Andrew Reid

If you need help there are a few things you can do help me help you... What camera model? Maybe send me an email instead of a forum post? Eh? The image when you record a video is the final image. Why would you prefer the live view image with its crushed blacks and aliasing?

I've been considering the Panasonic FZ2500, and have also tried out the long awaited EOS M5 that nobody was particularly waiting for. Read the full article

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Just shoot both in LOG mode and apply the same LUT to both, then tweak any differences. But here's an even better suggestion... if you want cameras to match, buy two of the same cameras. The main problem here is it it seems like you have been convinced by online marketing and advertorial that you need all this extra shit. On the GH4 you don't need a v-mount battery for interviews... Unless you consider changing the GH4's battery every 7 hours to be an unsurmountable problem. You also don't need a cage or to attach anything to the GH4 at all, like a shotgun mic. For interviews you should click a wireless lav mic onto the subject. Not use a mic on the camera. XLR is also overkill for an interview. 3.5mm jack just fine. Problem solved. You also don't need a monitor... the screen on the GH4 is just fine for interviews. Works as well as the screen which comes with the FS5, does it not? It's even a similar size! Guess that solves the cables part as well. Speed Booster - I fail to see the hassle aspect of that. Attach lens. Film! ND filters - for an interview? Were you filming it on the surface of the sun? With such a small amount of movement if it is a locked down shot you wouldn't even notice if it was shot at 1/2000 anyway. Keep it simple. Keep it simple and try again. Relax. Don't buy a C300.

I know. Terrible...

12-60 kit zoom is not a $495 lens and if it is then it is overpriced. Speed Booster with Canon glass or super fast Panasonic primes are the way to go!

Still using it. Not an ultra-wide monitor but one of the best cinema 4K displays (4096 x 2160).

There are a few usage issues I'm spotting on this thread The pronounced lips - You've got crazy magenta reds, from using the wrong settings. This comes from a Sony bug with S-Gamut that was fixed on the newer cameras. Are you using the original A7S Stefan? If so try switching to the A6500 settings in the updated guide and see if that gives you proper reds and not purple lipstick. Also make sure your white balance isn't too cool. That seems to be what triggers the magenta S-Gamut bug on the A7S. You're welcome to email me directly from now on if you have a problem and I'll be happy to help. By posting these broken images in public it only makes the whole thing look broken and it may put people off. I don't want that to happen as I know the results are absolutely fantastic looking when used correctly. It is up to the user to grade EOSHD LOG correctly. I've taken it out of the updated guide because it conflicts with the main purpose and aim of EOSHD Pro Color which is to fix colour! With LOG it is too easy to break colour again in post. Also it is confusing and people think it should be used as some form of alternative straight out of camera colour profile or look... NOPE No they're not. "After some corrections". It's LOG. Of course you have to grade it! Don. It is almost as if some of you are going out of your way to pick out problems that don't even exist! You seem to know about scopes so surely you do realise the whole purpose of a LOG profile is it is supposed to be graded and colour corrected, so running scopes on the ungraded raw LOG footage makes no sense and tells you nothing about colour / skintones at all. It just isn't meant to be viewed that way as a final result. It is not the out of camera look. The "EOSHD CINEMA" profile is the out of camera look. The "EOSHD LOG" is a colour patch for S-LOG 2. I will do something else with a Sony LOG profile soon and it is exciting. It is not coming back to the EOSHD Pro Color guide. Wait and see...

Cinema5D seem to be engaged in a huge charm offensive towards every manufacturer at the moment, flying out personally to Japan to lick arses and generally cozy up. It makes me want to wrench. If ever there was a self serving portion of the DSLR video community this is what it looks like. The review is just a means to an end, to get views, get advertisers and get cozy. Johnnie didn't even know about the manual focus clutch ring design of the Olympus lenses until he tried to engage AF on the shoot and nothing happened... they've been around for years. Several of my Olympus Micro Four Thirds lenses have this basic feature. We are not looking at enthusiasts or artists here. Instead we are witnessing the career manoeuvrings of the video-as-a-business trio who fired Jared Abrams from his own blog, and whom closed one of the biggest DSLR video forums after DVXUser, because it became an 'inconvenience' (not before they sold it to Planet5D, mind, before forcefully taking it back and closing it)

The IBIS is only best in class with 2 lenses. Specifically, Sync IS on the very expensive Olympus PRO zooms. And they are F4. F4 looks terrible on a Micro Four Thirds sensor. Flat and clinical. Whereas the GX85 and G85 performs dual IS with the Leica Nocticron 42.5mm F1.2 and 6 other lenses. I know which I'd rather have. As for rolling shutter, it's about 14ms on the G85 in 4K and certainly the E-M1 II is an improvement but it won't usually be noticeable on 95% of shots. The G85 is cleaner at ISO 1600 than the GH4 is at 800. It does very acceptable 3200 and colour saturation doesn't die. Nice and contrasty. ISO 6400 is the limit. Not bad. The E-M1 II is similar, no improvement for your $2000. It's hardly going to be Rode Videomic X standard but I did notice on the E-M1 II when I tried it, that the stereo mic built in was above average. Exactly! $2000 for the E-M1 II just for the stabilisation is not worth it.

No, 6K is ONLY a measure of horizontal resolution not the total MP count. A 5208 x 3916 sensor cannot be 6K. It is 5.2K. It's a common misconception it seems. Not surprising as the cinema terminology is usually bollocks Please NOOOOOOO don't let this be true.

