hmcindie

Wouldn't it be easier and almost cheaper to just get an A7sII? Or even the A7s I which I consider to be much better than the a6300.

5dmkIII RAW is a goddamn miracle. It'll keep on outweighing a lot of cameras way past it's expiry date (thanks to magic lantern).

Either it's great and you love it or it's crap and you hate it. There's no average in your world? Your the one who keeps making those IMDB 1/10 or 10/10 reviews?

8-bit is ludicrously panned even though good 8-bits is really good. Proof? A lot of Canon RAW videos were actually processed into 8-bits. When people use AE to import Canon RAW, it will default to 8-bits. The option to change it has always been there in the importer (it's not enough to set AE into 16 bits) but very well hidden so LOTS of people (I'd say 100%) who used AE to process Canon RAW were actually importing them to 8-bit files and after that they did the grading. Myself included. Just stumbled into the importer options late last year and I was moderately shocked to find the 16-bit switch inside Canon importer that was defaulted to 8-bits. And even then it looked great. That's because no compression.

Yeah like the GH4 that has an advanced 200mbit/s all-i codec at HD (oh wait...)

I use it as a c-cam. So I give it to someone and say "just point and shoot, try to get something creative out of it before it overheats" while I shoot with something else. Pretty much as I used the nex-7. I wouldn't shoot anything proper with it, except b-roll and fooling around. You can make great stuff with if you work around the weaknesses but some of those weaknesses are something I would not tolerate on a real shoot. For this price I'd actually get a canon 80d but I guess that's the unpopular opinion. Image quality can be awesome in 4k but the usability is ... it's just ... blah. Probably a pretty good drone cam though, use it in HD to get rid of some of the rollling shutter.

Those are already done. I edited a shitty commercial for local store that was shot in anamorphic. Ok, wasn't an Alexa but a Red but the rental prices aren't that much different.

FS7 is a great camera. Shot with the FS7 for a new music video and finally got some good looking material out of it (mostly due to getting used to the cine-ei mode and grading the slog). Problem is... it doesn't do stills. We had a very difficult tracking dollyshot and I would've loved to test the 1DxII there. It seems like people compare the Canon models to every single other camera at the same time. The 1Dx is competing against other fullframe still cameras, not really against the FS7 (though it does excel the FS7 too in a couple of things, autofocus and out-of-the-box look). All of your complaints about 1dxmk2 "not being comparable" to the FS7 apply TO EVERY SINGLE DSLR/MIRRORLESS out there. At the moment the 1Dx2 completely annihilates the Sony mirrorless competition in everything but price but you probably won't see Andrew saying that even though it's true.

Aaahahaha! Because I ain't drinking the Sony coolaid? This is coming from the guy who blamed the promo on a 20k edit budget. Learn to edit bro. Also you've seemed to use a lot of CINE4 on your A7 videos. What happened to the all powerful slog?? Are you a bad workman because you can't work the slog?

Since internet forums were invented. Did you know that anyone watching 4k material on a 4k monitor is already watching it at 100%? Macroblocks and compression artifacts also get magnified during grading, depending on scale of the issues.

After using the RX10ii and it's horrible LOG mode, I'd say "who cares?". I mean, the RX10 ii has horrible colors and even slog2 clips and the shadow noise is horrid. Even when I owned the A7s, I had better results with CINE4 than the slog profiles. And I'm not alone. FS7 has a good implementation of SLOG but cheaper variants have all kinds of issues. A7s had better highlights (didnt clip nearly as soon) than the RX10ii so the implementations are different between Sony cams too. Peaking on the RX10 ii / a7s is very hit & miss, mostly miss.

It has a couple of great advantages. +It's all-i (no motion artifacts) +Computationally easier on the CPU (though it will take a toll on harddrive speed, especially if doing 4k60p) +Well supported. Another all-i codec would've been much more difficult to obtain and manufacture (how many DSLR's shoot ALL-i? The 1Dc but that's it). And I would definitely take this MJPEG codec than the 4k h264 codecs Sony uses. I have used four Sony cams with 4k h264 (A7sII, A7rII, RX10ii and the a6300) and they all have more compression artifacts than the MJPEG on the 1Dc.

5D Raw will look excellent. You need to do the sharpening yourself as RAW codecs don't do it for you. Or just keep it slightly soft, looks great anyway. Couple of things here. Alexa and 35mm are usually already sharpened, especially if you use the prores variation of the Alexa. You need to do the sharpening yourself on the 5d material. With a 2k DI there is a limit to the maximum amount of detail and the 5d raw is already quite near that limit. Everything else is how you do the postwork. Also adding grain (which is already there with the 35mm stuff) will also increase "apparent" sharpness.

Funny how it still looks that much better than the 4k codec variations Sony uses on it's cams. The 4k h264 out of the A7sII series is considerably worse (just zoom in 100% into any slightly moving shot and you can see those macroblocks pushing themselves out). Even mpeg1 can still look great as it actually supports over 4k and 8-12 bits.

20k budget to pay for edit/post? What the hell are you talking about? What in that video screamed a 20k post budget? It probably cost somewhere around 3 grands and that mostly just went to the editor who also did the grade. I had the nex5n. It's image quality is on the same level as a canon 7d. Which was funny because people screamed at the time how much more "advanced" the 5n was. It wasn't.

Filmic for members of this board = shadows up, highlights down. Whala. Instafilm. Also add some grain.

That's not quite true though. During the '90s and early 2000's we were enamored with 24p. Every camera had to have 24p, otherwise it wasn't cinematic. Remember that we've been actually shooting 50/60p (although interlaced, the actual fps was 50/60) for a very, very long time. Every one who wanted to do cinema was always into the 24fps look. That's why the DVX100 was so popular. If you did a regular over the shoulder shot with two people talking, one at 24fps vs 60, the 24fps seems to be better. Try it.

It's funny reading these old posts. The 5d mark III still does great looking shots while the GH4 has been relegated long ago to the dust bin.

Didn't they also add a "rolling shutter reduction" mode?

Just absolutely disgusting I find it weird that a TV has to do a new pass of NR, combine frames together and make all the colors more "vivid". Like what are we all doing in the grading room anyway? Can't they just show the image 'as is'?

Is Taken 2 high end? I remember seeing some horribly NR'd shots somewhere there. The last fight seemed to have shots that were shot with a potato. Also they can use NR in the Bluray authoring phase. Some classic film grains have been taken away with a ridiculous amount of NR. Sometimes I think that the original cinematographer/director combinations would not have approved those.

Wouldn't it be way easier to just rig an xbox kinect into a regular cinema cam to get the depth information? You couldn't refocus with that but depth maps you could do.

It's more about the tool actually. Some color correcting tools are not-so-good for white balance issues (Premiere) and some are nice (Colorista) and some are high-end and great.

I'm gonna go on a limb and say that the 5d shooting RAW has the same RS as the C100 once you adjust the timers (You can get it to 16.9ms). Only if you shoot cinestyle. But if people stick to neutral then there's usually no problems with banding.

The internet cares. Why do you think there are presets being sold for everything? Lightroom presets, plugins for color grading. People want the quick fix. "Shoot with this cam, it will make everything beautiful - No it won't!" and there we get the arguments.