'm worried about general stability and somehow bricking the camera, running it hacked for two long days. Any advice?

eoshd is the "other" board mentioned here :-)
http://***URL removed***/forums/post/57589144

I have run for 30 mins @ 160 mbit with no problems

You are not going to brick your camera this way. Also, bring another SD card - once you pop out your SD card with mods (or format it) the camera acts as it was never modded.
Best of luck shooting