Doesn't this hurt the image at 2500k and 8000k? For example under candle light for the former. And cloud cover for the latter. It would be good to show some examples of what you're doing, and for us to see if it works or not or whether it is too big a compromise to image quality and colour. Maybe with 10bit ProRes you can get away with a bit more adjustment in post but a full 4000k difference in white balance is nuts... you're not shooting RAW

GH5 doesn't need to be cheaper than Olympus though does it?! Because it will almost sure-fire be better in every way for video.

If the E-M1 II was going to offer something new aside to bringing 4K to an Olympus camera for the first time it has to do the following - - Dual Pixel AF standard performance in video mode (Nope) - Better than Panasonic G85 for low light, dynamic range and stabilisation (Nope) - LOG (Nope... it has a faux-flat profile that isn't even very flat) - Better slow-mo than GH4 (nope... none in fact) And Sync IS only works with just TWO Olympus lenses!! Not Panasonic ones. Dual IS on the G85 works with almost all of Panasonic's OIS lenses and they have far more than just TWO!! The Panasonic GH5 will STOMP all over this camera in a few short months and everyone that buys it for video will have major buyer's remorse. It's by no means not a great camera but for $2000 it has to be different. It isn't.

Keeping them but I will be selling the A6300 as I now have the A6500.

The E-M1 II sensor isn't 6000px wide.

It's not designed to work and when I tried it on the other Panasonic cameras it gave a lopsided image which was soft on one side and sharp on the other. So even the glass doesn't press on the shutter or risk damaging the camera, it's hardly worth trying any way. Better to use the XL!

Amazing visuals. Great soundtrack and V/O. Great edit. Lovely lighting. That was some visit... Well done!!

Not blown away by anything out of the camera so far and since my own hands on with it I've been shooting with the Panasonic G85 and realised it is by far the better deal. The stabilisation doesn't seem much better on the E-M1 II compared to that camera for video. The price - is it worth double just to shave 0.2x off the crop factor in 4K? The ergonomics - I feel the Panasonic menus and controls are less convoluted somehow. E-M1 II doesn't seem to have an advantage for ISO 3200, 6400... unchanged since old E-M1 Don't remember being blown away by the EVF compared to the G85 at half the price either. Main difference is the higher bitrate codec and less rolling shutter.... but neither are a particular problem on the G85 either. Both are very good cameras for video but right now I am leaning towards saving $1000. Not least because the GH5 is around the corner which gives the E-M1 II a useful shelf life of about 2-3 months for your $2000.

Next example video is that... Coming soon!

That came out well. Every colour nailed perfectly!! Also, your 'German' christmas markets are much better than the real ones in Berlin

I'm not familiar with the Sony store apps. They all look a bit crap to be honest. Does "Live View Grading" even apply to video recordings or just stills?

OK I'll pass your note onto Sony's engineering team

1. With Pro Color you don't expose like S-LOG. Since the screen gives you a perfectly good impression of the final EOSHD Pro Colour image in terms of exposure, contrast and saturation you can use that as the guide. You can also under expose slightly to protect the highlights, but not too far! Go from the screen and your eye. 2. EOSHD Pro Color works great in 1080p. You can answer your own question on this one... Agreed 1080p is very nice on the RX100 IV / V so use it if you prefer. This was more a guideline than anything else, not a hard rule. I usually pick 4K for the ultimate image quality, but 1080p has it's advantages too. 3. Not sure I understand what you are asking there... Shutter speed is set as normal in M mode. Use 1/50 for the best motion cadence in 24p and 25p. Don't be afraid to use higher shutter speeds in bright light especially for locked down shots with little movement, or slowly moving people, as in this situation the difference in motion cadence is less noticeable... unless you're prepared to get out the NDs (sometimes a hassle), exposing on shutter speed is the next best option, certainly beats shooting at F16 - yuk.

UPDATE 3 is in the works Addresses the following - 1. Users of the old A7S (original model mark 1) may wish to try the v2.0 settings for the A6300/A6500 if they are getting a shift in the reds to purple and a shift in greens to blue. That is a bug with S-Gamut on that camera. The A7S II and newer cameras don't have the same problem with S-Gamut and S-Gamut 3.Cine. 2. Some shooters say they prefer the old A6300/6500 settings so I will offer both choices in the next update. 3. The tweaked S-LOG2 profile was left out of the v2.0 settings update guide because it didn't change.... but this led to some confusion so it will be back in the next update. Again no need to contact me directly for the update (unless you don't get the newsletter in a few days). You can also just dial the K manually depending on the shot. 2500-3200 if you want true white surfaces and cooler scenes under otherwise warm interior lights 3400-3600 if you want to keep the ambience of warm indoor lights 5600 in the sun 7000-8000 in the shade or at dusk / early evening Then back to 3200 or 3400 for most exterior night time shoots under artificial lights, street lights, etc. Alternatively, it takes a bit of effort but you can set the custom presets to 1. 2800 or 3400 (how warm do you want your ambience indoors?) 2. 5600 (regularly used outdoors in day light) 3. 7000 (regularly used outdoors when cloudy or in twilight conditions and shaded areas) Then tweak as desired in post... although with EOSHD Pro Color you certainly don't have to tweak anything in post.