salim

I could; its really a matter of access to the cameras. Is there any way to get 10 bit out of them?
I'm considering whether to expand beyond the GH5. If so, I want to pursue an absolute precision standard.
 
I've been using it on some of my footage today without grading,





Very happy

As someone less than politely pointed out on the other thread, I appear to have been a bit of a lazy arse in the almost 12 months since I tripped over and found the Cinelike d thing.
You may recall it happened because I was researching making a hardware controller and after several iterations, here it finally is.

And yes, it does look rather like a calculator doesn't it?
The different iterations (including an Android app at one point!) have been in pursuit of making something small, standalone, self powered, fast connecting, push buttons and with an integrated screen at a lowish cost and, well, here we are.
Here is the finished spec and features :
Compatible with all Panasonic Lumix cameras that can be controlled by wifi Integrated USB rechargeable battery Full colour screen 20 keys with 3 bank switch keys giving 60 direct switch operations of functions Control of Aperture, ISO, Shutter Speed, White Balance, Colour Profile, Contrast, Saturation, Sharpness and Noise Reduction. Automatic unlocking of Cinelike D and Cinelike V on GX80/85, LX10/15 and TZ10 Control of manual focus in fine and coarse steps  Control of One Shot AF Control of Record Stop/Start Store and Recall 8 focus points 4 selectable transition speeds between focus points Store and Recall 8 setup presets (each consisting of Aperture, ISO, Shutter Speed, White Balance, Colour Profile, Contrast, Saturation, Sharpness and Noise Reduction) Presets are stored in non-volatile memory so are available in any session. Boot time to camera connection and control under 2 seconds. Wifi control range tested to 20m. Optional accessories :
Interface module to support Nintendo Nunchuck controller for manual focus control (native lenses and adapted lenses with smart adapters) and zoom (integrated lens cameras and power zoom lenses only) Wireless interface module to sync remote record and stop on supported Tascam, Zoom and SoundDevices audio recorders.  The controller fits a regular cheap cellphone to threaded adapter holder so as well as being used handheld it can be mounted to anything you have a need for with the right attachment so could be on a cage or a gimbal or whatever.

I'm going to be doing some more testing of it in anger in the next couple of weeks and I'll put up a video of it in action then.
So, I have been a bit less lazy than first imagined
By the by, the controller has both wifi and bluetooth so it begs the question would anyone be interested in a version of it for the Pocket 4K ??

If money, cards, and computing power are no problem, I’d totally still go with a 1DXii and just shoot all 4K all the time. Get an iMac Pro and edit in FCPX probably won’t even need to convert the footage to ProRes. 
But idk. I need to test this. Apple store says you can bring a hard drive and do some test edits there. I’ll bring some MJPG and try it out on the iMac pro. 
I will say, we shoot all our videos in 4K on the 1DC and I convert everything to ProRes LT on my $1200 MBP and it works fine. Just takes a while to convert 

,

Quite surprised to see one of the UK's leading photo/video retailers producing a brand new (and pretty comprehensive) video about the LS300 this late in the game.
Its a very decent run through though for anyone who hasn't really taken a detailed look at its array of tricks (and foibles) before.
I'd expect to see bundles with this probably around the £3K mark when the Ninja V comes out as the last firmware update gave the LS300 4K60p to external recorders. 
Used, I've seen them go for £1500-1800.
I can't really see it making some sort of miraculous comeback as there are tons of other options out there now compared to when it was released.
Having said that, sometimes for certain jobs you just need a camcorder and at the prices they are getting to used there aren't many offering more bang for the buck than this one does.
Budget for an EVF though.
 
 

+1
If your camera works for you, fine. But the endless thread trolling by NX1 owners in every single camera thread is so played and adds nothing to the discussion. 
So far I'm pretty happy with the update. Looking forward to tinkering with the focus bracketing since I don't own a macro lens - GFX users are doing stacks of 100-200 shots and the results are pretty awesome. Flog is nice, but I would like to see Eterna added at some point too - shooting at lower ISO's with DR400 internal speeds up my workflow. I get its too soon after the XH1's release to add it, down the line...
Chris
Here's a guide with all the new features/options -- http://www.fujifilm.com/support/digital_cameras/manuals/pdf/index/x/fujifilm_xt2_manual_01_en.pdf
 

