Grégory LEROY

Does the xt20 have some of the limitations of the pre-firmware xt2? Such as, when recording, the inability to change iso or switch between evf and rear lcd?

I would keep your Canon glass and use the Aputure DEC Regain with it. That adapter is one of my personal reasons why id quite like a sony/m43 system. Its basically a remote follow focus with options to rack freely or set an A/B point and rack to and from. All this plus its a focal reducer

Not thus far but my work on it at least is suspended while I'm doing the hardware controller.
We've got a lead with an old version of the app that had the 'free' VLOG glitch but needs someone with a GH4 with the old firmware before Panasonic shut the door on it to try and do some exploring to see if it could be applied to the G7.
Priority list for what I'm up to is the hardware controller, followed by Cinelike D on LX100 and then after that I'll revisit VLOG if no one else has been looking at it. I don't think the extra bitrates are viable using this method.

So I bit the bullet over the week and bought the filter. From what I had read the filters work by spreading the light around the image, which is different to simply using a low contrast lens I think. And besides that, I don't want to add another lens to my collection when I already have three superb ones.
 
I started with Ultra Contrast 3. It had good effect but I thought I'd go further so this morning I received the #5.
 
The filters have an immediate effect of making the image look way more filmic. The reason for this is that really do spread the light around the image - but it's not so simple. They take in more ambient light and thus ambient colour. The result is that you get a much more balanced picture in terms of colour and tonality. These filters really are something magical.
 
I have been shooting a fair bit with them over the past few days and will be putting together a video, but for now here's a few images:
 
No filter, Standard iDynamic:
 

 
With FilmConvert:
 

 
Tiffen Ultra Contrast #5 (no iDynamic):
 

 
With FilmConvert and some additional saturation.
 

 
Each filter costs just over £100 for the 77mm sizes. I do recommend getting the strongest one (the #5). After further consideration I think the #3 is a better choice because the #5 washes out darker midtones too readily.

I really like the look of your video, congrats. This 15mm lens seems amazing, I didn't know this Tiffen Ultra Contrast 3. 
 
Is it possible to increase the 1080p bitrate with this hack?

Yes you can overcome just about Any lighting condition as long as it is Consistent. That is the trick. Your VIP section sounds like a good plan. It is not going to be an easy task as you well realize. Just come prepared, that is 3/4 of the battle, be ready for any need. Big trouble is that having a very fast lens leads to OOF footage. Probably not as bad as it used to be when I shot, better higher ISO in cameras now help you out a bit. Heck even better controllable lighting also now.
But you want to try to make it look as normal as it is. You are in a Dark restaurant, you Need to try to keep it looking that way. No easy task, but you are not the first one to have to shoot in this situation, Just take a deep breath and say it has and can be done LoL. Some restaurants have the ability to dim or brighten the lighting, you might luck out if they do.
Positive thinking, a fair amount of talent, and a bit of luck thrown in, and you can accomplish just about anything. Words you just about Have to live by to make money shooting.

This should work, from: https://forums.creativecow.net/thread/3/913091
"You can mimic the Photo filter effect in Premiere by making a colour matte with the same colour of the photo filter, super impose, set Blending modes to Hue and drop opacity to 25%."

thanks for you opinion. I've booked the vip part of the restaurant + the ambiant light is very dim, I think it be easier.
Thanks for your color grading advice. Can I find this warming filter on premiere?
Strange, I think it'soversharpen caus I forgot to decrease the sharpening to 0 when shooting. But Nikon 1080p is a bit soft, I agree

thanks for you opinion. I've booked the vip part of the restaurant + the ambiant light is very dim, I think it be easier.
Thanks for your color grading advice. Can I find this warming filter on premiere?
Strange, I think it'soversharpen caus I forgot to decrease the sharpening to 0 when shooting. But Nikon 1080p is a bit soft, I agree

I shot the following video with AF only on the A6300 and a came tv single.
 

So I again have the camera in my possession and I tend to keep it this time
The other options with their pros and cons listed:
Panasonic G80 - Great usability and it has IBIS. / Poor skintones, lack of faster 35mm equivalent lens, poor handling of flares.  Canon M5 - Smallest option, esp with the 22mm (its 35mm equiv lens). Great touchscreen AF. / Poor video quality (judging by the 80D's videos). Nikon D750 - Best and most affordable lens selection. Superb colours and tonality. / Bit too big, poor live view AF. Sony A6500 - Touchscreen, IBIS, good affordable APS-C lenses. / I'm betting will have the same crap 1080p and jello 4k as the a6300. Of course this camera is not without its faults. A lot of the lenses have noisy aperture and/or focusing motors. It doesn't have IBIS or touchscreen. The DR option is disable in video. I think the AF in video mode needs more work. I'm confident its addressable in firmware.
Fuji, if you are listening... Basically we need to be able to have smoother focus racking and an adjustable rack speed. Also we need to be able to use back-button autofocusing when in manual focusing mode (like what is possible in stills). And we need a way to lock the focus whilst adjusting the point. 
 
I plan to skip out of this forum a while now. It's been doing my creativity no good  I will come back if I have any more tests to show you (here's one and another) or some more artistic footage. 

I spent a lot of time with this camera over the weekend, including shooting one small awards event with it. On Saturday I shot some tests and last night I did a load more in a controlled environment, alongside the Nikon D5500
I've uploaded all the raw videos to YouTube. Enjoy https://www.youtube.com/user/sebcastilho/playlists
(Please excuse my voice)
I'll be using this channel now to upload more tests I've done with this camera and others I've had in the past.

Hello everyone,
Are Sony engineer smoking crack? I rent the sony A7SII camera, shoot some SLog2 footage and oooh my god it's horrible..Skin tones look like corpse, sky look like on LSD and those file are impossible to transcode.
Can you share your workflow to color correct those horrible colors on DaVinci resolve? Any free LUTs to recommend to me?
Thank you
 

Some guys say to expose slog2 at + 2 stops, what do the Paul leeming's pdf say? 
Originally, I wanted to rent the canon C300. The rental guy recommend me the sony instead. wrong recommendation.

Why don't you import them into Resolve and turn on proxy's?
 

Hello guys,
The video promote military training organized in Warsaw (Poland) for the French (it's forbidden in France)
 
I'm a newbie, I've just started shooting photo and video 9 months ago.
There's a lot of flaws in my project, colors and contrast are not matching between the scenes, Bad light set up, etc...
I've shot everything with a Nikon D5500, hand guns scenes has been shot with a 5DmkIII raw (not by me), AK POV scenes with a go pro. 
I did all the editing on adobe premiere
I wish to improve reading your advice on this forum.