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JVC 4K cameras, including GY-LS300 - 4K for $2995, GY-HM200 and GY-HM170
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  • I have not seen a Zeiss Compact Prime Cine. What does the 50 T1.5 cost and how well does it work with the zoom function? I thought that only worked on Pany MFT zoom lens.

  • This zoom feature for prime lenses is very cool! What just absolutely kills me about this camera is the sensor's lack of DR vis-a-vis other competitive offerings. It's a good camera as it exists. It will be a better camera with the new firmware coming next month. It could have been a great camera with a better sensor, IMHO.

  • " It could have been a great camera with a better sensor, IMHO."

    If it had better low light performance, I would have bought one soon after "Hands On" at NAB instead of getting a necessary Odyssey 4k recorder for my A7s. That and the also necessary 28-135 Cine lens would have paid for it. But now, $8k later I have something better for the poor/low light indoor Videos that I make.

  • this camera is amazing!

  • Nice roll-off highlights with j-log1. Seems to grade very well. Dynamic range (12 stops) seems to be in the same ballpark than GH4 with Log

  • This camera is really amazing. Maybe i'll get one to test it here in Brazil next month. But since i'm not a colorist, i would like to use some Lut with it's J-log. Can someone (@Lpowell ?) with some experience with gh4's v-log tell me how i could grade a J-log image with a V-log lut? Any tip or lut recommendation?

    Thank you!

  • This camera is getting each time better, sincere option

  • Thinking about getting this camera. Is it Rolling or Global shutter, and if it's rolling how bad?

  • Im wonder how would compare external V-log 422 with internal J-log 422. Price nearly the same but much more possibilities and futures in one of them. Hope someone will dear to test it?

  • JVC GY-LS300 firmware 2.0 update has been released, available here:

    http://pro.jvc.com/pro/attributes/CAMERA/soft/gyls300_firmware_v2.0.html

    Version 2.0 brings significant new features and performance upgrades to JVC's Super 35 4KCAM Camcorder:

    JVC Log Gamma
    Prime Zoom (allows zooming with prime lens)
    Cinema 4K (4096 x 2160) and Cinema 2K (2048 x 1080) recording at true 24p
    Histogram
    Spot meter
    Color matrix / Black Paint adjustment
    4K recording at 70 Mbps
    Zixi variable bitrate streaming
    FTP resume function
    
  • Looking forward to seeing footage of this with the Log gamma. The camera is certainly back on my radar again.

  • Has anyone tested this camera out since the firmware update? I'd love to see how footage looks with some Voigtlanders on it.

  • If the LS300 just had a little bit better low light performance, I would have bought one instead of the A7s and A7sII. But now that I am enjoying 1080P120, there is no going back.

  • JVC LS300 J-Log1 test footage showing highlight interaction with several complexion types. Recorded in 1080p30 at ISO 400 with internal 50Mbps H.264 encoder in 8-bit 4:2:2 color depth. Sunlit highlights intentionally blown out to reveal highlight coloration. Graded with custom LUT and sharpened with Neat Video using zero noise reduction. The slow pan stresses the encoder to expose any motion artifacts.

  • @Lpowell What do you think about Jlog after this check?

  • @paglez J-Log is a bit of a paradox. It works only in manual exposure mode, but provides no other adjustable controls except white balance. That makes it quick to dial in, but not very adaptable to extreme lighting conditions. On the LS300, J-Log records 0% black at 7.5 IRE and 100% white at 100 IRE, with superwhites up to 108 IRE. If you set Zebra Bottom at 100%, you can use it to keep your J-Log exposure within Rec. 709 legal limits, allowing you to monitor and review the footage directly via HDMI into an HDTV. But since it doesn't use a Rec. 709 gamma curve, shadows will be bright and contrast low, so you'll need to grade it as I did with the clips above. (The built-in LUT only works in-camera.) Sharpness must also be adjusted in post, as it cannot be controlled in-camera in J-Log mode.

    J-Log is excellent with controlled lighting, but in sunlight or harsh indoor lighting, J-Log forces you to either clip the brightest highlights or underexpose the midtones and shadows. With the LS300's Rec. 709 gamma curve, I can compress the highlights with the adjustable highlight knee, and boost the mids and shadows as needed with adjustable gamma and black level controls. Sharpness can also be dialed in, or turned off completely. That provides a lot more flexibility than J-Log, but requires careful preparation and evaluation with an external monitor. With J-Log, all controls are preset, so once you've set exposure and white balance, you're ready to shoot.

  • @LPowell Thanks for your report. Then, do you consider LS300's Rec. 709 gamma curve, better o more versatile than Jlog? It is Jlog comparable in terms of DR and final colour rendition with Sony Slog 2, Panasonic Vlog or similars?

  • @Paglez J-Log (with 4:2:2 color) is what the GH4's V-Log-L should have been, but so far no LUT's or technical docs have been provided to make full use of it. If you're willing to roll your own LUT, J-Log will give you the broadest dynamic range from the LS300, so long as your lighting isn't too extreme. If you want the best in-camera results in difficult lighting, Rec. 709 with custom gamma and black level is the way to go. Both J-Log and Rec. 709 produce realistic colors; "Cinema Gamma" not so much.

  • @LPowell the LS300 is gonna be my next upgrade from the AF101's, have you tried cutting between the two? Like to know how much work to match skin tones if you've tried

  • Thanks for the detailed report LPowell, really great info. How is the low light performance of this camera and sensor? What ISO do you really start noticing noise?

  • Frankly, I would be surprised if the Production Camera can do really clean 6400 ISO with any lens.

    I had a PreProduction LS300 in my hands at NAB The Rokinon 35 f/1.5 was mounted and it was having some troubles at 3200 ISO equivalent.

    This was the camera I expected to see in the Panasonic booth, but ordered my A7s the next day because I only shoot in poor/low light.