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It was, it is, and it will always be a great time to be alive! Ask all the dead people through the ages.

For me the big advantage of Sony is ease of use. You get uncropped 4K, slo mo, good low light, shallow dof with standard lenses, decent af and ibis. Everything you need so you don’t have to bother with manual focusing, adapters, focal reducers or even gimbals a lot of the time.

I use Resolve Colour Management but not in the way you describe above. The way I use it is to just have the colour management for the clips set to the defaults, but I convert the colour using the OpenFX Colour Space Transform plugin, which (I believe) does the same thing as the Resolve Colour Management options you are using, but it does it in the node graph, so you can have greater control over how you use it. For example, if I shot a clip in C-Log I would have a node graph like this: Exposure and WB corrections using the Lift Gamma Gain controls OpenFX Colour Space Transform from C-Log to Rec709 Nodes to grade the footage how I like I find that having that first node before the colour space transform allows exposure and WB corrections to be performed similarly to how they would have happened if I'd done them in camera. I've shot Canon cameras in normal profiles with bad WB settings before and you just can't get nice colours out of them, but I did some experiments shooting in C-Log with really really bad WB and exposure and using the above setup you can easily correct them without much damage to the resulting image at all. This is a crazy interesting video by Juan Melara showing how you can use multiple Colour Space Transform plugins in the node graph in order to have nodes that are 'working' in different colour spaces. I had to watch these a number of times before I got my head around what he was doing, but you can learn a ton from them, so they're worth watching. Also, this video shows what you can do when you understand colour spaces and the Colour Space Transform node: Good luck!! Resolve is like having the keys to the universe - and is almost as difficult to operate

Here are a couple of frames from the GH5S + Kowa Prominar combo. I'll be able to post a video later this month.

Pretty sure Canon, Nikon, Ricoh and Leica all make an array of full frame cameras. Granted most of them not mirrorless. It speaks volumes about the popularity of mirrorless, people seem to be missing that about this press release. So when the K1 II launched Pentax were #1? That seems to be the logic here. You're making the assumption that everyone is on an equal footing and therefore the brand with the latest release gets boosted to the top spot (temporarily). That is definitely NOT the case. Most Canon fanboys will gleefully state (when someone pans the lacklustre 6D II for example) "oh but it outsells the whole A7 range 5:1..." which is absolute bunk and has been for years. You do realise how little sense that makes? Are you just repeating what every other numpty is saying? Can definitely agree on this. Honestly I cannot see the point of this Nikon branded Sony clone that has fanboys drooling (and suddenly retracting everything they ever said about mirrorless). I also don't think that Nikon is the dominant brand that people think it is. Just take a look at their last mirrorless effort... abandoned. Now take a look at their action cameras... abandoned. They couldn't get a foothold in either market. Now look at how weak the EOS M line was, abandoned in the US immediately after launch. BUT the Canon name has built it up as a power in asian markets. Canon can do that, Nikon couldn't. Nikon couldn't beat (or even compete) with Sony in the 1" market. Disagree. My latest is a 1DC, but have had pro bodies dating back to the Nikon D1. My 1DC feels nothing like you describe. Couldn't agree more. More RX1 and RX10 IMO. But it isn't about controls, or what people crassly call 'colour science'. I just almost never feel good about images when I capture them on a Sony. I know I can make them good in post, but they simply don't jump out. Ergonomics and menus and features and lenses and abilities are all top notch, better than most I would argue. Yep, including menus. But the results just don't feel good. Fuji's lack of grip pre-X-H1 is a real put off for me. Works ok on an extra wide X-Pro2 with small primes... For everything else they're kind of garbage. It's just a shame a lot of the actual controls went backward with the X-H1 over the X-T2. People do all the time. It is genuinely head and shoulders above basically everything in the hybrid market and people notice. They also say 'oh that crop' or 'oh that terrible codec' when talking about things like 5D IV, or 'oh that useless AF' or obviously the mount when talking about Nikon. Though I would take the 5D IV for much of the reasons you state. Almost too much to take in here. Clear to say though that photo isn't a high priority for you and that's fair (as well as being a really swell place to be in that you're spoilt for choice at absolutely minimal outlay - so yay!). Yep. I find it remarkable that the anti-Sony crowd (lets call them fanboys) have being saying for so long 'oh those mirrorless toys, nobody wants those' and claiming that Sony is full of it when it comes to these sales numbers because according to their own (completely nonsense) calculations that nobody ever buys these cameras ever and it's only because Nikon can't keep up with demand for the D850... blah, blah, blah... Let me ask them this: If that is true, that nobody wants these cameras - WHY IS YOUR FAVOURITE BRAND(S) COPYING THEM ALMOST TO THE LETTER? There is clearly no market for these things, yet they've just put ALL their eggs in to that basket? Unbelievable. Yes but the people making these claims have absolutely zero clue just how much Sony is in that market. Like how the people claim some kind of superiority that their brand is being used by the newspapers to capture still images for the World Cup or Olympics, while not reading those platforms and watching the game(s) delivered to them on Sony broadcast systems costing 100x what was spent on the photography. Mind boggling. Oh and then make little fanboy jokes about how there is Sony branding at the stadium. I actually don't think they were capable of it when that camera came out. Next round they have the tech, whether they implement it or treat us with disdain (again) remains to be seen. I don't think any brand can just sit idle at this time. The original had some really special mojo. I too would rate it as one of my favourite ever cameras (stills and video). It's a shame in many ways that they cow tailed and went with a more DSLR-mini design in latter models. The original body had a more modern and dare I say premium design to it that fit (I felt) better with the mirrorless ethos (plus the S was the last and most refined of the original design). They also designed much prettier lenses then too, plus they didn't make everything enormous. I may just have to own one for the third time. Indeed and well said. Though I would say filmmaking is art and science. And the perfect example of this is the Sony F35

