andrgl

How does Resolve fare in this comparison? I only edit Raw and Prores, so I don't know how well it handles H.264.

even if it only cost £100 to upgrade all their gear to permit broadcast of 4k they wouldn;t bother since it's a lot easier to send out 720p and palm off all the mugs who bought 4k tv's to watch the crap the said broadcasters actually broadcast.  I don;t want to watch commercial television in any resolution, least of all in 4k.  4k footage of staged terrorist attacks to justify going to war.  advertisments for consumer stuff, singing and dancing competitions and soap operas.  vile.  

Now this looks interesting... 

The A7Sii doesn't output 10 bit so the Assassin wouldn't be a good combo with it. I would pick up a 2.5K BMCC (MFT) with some accessories.

Hey Andrew, what's going on...? Feels like: "The last will be the first":)
This is also a good example regarding color and skin tones, etc.
 

Inspire 1 Pro and RAW models just announced: http://www.dji.com/product/inspire-1-pro-and-raw
New propellers and motors (and color)

Here's a quick test in my kitchen. GH4 plus Panasonic 12-35. OIS off.

So this is absolutely not a scientific test, but I was curious how the A7Rii would hold up to my 1DC, which I believe gives a wonderful cinematic image, especially when filming people. Chalk it up to Canon's color science, a great sensor, 4:2:2 color, whatever -- but at current used prices I think the 1DC is a steal (and it takes amazing stills) That said, it's also getting long in the tooth, and the A7Rii was an attractive potential upgrade, especially with 42mp stills, IBIS, and small body that makes gimbal work manageable. But I wondered how it would fare image-wise, especially when it comes to skin tones.
I didn't want to use S-Log2 or C-Log, since I don't have any experience grading S-Log2 and I know it can be a challenge, especially on the 8-bit codec. So I shot my 1DC in the neutral profile with sharpness and saturation down, which is what I normally do when not using C-Log. I did my best to match it on the A7Rii -- Andrew's EOSHD Flat settings (Cine4, Black levels up, Detail down, Saturation down a bit) come quite close actually, but I used Pro gamma as Cinema gamma just made the reds look off.
Again, this is by no means a scientific or extensive test, and I did very little grading (no LUT, just a single color correction layer in FCPx). And I'm sure someone could do a better job matching the shots, but this at least gives you a sense of the general differences. My big question was whether I could easily get an image out of the A7Rii that could compete with the 1DC without a ton of post work.
Both cameras are using the same white balance, ISO, and aperture, although the crop factor is slightly different due to APS-H vs APS-C. I used a Canon 50mm/1.2 on both cameras, and both are handheld with no loupe to stabilize, making it easy to tell which camera is which due to Sony's IBIS.
Although I did a number of tests, here's a quick comparison for those interested. This is 4k scaled down to 1080p to make it easier to share: https://dl.dropboxusercontent.com/u/2135/1DC-A7Rii-Test.mov
Here's a frame grab from FCPx that's higher-res (1DC is zoomed slightly to match so will look less sharp when viewed at full res): https://dl.dropboxusercontent.com/u/2135/1DC-A7Rii.jpg
My personal opinion thus far: The A7Rii can indeed put out a beautiful image when filming people, although it's still not quite as gorgeous as the 1DC. This could be because the 1DC is slightly softer (maybe due to the low-pass filter, so perhaps the A7Sii could be better) and the A7Rii sensor detail just doesn't benefit skin (most photographers end up smoothing skin a bit, I imagine), or due to color, or maybe I just need to spend more time tweaking Sony's insane number of settings.
It seems like the 1DC has smoother highlight roll-off, and just gives a touch of softness that benefits people, making it *feel* a bit better to me, even if it's technically inferior.
That said, it's close (some might prefer the A7Rii look). And with the A7Rii I gain a lot of great video features the 1DC does not have. Don't know if I'm quite yet ready to retire my Canon and go all in on Sony... but it's tempting and I will be keeping an eye on FS5 firmware updates.
Curious to hear from anyone else who has worked with the A7Rii or A7Sii when it comes to filming people.

Yup, if only the perfect all in one could be invented soon. Maybe CES 2016
In the meantime, If anybody that haven't experienced Red Raw, here is a clip.
Its 4.5K in R28. So pretty big compared to the smaller HD files. And imo pretty cool for the highest compression.
You can use Resolve but if you have Final Cut I sugest installing the free plugin from Reds web page. Then you will find the raw settings under the info tab of the clip on your timeline.
I have so far used that for correcting or just switching the Raw to Log. The graded with what ever like Color Finalle, etc.
http://www.filedropper.com/a165c0190101j8rdc

Catch-22: upload to Vimeo, no one discovers it. Upload to YouTube, tons of views. These aren't corporate or business gigs. They're creative works I do mostly for fun versus the small sum I ask for.
 
I appreciate the helpful comments but it's not a fixable situation until iOS and Android get delivered VP9. I'm sure eventually the codec will be rolled out everywhere. Just needed to vent.
 
It's just a shame to see a natural, contrast-y, out of focus background macroblock to shit because the h.264 encoder sucks so bad at YouTube.

Optically I love 'em. I find them sharp wide open.
Too bad they're so old DXO doesn't have any reviews. Well, one of the Bourne films were shot on rehoused copies, so they must be good.
So I guess if you don't mind them being used (pretty sure they've been out of production for a long while,) they're great lenses.
My only two niggles are:
I sometimes struggle with the 28-70mm to create shallow depth of field. I don't think it's a reasonable complaint, but it's how I feel. (The Sigma 18-35mm f1.8 has really spoiled me.) The 80-200mm is a beast to rig and has a pretty long minimum focus distance: 5ft/1.5m.

