maxmizer

Why the obsession with so called "FF"?? Most of the blockbosters are shot with S35/APS-C, it is the standard, not FF.

A7RII, s-log2, Iso 3200, f5.6
https://www.dropbox.com/s/fn8q0sff5yznrf1/C0040.MP4?dl=0

I think all of them are reading the file correctly, but the two top apps think they are sending the signal to a TV and adjusting the output to match. If they read the file as 16-255 it would ether be left alone or being clipped/expanded to 0-255.
If you are using nVidia card, check settings and see if you can force output to be 0-255 range, it might be that and hardware acceleration that causes it.
I use MPC-HC so I can't help you with quicktime or VLC.

VLC could be interpreted in the wrong way...
try more ... (quicktime)

I'm Italian, I have three Amazon account (It, Uk, De), never any trouble ...
I have purchased from sellers from around the world.

The Amazon prices are always Including VAT, if the customs in your country you do pay them, you have to send a copy of the bill to Amazon for Refound. (es. from China)
If goods arrives from Euro area no customs cost is payable ( es. Portugal, Italia, Germania and Other are European Community, The England is still not out)

Michaels video blog is the only good thing that has come out of this.
This is like a real life sherlock holmes adventure
 

Every discussion between the two cameras have people falsely stating the a7 R 2 is unusable in full frame, when it really is not. It makes people reading threads think that they shooting full frame on the a7r 2 is not even an option.

 

I decided to buy Atomos flame, because more than a lot of options into, it also has the suitcase, and a battery system that I already had.
In my opinion the price of quality is in favor of Atomos

This crippling of cameras capabilities on purpose is getting really ridiculous and insulting.
We know how much of a scam it really is since the 2009 mark II is 14 bit raw capable thanks to magic lantern,
- The gh2 capable of much higher quality compressions thanks to the hack.
- The sony F5 internal 4k capability with a simple line change edit in the config text file.
I'm under the impression we have come to a point in camera technology where the entry line cameras are fully capable of producing at least 4:2:2 color, possibly at 10bit depth and definitively with higher quality compressions. Problem is with this level of image quality the enormous price jump of the high end cameras would be hard to justify even with raw formats. They just have to mess up the cheaper ones somehow.
Since blackmagic strategy is to offer the most features at the best price to compete with the market, and they don't have such a crowded product line to have to apply this product segmentation garbage I believe they are a good comparison:
Ursa mini $4,995                               Sony fs5 $5,599.00
ProRes XQ 4:4:4  - 250 MB/s              XAVC Long 4:2:0  - 100Mb/s with macro blocking nightmare
It's 2016, you pay 5'600usd for macroblocked 4:2:0 8 bit. Come on now.

Sony: Many cameras with so many serious defects, for their price...
when you get the chance to have 4K 10bit 4.2.2, we'll talk!!!!

Absolutely not the case. I have a GH4 and BMPCC - 4K 8bit H264 vs  1080p 10bit Prores. I choose the Pocket image 90% of the time.
There are no 4K 8-bit cameras that rival the HD Blackmagic image for me. Possibly the XC10 but that's 422 with a huge bit rate. I'm done with 8 bit and I'm done with high compression. It's junk. The A7SII, GH4  - colours look like junk. NX1 is slightly better but not if you actually want to do anything at all creative with the image. 

Cooke lens? it's on sale?

Tonight I saw a UFO pass in the sky, and the little green men who were inside greeted me!
 

Fixed EF mount is a disastrous choice.  Infact the lack of m4/3 mount option from RED and BM on their Ursa is a mystery as well.  When you give users the ability to stick a SB ultra or SB XL on the camera you open up vast cost effective optical options.  A m4/3 to PL / oct19, oct19, etc etc adaptor would also allow use of cheap LOMO s35mm primes.
 
Exactly the same mistake BM made with the first cinema camera EF version.  Everyone wanted m4/3!   

Low light performance is the main thing that's making me insecure with my current gear, but if I'm being honest with myself, I really don't need it. Most of my work is lit, and what I can't light I can fake my way through with fast lenses and an eye for natural light at the location. 

Even if I had the A7S II, I'd probably shoot it Brandon Li style and get my look in-camera. LOG profiles can be nice for big projects, but for novice colorists like me it's just too difficult to handle. 