It is quite a good video. But it seems the first point is glossed over with a pretty glib 'DSLRs will gradually die' approach. I simply dont think you can compare 'milcs taking over from DSLRs with DSLRs taking over from film.' Consider this. Take a D850 owner who likes its form factor and OVF, has US$15,000 of F mount lenses and doesnt shoot video (my guess, is that most of them dont). And let's heroically assume that Nikon comes out with a 45mp mirrorless that is as good as the A7riii in a 'more ergonomic' form factor. What possible reason would the D850 owner have to switch to Nikon mirrorless (or any other) when their existing lenses wont work nearly as well on the new camera or they have to sell their lenses and buy anew? I dont really see what mirrorless brings to a 'core' D850 owner now or in the future (well apart from silent shooting with a VF). And so Nikon mirrorless and DSLRs are likely to have to live somewhat uncomfortably side by side for a long, long time. That it is why I think Nikon's marketing of this product is going to be interesting - and perhaps rather different from what many people are expecting.

Isn't that the case with every camera ever made? I can't imagine anyone on this forum expects perfection from anything they buy, especially not if they read the forum posts here and elsewhere. I can't think of a single piece of gear I own that I don't have something I wish was better or different on.

Yeah, that's something I'm afraid they ain't gonna turn around by going mirrorless (but hoping they will). Just look at the mess that EOS-M is (to me). The meaning of mirrorless is more than pulling out the mirror and replacing the optical viewfinder with an electronic one. More so it's everything else that's cutting edge and innovation. EOS-M isn't even doing sensor stabilization... Olympus has been doing it for many many years now. Catch up already! They were reluctant to get 4K into consumer cameras. When they did... they put a huge crop on it. Stuff like that is just inexcusable. Will FF high-end mirrorless be any different? I mean... was the 5DmkIV any different? But time will have to tell. If they do embrace the mirrorless philosophy and don't play games but actually are serious about trying to disrupt the mirrorless scene... it could get interesting. I hated using the D5300 although I loved the results out of it. Their whole approach was too traditional and dated. Can they up it? Now there's even rumors Olympus might be going fullframe... one thing's for sure. This market is going to be on fire. Will be interesting to see things play out. Better fill up my pantry with popcorn...

Best way I can describe it are they are a logical favourite but not an emotional one. I don't really bond with it when using it.It's a utilitarian tool with top specs... it's not a friend, or a companion, in the way that some lesser cameras have been. Sony need to work on the X factor and look beyond the scientific.