I guess you get what you pay for. (i.e nothing)
If a client is embedding YT videos onto their site, or just sending out links to YT via links I'd guess they would not normally rank video presentation quality as a top priority, otherwise they would likely host their own preferred quality compressed video and player onto their own html5 site - or at least link to a embedded Vimeo link that at least has a more attractive/ custom player and non invasive pop up advertising.
saying that, it's possible to create nice presentations on YT for some projects & companies and they are currently offering some very interesting 360 VR support, as well as very high resolution playback support. But when it comes to playback quality experience, it's almost always dependant on the connection speed to the viewer.
YT only defaults to HD playback when the connection is fast enough( and often not by default even if it is fast enough), otherwise it will auto detect a lower (sometimes drastically low) quality stream to fulfil playback on everything from mobile phone to desktop. That is why sometimes it is good to use YT as a good backup way of promoting video, but better to prioritise and promote the hyperlink to the hosted video page on the clients site, or a Vimeo alternative upload to the Vimeo version may often yield better playback results - as it is less worried about loading fast on weak mobile connections, bit more likely to prioritise maintaining quality on playback...not auto switching to 360p when internet strength is weak.
if your client is complaining about how the video looks, maybe it's time to ask them to think about paying for hosting video on their own dedicated web space - where compression can be controlled/minimised or at least try a plus or pro Vimeo account as an alternate sharing platform.

I buy most of my stuff used. Simply because you get more for your money. And it was during the release of the A7rii and A7sii that I got the idea. Why pay such a premium price for a camera thats going to be worth half within a year? And what can I get for the same amount today?(It was the same reasoning that lead me into my recent film endeavor.) So I found myself looking at used cameras in the €3000 segment. At the top of my list where the Sony F35, but no luck (since I needed a recorder as well). I also looked at URSA, FS700, 1DC etc but none was a perfect match.So I started lurking the Red user forum.There I saw Red Scarlets ready to shoot with accessories for as low as $6000. And when I saw the Red One with everything you need + a set of Rokkinon prime lenses for  a crazy low $4000,I knew it would be the one.  That particular seller didn’t want to ship to Sweden, but another one did. In less than 24h from leaving Spain, this huge box sat on my floor.  (Disclaimer: All IMO of course, totally get why one would rather have an A7rii, its was just my personal thoughts.) 

It does look nice. Besides the moire in the water. That very clip made me get rid of it back then.
Guess the a7s and the a7s/rii doesnt have that issue.

We head into 2016 with a treasure chest of great cameras but how exactly do the mirrorless and DSLR cameras rank for video?
View the charts here

Do you even have a bottleneck? Your SSD and RAM should be able to handle small bits of footage.
Assuming you can scrub through your footage in real time, I'd say save the money for a 4K upgrade down the road (monitor, video card, at that point a new machine.)

As per a recent job listing, they're looking experience with:
Adobe Premier Avid Media Composer Adobe After Effects Adobe Photoshop Adobe Illustrator Davinci Resolve Adobe Audition Adobe Pro Tools No mention of FCP X or even FCP.
 

This is my first attempt at making a short film that was based on a true story. This entire film was shot on the GH4 in 4K and V Log. 90% of this film was lit with one single china ball. Please take a moment to watch and share if you'd like!
 

The Scarlet-W looks like the best camera they have made in a while. 
Again, don't preorder.  Wait for it to come out.  Do tests.  Rent it.  Use it against other cameras.  Then decide.
Pre-order a $10,000-$20,000 piece of kit is perhaps the dumbest thing in the world to do.  
Find out what surprises can happen with their camera.  How it handles dynamic range, etc etc.  How its fan works - all that stuff.
Early adopters always get burned.
I ususally wait a year after the camera is out to buy it.  And in the meantime rent it for gigs and test it.

This is exciting.  I highly doubt this unit will have optics of quality good enough to make investment in decent medium format glass worthwhile.  ie, even my Hasselblad 40mm/4, 50mm/2.8, 80mm/2.8 110mm/2 and 150mm/2.8 and this adaptor will only result in a set of lenses equating to:- 28/2.8, 35/2, 56/2, 77/1.4, 105/2.  
 
This will be a formidable set no doubt, but at around £3000 for the hassy lenses (at current ebay prices) and probably £500 for the adaptor, as well as each of the hassy lenses being upwards of 1kg each! the excitement is damped since for £3500 you can get an incredible set of 35mm format lenses that will likely match the look, with moderately better image quality.
 
Now, if metabones are watching and create something like this but with optics at the level of the SB ultra, then the hassle will be worth it (for resolution).  Unfortunately there aint enough fast (f2.8 or faster) medium format lenses like the shutterless hasselblad lenses to make the act of developing a truly superb focal reducer worthwhile in marketing terms.
That said, I'll definitely be getting one of these.  my hassy's will deliver pretty good resolution and squeezing the lp/mm tighter with this (providing optical performance is good) will make the 110/2 a badboy!   

I've been doing inkjet. But now ordering a book from Blurb. It's 8x8". 
Here's some tests, but these are all from Prores HQ.
EDIT; Wow shitty autofocus from the iPhone, the measure tape is in inches.

i wouldn't call it a budget camera. $10,000 is a pretty penny these days. Plenty of mid to high level productions will use it im sure. Even as a B cam to an Epic.