IronFilm

http://www.xdcam-user.com/2014/03/understanding-sonys-slog3-it-isnt-really-noisy/

i know you didn't ask me but iam also a sony shooter and i've found shooting at -1 magenta and +2 to orange makes the image very apealing and nice to work with. 

Safety Not Guaranteed was shot on an F3:
 

Interestingly is I believe it was shot entirely internally recorded and was done pre slog update.
The difference between that F3 camera they shot with and an F3 with slog and external recorder is like the difference between a 90lb weakling vs Arnie Schwarzenegger in his prime and on steroids!

Most of the options on the lower end sony stuff are there to fulfil the needs of forum consumers who hanker for such options then never have a need for them.  There are a handful of people who delve into the menus and understand what everything does based on their experiences with the higher end gear, being colourists, etc.  Most of the advanced stuff in the alpha range is there for creative people who might wish to make use of the options and are also willing to experiment and learn for themselves.  As a general rule, those who need step by step guides with stuff relating to creativity, self learning etc won;t ever really take advantage of such features or functions anyway.  It's a bit like a motherboard manufacturer.  the instructions you get with a motherboard/ram/prosessors are basic.  the true potential from a motherboard and the rest of the components are only attained by those who seek to delve deep.  Most people pay through the nose for a squeaky clean apple macbook pro which costs twice the price and is capable of half the processing power of a tuned desktop made by a 17yr old geek.  since they are unwilling/unable to understand the more complex aspects of cumputer technology and simply have no need for the added performance.   I like to think of it as a quality control thing.  If it were easy, everyone would be a dop/colourist.
 
when it comes to acoustic instruments i expect your online guides are serving as a buying guide rather than a user guide - so people know which to buy based on their particular playing style, personal preference to the sound, etc.  usually those who invest in a musical instrument do so for a different reason than most who buy a camera.  a musical instrument like a clarinet is not a consumer/throw away purchase in the same was a sony alpha camera usually is.       With a purchase of a clarinet comes dedication, investment in professional music lessons, etc - things that can;t be learned from youtube tutorials.  
 
  

One of the guys behind the looks in Instagram has released a set of LUTs.
Whats great, and also bad, its that they are quick drag-n-drops for Rec709. So little to no adjustment needed. As you can imagine the "vintage" is strong with these. But there are some modern looks as well.
I count at least 5, flipping through them, that will give a very nice base for a modern non vintage and non stualized look (only used one of them in the video, couldn't help myself, went for the Insta Look  ).
I just played around with them a little today. So don't take it as "finished looks" but more what base for tweaking they would give you.
Some bars and grain and possibly a vignette would probably really make it true "Instagram", but I didn't do it this time,
I plan on using them on NX500 footage which I almost exclusively shoot in standard PP and full auto.
For Log I will stick to my regular grading. (even though Log to Rec709 Luts are included.
BTW: Last time I did this, some where upset so I say it again to clarify. These are LUTs, they are ment to be tweaked. They aren't a quick fix for everything.
The reason I didn't last time, nor this time, tweak to much is because then the viewer will have no idea what part of the grade the LUT stood for.
 
 

I expect an F3 and some PL adapted lomo primes would be a stunning setup with real cinema image

Once I've discovered 28mm and 35mm f2 lenses, I can see why someone may use only one lens. You can get tight for close ups with some nice depth, or pull back and focus to infinity for your wider shots. I am going to be testing this one lens solution out in an upcoming project. 

^damn, I didn't realize the F3 was spec'd like that. That really does sound like an insane deal for 2K. Like a souped up Canon C100.

I own an F3 myself and I've been quite an advocate online for giving this camera a fresh breath of life in 2015/2016.
If you can overlook these factors:
Isn't 4K (but 2K/1080 is still more than good enough for most deliverables for the next couple of years plus)
Isn't raw (but raw is overkill for many people's projects. While I feel 10bit 422 is a perfect sweet spot for most cases)
Isn't the latest shiny new toy  (but you'll be like the Red Queen from Alice in Wonderland if you try to play that game, constantly running nonstop just to stay in place as you try to keep up. Because there will always be a new shiny toy just around the corner which is about to be released)
Doesn't have super slow motion (but 60fps FHD can meet the majority of most people's slow motion needs for the bulk of their projects. And just rent an FS700 for cheap when you need better. Or even buy a Sony RX10 mk2 for cheap slow motion usage, it can double up as your matching gimbal camera as well! Has slog too)
Doesn't have AF (but to many filmmakers that is a complete non-issue)
Is rather bulky (but that extra weight can be beneficial for stability, means you're not left with those handheld "shakeycam" footage like you might get from a DSLR if shooting in the same manner. Plus unfortunately first appearances do matter.... thus for those kinds of clients they'll love to see your built up F3 rig!)
 
....then (if those factors above are not deal breakers) you've got what I believe is the best possible camera that you can buy today for under US$2k!

As nothing in that price bracket (including many options costing thousands more) can offer what the F3 can in terms of: feature set, low light capability, S35 sensor, built in ND filters, XLR inputs, SDI outputs, 12bit 444, slog, 60fps FHD, dynamic range, solid & versatile interchangeable mount system (including expensive high end PL lenses or an affordable Nikon F set, or many other options), and more.
 