Forget roto brush IMO. Mocha should be up to the task no problem. If mask tracking not sticking to subject well - or drifting away from subject over time, it sounds like you need to add an occlusion layer to tell the tracker exactly what not to try to track so it doesn't get confused. With a clean track it should just be a case of adding a few key frames to the masks to get a good result. Plenty of good tutorials on YouTube. Very hard to guess without seeing the shot in question though.

So you are removing people from the background of a static shot? Can you take a single frame, paint out the people in Photoshop (or photo editor of your choice) and then simply composite the edited part of the photoshopped image over the entire video?

the same exact lens can be purchased now for.... $835 ?: http://buyee.jp/item/yahoo/auction/o229975504 from the serial number difference it doesn't even seem that rare..

I could have bet the language (wording of sentences) creates a strange sense of deja vu. Almost like former ads for equipment from someone familiar. I wonder if he will ever be punished for his crimes. I am Sure one can file a Cyber Crime complaint in Eqypt from wherever one is, regardless of jurisdiction. That should be One less criminal in the world.

So basically a near ETTR exposure - horrible banding / colour clipping around the light clouds towards the top right of the frame. the 8bit 4.2.0 100mps internal codec is just not up to this kind of low contrast scene. You would probably get away with it shooting to an ext recorder in 4.2.2 with a less compressed codec but to capture a low contrast scene like this internally you need to pick a more contrasty profile to spread your tones across more of the image data range.

Re: Canon vs Nikon AF: I guess this must be subjective as I feel the Canon AF system is superior to Nikons. I find it far from complicated and embrace the options. Especially AF-C which you can engage at the punch of a button. And i suspect I'm not alone and this is part of the answer on why Canon dominates sports shooting. And let's not even talk about Dual Pixel AF for live view / video. Other things like the big thumbwheel is pretty genius for quickly scanning through hundreds of photos etc. It's simple ergonomic things that makes world difference to me on a shoot, and that companies like Canon/Fuji get and what i think trigger that emotional connection vs tool feeling with an electronic device.

I'm not sure what your argument is? Wasn't I agreeing with what you're saying? I'm a producer and have worked in the broadcast space. I was agreeing that most people don't have a clue the kind of gear and investment in that area. And it isn't just cameras, it's the whole workflow right through to broadcast. As you say, scary money. The people saying this stuff usually are weak at the idea of a $10k lens. Not the 1/4 million dollar tape deck.

yep, i use the same method as Kye. the occasional drawback is you can't generate a LUT from anything with an OpenFX plugin in it if you wanted to create a monitoring LUT for whatever reason. To get around that, you could generate a transformative LUT at to use in place of the DaVinci Color Space Transform plugin. https://cameramanben.github.io/LUTCalc/LUTCalc/index.html

I didn't say it sucks, I also don't think it is weightless and magical. I think it is partly a very utilitarian design and I think that it is based on a nearly 30 year old design in a market that is well known for not liking change. I would argue I much prefer a C200 over a Sony PDW-900, but ENG stalwarts still run around with big ol' ENG cams. I think it works well as a body hanging off a big long heavy lens with a monopod propped underneath where the weight isn't on the wrist and the body is there for control and swinging things around. I think when you have a stumpy and heavy lens, like my Sigma Art 85 or the 105 Art, then the extra heft of the body is actually not good at all. Even with modestly heavy lenses. At that point the smaller body is actually better IMHO. Canon's system is far from complicated. But their tracking is just not as well set up or works as well. Saying that, most people using them aren't using the famed tracking modes anyway. In typical AF-C Canon is still faster than Nikon (and very easy to use). True. Canon are flooding the bottom of the market with dozens of entry level DSLRs. But the funny thing is, in these discussion forums NOBODY cares about those. And in the product space we do care about, Sony just took the top spot in North America. Of course you are. You are stating that it is obvious that Sony are taking this spot because they are the only ones with a recent release. This couldn't be further from the truth and is a device many are using to downplay the significance of this announcement. It isn't a small sample size at all. It is half a financial year in one of the biggest markets on the planet. Sample sizes don't get much bigger. I love how Canon make these announcements every 6 months and everyone just nods along. Every time Sony say something similar everyone disagrees. Of course it does. Do you care how many 1500Ds Canon sold? How about D3400s Nikon dropped? In the higher end of the market (not the top end), Sony have just proven that they can not only exceed Nikon in #2, but Canon in #1. Yes Nikon claimed something similar earlier this year. Again that's significant in that Canon have held the #1 spot for so long, to see this tidal wave of change will force them to adjust. The numbers are literally there, in this release and you want to try and still make that claim? Are you serious? Sony outsold Canon over half a year with their A7 (and A9) products over the entire portfolio of FF products from Canon. That is a far cry from the claims the 6D II (on it's own) would outsell the entire Sony catalogue. I know for a fact that people have a VERY skewed perception of how much Canon actually sell of these things vs Sony (and others). Also if you look on ANY sales chart you can find, a number of individual Sony FF models will be outselling the 6D II. That's one model on it's own outselling the Canon on it's own. Same can be said about the 5D IV and 1DX II. None of these have ever been particularly hot sellers at any time.