I used the Sony AS7 in SLog2 for 1 year. I shot two 52-minutes documentaries for French TV. 4 months ago, colorists using Da Vinci Resolve (they are 3 in Chanel 2) all said "PLEASE stop using the Sony A7SII, the colors are horrible! Calibration is a headache for us because skin tones are infamous 9 times out of 10, and it seems it lacks colors in each image ... ". I love my A7SII because it is compact, convenient, and that images always appear Detailed me. I yielded to their request: this summer, I rented a Canon 1DC. And surprise, I seem to have discovered what a palette of deep colors! The tones are warm, bright and the result after calibration is staggering beauty. I sulked Canon for 2 years. So, I kept my A7S to film my kids and take some pictures sometimes. Ok Canon is a company that is not listening to its users. Ok Canon provides only the minimum. But Canon has realized that the most important, beyond the technical advances, it is the science of color.

Blackmagic ursa mini 4K starts at only 2800€, this time we play in the big guys yard.

Hello , everybody are arguing on 10 bit or not , do you see the differences etc... but that's not the point. If sony puts in the A7S II, the XVAC-S, and not the XVAC, it's clearly to tag it as a consumer product, not a professionnal one !! 10 bit or more or raw is not a question of seeing the differences, it's a question of being possible  to post work shoots or not. At 8 bit, you'd better have graded during recording, no lattitude at all in front of your computer later.
After that , sony marketing is entering the game, don't expect them to tell you that the product is a cripplehardware.
But if the price is correct, why complaining. For myself they are surfing "sur une mode ", so price doesn't reflect reality. better watch blackmagic, kineraw products for real bargain for possibilities. A7S and now A7S 2 are overrated, seing short films from them does'nt transcend me. Still 5D mk2 produce more artistic rushes.
5 axis is cool, but we are not named gus van sant. 3500€ is a great bunch of money, imagine what A7S owners are thinking now hearing news from a A7S 2 so quickly issued, not so cool sony !!!
I must admit , i've bought a6000 for 450€, which is in fact is a bargain !!

If you have 8-bit systems, you can install all the log that you want, but you will always have 8-bit, 10-bit point was needed,  you can always correct it shortly with 8-bit color.
8 bit = 16,777,216 possible colors
10 bit = over a billion possible colors

I believe that at this price: 3400 Euros is a camera for children idiots .... Ursa mini is a whole lot better, for only 2800 Euros ...

So if the iPhone 6s does shoot 4K video, how will you watch 4K video on a 4K tv?
1. Upload 4K video to YouTube and view in the 4K tv's native YouTube app (highly doubt)
2. Connect iPhone 6s to TV with special HDMI 2 connector to play off of phone (mildly doubt)
3. Play directly from iCloud Photo Library with 4K compatible Apple TV (possible)
4. You can't watch it at all unless you have a 5K iMac (lols)

It's difficult to tell 2K from 4K in a theater, let alone in a tv. 8K is nowadays as useless as it can get, to me. And I am for progress. But better codecs and more ergonomic/better menus cameras would be more welcome, at least by me! 
RAI, italian public television broadcasts in SD 4:3. 

I think that I do not ever detach from my Lomo's


 

JVC did. They have a Micro Four Thirds mount camera with Super 35mm sensor in it.
Cooke, Panavision, etc. and they already have made a S35 camera, it's called the Varicam S35!
In the consumer market there's a ton of lenses... all the APS-C and full frame stuff in the world for example.
If Panasonic want to sell lenses like that there's nothing to stop them building some or outsourcing the work to Sigma. It has to make economic sense though.
​We don't need that now we have the Speed Booster XL for 1.5x crop in 4K and 1.28x for stills. Far better.
The key thing for me is how Panasonic are going to compete with Sony.
How would an updated GH5 with 2x crop sensor be better than the A7R II for either 4K or stills exactly?
They HAVE to up their game on the sensor side.

​Well Digital Bolex with tiny sensor does look great. It proves that a film like dynamic range (13+ stops), global shutter, etc. can be done with a smaller chip.
But they need to give us the choice.
Would Canon and Nikon be anywhere near as successful if they had never launched their digital full frame ranges and stuck to crop formats?
It doesn't help that Micro Four Thirds is a non-standard as far as cinematography goes, either. It's not Super 16mm so out go most of those lenses (vignetting) and it's not Super 35mm so you miss out on the corners of your Cookes, etc. It's a very creative camera for adapting these lenses, yes... but not optimal.
2.3x crop is not my favourite look from my full frame lenses.
There's always Speed Booster but if Panasonic did S35 we could use that for full frame... important thing is we'd have the choice.