Rather than a new recorder, what about adding an XLR preamp to your existing setup? 
If that might work this review by Caleb Pike compares some relatively inexpensive (+ one expensive) preamps.
In a couple of other videos here Caleb shows a way to use and modify the Saramonic SmartRig XLR Preamp ($23).
I understand the camera's mic input still passes through the camera's internal preamp and you can't actually 'bypass' it - just turn it down and make it less pronounced by using a stronger - and ideally cleaner - input signal.
The $23 Saramonic setup does look workable, lightweight, simple, cheap and creative, and presumably the 3.5mm output could be split with one of these or similar, to send an input signal to a recorder (e.g. DR-10L/LS-7 which could otherwise double as a pocket recorder if needed) as well as a signal to the camera for scratch or backup audio.
The audio quality seems pretty reasonable, but in the video it sounds like the Saramonic setup loses some of the lower frequency sounds compared to the C100 XLR preamp, which by contrast sounds somewhat 'richer'. I wondered if there was an inbuilt low cut filter involved with the Saramonic. The Beachteck looks like a better quality option, but is a little more bulky and expensive. However, it can be bottom mounted which is a plus. Either way, at $23 and $140 respectively the Saramonic and Beachteck options are considerably cheaper than the Zoom H5 at $270, but with the downside of having to connect your existing recorder, which is more fiddly and prone to disconnecting, but nothing you couldn't work around.
When all is said and done, cameras come and go, cheap gear breaks and often disappoints with it's compromises and lack of performance. But a quality audio setup will last a long time. That said, I'd personally consider selling anything I didn't need, throwing in the extra cash and buying a MixPre3 and not have to worry about audio recorders for another decade or more. If you look at it like that the MixPre3 is a bargain.

Thoughts on these?
https://www.sounddevices.com/products/recorders/mixpre-3
Its hard to beat SD preamps

Yeah DPR is a little bit weak on video stuff. Having those two on there will be a big boost to it.

No did not try it. 

The fan is audible. I think if the light is within 2-3 meters of a shotgun mic it could possibly be picked up. But I could have lived with and put the light further away. However, the spot is only down to 25 degree,  I wish it could do 20 or better 15 degree and I wish it was lighter. 
They tried to make a clever design. And it is pretty well made. But it comes at a cost, which is weight. There is some kind of a heavy heat sink inside, the body is partially metal and once you add all the stuff to it, it becomes to heavy to travel with, unless you want have a few pieces of luggage. 
Now I'm looking at the Aputure 20.  It's not as powerful, but it seems lighter and it spots to 20 degrees which is better than 25. The daylight is rather cool. But I wanted to use it as a kicker mostly in the project I had in mind, so I can put on a CTB gel and get nice bluish kick hair light and use some thing softer as a key. So that's my plan for now and how I'm pre-visualizing my shots for now. 

Nice, hope it works out! I'm looking for a bi-color option tho, and now that I think about it, I really don't want to have to be mixing LED brands.

Thanks Don! It's an exciting time for Chris and I!

Resolve makes it very easy to convert the color space from Rec.2020 to Rec.709, using the built-in color space transform plugin.
In case you are using another NLE, I generated a LUT using 3D LUT Creator that does the same conversion: Rec.2020_to_Rec.709.cube
I couldn't test it, but it should be fine.

Anyone using the HLG should be aware that the Rec2020 is skewed the same way the sgamut2/3 are. So unless you intend to feed the footage into a HDR monitor that supports the rec2020 space, then a proper LUT has to be used, and at least I could not get the footage to look good straight out of the camera into a normal monitor. Even Scott from the videos above admits that shooting with HLG requires a good amount of grading.  

Unfortunately, if you are using any of the HLG you almost have to use the rec2020. I wish Sony would allow us to use the sgamut3.cine which is far easier to grade.
So again, unless people are using a HDR monitor I would advise them to use either the Cine profiles or slog2 with Pro/Cinema/Sgamut3.cine colors. Definitely avoid slog3, since it is the worse gamma for skin tones. 
An easy way to check for balanced colors in camera is to shift exposure from -3 to +3 and see how colors change. 

@DaveAltizer - have you checked out this guy who is comparing HLG vs SLOG? He thinks HLG might be giving him better results. Was curious what your thoughts were. I'm not sure if he knows 100% what he is doing, but it's an interesting approach to explore. 
 
