alexcosy

The AE alternative exists, it's Blackmagic Fusion, on the same model as Resolve, but it's an entirely new software to learn indeed.

Well, it's no secret, he has been showing that in the Vlogs for a few weeks/months now, explaining why he switched and what his new setup was so....
He maybe trying the GH5 as a possible contender, why not, just to see what the hype is all about. The FACT is the last one is shot (at least in parts) with a GH5, meaning at least possible interest.
Good vloggers nowadays are the new filmmakers. Dismissing that is, i think, a mistake when you seen the content and quality some of them can put out every single day.
Storytelling is storytelling.

Well, it's no secret, he has been showing that in the Vlogs for a few weeks/months now, explaining why he switched and what his new setup was so....
He maybe trying the GH5 as a possible contender, why not, just to see what the hype is all about. The FACT is the last one is shot (at least in parts) with a GH5, meaning at least possible interest.
Good vloggers nowadays are the new filmmakers. Dismissing that is, i think, a mistake when you seen the content and quality some of them can put out every single day.
Storytelling is storytelling.

Well, it's no secret, he has been showing that in the Vlogs for a few weeks/months now, explaining why he switched and what his new setup was so....
He maybe trying the GH5 as a possible contender, why not, just to see what the hype is all about. The FACT is the last one is shot (at least in parts) with a GH5, meaning at least possible interest.
Good vloggers nowadays are the new filmmakers. Dismissing that is, i think, a mistake when you seen the content and quality some of them can put out every single day.
Storytelling is storytelling.

Well, it's no secret, he has been showing that in the Vlogs for a few weeks/months now, explaining why he switched and what his new setup was so....
He maybe trying the GH5 as a possible contender, why not, just to see what the hype is all about. The FACT is the last one is shot (at least in parts) with a GH5, meaning at least possible interest.
Good vloggers nowadays are the new filmmakers. Dismissing that is, i think, a mistake when you seen the content and quality some of them can put out every single day.
Storytelling is storytelling.

Well, it's no secret, he has been showing that in the Vlogs for a few weeks/months now, explaining why he switched and what his new setup was so....
He maybe trying the GH5 as a possible contender, why not, just to see what the hype is all about. The FACT is the last one is shot (at least in parts) with a GH5, meaning at least possible interest.
Good vloggers nowadays are the new filmmakers. Dismissing that is, i think, a mistake when you seen the content and quality some of them can put out every single day.
Storytelling is storytelling.

It's not so much about IQ, it's about the overall rendition, pop, texture, bokeh etc... I'm not at all saying the A7s/II is a bad camera with bad IQ, it's a great camera by all means. 
There's an early Jon Olsonn  vlog where they go on about gear, and they compare the SL and an A7 Marcus used to have, and they clearly state (and you can witness it as they show comparative footage)  that the SL overall rendition is nicer, more appealling to the eye. and it does a great job with skin tones also.That and the Leica glass were a great combo. I just think that when they switched to an A7s + Sony Zoom (and it's a great zoom) the image lacked that extra pop, so it's not about IQ which is still great. 
 
Edit: check out Jon's Vlog 22, 10min00 in, there's the comparison, the combo of SL imagery + Leica 35mm 1.4 Summilux ASPH FLE is just great IMHO.

Those Chanel film are clearly (well) graded, and the crushed blacks seem more like an aesthetic choice rather than a technical limitation. For such a film (high end corporate / brand content) they probably recorded 4:2:2 10 bit via HDMI to get the best possible signal, which is another advantage of the SL over Sony, HDMI out is 10 bit, not 8.

Those Chanel film are clearly (well) graded, and the crushed blacks seem more like an aesthetic choice rather than a technical limitation. For such a film (high end corporate / brand content) they probably recorded 4:2:2 10 bit via HDMI to get the best possible signal, which is another advantage of the SL over Sony, HDMI out is 10 bit, not 8.

I guess we got that... but please, keep saying how you don't like this camera, you seem to enjoy it.

