hmcindie

You where talking about processors, where are those facts? Roumered specs won't do, I want the facts you have.
A7rii... No thanks, had both the a7sii and a6300. Had to return one and sell the other. Their codecs aren't up to standards in 2016. And that's just one of the many problems they have imo.

I jumped in the pool and the water is great!  I have a BM 4K, but like the files coming out of this C500 better. It is hard to beat Canon color science. In my opinion color science is the essence of the image. When they packaged the C500 with the 7Q+ for what seemed an incredible price of $11,000 - $12,000, then Convergent Design ran a Summer special on the Raw Codecs....  I could not resist and pulled the trigger.
I have not played with it much yet, just shooting test shots side by side with my BM 4K, both in raw and Prores. They are both very sharp cameras, but the C500 brings much more to the table like better color, higher speed, in camera NDs, works with all my Canon glass, EVF for bright sun. no sun spots, almost zero noise, great low light work. This is truly a professional camera. The 7Q+ is a fantastic monitor as well as a recorder. When my brother (who shoots also) saw the quality of the 7Q+ oled monitor, he summed it up in one word...... Wow! So far everything works as advertised. I cant say enough a bout Abel Cine for helping me put it together.
I have been busy completing the build with a Tilta/ redrock rig and should do more shooting soon. And I hope to put up some links.
 
 

I went to see the film last weekend, as I'm a BIG BOURNE fan I was very pleased with it , nice to see they are still using the TLS Nikon 80-200 that I keep banging on about - Nikons finest hour! their best lens .
Barry Ackroyd (one of my Favourite DPs and President of the BSC) takes over from DP Oliver Wood who shot the first 3 Bourne fims , Barry keeps the same style , all hand held Greengrass wobblecam ! the Athens sequence is intense!!
 
this months American Cinematographer magazine explains it all in great detail -Barry Ackroyd tells how it was made with Igor
Meglic second unit DP.
 
quote:
Second-unit cinematographer Igor
Meglic, ZFS — whose history with
Ackroyd began on the 2012 crime thriller
Contraband — added other cameras
beyond the Alexa. “The reason I usually
have to go to different cameras is because
we either need a lot of them or they’re in
harm’s way,” says Meglic. “Once you start
to bring in six or eight additional cameras,
it’s a cost thing.” Red Epic Dragon units
were used mainly for plate photography in
vehicles, with Canon’s Cinema EOS
C500 used for other vehicle and handheld
work. For applications requiring an ultralightweight
camera, such as helmet
mounting, Meglic opted for Blackmagic
Design’s Pocket Cinema Camera fitted
with Kowa 8.5mm glass. “It’s a pretty
amazing little camera,” he notes. “Weightwise,
it was little more than an iPhone!”
The 2nd unit often recorded
internally — particularly in the case of the
XT and Dragon — while external Codex
recorders were sometimes used for the
Dragon, C500 and Pocket Cinema
Camera. “When needed, we did it both
ways,” says Meglic. “We did vibration
tests, [and] I was a little nervous, but it
turned out we never had a problem.”
Vegas car chase, up to 28 camera bodies
were available for use — although that
many never rolled simultaneously —
predominantly fitted with the same kind
of lenses used by the main unit. Meglic
notes, “A couple of times [during the
London portion of the shoot] we did ask
if we could borrow a lens or two, and they
were always very nice about that!”
Given the chosen style, it’s perhaps
no surprise that Ackroyd describes
himself as “a zoom person.” He singles
out the “beautiful” Angenieux Optimo
24-290mm (T2.8) zoom, noting, “It’s
like my eye, my brain. When something
takes your interest from across the street,
you don’t see it in the same way as when
you’re close to something. You can
exclude things and concentrate.”
The extensive lens package also
included Angenieux’s Optimo 15-40mm
(T2.6) zoom; Fujinon’s 19-90mm (T2.9)
Cabrio zoom; True Lens Services’ 80-
200mm (T2.8) Morpheus, a rehoused
Nikon stills zoom; and Panavision’s
Primo 135-420mm (T2.8) zoom. The
35mm-format prime-lens package
comprised Arri/Zeiss Ultra Primes
ranging from 20mm up to 180mm (all
T1.9) as well as Zeiss Super Speeds from
18mm up to 85mm (all T1.3). The
production’s Super 16mm cameras were
paired with Canon 8-64mm (T2.4) and
11-165mm (T2.5) zooms.
Any concerns about matching the
various cameras and lenses were
subordinate to ease of handling, Ackroyd
says. “I’ve never been one to get too hung
up on the technical side of what the lens
may or may not do. Of course, if you were
making a movie that was highly glossy
and intentionally stylized, you’d have to
pay more attention to that.”
looks like they used Canons on Vehicles and BMs so its going to be hard to tell which is which ...

