tomsemiterrific

Just for fun I shot this on New Years eve---using Canon FD lenses: light, inexpensive, good---3 axis stabilization---what's not to like.
 

Shot this with eoshd pro color 3.0 and a6500. The white balance was set at 5600K the entire time. This is my first time filming anything, made many mistakes but I'm happy with the colors!
 

Hi, everyone, and thanks for contributing to help me solve my issue.
I talked to Atomos today, and after a bit of back and forth the guy asked me to check my HDMI cable--and see if it worked for 4k.
Now this seemed futile to me, because I KNEW it did.
But I pulled out my XC15 Canon to test the cable and BOOM, the Shogun was recording 4k like a top!!
Back to the Sony--Bupkis. 
But I did recall I had another micro HDMI cable, so,.....  just for laughs I decided to try it--and BLAM!!! The Shogun screen lit up with the Sony 4 K and I was recording on SSDs. 
So, here's the deal. Just because a mini or micro HDMI feeds 4k into your external recorder for one camera or brand of camera does not mean it will feed 4 k into another. 
Capisce?!?
Try to remember this...because it will be on the test.

Transcoding XAVC-S to ProRes is entirely different to originating in ProRes.
Yes, better chroma sub-sampling and a far superior codec are nothing to sneeze at. ProRes is one of the best codecs out there. That said, banding is a direct result of limited bit-depth. Compression artefacts will clear up, and by virtue of recording in a 10-bit 'space' (even though the signal is limited to 8-bit), you may find banding clears up to some extent, but banding in and of itself is a result of bit depth not compression.
I've never encountered this before. How strange. Good to know!

Hi, everyone, and thanks for contributing to help me solve my issue.
I talked to Atomos today, and after a bit of back and forth the guy asked me to check my HDMI cable--and see if it worked for 4k.
Now this seemed futile to me, because I KNEW it did.
But I pulled out my XC15 Canon to test the cable and BOOM, the Shogun was recording 4k like a top!!
Back to the Sony--Bupkis. 
But I did recall I had another micro HDMI cable, so,.....  just for laughs I decided to try it--and BLAM!!! The Shogun screen lit up with the Sony 4 K and I was recording on SSDs. 
So, here's the deal. Just because a mini or micro HDMI feeds 4k into your external recorder for one camera or brand of camera does not mean it will feed 4 k into another. 
Capisce?!?
Try to remember this...because it will be on the test.

You are gaining 4.2.2 colour and a much better codec which won't show compression artefacts (which people wrongly assume is an 8bit problem) This will allow you to shoot S-Log and not have smooth tones like skies fall apart (banding) when you apply a LUT / grade it later like it does with the internal codec. It's a clumsy solution though......

If you're using the on-screen exposure meter as a guide then 1.5 to 2 stops to the right for Pro LOG S as it is S-LOG based, and for Pro LOG Cinema you can expose as normal in the middle at 0, or maybe even slightly under - depending on if you want to protect the highlights.

Autumn shots from Dallas arboretum...
 

Hey guys! check out my test of the EOSHD Pro color 3.0 with Slog2 gamma on Sony a7sii
 

Here's a series of screen grabs from some video today...critique?!?
 

Here's a series of screen grabs from some video today...critique?!?
 

Here's a series of screen grabs from some video today...critique?!?
 

Here's a series of screen grabs from some video today...critique?!?
 