Consider this: The person you describe is essentially not going to be buying ANYTHING. They are therefore no longer part of the market and manufacturers can't really make them something they need. So nobody is gunning for that non-existent market. However they MIGHT be able to snare a few of those from that group that want to downsize (reducing business, changing focus, retiring etc) or want a smaller companion option without the compromises. Nobody with a D850 and $15k worth of lenses is dragging that around to picnics. They are exactly the sort of market that might not be satisfied with just a smartphone. This becomes a 'dabble' system. New buyers building new systems from scratch are buying mirrorless. These manufacturers know that, that's why they are pursuing it. They can't live off their stalwarts forever. One of the BIGGEST things Sony are claiming (that again nobody seems to be picking up on nor understanding), is not that they are poaching Canon and Nikon sales, that they are actually building new sales from non-existing customers at a really significant rate. In a shrinking market that is a huge deal. Fanboys seem to want to get caught up in whatever else, to me that is the most signifiant thing. I don't think we will. The product will be announced, but I don't think details like how well adapted lenses work will be available for some time yet. Exactly. Nikon has been particularly hard hit by all this change. I don't think the 23rd is about launching a product (I don't think it will be hitting stores for months), it is a desperate attempt and plea to 'wait'. Well on sensor can have many more sites that collectively gather more light. My M50 mostly out focuses my 1DC, especially in low light. My (sold) A73 definitely out focussed the 1DC in low light. I think this is an incredibly outdated notion. Again strongly disagree. That's assuming that Sony has the market strength to reach number 1 just because they have the newest release. Most of the fanboys out there would disagree Sony was ever in such a position. It's never been the case in the past that 'just because' Sony have the newest one out they are also definitely in #1. I mean Nikon have never been #1 just because they had a newer model than Canon before. It's a silly notion being spread around to downplay the significance of this shift. There has ALWAYS been a duopoly and now that is being shattered. This is incredibly good times for us (the consumers) that I don't know why people are getting their backs up about it (elsewhere, not saying that's happening here). You know you don't have to use Log right I think it is one of the downfalls of the Sony's - They give you Log in everything, so we feel compelled to use it! They are capable of outputting a decent ready-to-use picture too. Personally have never cared who is number one. But I agree, it will be swings and roundabouts. It will be nice to have even more options. 645Z is a wonderful beast

Note 9 looked better than whatever Canon shit he was using to film the intro. Is it just me or has he gone back to Canon from the Panasonic GH5 and Sony stuff? I've noticed a huge drop in VLOG image quality since the 6D Mk II came out and he reviewed it.

There are three kinds of lies: Lies. Damned lies. And statistics. (I say this as a mathematics graduate myself!)

Noct primes coming..

Who is going to transform REC709 to REC2020 as a workflow? Most will be doing the opposite so with the correct transformation no data will be lost. Log is not a problem as long as it's captured using enough bits and enough chroma subsampling. The problem is when you shoot LOG in 8bits and 4.2.0 and then on top of that use high lossy compression codecs.

