jpleong

No. The SL2 can shoot 1080/24p. ?

I continue to explore F-Log grading with RCM without LUT. I think I'm getting better results (colors, highlights roll off). F-log is very good; Fuji LUTs are not so good.
I'm more excited about the definitive release of Resolve 16.1 than the XT3 firmware update.

No. The SL2 can shoot 1080/24p. ?

No. The SL2 can shoot 1080/24p. ?

50mm f/2 and 56mm f/1.2 when I have a plan.
18-55mm f2.8-4 when I don't have one.
Honestly, the other two I have (35mm f/2 and 23mm f/2) are great, too. It's all a matter of choosing the right focal length for the subject. I don't feel any are optically superior to the others.

50mm f/2 and 56mm f/1.2 when I have a plan.
18-55mm f2.8-4 when I don't have one.
Honestly, the other two I have (35mm f/2 and 23mm f/2) are great, too. It's all a matter of choosing the right focal length for the subject. I don't feel any are optically superior to the others.

50mm f/2 and 56mm f/1.2 when I have a plan.
18-55mm f2.8-4 when I don't have one.
Honestly, the other two I have (35mm f/2 and 23mm f/2) are great, too. It's all a matter of choosing the right focal length for the subject. I don't feel any are optically superior to the others.

Here is a music video shot for the musicbed challenge. On this project my assistant is the director and I help her. Shot on my XT3; F-log, 4K DCI, 24fps, 400 Mbps, All-I.
https://challenge.musicbed.com/submissions/the-rise/rHvFZz

I've been using the EOSHD C-LOG for the past month, now, shooting for a hybrid web-series and cooking class called "STIR!".
For the most part, I've really been pleased with the results. Not having much experience color grading, it's been pretty easy to achieve a look I like using either the Technical or Creative LUT presets in Adobe Premiere's Lumetri as a base.
Here's the commercial for the next event, shot entirely with C-LOG on my 5d4 at 1080/60p and using the (legacy) Cinespace2383 creative LUT as the base.
and here's the episode we just released:
I switched to EOSHD C-LOG in the middle of taping the segments. Can you tell which is which?  (probably, since I'm a newb ;-)
I did have a rather "serious" issue between cameras, which I simply wasn't expecting. The last segment, about Moriah Pie beginning at 23:26, the interviews, gardening footage, and home kitchen cooking were shot with the first of my two 80Ds with C-LOG at 1080/60p. Any shots involving pizza service/actual restaurant operation were shot by my 2nd Unit with my second 80D with C-LOG at 1080/24p. The footage was not easily interchangeable between the two. The 2nd Unit's footage looked entirely different when I'd apply the same LUT (and ended up only needing a contrast push to get it to where I wanted it to be). The weirder part was that I shot some footage in the same commercial kitchen with my 5D4 at CLOG/1080/60p and it matched my own 80D footage easily.
I haven't had the opportunity to really use the scientific method to figure out why things turned out the way they did, but I need to.
For the record, on the Moriah Pie segment:
Interviews: 80D-A -> 24-70/f4L IS at CLOG/1080/24p IPB
Gardening/Home Cooking: 80D-A ->  16-35/f4L IS at CLOG/1080/60p IPB
Commercial Cooking/morning meal (lens flares): 5D4 -> 35mm/f2 IS at CLOG/1080/60p IPB
Commercial Cooking/evening food service: 80D-B -> 40mm/f2.8 STM at CLOG/1080/24p IPB
So, I'm thus far enjoying EOSHD C-LOG and just need to figure out what I'm doing wrong on one of these cameras. I will be using EOSHD C-LOG on a fleet of rented 1DX2s in the very near future!
Cheers,
JP

@DaveAltizer Thanks for shooting and compiling that. It would have saved me a lot of trial-and-error picking the EOS HD profiles weeks ago...!

Just did a non scientific test with all of the picture profiles included in the pack from Andrew. This test was done from a "vloggers" perspective using the 80D. I came away really liking the Cine 4 profile.