I'm sorry to say, but i think it's a terrible idea. We know how the consumer operates, people would then only look at the this megapixel count, as they already do with cameras. It's already not a good thing with cameras but it can make sense i guess sometimes, because it can be important. A lens is sooooo much more than its  megapixel resolving power. Besides, most people actually don't care enough to really mind if it has a high resolving power or not. Like you said, a lot use the kit lens and they're very happy with it, it's good enough for them and the may not want to spend any more money on it. The few others who know enough about lenses, optic, and photography in general to really be interested in this matter, also know enough to go look for reviews, test, advice, photos on flickr etc...
Plus, people would always ask "how many megapixels does that lens resolve" without know anything else about the lens, only focalizing on this, when everything else about a lens is so interesting and important. And to conclude, i guess MTF charts are there solely for that purpose.

I'm sorry to say, but i think it's a terrible idea. We know how the consumer operates, people would then only look at the this megapixel count, as they already do with cameras. It's already not a good thing with cameras but it can make sense i guess sometimes, because it can be important. A lens is sooooo much more than its  megapixel resolving power. Besides, most people actually don't care enough to really mind if it has a high resolving power or not. Like you said, a lot use the kit lens and they're very happy with it, it's good enough for them and the may not want to spend any more money on it. The few others who know enough about lenses, optic, and photography in general to really be interested in this matter, also know enough to go look for reviews, test, advice, photos on flickr etc...
Plus, people would always ask "how many megapixels does that lens resolve" without know anything else about the lens, only focalizing on this, when everything else about a lens is so interesting and important. And to conclude, i guess MTF charts are there solely for that purpose.

I'm sorry to say, but i think it's a terrible idea. We know how the consumer operates, people would then only look at the this megapixel count, as they already do with cameras. It's already not a good thing with cameras but it can make sense i guess sometimes, because it can be important. A lens is sooooo much more than its  megapixel resolving power. Besides, most people actually don't care enough to really mind if it has a high resolving power or not. Like you said, a lot use the kit lens and they're very happy with it, it's good enough for them and the may not want to spend any more money on it. The few others who know enough about lenses, optic, and photography in general to really be interested in this matter, also know enough to go look for reviews, test, advice, photos on flickr etc...
Plus, people would always ask "how many megapixels does that lens resolve" without know anything else about the lens, only focalizing on this, when everything else about a lens is so interesting and important. And to conclude, i guess MTF charts are there solely for that purpose.

I'm sorry to say, but i think it's a terrible idea. We know how the consumer operates, people would then only look at the this megapixel count, as they already do with cameras. It's already not a good thing with cameras but it can make sense i guess sometimes, because it can be important. A lens is sooooo much more than its  megapixel resolving power. Besides, most people actually don't care enough to really mind if it has a high resolving power or not. Like you said, a lot use the kit lens and they're very happy with it, it's good enough for them and the may not want to spend any more money on it. The few others who know enough about lenses, optic, and photography in general to really be interested in this matter, also know enough to go look for reviews, test, advice, photos on flickr etc...
Plus, people would always ask "how many megapixels does that lens resolve" without know anything else about the lens, only focalizing on this, when everything else about a lens is so interesting and important. And to conclude, i guess MTF charts are there solely for that purpose.

I found this video yesterday and it made me think of this thread. It's kind of related to this subject, especially on the matter of archival and how today's digital footage will hold up in time. And it actually is also wonderful and kinda magical.
Watch it, you're in for a very cool (digital video about lost, and refound film...
 
 

I found this video yesterday and it made me think of this thread. It's kind of related to this subject, especially on the matter of archival and how today's digital footage will hold up in time. And it actually is also wonderful and kinda magical.
Watch it, you're in for a very cool (digital video about lost, and refound film...
 
 

I found this video yesterday and it made me think of this thread. It's kind of related to this subject, especially on the matter of archival and how today's digital footage will hold up in time. And it actually is also wonderful and kinda magical.
Watch it, you're in for a very cool (digital video about lost, and refound film...
 
 

​Well, i have worked on a fairly large tv show set (french scale) where a young intern was there to just take the cards from the camera operator and bring them to the ingest operator (who was litteraly 30m away, on set), then taking discharged cards back to the camera operator. Not going into details, he mixed up one card which was then formated without being ingested. It was an SxS card used on Pro Sony camera. Formated only one time, believe it or not, even Sony couldn't get the footage back.
So i don't know what productions you have worked, but sometimes shit happens mate... 
At some point you have to have interns and let them do things... Otherwise there's just no point in learning anything.