Thanks - looks even better than RCM!

Thanks... I used the main GHa workflow. The film lut used was for arri rec709, that flatten the image a bit. Looking to try out the next video to see the full color range of GHa conversion ?

Had and sold. The rolling shutter, 100/120fps and low light are probably the main 'advantages', but are mostly pretty slight. The A7R III IMO is a much nicer stills camera. If you can justify the difference, that's what I would get. Or wait. A73 has all the hype because of what you get for the money, where as the R3 is some 60% more expensive.

When I was looking for a back up for my A7riii, I tried an A7iii but ended up getting another A7riii (lightly used). I have definitely seen examples where the A7iii has better detail in FF 4K. Some say the af is better on the A7iii but if it is it is very marginal. Same can be said for low light. A7riii does offer some advantages... Better EVF Better and brighter Lcd No crop in 4K 30 Having said that, the premium is difficult to justify unless you want higher mp stills.

Sort of the best guess rumors I have heard. https://www.digitalcameraworld.com/features/sony-a7s-iii-leaks-release-date-news-rumors Talk of a Organic sensor on some camera also. Who knows, it could be in the A7s mk III? Although Foveon and high ISO's don't Seem to go together LoL. ? https://www.sonyalpharumors.com/glimpse-future-sony-working-organic-sensor-foveon-alike-tech/

Sony has pretty much taken the lead on Video since day one. I don't see that changing anytime soon either. Broadcast TV is just about dominated by Sony. And that is crazy big money Networks pay out. Scary money.

Yikes! I bought one a couple weeks ago from Focus, just a spur of the moment decision. Its all speculation about the a7s3 - Z battery, dual cards (the obvious mk3 improvements) and so on, there's literally no actual info in terms of sensor, frame rates and so on. Its even a mystery as to when it'll be announced. The rumor sites have nothing. Sony has done a good job keeping a lid on it so far. I'd wait if you want to shoot FF 4k, the a7r3 is better compared to the a7r2, but the a73 is a step above since its 6k to 4k. AF is better on the a73 compared to the r3 IMO - it sticks to your subject across the entire frame. Its also better in low light, less hunting and more accurate - those fatter pixels certainly help. Since you're shooting s35 with the FS5, that's the best video mode on the a7r3 and 42mp stills are a nice bump in resolution over 24mp. I feel your pain, if you need it now, the a7r3 is still a great option. Chris

If you ever hold the top end Canon, Nikon bodies, like the1DX, the D5 you Would like them, heck love them. They fit in your hand like a glove, and don't seem to weigh anything like they look like they would, and are balanced it seems no matter the lens on them. They are magic. I regretted selling every one I ever owned LoL. You just can't wait to get out and shoot with one.

Interesting they use NPD Group info for all the "we're #1 in the last 6 months" but for the claim of #1 in mirrorless over the last 6 years is " Source: Sony internal historical data sources." Form reading that goofy press release, sounds like the "source" is Sony Alpha Rumors. This announcement reeks of desperation, the a7III and the largely ignored Pentax K1.2 are the only FF bodies released in the last 6 months. They have a new camera, they should be #1. Its no coincidence Nikon's Z6/Z7 announcement is a week away. Perhaps we'll get a follow up announcing they've maintained a dominant position with most FF cameras shipped between now and when the Nikon starts shipping or something equally silly like most FF mirrorless lenses sold in the last 4 years. Chris p.s. I'm keeping an eye on used gear boards after the Nikon is announced, I'm betting there will be some good deals from Nikon shooters that are shooting Sony as a 2nd system or just dipping a toe in mirrorless. Hot new camera means good deals!

Get the new Nikon Z6

I would say AF is the same or very similar indeed between the two. A difference to consider far more than AF is price and resolution. How much extra would you pay for the R? Do you need 42MP? Are you ok with occasional moire in full frame 4K? If you ask me it's a bad time to buy either. There is the A7S III due next month.

Thanks for the tip! Last night I tested Full-HD All-I using the SLR Magic 1.33x anamorphic + 20mm and got some nice results. Desqueezing in Premiere nets 2560x1080 files (2.37:1). I'll try to post samples soon.