Hello Andrew, I just wanted to say thank you for all your hard work with EOSHD…I have been following for years and this is my first response on the forum.
Hi every one!
I hope in some way this is useful for the community, as I did a quick test of the ”EOSHD Pro Color Premium Bundle”.
If everything attaches properly you will see comparison shots of:
PP OFF_Sony Neutral 
PP 1_EOSHD Pro LOG Cinema
PP 2_EOSHD Pro LOG S
PP 3_EOSHD LOG
PP 4_EOSHD Pro Color Original
PP 5_EOSHD Color XR
Notes: 
•    “Balanced” and “WideDR2” are the EOSHD Pro LUTs that are applied to Cinema / LOG S / LOG (no other adjustments).
•    “CC1” refers to slight final adjustments of exposure and contrast to more closely match the comparisons (no specific change of color or saturation in the post process).
•    The post process was done in Adobe Premiere with Lumetri Color panels
•    I doubled checked all settings and did a custom white balance of 5100K (no other adjustments)
•   Some shots where slightly over or under exposed, but I wanted to maintain ISO (800 / 3200) and aperture settings.
Lights that where used for the shoot: 
Key Light - Aputure LS 1 (5500K 40% Power) 
Hairlight - Aputure AL-528W (Default Daylight 50% Power)  
Fill - Silver Bounce (40Inch)
FYI…I have never used Sony’s built in Creative Styles or Picture Profiles since owning the camera, and realized after the fact that “Neutral” is actually close to a graded style. In hind sight, I am thinking I should have used “Standard” instead for the comparison.
I am very excited about the color of "EOSHD Pro LOG Cinema" and the freedom to move away from 3200 ISO, not sure how much loss in dynamic range there is but I will keep testing.
I apologies in advance if I have in any way misrepresented the ”EOSHD Pro Color Premium Bundle” in this test and I am open to any constructive criticism. 
 

You don't need to do the A-B G-M adjustments when using AWB.
The adjustment is for getting the warm look to indoor light, like Ambient White Balance Mode does, on cameras that lack it.

That's nice of you. I think you'll be happy with the pairing--the colors are very compatible.
Here's one on exposure lock--with this you'll never shoot manual while run and gun.
 

https://www.youtube.com/watch?v=Y-mUmcivfV4
  

This is the first of five videos on the XC15/XC10
 

Nice, which city?
I reckon you can recover some highlights in the sky with the Highlight/Shadow LUT that comes with it by the way!
Beautiful skintones on the Pro LOG / WideDR1 shot there.
Really shows the cold zombie Sony standard up for what it is... clinical!
I like that all of these are subtle enough to just look at and enjoy without being distracted by the styles themselves.
The LUTs benefit from tweaking in Lumetri after applying to a shot rather than slapped on, and it seems you did a great job there?

Haven't had much time at all to go through all the new combinations, or play around with the grades, but the new profiles are really nice!
I think I'll be using "Pro Log S" A LOT, and for anything that needs a quick turnaround the new "Pro Color XR" profile is night and day more useable than any other profile (including Pro Color 2 IMHO). This is just my take after using it today on my FS5. Still need to dive into the grade to see how everything handles.
More to come but wanted to share this. Didn't take much time "fixing" anything - wanted to show how easy these new profiles are:

A very god review, thanks @Andrew Reid!
To be honest I feel respected as a customer with this firmware update. What more can I say, very nice!

Yes there is a way. If you use the joystick you can highlight and change the numbers.

The Expodsic (or at least this £13 'equivalent' version) is a good cheap alternative to an incident light meter as well as being a quick and reliable way to set white balance.
You just hold it over your lens whilst pointing to the light source that is falling on your subject so and when the camera meter hits centre then thats the exposure set correctly as the camera expects it to be because it is seeing 18% grey through the Expodisc.
Its quite interesting to see how that can look on screen when you then take away the Expodisc and on the histogram (especially with cinelike d) as it is definitely not ETTR but sure enough with zebras at 100% the peak highlights are only just pinging the zebras.
I wouldn't say its a definitive way to expose but its a very consistent starting point from which to make the decision and as its measuring whats falling on the subject rather than whats reflecting from it then its more appropriate IMO.
Kicks arse for white balance setting.
 

I think the reason this is a popular thread on EOShd is simply because this is a nerd site for cheap cameras. 
We know, or want to know, the intricacies of techniques and  equipment.  
What we do with these bits of info, if anything, is another matter altogether. 
I will say that, personally, the people I know and admire creatively aren't  obsessively concerned with the nerdy tech stuff.  
They know enough to work and the rest ain't a big deal ---or trust others to carry that water. 
That's my world though. Yours might be different. 

Best article I've read here--and painfully honest (is there any other kind of honesty?).
How many times have I been captivated by content and only, after the fact, did I think to myself---"What was that shot on? Shrugged my shoulders and realized I didn't care."
Small cameras are freeing. They can go where no cinema camera can go, and free your imagination.
Thank you for writing this, Andrew.