Andrew Reid

Requirements - has to be cheaper. Gimbal must be separate to camera. Should support small camera like RX100 IV or Sony QX1 smart camera with 16mm pancake. Show us what you got!

Is 4K raw on the X5 a 2.3x crop like the GH4's sensor?

My belief is the raw module works with OSMO. The OSMO is just a controller stick. All the image processing and storage to memory is on the camera gimbal. All the OSMO does is connect to the base of that. In fact you can see where it connects to the base of the X5R in the pic above. My enthusiasm for the OSMO got slightly curbed upon seeing the sample footage on YouTube this evening, couldn't they have got some decent filmmakers to shoot something less tacky? The X3 small chip look doesn't look nice. Any close up on a person and they are softer than the background. No AF system. Wasn't needed in the air, now it is. It may be a wide lens and a tiny chip but you still notice that it is fixed on infinity. It is a weird look for close-ups. People are definably just slightly out of focus. The colour and dynamic range doesn't look nice either. Unless one lands on my lap to review I think I will pass on it until the X5R drops in price. This thing really does benefit from the larger sensor and interchangeable lenses. The sample footage of the OSMO with the X5 is WAY better.

A bit of bounce vs no shot at all. I know what I'd rather take. Here we go again You're right of course. But they're empty words without your own ideas of how you're going to do that... let's share the knowledge...

What about in 10bit? That should solve your complaint with solid colour and gradients.

Imagine if after all this time with shallow depth of field and static tripod we just wanted to get stuff in focus and move the camera... Read the full article

Or maybe they haven't a clue!

What separates the colour science of photography companies like Canon, Nikon and Fuji from the approach taken by electronic engineering firms Sony, Samsung and Panasonic? EOSHD has a theory. Read the full post

How was it graded and what pic profile was used though?

By the way, check out this review... extremely detailed http://www.lauschsicht.com/canon-eos-c300-mark-ii-review/

Let's look at the good old 5D product cycle to predict when it will arrive... August 2005 - 5D announced September 2008 - 5D Mark II announced (holy shit that was a good camera for 2008) March 2012 - 5D Mark III announced (boring for 2012!) So 3 years the gap usually It is overdue 3 years was March 2015! I think November would be a good time for it to hit before Christmas 2015. Otherwise it could be any time in 2016, preferably before NAB if Canon wants to get back into the DSLR video market at all.

Just installed V-LOG L. Will give it a spin! Looks a lot noisier on the screen than S-LOG 2 on the A7S II even at ISO 400. What ISO do you guys recommend for it?

Ah you have both cameras! Try the same sharpness on the picture profiles. Raise detail from -7 to 0 on the A7S II S-LOG profile and maybe try a prime, I doubt the mega zoom is that sharp even stopped down. Looks closely matched in the grade. Did you shoot Canon LOG 2 and S-LOG 2?

S-LOG 2 is the gamma curve. S-Gamut is the colours. I find S-Gamut 3.Cine better for colour but it's still tricky to grade!

Best review of the C300 II I have read so far, very too the point and based on a lot of real world shooting by Joe Simon http://www.newsshooter.com/2015/11/05/is-the-canon-c300-mkii-worth-it-joe-simon-tries-it-out-and-tells-it-straight/ Interesting to hear Canon LOG 2 is flatter and more like S-LOG now. LOG profiles should be named after the bit depth they are designed to be used... it should be S-LOG 8bit and S-LOG 10bit. It depends though... 120fps on 2.7x crop sensor or 120fps on 2.2x crop sensor with Speed Booster to make it 1.6x with interchangeable lenses? I'd say the 120fps of the A7S II has a high chance of "shitting on" the RX10 II and RX100 IV if shot right The 240fps on the RX cameras is nice but you can slow the 120fps 50% with Twixtor to mimic it pretty well.

30p... right. This is a 25p-only issue. Try 25p 4K full frame and see. Thankfully S-LOG 2 is nice. I don't know what Sony were thinking putting S-LOG 3 in the A7S II and FS5 with their 8bit codecs... when would it be useful? Never!

The kind of noise and colour is perfectly normal, for any camera, if not exposed right.

Cooke!! But the Sigma 18-35mm F1.8 is my current favourite S35 lens for realistic prices

Yeah S-LOG 3 has a ton of noise in the shadows. Like I said 12,800 exposed +2 will look cleaner than ISO 3200 exposed -2, because noise over brightly exposed objects is barely visible. In the darkest greyest shadows that is when you see it and if like in your video at the lower ISOs your entire shot is dark then that is why you see so much noise! S-LOG needs over exposing, then pulling down in post. If you leave it as it came off the card (did you?) or try to boost the exposure, you will get a ton of noise. It isn't like a standard picture profile.

24p or 25p Cliff? 100Mbit/s. It's an 8bit S-LOG 3 issue not a bitrate issue. Switch to S-LOG 2 and the banding is much reduced.

+1 for EditReady! It's Mac only though.

1. Have you checked the eye sensor for the EVF is turned off in the menus? 2. It is under exposure causing the noise you're seeing. Are you in S-LOG mode? You should not under expose the shot and with S-LOG actually over expose it 2 stops to the right on the LCD exposure meter. At all ISOs cameras have noise in the very deepest black shadows. If you underexpose ISO 3200 and look at the blacks, of course you will see more noise in them than 12,800 at the same exposure, because 12,800 will be brighter and you will be looking mainly at mid-tones.

But you don't say why! Why don't you like it? I still haven't got round to trying it yet. 1D C / A7R II / A7S II are keeping me busy. Still a great camera though.

S-LOG 3 is banding hell on the A7S II. Fine for high contrast scenes but as soon as you have a plain sky or wall in a large part of the frame, forget about it. I have turned it off and am back on S-LOG 2. The FS7 and F55 are 10bit for S-LOG 3. The F5 is not 10bit in 4K but it is in 1080p. Sounds like you are in the US shooting 24p. Like I said earlier in the thread, in my experience the problem happens with 25p PAL not 24p NTSC. I am in Europe so need 25p. So are you saying the heat issues don't exist at all? They do. But it only happens with long continuous 4K recordings one after the other. Source - http://eriknaso.com/2015/11/01/does-the-sony-a7s-ii-overheat-i-put-the-camera-to-the-test/ Good idea. The 502 is nice. I am talking about the camera bare bones though using the built in features. Your 35mm prime replaces your 24-105 zoom? Fair enough!!

I have noticed it's almost all European shooters who are reporting the sunspot bug. Sure enough I switch to NTSC 24p and problem is gone. Looks like to only be a 25p bug. So as a temporary workaround until Sony respond just set the camera to NTSC.