Buy buy buy! Feed the consumer within. Jokes aside, I find it scary how many people are considering investing such huge quantities of money in a camera which has its key selling points in still photography. I'm grabbing an A7R2 and will run it into the ground for the year its current, then sell it when the new model arrives. The fact that I can use the a7r2 on medium format digitar lenses on an X-Act2 camera for technical photography, and outperform guys shooting with phase one backs worth £20k, and the fact that i can shoot full sensor readout 4k video for lens tests, branding work and personal work the huge outlay is worthwhile. I lost about £500 selling my a7r and battery grip - which i had the day it was available. I used that camera day in day out and if I recall, two jobs paid for the camera outright. Even if I;d hired the camera for a year for £500 and not used it commercially I'd still be happy since i actually used it for enjoyment as well as work. My A7s will be sold the week before the a7smk2 is available. I'll lose money on the value, but the A7S has made its cost back ten fold. All of the occasional shooting work I get nowadays originates from work i undertook with a Canon 550d and a Nex5n around 4-5 years ago. I'd still shoot with the nex5n and get results that the client would be happy with. So to those guys suffering from Gear Acquisition Syndrome, or in most cases consumers thinking of laying down such a massive investment on a camera, be sure it's worth it. Will you be undertaking work that requires this tool? will you be fitting lenses onto it that will come close to delivering what is required to make the camera show its strengths? Do you need the item?
£2500 buys an awful lot of good glass that will never devalue! You'd kit yourself out with a near full set of early Leica R's for that!
I'm not confusing the two, I'm saying that if you;re shooting log on 8bit cameras it should be in order to maintain the greatest dynamic range on your camera files, for post adjustment of contrast, Not colour. Log or not, if your WB is too far away from the end result you're in trouble. If i want a teal grade I'd set wb to a lower kelvin number and increase the bias towards green/blue. if i want a warm grade I'll go the opposite way.
my A7S aint as clean as that at 51000iso! in shots like that with little to no fill light the a7s isn't much use above 16,000. now if that shot had a little 1x1 led panel around 25meters behind the camera position as a fill, I'd pretty sure the noise would be near gone.
9 days straight? Not enough time. You prove my point. A guy who spends 9 days on something and decides to disregard it because he can't get good results. There are so many people with this mentality. they go straight for s-log or another picture profile without understanding how to get the best from them.
other than subjectivity, please tell me what's wrong with the colours here? I see nothing wrong with them at all, and I did little to the picture in post
There's no way to get anything wrong IMO. if youre outdoors shoot with the correct wb for the setting. or better - go AWB - awb is surprisingly trustworthy in natural light. I trust it better than my own judgement in fact. if youre in mixed lighting indoors - tungsten, led's and a bit of light coming through the windows from outdoors, choose the wb setting which best suits - somewhere in the middle of them all, or the setting for which ever light source is the most important to be 'correct'.. again, AWB is often the most effective system for these problem spaces. Dont touch your r, g or b curves at all. just adjust the curves for the R+G+B until you have a smooth gradient from highlights to blacks and everything in between. 8 bit only seems to break up for me when I need to hit a single channel a lot more than another. if Wb is set correctly very rare does it take much more than a tiny tweek to one channel for me to see stuff I like.
This said, I dont bother with log myself since my a7s needs an inch worth of ND's to bring the native 3200iso down to a manageable base! however if i was in a situation where I wanted to keep cloud formations unclipped i'd nd up and go s-log, with the correct wb setting for the scene.
Shoot log with your wb set up correctly and you dont need to do any grading at all! - just use your curves/levels to get to the contrast level which leaves the highlights unclipped, themids natural and the shadows not crushed. then boost saturation if required.
The canon has better colours argument is a myth. It's simply that people haven't become accustomed to how to set their sony cameras up properly. If i take an auto white balance picture as a jpeg out of the A7R and compare it to a jpeg from a 5dmk3 the 5d looks nicer. But if i process the image, the a7r image smokes the 5dmk3 image. With careful adjustment of the wb - temperature + the cyan/magenta etc adjustment a sony can be made to look like a canon and vice versa.
Here are some images showing my quickly put together test. literally ripped apart a m58 helicoid so it would slide over the original male thread of the original focus part.
The front element was fitted into the helicoid. i'd meant to make it so the front element didnt rotate but in the process of reworking the helicoid I damaged it and therefore the front element rotates as you focus. No big deal, but it is actually possible to do this mod and have the element non rotating. As you can see in the pics the front part of the helicoid with the front element seated in place now unscrews. I actually used a rubber o ring cut to the right length which i squished around the front element. this naturally pushes it centre and is tight enough to hold the element in the front part.
two shots are show. wide open at f2 on a 58mm lens on aps-c. (3:2). one at infinity, one at around 3 feet. rack from inf to 3ft is around 3/4 of a turn! Closing to f2.8 sharpens stuff up drastically. as does using on a smaller sensor - 4:3 4k mode on gh4 would be ideal for this lens
flares are wonderful by the way!
NB. this method of modifying the B+H was showed to me by the good man Nick (QuickHitRecord), who was actually going to be manufacturing focus units for the B+H design and made the concept public on this forum long ago. It was unfortunate Nick never got this to the manufacturing stage but i feel he deserves a pat on the back for making this public. Hopefully some other people can make a working unit like this one.
you only need about 15mm of travel. i recon a m58 helicoid will work. TBH i cant even remember which unit i used, i just ripped it apart to get it to do what i wanted. mine wasnt the right size so i had to modify/step down. just measure the body with the front element housing removed and select a helicoid that will slip over that. if needs be you can pack it with pvc tape for a tight fit.
selecting a suitable helicoid (you can get various units with various diameters and focus throws on ebay) is a great start. grab one that will allow you to fit the front element into it, - maybe with some step rings + nd filter rings with the glass removed to mount the glass. then attach it to the front of the b+h. I successfully did this and its a great mod. i get focus from inf to around 3ft in around 90degres. its nt a razor sharp lens, but almost gives full coverage wit ha 58mm on aps-c. a 58mm and a gh2/3/4 will deliver great things. lovely flare and character.
I'd be very wary of disregarding the Iscorama purely based on recent products. So far I've not yet seen a single result from the new units that come close to the Iscorama for overall compactness, optical quality, character, etc on a full frame sensor. A pre 36 rama and a single coated 50mm lens on full frame is a wonder and delivers the widest proper anamorphic option available, and also the sharpest and most refined.
if the 1dc had an e mount and an evf it would be top of my priorities now both the price of the camera, and the media has come down drastically. All that useless mirror space eats up valuable lens compatibility. And now I've got used to the evf on the sony cams I'd never leave them.