Hi guys, 
I'm putting for sale an FF58 Dog Schidt Optiks lens, EF mount. The specifics are as follow:
- Fixed oval aperture, around f2.8
- Normal amber tint
- Stupid low contrast
- Light grey finish
It's in very very nice condition, really like when i got it around 15 months ago. 
I'm selling it because i actually do not have a camera to put it on anymore, i was using it on a 5DmkII but i sold it as i didn't want to shoot a DSLR anymore, and went the analog Leica M6 route instead.
I'm asking 100€ euros + shipping (around 12€) for Europe. I'm not reluctant to ship it outside europe too. 
It's a very nice lens, very peculiar, and though you can't choose everything like on the DSO site, the settings i chose are, IMO, very nice, and you can get it for less expensive than a new one (mine is like "new" really, i mean like right out of their workshop), and very fast as i ship the day after receiving the paypal transfer, so a few days after, you can have it home, shooting the hell out of it
Here are some pics of it, and some screengrabs, bear in mind that those screen grabs are taken from ungraded 5DmkII video set on a VisionTech picture profile (which is a low contrast low sat profile). So don't pixel peep sharpness or CA, this lens is not about that, and what i shot was really not about that, but all about feeling, and atmosphere.
Ask anything you want, if i can, i will answer.
Thanks, I hope it can make one of you guys happy.
 

Hi guys, 
I'm putting for sale an FF58 Dog Schidt Optiks lens, EF mount. The specifics are as follow:
- Fixed oval aperture, around f2.8
- Normal amber tint
- Stupid low contrast
- Light grey finish
It's in very very nice condition, really like when i got it around 15 months ago. 
I'm selling it because i actually do not have a camera to put it on anymore, i was using it on a 5DmkII but i sold it as i didn't want to shoot a DSLR anymore, and went the analog Leica M6 route instead.
I'm asking 100€ euros + shipping (around 12€) for Europe. I'm not reluctant to ship it outside europe too. 
It's a very nice lens, very peculiar, and though you can't choose everything like on the DSO site, the settings i chose are, IMO, very nice, and you can get it for less expensive than a new one (mine is like "new" really, i mean like right out of their workshop), and very fast as i ship the day after receiving the paypal transfer, so a few days after, you can have it home, shooting the hell out of it
Here are some pics of it, and some screengrabs, bear in mind that those screen grabs are taken from ungraded 5DmkII video set on a VisionTech picture profile (which is a low contrast low sat profile). So don't pixel peep sharpness or CA, this lens is not about that, and what i shot was really not about that, but all about feeling, and atmosphere.
Ask anything you want, if i can, i will answer.
Thanks, I hope it can make one of you guys happy.
 

H264 or H265 are acquisition or diffusion codecs, never were they intended to be editable natively for that matter.
Offline editing may not be always the fastest solution but it really is the best way. Managing media, transcoding, conforming, knowing the difference between working formats, and acquisition/diffusion format is a lost art, and it's a shame because in many situation it actually is the simpler process in the end (even if it doesn't seem so at first).
 
If H265 not being an editable codec is the only thing preventing you (noone specific in mind, you the average reader i mean ;) ) from buying this camera... Buy it ! and learn how to deal with these situations, it will only make you a better editor, a better image technician, it will teach you professional workflows... It's a win-win really ;)

H264 or H265 are acquisition or diffusion codecs, never were they intended to be editable natively for that matter.
Offline editing may not be always the fastest solution but it really is the best way. Managing media, transcoding, conforming, knowing the difference between working formats, and acquisition/diffusion format is a lost art, and it's a shame because in many situation it actually is the simpler process in the end (even if it doesn't seem so at first).
 
If H265 not being an editable codec is the only thing preventing you (noone specific in mind, you the average reader i mean ;) ) from buying this camera... Buy it ! and learn how to deal with these situations, it will only make you a better editor, a better image technician, it will teach you professional workflows... It's a win-win really ;)

I guess we got that... but please, keep saying how you don't like this camera, you seem to enjoy it.

After reading most of this thread, one of the conclusion can be that the headline to this post is very misleading!
The developper himself tells us that you get 10bit in the luma channel only! Which is nice.
But never does he mention full 10bit 4:4:4...

Indeed, but as Andrew said, like with the D800, they can tell you all they want that it's clean 4:2:2 10 bits from the HDMI, but if it's just 4:2:0 8bits, "rewrapped" in a 4:2:2 10 bits signal, it doesn't matter, it's just the same "crappy" signal in a beautiful box ;) but they get to tell you that it's great, cause they're not actually lying...