Agreed. my wife is a film editor and much prefers working with filmmakers who go out and shoot exactly what they want, rather than gathering a bunch of material to be sorted out later. One of the first features she cut, the director asked "why didn't you use the close up here?"  my wife's answer was, "you didn't shoot one."  and the director's replied, "then punch in on the 2 shot."
now she has a scene with these reframed close-ups and every now and then the other actor's nose creeps into frame. she did the best she could but it's still awkwardly composed. I realize for Sekhar covering an event is one thing, because he has no second takes. But shooting narrative benefits from specificity. unless you *are* on the level of david fincher and all the post resources he has available to him, this approach will start to undermine the experience of the movie. similar to deciding you wanted to slow a shot down in post back when all we had available to us was "frame blending" to smooth it out. few things signaled "digital video" louder. optical flow brings us much closer, but it's still better to do it in camera. and to have the vision to know that you need it that way.

Very enjoyable. Not sure why but it reminds me of an encounter I had with a piste (track cutting) machine whilst XC skiing in Saariselka...

You are right. The genre of documentary was invented in 2016. Before that it didn't exist. TV news does not exist. 100% of the people here that shoot events etc use AF 100% of the time. Every documentary ever made is AF or with a huge crew. This is fact and thank you for teaching me. I will call my latest client and tell them the doc I did is illegal because I didn't use AF and must be deleted. I'm sorry for saying MF is usable. It was a lie. MF is only for Nazis.

Its nice that they are getting 4K, but imo, an old 5Dmkiii with ML still beats A7sii/rii, GH4, etc and probably will trump the GH5 as well.
So there is a big chance the new 5Div will get its ass kicked by its own predecessor. 

My list would be shorter. I'd be like... try:
1. selling your A6300
There's just no way I'm going to put up with a camera that gives me such hassle, even if it shits rainbows.
I'd rather use a G7 and just deal with it.
Respect if you go above and beyond to make it work for you with fans 'n schtuff though.

It sucks. I remeber showing a doc I spent hours grading to a friend on his dads TV. It looked like a low quality porno.

I even bet the 5D4 won't beat the A6300, but I'm not sure it needs to.
It won't have more resolution (almost certainly much less) but it also won't overheat in the middle of shooting a once-in-a-lifetime BTS interview with Tom Cruise or something. I have friends who do that kind of stuff and they've had to switch back to cameras with a worse image (despite spending more to get less) because A-listers have little patience and probably don't know what aliasing is.
And so.... this argument is fruitless. The 80D is a great low end "pro" camera because it's reliable and the image is good enough to sell (the 7D was used extensively on national ads and still occasionally used as a B camera on major tv series). For resolution enthusiasts, there are lots of other options, though. So are you an artist or a hack? Sounds like you're an artist. Not me.
I'll take hack if the day rate is higher and it's an amicable team. Even on my own recreational projects I don't want to waste time in post or on set. But kudos to people on both sides. Just because I don't have the finances or financial freedom to up my game doesn't mean I don't want to. Artists and hacks both have valid motivations, and even Spielberg money won't bridge that gap. Good luck convincing anyone to switch sides because they won't easily....
The A6300 probably has a sharper image than the Alexa 65, forget a Canon dSLR. If what you're after is technical excellence you've found it. Sure there's tons of skew, it breaks down on set, and the color is hideous unless you control it carefully–but the resolution is breathtaking and with enough patience and care in lighting you can work around the rest. But some of us are broke and need that paycheck. And worse yet we're lazy. Living wage is $80k/year in my market. Once that's paid for, I'll consider trading up. For now... if it pays, that's what counts.
So I salute the 80D guys. I even want one because it seems so easy to use I can save on crew and pay myself more. But I also think it's sort of criminal that we still put up with such a soft picture, and that Canon won't offer more. All I need is GH2 sharpness and 80D everything else and I'm sold.
Weird... really weird... that that isn't available even now. It should be.

Yesterday i took my 5d3 to the airfield to test the recently added new S16 crop feature. Correct framing and fluid live view (two the most important improvements) are just essential to shoot fast moving objects. What a great new tool!!!
Almost everything was shot with 70-200 f2.8 IS II with 3x 1:1 crop at 1080p 25fps. Lens set at f8. No single damaged frame (recorded on sandisk 128gb 160mb/s card), just perfect. I have to get canon 2x extender now to have 1200mm lens
 

The big difference is that the 5Diii has no aliasing or moire. The 5Dii has alot.
Also I think (someone correct me if wrong) the 5dii doesnt shoot continuous Raw in 1080p.

