Xavier Plagaro Mussard

Look at the bright side, it's gonna be a great 'feature' when Christmas comes around.

Lens cap tests. quadruple facepalm.
 
https://farm9.staticflickr.com/8634/15706935630_58fe998d2c_o.jpg
 
This image had about 50 dead pixels in it.  from the a7rmk1.  I could have left them in - the resolution is so high that the dead pixels are almost invisible and people are looking at the image rather than searching for the dead pixels, but i felt the 2mins effort processing and removing them was worth it.  I'm pretty sure Sony would have just stuck the same sensor into the mk2 if there wasnt an advantage from the new sensor they've spent millions developing.  
I suggest people look on flickr for samples of landscapes from the a7rm2 before taking unskilled people's opinions seriously.  Plenty of talented photographers showing what this camera does with lenses on, rather than with lens caps on!
 
 
 
 
 
 

Seems this is a very risky proposition for client work. Maybe someone can design a fridge type rig for it, or just wrap it with an underwater covering and dunk it inside an ice bucket between shots. 

The Nx1 has amazing video quality, heres 2 frame grabs from a 4k video from the NX1 (taken from facebook, cuz I lost the original files).
 


 
Ungraded, straight from the camera (once again, taken from Facebook, so its compressed by facebook). I was using the Canon 50mm f1.8 at the time, camera settings were Normal Gamma, -10 sat. -10 sharpenning. You really cant get any better, specially for the price...I had a Canon 600D, and its just another league, even comparing to the D800 video mode, the only thing I'd love would be a Speedbooster to make it "Full-Frame", that would make these cameras sell like hot buns !

I just picked up the Samsung NX1 last weekend. I think it was the best video/photography combo and had i think it was a good deal (€1999,00 with 16-50S lens). 
I made some video tests and i'm really impressed, very cinematic image. I was a bit scared for converting time, but converting to Prores with Rocky Mountains converter actually goes quite fast.
Good choice till so far and i'll be testing around this week.
 

Maybe I'm the only one interested in the LX100 today, but regardless, I continue posting 
Here is a 4K still frame extracted from a video at 100 ISO (50mm f/4).
With good settings, quality is really decent.
Image stabilization works like a charm.
I'm sure that beautiful short films will be shot with the LX100 !
Click to enlarge (no JPEG compression over H.264) :

Now I have to make tests at night.

If you're not using the mk3 it's costing you money. Every day you loose cash in depreciation. 
So sell it today, and if you change your mind in six months you can buy it again for less money. So no matter what, selling it will be a win from an economical stand point.

Had a chance to do my first filming test of the A7R II earlier tonight. We went to a glass blowing tutorial/class thing. Of course when you're standing in front of a 2500 F degree oven, things get a little warm and I was curious about how the camera would hold up. I didn't record a ton of footage but I did run the camera continuously for a 10 minute clip with no problems. The thing did get very hot in my hand - not uncomfortably so, but enough that I can imagine a prolonged day of heavy shooting would begin to stress the system quite a bit. It's not a problem for my usage, but I think others won't be as lucky.
That image, though. It's just absolutely gorgeous. I took a random guess at color settings and ran the default 'Cine1' gamma on top of a low contrast Neutral color scheme. It's not perfect and there's definitely a lot of room for experimentation and improvement in both recording and workflow. People who are really particular about their color work probably have a long road ahead of them; I'm not enough of a colorist to really be sure. There's a LOT of available combinations of settings and I really think someone will eventually dial in the camera to be magical. I might buy Andrew's settings and LUT he posted earlier, we'll see.
Setting aside the rather tricky color issue though... there is a quality to full frame that I just adore. It was possible to get there with GH4 + SB + 18-35 but it's an awkward combination, lacks IS, and it still missed something. IMO whatever you want to complain about with color science or 'digital look' from the Sony cameras, the Panasonics were always far, far worse. The GH4's output always felt like the world's greatest camcorder to me. Fantastic on all technical points, but weirdly clinical and lacking in 'film feeling' without a lot of work and judicious lens choice. I feel like the A7R2 has gotten me much closer much more quickly. 
Battery life, though, is freaking awful. These FW50 batteries were designed to fit in a NEX-3, and now they're being asked to drive a massive sensor attached to an IBIS rig attached to a massive CPU. The A7 cameras should have been built off a larger battery platform from day 1. It's embarrassing. The good news is that USB external batteries work wonderfully for powering and charging. I have an Anker sized like an iPhone 6 that slips into my pocket and provides 10x the internal battery power. USB cable fitment seems a bit loose though, so we'll see what happens. Might be best to buy FW50s by the half dozen.

I think you left maybe the best one for that: Panasonic FZ1000, now it's really cheap!

I do mostly event/comercial low-low-budget work, but would like to dedicate myself to documentaries more. Made a couple of shortfilms, but the whole production/actors work turned me off. It gave me great respect for the ones who actually have the patience to do it!!!