 
 
 

I would pick something with a bit more light control ability. Like a spot LED with barn door that I can control or have ability to soften it with shooting it through a reflector or something else. 
 
My  needs are different I need something to travel with and setup different lights. I just ordered one of these to test. Should be here on Friday and I can play with it a bit. https://www.bhphotovideo.com/c/product/1305546-REG/genaray_cd_contender_daylight.html
He does a lot of videos on different light setup, you might find something interesting in his reviews: 

https://www.youtube.com/user/dslrvideoshooter

 

https://indiefilmhustle.com/color-science-let-pixar-teach/
http://www.dvinfo.net/article/optical-science/a-short-history-of-camera-color.html
Smarter, more experienced people in this industry seem to disagree with your dismissal of color science as a concept. Perhaps, as a beginner, you should spend more time listening and learning, rather than espousing ideas you don't understand?
All photosites only capture luminance data. That data is assigned an R, G, or B value, depending on the filter that covers it. Those filters have to be carefully designed to let in their color and a bit of the others: if made too pure, the sensor will not be able to accurately reproduce secondary colors, like yellow and cyan; not pure enough, and colors blend together into mud from lack of separation.
These color values must be interpolated from nearby photosites, as each one only capture data for R, G, or B. How that data is cobbled together has a profound result on the resulting detail and color. Then this information feeds into a camera's color matrix, which carefully subtracts channels from each other to create clear and distinct colors. All of which are made to hit specific mathematical targets within the manufacturer's carefully designed color space. These are tuned partially for accuracy, but also to create certain effects on the viewer based on the psychological effect of various colors. 
So sure, subjectivity plays a part. That's why every manufacturer does their color slightly differently, and has their own "look." But to purport that no math or science goes into the process is misinformed and asinine. 

Anyone with thoughts or experience with the Litepanels Brick One?
I currently have a Litepanels Astra EP Bi-Color and am wondering if two of these Brick Ones would make for a solid 3 point interview lighting kit, or are there newer, more affordable options that might pair well with an Astra EP? 
 

But they're *not* one person crews, they're part of a larger production! Involving many many people. 

Not sure how this disagrees with my point that it is a bit of a stretch to make an AMIRA be a one man solo shooter.

A lot of the shots here wont look as dramatic without the longer focal length. On a 24mm equivalent the background buildings etc, would be too small and wont be as dramatic as they look on parts of the shots, here. These guys flew their Inspire2 which is very hard for people to travel with. Yes, a mavic would be awesome. But Phantom is still doable, I've traveled to bunch of places with it. 
 
 

Yes, I can see what you mean. When I posted I hadn’t given it much thought and really meant it was something that I personally wasn’t looking for. Certainly for more ‘professional’ type work I can see why people would want/need this.

If you want to look at the a7riii as a S35 only video camera it has SEVERAL advantages over a6500
 
better ibis
2 hrs battery life
no screen dimming
best rolling shutter performance on any mirrorless cam
better color science with HLG
better 120fps 1080p
My MENU function (create your own menu)
better customizability with the buttons. 
more weatherproof

Thanks so much!!! You are awesome, Dave!!!
Majority of my work is stills and I know it has some advantages in terms of stills as well (mainly, for my purpose, the 1/250th flash sync speed and the EVF in the middle of the body, since I am left eye dominant). Also, for my work, using a crop-sensor lens and having ONLY 18MP stills instead of the 24MP of the a6500 is actually a good thing for me.
Thanks again.

@Gregormannschaft - Thanks! Funny you say that, I've sold more iPhone photos than I think SLR photos. But SLR photos were sold for higher prices. I basically started using them last year or so, and after I sold a few more images, I thought why not. However, their commission pricing (especially with their premium market that works with Getty's) is not that great.  My best licensing has come from the olden days, when I used, PhotographersDirect (which closes pretty much).So for that reason, I've started posting to Alamy as well. But I've just started (initially you have to go through this QC process so it's slow to upload and sell) and have no volume in there. Once I'm able to upload 500-600 or more...I probably can see if it's useful or not. 

If you have a big social media following it's much better to use that to license your photos, from what I've been told. 

@salim I thought Greentoe was some seller on fredmiranda but I just found this post about the marketplace. I bought directly from a seller at fredmiranda and did not use Greentow sorry for the confusion.