toxotis70

here, we are talking mostly for footage from DSLR , which are in h.264 format.

Avid cant handle those files , its very slow. You have to convert them in avid format.

Prores is VERY easy in FCPX and Premiere...

6 hours ago, Zak Forsman said:

This is one advantage that I feel Avid has. Proxy mode is just a selection in a drop down menu. No extra media created, works instantly. When you're ready to export, just turn off proxy mode and export.

yes, i use avid in my work too... but you have to import thew footage in Avid format... and that takes time, a lot of time! Its the same thing... you cant use with native footage.

And AMA is very slow...

its very time consuming... thats why i use FCPX !

does it work in a6000 ?

cant you change exposure while shooting video ? (ISO - Speed - Aperture) 

where can we find it for 500$ ?

RX100 V  is definitely  better... way better!

its not like canon's , not so smooth.

does it have the same restrictions as other SLT's ?

I had some of them and for example you cant have CAF in video mode with f stop bigger than f/3.5 !!!

... blacks are crashed again, like xpro 2, i wish Fuji fix this .

Is there anything else for 360 videos under 200$ ?

Gopros can't shoot 360 videos....

in low light A7rii is (almost) 2 1/2 stop worse than  A7s.... look at this demo i made in ISO 25600

nice story telling, but too much rolling shutter.

And the shutter speed is wrong, no motion blur at all.

there will be a 25/50p option for PAL users ?

we do it for years now!

Just import them in background and then drag those files from transcoded media folder.

I use only FCPX , so there is no need for this.... its way better than Premiere, no banding , no anything!

i have both A6000 and A7s.

I only have emount APSC lenses, but for Video is more than enough!

50mm 1.8 OSS is nice  in A7s , sharp as can be, 75mm eq. , perfect for portraits and very low light.

I have also Sony 18-105mm f/4 OSS, with incredible stabilization, very sharp, constant aperture, and very useful range (27-160mm eq).

Very fast focus too.

I have sony sel 10-18mm f/4 OSS, sharp too, and very wide for indoors use (15-27mm eq).

You don't loose any sharpness (on the contrary you have more sharp image) , you only loose 1 stop of light, but its not that important in A7s.

You also gain less rolling shutter in crop mode.

If you want another fast , more wide prime, there is 35mm OSS , very good lens, 50mm eq in A7s and with OS !

Here is an example of a7s and sony sel 50mm 1.8 OS

Film Convert has special settings for A7s, you don't need F55's ...

There is also Catalyst Browse form sony, you can try it,  it works well and have some unique features (transcoding to Prores , WB correction, etc).

You can also make your own LUT with this program and export as .cube file.

It will work with any program, such resolve, speed grade, Premiere,  FCPX and LUT utility etc

http://www.sonycreativesoftware.com/catalystbrowse

Not yet, but film convert did...http://filmconvert.com

Here are the compatible cameras .... http://filmconvert.com/Help/Default.aspx?help_id=29

They made specific LUTs for A7s, i use them in FCPX  and Resolve

if you want to match different clips  , from different cameras too , is easier to do with Sgamut.

The sgamut color space is twisted and when you are trying to match other cameras , is very useful to have wider color spaces (colors doesn't clip ) than rec 709.

If you have only one camera , the benefits are not so obvious... and you can try 709 Matrix

Sgamut is also usefull when you want to output in another media (print , cinema, etc) 

Heavy color correction is very demanding too, so its better to have wider color space to do so.

In Davinci , you have to use a LUT  in the END of nodes , or as an output LUT.

NEVER before, because you loose the 32 bit floating capabilities.

you missed the  point... sgmut is sgamut.

Its very wider than rec709 and twisted.

Its doesnt matter how much  but  the theory its the same (the diagram is for reference)

You have to use a proper technical LUT to see the right colors....and DR .

Ask a pro colorist to tell you about slog -sgamuts and technical LUTs.

sgamut is not only a much wider color space than anything else, is also a twisted one.

That means you HAVE to use a proper technical  LUT to bring colors in a REC709 space (SLOG2 -> REC709)

You have to put this node in Davinci in the end , so you can correct in 32 bit space before the conversion.

The green  or yellow tint you see , is only because you see the image in a wrong color space for your monitor (which is only REC 709 compatible) 

I dont have any yellow /green tint in my videos.

i always shoot slog2-sgamut and then color grading with right lut in resolve.... Maybe you can try that too.

blue color clipping is because of wrong white balance, if you put 5000 kelvin or more, there is no blue clipping

Ok , thanks

do you have any suggestion for how to bring colors to rec709 when you shoot slog and sgamut in a7s? (Lut or something else?)

What program did you used for grading ?

did you use any lut for a7s?

when you shoot with slog2 - sgamut, you have to over exposure by 2 stops and use a lut to bring the colors to the right color space - rec709