Because I missed it, and my Nikon glass. Bought it mainly for photography, not video. Also I greatly missed the controls.

Yup, there aren’t many fast options in that focal range for larger sensor cameras. So you may want to look into native lenses for the GH5. The Olympus 17mm 1.8 is a jewel of a lens and with the focus clutch, you can have your hard stops. And the Olympus 12-40mm, although not as fast as your Sigma, is a great little all purpose lens as well. And obviously there are the Voigtlanders that are unmatched in my opinion. And then of course there are the Rokinon/Samyang Cine Lenses made for m4/3... the 12 and 21mm, I particularly liked and they’re nice and compact. I don’t use a follow focus, but I assume you can set them up to have hard stops? But don’t quote me on that.

The lens isn't worth $40,000 I can tell you that much.

I think we need to stop looking at numbers so much and start focusing on results. The effectiveness of codecs and bit depth totally depend on the sensor and processing. My old Sony FS100 shot 1080P at 24mb/sec 8 bit and looked fantastic! The GH5 on the other hand, looks terrible at 24mb/sec 8 bit. The Sony Alpha cameras can look great at 100mb/sec 8 bit with S-log 2 and such, but the GH4/GH5 V-log 8 bit does not. The GH5 was really built to shoot V-log at 10 bit, end of story. It also does Cinelike D and Natural profiles great in 8 bit if you want, just depends on the look you are going for. Try the internal codecs, if you aren't getting the results you want, try a recorder. Rent a camera and do some tests. Know the look you are going for, and find a camera, lens, and color profile, that can effectively capture that look. Here are some screenshots from a short film I just directed. GH5s, Leica R primes, and the lowly internal 10 bit codec of course...?

That is exactly what I showed in the video! Except the tricky nature of selfie filming on the fly means I didn't quite show it exactly as I should have. That first cart I showed is suitable for a high end pro. The second one is still ok, just would help if the cart and the boxes both matched (perhaps if both get spay painted black, rather than being two different colors). Certainly having any sort of dedicated sound cart which is well equipment then will set you apart from low budget bag guys. I'd dispute that you'd think this makes me look "non-pro", likely you just don't have the recent experience on film sets of this scale with sound departments. But this is not about "appearances" anyway (but would be a bonus?), rather that a well equipped cart will actually allow me to do my job better together with a boom op. The same reason you see big 32" director's monitors set up. Or DIT carts. Or AC follow carts. Or any of the many other departments' dedicated infrastructure they bring with them. It helps them do their jobs better.

I felt the same way until I started shooting with the a7r2 a few years ago. Now for landscape/cityscape shots, I don't want to go back to 24mp. The extra resolution comes in handy with wildlife shots too since there's always some cropping going on - at least for me. Oddly enough, full res uncompressed raws from the a7r2 are faster to process in Lightroom than any raw option with Fuji's 24mp files. chris

My recent trip to Guilin China, shot on gh5s and color graded using the latest Verde version with overlay of ImpulZ film lut ? loving the colors.

Isn't that like a viscous cycle? You eat nachos as big as your ass. Your ass gets bigger. you get bigger nachos, which in turn makes your ass bigger...

Said Nokia

Dave Etchells has a background in chip science and finally had the very rare opportunity to visit Nikon's sensor design labs. It's long been the perception in the photographic and filmmaking community that Nikon leans heavily on Sony for off-the-shelf sensors and is handed down parts. It's led to opinions like "why would Sony give their best sensor to rival Nikon?" being quite common on camera sites and forums. The answer, in actual fact, is that Nikon can beat Sony at their own game, with the 46MP full frame sensor in the D850 proof of the pudding. It does better 4K video quality than the A7R III at a higher megapixel count and edges it for stills quality too. Now let's hear about some of the science behind it. Read the full article

GH5, SB XL, zeiss 58mm, iscomorphot 16 x2, CoreDNA

-Very- well done. Nice build-up and framing. And you really make me lust for that Isco 36...such a small package, certainly with a pancake like that Nikon...are you around on the Anamorphic Shooters FB group as well? Good place to show off ?