Pyriphlegethon

No 'dual recording'! The biggest pity is there's no way to utilize those 4 media slots to record raw and ProRes simultaneously (like Red does). This seems like such a travesty coming from the company that owns Resolve and should recognize the value of online/offline workflows. BlackMagic confirmed with me on the phone that you must choose to record to SD OR CFast and in one format only.

No 'dual recording'! The biggest pity is there's no way to utilize those 4 media slots to record raw and ProRes simultaneously (like Red does). This seems like such a travesty coming from the company that owns Resolve and should recognize the value of online/offline workflows. BlackMagic confirmed with me on the phone that you must choose to record to SD OR CFast and in one format only.

Has anyone else here had experience with Flolight's Bladelight? I have spent some time with it during a couple shoots now and been quite impressed. Color rendering is good and form factor is pretty unique. The flat panels have their place I suppose, but, after purchasing several a few years ago, have rarely actually used them. They seem like the type of thing I most often see used atop a camera hotshoe from the guys who bring their cameras to document NAB
I wrote up a fairly long review of sorts here if you're interested in the Bladelight.
A field-power option would be nice, but, at least the one I have, is only AC power.
 

Has anyone else here had experience with Flolight's Bladelight? I have spent some time with it during a couple shoots now and been quite impressed. Color rendering is good and form factor is pretty unique. The flat panels have their place I suppose, but, after purchasing several a few years ago, have rarely actually used them. They seem like the type of thing I most often see used atop a camera hotshoe from the guys who bring their cameras to document NAB
I wrote up a fairly long review of sorts here if you're interested in the Bladelight.
A field-power option would be nice, but, at least the one I have, is only AC power.
 

I contacted Sigma directly about this after very little valuable data came out at WPPI. Their response is that yes, indeed, video AF with the MC-11 and 18–35 1.8 and/or 50–100 1.8 will function just as any other of the newer Sony lenses do on the a6300. This news, if it turns out to be true, will make my year. I will make sure I have a Sony at NAB next month and test this personally. I sold my A7R2, but not without major hesitation. I updated my review on the a6300 here when I did a shoot without using the camera's internal compression and the camera still overheated. Recorded to an Atomos Assassin, climate controlled indoor environment the whole time and the camera temperature warning came on after about 90 minutes of off and on use. That's sad. I updated my review here to warn people about more than the jello. My new favorite name for the camera is "jello in a toaster". I'm kind of hoping it becomes a thing and people stop referring to it as the a6300 and use my pseudonym instead.
 

I contacted Sigma directly about this after very little valuable data came out at WPPI. Their response is that yes, indeed, video AF with the MC-11 and 18–35 1.8 and/or 50–100 1.8 will function just as any other of the newer Sony lenses do on the a6300. This news, if it turns out to be true, will make my year. I will make sure I have a Sony at NAB next month and test this personally. I sold my A7R2, but not without major hesitation. I updated my review on the a6300 here when I did a shoot without using the camera's internal compression and the camera still overheated. Recorded to an Atomos Assassin, climate controlled indoor environment the whole time and the camera temperature warning came on after about 90 minutes of off and on use. That's sad. I updated my review here to warn people about more than the jello. My new favorite name for the camera is "jello in a toaster". I'm kind of hoping it becomes a thing and people stop referring to it as the a6300 and use my pseudonym instead.
 

I contacted Sigma directly about this after very little valuable data came out at WPPI. Their response is that yes, indeed, video AF with the MC-11 and 18–35 1.8 and/or 50–100 1.8 will function just as any other of the newer Sony lenses do on the a6300. This news, if it turns out to be true, will make my year. I will make sure I have a Sony at NAB next month and test this personally. I sold my A7R2, but not without major hesitation. I updated my review on the a6300 here when I did a shoot without using the camera's internal compression and the camera still overheated. Recorded to an Atomos Assassin, climate controlled indoor environment the whole time and the camera temperature warning came on after about 90 minutes of off and on use. That's sad. I updated my review here to warn people about more than the jello. My new favorite name for the camera is "jello in a toaster". I'm kind of hoping it becomes a thing and people stop referring to it as the a6300 and use my pseudonym instead.
 

I contacted Sigma directly about this after very little valuable data came out at WPPI. Their response is that yes, indeed, video AF with the MC-11 and 18–35 1.8 and/or 50–100 1.8 will function just as any other of the newer Sony lenses do on the a6300. This news, if it turns out to be true, will make my year. I will make sure I have a Sony at NAB next month and test this personally. I sold my A7R2, but not without major hesitation. I updated my review on the a6300 here when I did a shoot without using the camera's internal compression and the camera still overheated. Recorded to an Atomos Assassin, climate controlled indoor environment the whole time and the camera temperature warning came on after about 90 minutes of off and on use. That's sad. I updated my review here to warn people about more than the jello. My new favorite name for the camera is "jello in a toaster". I'm kind of hoping it becomes a thing and people stop referring to it as the a6300 and use my pseudonym instead.
 

I think my overall impression of this camera (after a day of shooting so take that with a grain of salt) it a positive one. These Sony cameras bring options not available on something like a Canon and it comes with a steep learning curve. However, using the camera correctly (using S-log 2 only when necessary, getting white balance right, avoiding rolling shutter, maximizing function buttons, finding audio solution) you're really getting a lot for $1k. As always it depends on your needs. I did a little first impressions write up here: 
http://www.fennworld.com/sony-a6300-the-good-and-bad/
A lot of what I found has already been mentioned in this forum thread. My biggest disappointment was LACK OF CANON AF FOR VIDEO. I can't even select AF-C with a Canon lens attached via Metabones. 

Still haven't found a satisfactory conclusion for this post. Several ambiguities:

1. Is the GH2's matrix BT.601 BT.709 or neither? I have heard all of the above from contradicting sources who I'd thought were reputable. 709 seems to be the most popular response, though it differs from the recommendation at the beginning of this thread. I'm not intelligent enough to get that information out of Mediainfo for .MTS streams. Is it listed anywhere below?

[img]http://public.fennworld.com/Misc/Media_Info_MTS.png[/img]

2. Can the GH2 record 'full' unscaled luma? I believe it records 16-235, but if evidence exists to the contrary please present.

3. If the range is indeed scaled, then one should not use 'Full Range' in the 5dtoRGB options, correct? Or would that not potentially degrade the image as that program doesn't seem to export anything but scaled video anyway?

4. Premiere Pro CS6 recognizes the full range flag and scales video, as pointed out by Yellow and readily confirmed by his test files available for download.  Opening GH2 .MTS files natively shows a scaled image in the waveform, but could this be due to flagging issues like with Canon files? If the GH2 ends up delivering a full range image then this is an issue, no?

5. Recommendations often center on transcoding via 5DtoRGB to the chroma subsampled flavors of ProRes (anything but 4444). A screenshot [u]from Premiere[/u] shows the following difference in my tests between 422 HQ and 444 at 400%:

422HQ:
[img]http://public.fennworld.com/Misc/422.png[/img]

4444:
[img]http://public.fennworld.com/Misc/444.png[/img]

Why the jagged stair-stepping? I don't believe this is carried through to output--certainly hope not or no one would recommend it--but why does the file sent through 5dtoRGB and converted to 422 or 422HQ look so much more aliased than the original or a 4444 transcode inside of Premiere?

6. How does one change the full range flag on .MTS streams? I've run some basic commands via MP4Box in terminal before, but am not familiar with the patch for modifying that flag, nor do I know if it would be Mac compatible.

Thank you all for your time and insights.