D750 is probably the best hybrid for the hobbiest imo. The NX1 is a great video camera and great at stills in daylight. In dusk, dawn and darkness it fails in AF and its no monster in dark video either.
A true hybrid needs to work 24h/day imo.
I doubt you could tell good HD uspcaled from true 4K on places like youtube, and TV don't want no 4K. And I doubt you will shoot for 4K cinema on a hybrid. I can somewhat get the "future" thing but no one will care in the future. I still watch my favorite shows captured in SD and they are just as good today. Regarding personal stuff like travel videos and such, no one is going to watch it in the future anyway.

I wonder what people think we did before peaking and Zebra. 
When I started in TV we had no peaking, that came many years later for me. Same with a histogram, the gh3 was the first one I saw.
 

Oh, completely agreed. My film student friends laughed when I bought Blackmagic instead of Sony, but guess whose stuff looks better? Guess whose camera still gets talked about? Guess whose camera cost 1/3 the price of a used A7S?
This guy. :D

Some never learn the difference between sharpness and resolution. Its just how it is.

Right, ML screen sharpening does wonders, much better than their own peaking and the one i have seen in a7sII (a7sII in real life has lower screen quality than 5d3, checked them side by side. Additionally peaking dots was making a lot of mess).

I have been using this:
http://www.dvxuser.com/V6/showthread.php?327893-A7s-S-log2-too-noisy-Then-underexpose-cine4
My Go Cuba vid was all shot in this setting...

I really like what 5d3 raw does with faces. I find it has just about the perfect amount of sharpness. And I've yet to see a better HD/2k camera for narrative in terms of image quality. Interesting that the 5d2 can be made to match this. Is 5d2 raw usable at iso 1600 with proper exposure?

These days working with ML raw is a breeze. Reqired CF cards are much cheaper than a year ago. I have 5d3 and love working with raw. I have bought 2 sandisks 128gb 160mb/s and they NEVER gave me dropped frames. Never unexpected recording stop. NEVER. It is very reliable. 128gb last for about 25min 24/25p 1080p.
My workflow now is:
-put CF card to the reader - 2 seconds
-use  an app called MLVFS which "mounts" the files from the card and makes them virtual CDNGs - 128gb take maybe about 30 seconds
-open resolve 12 and import files - 30 seconds
Color correct, cut, do everything and export  - there is NO need for any conversions at all.
Thats it. There is some nice app, all-in-one solutions in the making right now  - called MLVProducer.
On shoot i had 4 CF cards and nextodi 2730 with 2TB HDD onboard. Archiving 128gb takes about 25min. Then i can take HDD out, plug it to the PC via sata cable and work straight from it. Memory is getting cheaper very fast. Instead of investing 2-3 thousands $ into new camera (and cry about 8bit etc) i rather buy 8 new sandisk cards for 1300$ and have 200 minutes available without a need of copying it on set.

Hi all, so in the same vein as a previous post in this forum. Here's another video for the Sony No Limits competition! Be awesome if you guy could give this a watch... And a like if you like it
https://www.youtube.com/watch?v=Brvi7Zv-F2o&feature=youtu.be 
In exchange for your time and patience for my blatant self promotion I am more than happy to answer any and all questions you have of my experience shooting footage with the A7rii. I use it as my main camera for all my work. I still have a Canon 5dmkiii as backup but that'll soon be replaced with an a7sII when funds allow!
To give you a little breakdown of this particular film, main lenses and equipment used:
Sony A7rii ( 4k Slog-2 ) Sony FE 55mm 1.8 Sonnar Sony FE 28mm f2 Tamron 24-70mm 2.8 IS Canon 70-200m 2.8 ii IS Sigma ART 35mm 1.4 Metabones IV Adaptor DJI Ronin-M Backache Atomos Ninja Assassin It was shot, edited, graded by myself. More info on a blog post: http://www.alexpasquini.com/blog/2015/10/30/no-limits-a-short-film-for-the-sony-fs5-competition
Again, apologies for the blatant self promotion but as said i'm more than happy to share any experience if anyone is interested, cheers!

I wasn't even being a jerk this time! They found out I was banned before for life.  
 This is my only forum now besides nofilmschool and cinematography.com.  Until I get banned here.

Still using my mark iii for color...I went back to it after having the a7s for a while. Still not convinced I could be as confident every time I shoot as I am with the 5d raw. I've never had one instance of bad color with it.

What's so god damned hard about a dedicated ISO button though?????