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Nice! May I ask where the light was used though?

Try Google.

The mjpeg buffer A1ex was able to record was quite low resolution was it not?

Depending on where you are, IATSE is more or less approachable. I've heard LA can be tough.

I work up in Canada, out of Calgary and Vancouver. It's much easier here. They run courses for non-members and grant work permits until you qualify for full membership.

I think with the ICG, two locals cover the entire US. The same goes for Canada. It's also a branch of IATSE.

I only bring this all up as I've seen a great improvement in my skills as an independent filmmaker since seeing the pros at work. You get to learn some pretty great tricks of the trade. It can be a lot of fun working on a big movie too. Although sometimes... not so much.

Yes to use your current lenses on Panasonic you'd need a metabones adapter or speedbooster, which loses autofocus control.

IATSE is a worldwide film crew union yes. They have different locals for different locations however. In some places Camera department and other departments are separate locals, with camera being under ICG (International Cinematographers Guild). The Director's Guilds may be looking into as well. Where are you located?

Yes exactly. I was speaking more in reference to h.264 video, which would be the same as jpeg. But yeah HTP will have no effect on raw.

My point is that HTP lies to you. It tells you you're shooting in a higher iso than you really are. It drops one stop for the highlights, and then pushes the shadows one stop to keep them the same. Increased noise is one result. You get a perceived increased dynamic range, but it's not real. Just shoot raw if you can.

As a photographer, you'll definitely need your own gear. But gear that's great for photography and great for videography are rarely the same.

In the $4000 dollar range, the new GH5s looks amazing for video. With a proper 10 bit 4:2:2 codec, it's true broadcast quality 4k video. Lowlight performance is also top notch.

In the $10,000 dollar range there are quite a few lightweight cinema cameras that have become popular. If you want RAW, Canon's C200 is great. Panasonic's EVA1 and Sony's FS7 are also great options.

For photography on the other hand, I'd definitely lean more towards a full-frame Canon or Nikon.

Honestly though, depending on the type of video projects you plan on shooting, renting different gear to suit each project may make more sense. This is fairly standard in video production. It allows you to pick your gear based on the project's unique needs and budget. Maybe one project calls for a 5D4 and another a RED Epic.

If a career in film production interests you, I'd recommend finding your closest IATSE office and applying for a work permit. You may need to take a few short courses, but you may be surprised at how easy it is to get work on large budget TV shows and movies. You won't be doing your ideal job, but getting to watch the pros in action really is an invaluable experience. The pay isn't bad either.

If you like HTP, just use it. The way I understand it, HTP just pushes the shadows. So when your camera reads 200D+ iso, it's actually 100 iso with the shadows pushed 1 stop. You could do this yourself with raw video. Just underexpose your image by one stop, then lift the shadows in post.

Well there is a big difference between 12 bit 4:2:2 compressed raw 4k and the highly compressed 8 bit 4:2:0 XAVCS 4k slog footage from the A7SII.

The 12 bit raw is infinitely more gradable and depending on where you plan to deliver, you may require at least a 10 bit 4:2:2 source. 8 bit 4:2:0, despite how nice it CAN look, simply isn't a professional delivery standard.

I would personally choose the new GH5S over an A7SII.

You're also using a 5D3 I assume?

I see. I'm using MLV app and converting to ProRes. The issue is present both in the app and after export. Maybe an MLV app issue? I'll have to check with mlv_dump.

dforts 550D build works flawlessly for me, in both 10 and 12 bit. The 50D build however goes a bit wonky for me. About every 30ish frames I'll get one frame where the bottom 3rd of the frame offsets to the left slightly. This happens in both 10 bit and 12 bit.

It cannot. Only the 5D3 can do that.

I'd say you'd be losing a lot if you sold your 5D3 for a 50D. You'd lose proper HD raw recording, 4K crop mode, good noise performance at higher isos, sound recording, and you'd gain aliasing and moire issues in their place. 2/10 would not recommend.

Awesome! Thank you Walter!

Possible MJPEG? Is this something unique to the 40D or have I missed out on some more recent developments?

If MLRawviewer gets you your desired look, why not export as ProRes and work with that in Premiere? AFAIK that's the only way to "bake in" the look.

If you're dealing with a raw file, it already has more information than a compressed file with a log curve. I'm honestly a bit confused. How are you able to "apply a log profile" as you put it and then open it in ACR? ACR deals with raw files only. It's in the name.

No, sorry. I focus on macOS at this point.

Will it only be compatible with Sierra?

I tested this some time ago, and not very thoroughly, but I don't remember seeing posterization problems. Perhaps I didn't output as 8 bit correctly. Will have to retest. Thank you for the info.

In my very unprofessional opinion, 8 bit raw files still look better than the standard H.264 videos. I think they're still sharper. Recovery in shadows and highlights is no comparison to 14 bit, but I still feel it could be useful for people with slower cams. But is it possible?

Probably been asked before, but is 8 bit raw a possibility? Would it offer any improvement in video quality over h.264? Just thinking about cams with slower write speeds.

I'm glad you also got photo evidence that it was a real photo because that is just unreal. Incredible shot man!

50D for me has the same issues in 10 and 12 bit as my 550D. Top third of frame turns pink and green every other frame while bottom two thirds constantly jumps back to frame 1. I've seen the same reported of the 5D2. Has anyone had confirmed success with the 7D? I understand these are all Digic 4 cameras, although the 7D is dual correct?

I believe the sharpness in ACR is turned up by default. You've already checked and turned that down?