I do mostly event/comercial low-low-budget work, but would like to dedicate myself to documentaries more. Made a couple of shortfilms, but the whole production/actors work turned me off. It gave me great respect for the ones who actually have the patience to do it!!!

@DBounce. Very good ;-)  I did this before my morning coffee. We all know SLRM lenses are tasty, but not good for the indigestion.
Paul

Don't you think eating them was a bit harsh? Perhaps next time just a good talking to would suffice?

linux for creative people already exists, it's called Mac Os X!

I think you left maybe the best one for that: Panasonic FZ1000, now it's really cheap!

Documentaries; rearranging reality for a deeper truth.

Comedy and sci-fi/action. Maybe some day I'll have enough money to make something

I'm also more of a writer than anything. Going for really human stuff, kind of like Cassavetes or Joe Swanberg, kind of episodic, but making sure to keep it all significant. I don't know if I'd be as comfortable as those guys with the actors improvising as much with my scripts, but don't have much experience there yet. With amateur actors and not being able to pay them much or anything, improvising a little might be necessary. I'm pretty much adding scripts to a drawer for now, tweaking them slightly and writing treatments for them just to be prepared. Actors are a big obstacle, and production budget. Though a slightly low-fi feel could be pretty great if I can get great performances. Like a bit of a documentary feel, emphasizing the acting even more. I have a really simple short that only needs two actors. I figure I should definitely try to do that one as soon as possible. This forum helped me feel more confident as a cinematographer, which is good considering I'll probably be my entire crew most of the time. Also, I've been interning for a friend's company, and his boss just sold a script to Clint Eastwood, so that'll hopefully lead to a lot of contacts, which is exciting. Sorry, trying not to use this as a rant about yourself thread, but it maybe kind of is for that  , which I'm not complaining about

We need more Zach's in here!

I mostly gravitate toward crime fiction. Started a production company with my childhood buddy called The Sabi Company nearly a decade ago. We've made 7 or 8 features in that time. As well as a handful of shorts. Our latest, Down and Dangerous, was our first genre picture and the first to not lose money.
We've also created Artis Entertainment to distribute our titles directly and through partnerships with other distributors. Most recently, we signed with Paramount to distribute Down and Dangerous internationally. To a filmmaker like me, that is an unforgettable milestone that I'm very proud of, even if it is a bit like winning the lottery.

The next movies include more action, a sci-fi survival story, a neo-noir, and hopefully countless others. I have no other creative or professional ambitions in life other than to make movies until i'm dead.

I enjoy being a part of this community, and would love to hear more about the films you are creating and/or are wanting to create.
What do you think are your biggest obstacles to creating the content you want to be creating, if you aren't making it already? 
I'll start - I started with documentary work for a non-profit, shooting on a canon t2i. After about 2 years of weddings I've wanted to move to bigger documentary projects and commercial work. My biggest struggle having not gone to film school has been connecting with other filmmakers to collaborate with, though i'm making more friends with each project I work on. 

Asked over on DPReview and apparently at infinity focus the FOV is significantly wider. This does not bode well with me, does this bother anyone shooting with this lens? Curious on other filmmakers input, most of the folks over on DPR are photographers. I know it's not a manual focus lens but I've seen it used in quite a few "test" videos so I can't help but wonder if people still find it a suitable tool for their shoots.

There is definitely a difference between 8 bit and 10 bit. It just depends how well the camera utilises the feature with all that tech inbetween...(and other boring obvious statements). 
No need to get angry about it though. Why be emotional about bit rates? What a boring thing to be emotional about. The world is out there, somewhere, isn't it? 

I get the feeling you want to see some sexy slo-mo footage as a test, but that really wouldn't tell you much empirically about bit depth, chroma sub-sampling and compression as it affects grading. this test was done with a linear radial gradient that simply changes color.. the color part to test certain colors that don't do so well with compression. it also tests resizing 4k to HD converted to float, to see what that gets you, in addition to various color spaces and codecs. it goes fast so you need to pause frequently and watch fullscreen.  (the preview window lets you see more closely what the artifacts look like)
 
 

Because it isn't the 10bit you're liking.
For a start your screen is 8bit.
Secondly a typical 10bit camera like the Blackmagic Pocket has a wide dynamic range - you liking that and also the high data rate of ProRes meaning fine grain and very little compression so less colour data is lost. Also you are liking the look of an i-frame codec rather than long GOP and 422 over 420.
All make a difference to the image.
The 1D C proves that you can get amazing amounts of colour information out of a 8bit file.
Hell, 42MP A7R II JPEGs prove this
10bit is massively overrated because people blame 8bit for stuff that is really the fault of heavy compression (banding) and sensor related shortcomings in DSLRs.
If a line-skipping DSLR went 10bit tomorrow in a firmware update you would notice no difference.
And as for grading, I have tried grading 8bit and 10bit from the same camera and you have to pixel peep ridiculously hard to see a difference. Raw makes all the difference for grading, it is a different ballgame. 10bit is not.