Precisely.
I have a D800 with 24 Mbps bitrate as well as the hacked 54 Mbps bitrate. In majority of scenes there isn't any difference. Close-ups of really fast moving water or certain types of night scenes is where I've found the differences. I haven't seen any other camera reaching anywhere as high quality output as Nikon does at 24 Mbps H.264.
With good tweaking of x264 encoding on a desktop computer you can reach same quality levels, but other camera manufacturers 1) haven't either tweaked their encoders as much, or 2) aren't throwing as much encoding power / using dedicated chips for the encoding - hence they aren't anywhere near the same quality levels when you compare bitrate for bitrate.
How you implement an encoder matters, even though you use the same codec. It was the same story with MP3 encoding in the early days. XING, Fraunhofer and the others weren't anywhere near the quality that the open source LAME encoder could output, bitrate for bitrate.

Nope, it differs from camera to camera. Depends on how efficient it uses its bitrate. A 50mbit Sony will in my experience break apart before Nikon 25mbit.

I think the video shows that Nikon doesn't need as high bitrate as Panasony. 
Same with the D750. Its 25mbit is cleaner than most 100mbit.
 

I believe when it comes to colour, S-Log was way better implemented on their Cinealta range than on the Alpha range.  ie. the implementation of S-Log on the f3, f35 and f65 was more carefully undergone and delivers more trustworthy results.  I expect @Ed David could shed some insight on the Cinealta range from the era of the F3.
Looking at the F3, I can't see a reason not to go for it at the current price.  as long as you can budget for an aftermarket fz mount adaptor or PL mount glass, as well as rigging and the external recorder for 4;4;4 you'll likely not find a more powerful camera.  I'd take 4;4;4 1080p from the F3 over any 4k dslr.

I own an F3 myself and I've been quite an advocate online for giving this camera a fresh breath of life in 2015/2016.
If you can overlook these factors:
Isn't 4K (but 2K/1080 is still more than good enough for most deliverables for the next couple of years plus)
Isn't raw (but raw is overkill for many people's projects. While I feel 10bit 422 is a perfect sweet spot for most cases)
Isn't the latest shiny new toy  (but you'll be like the Red Queen from Alice in Wonderland if you try to play that game, constantly running nonstop just to stay in place as you try to keep up. Because there will always be a new shiny toy just around the corner which is about to be released)
Doesn't have super slow motion (but 60fps FHD can meet the majority of most people's slow motion needs for the bulk of their projects. And just rent an FS700 for cheap when you need better. Or even buy a Sony RX10 mk2 for cheap slow motion usage, it can double up as your matching gimbal camera as well! Has slog too)
Doesn't have AF (but to many filmmakers that is a complete non-issue)
Is rather bulky (but that extra weight can be beneficial for stability, means you're not left with those handheld "shakeycam" footage like you might get from a DSLR if shooting in the same manner. Plus unfortunately first appearances do matter.... thus for those kinds of clients they'll love to see your built up F3 rig!)
 
....then (if those factors above are not deal breakers) you've got what I believe is the best possible camera that you can buy today for under US$2k!

As nothing in that price bracket (including many options costing thousands more) can offer what the F3 can in terms of: feature set, low light capability, S35 sensor, built in ND filters, XLR inputs, SDI outputs, 12bit 444, slog, 60fps FHD, dynamic range, solid & versatile interchangeable mount system (including expensive high end PL lenses or an affordable Nikon F set, or many other options), and more.
 

Not everybody here owns an F3 or has experience with one. I do however own and use one :-) Used mine most recently just last Sunday on a feature as their DoP.
 
444 would be 12bit not 10bit. You'd be thinking of the more common 10bit 422 
 
S-log's history on the F3 is thus:
Originally the F3 shipped without, then later a *VERY* expensive firmware upgrade was announced (thousands of dollars! But when the launch price of the camera was some fourteen thousand dollars or so, perhaps not really that much extra.... relatively speaking), but then the Canon C300 got announced...
Sony responded to this announcement in a couple of ways. Two of which was to drop hugely the price of the s-log update (under a thousand bucks) and to announce a free firmware upgrade for the F3 which gave slog as an option but missed some parts of the of the paid upgrade  (such as 444).
 
 

Obviously if you can, you want to buy a secondhand F3 with the paid version of the firmware upgrade if you can.
But practically speaking most of us would see only a minor if any benefit in getting one over another. (Paid vs free upgrade)
As the main benefit of the paid upgrade is gaining 444. But up until recently 444 recorders have been VERY expensive. At least now we've got a great option with the Video Devices PIX-E5. But even that is too pricey for some (I don't have one.  But I'd like to have one!), while the 10bit 422 recorder options have become *AMAZINGLY* cheap!!! :-o We've got multiple options which are sub 500 dollars. 
Plus not all projects are suitable for 444 anyway. As it means a large leap in data requirements, that not everything will benefit for. While 10bit 422 is the "sweet spot" I feel personally for high quality but easily manageable amounts of data.
 
 

X-Pro 2 4K - 80% said they don't need it, so Fuji didn't flick the switch in firmware. They ask a bunch of hardcore stills people if they want video and surprise surprise most of them don't.
How are Fujifilm supposed to expand their customer base with new people if the keep asking their existing ones what they want?
This is why camera companies keep serving up the same-old same-old every year... they never reach out new markets, because they only listen to the needs of their existing one.

It is my favourite run and gun E mount lens!

Likely because of the lens. And because it gets mucked up in your pocket...

Exactly. My company produces clarinets of my unique acoustical design. I have over 100 videos sharing information that help clarinetists to make more informed analysis of an instrument's performance capabilities---I want the player to know more so he or she can get the best results possible with our products and better appreciate their virtues. It's crazy but the various video camera companies seem to do the very opposite. 
Shouldn't they want to do every thing they can to insure those who use their products can get the very best results from them?
Yes, some effort is made, but it seems pretty inadequate verging on pathetic.

It is a CR2 rumor. Or in other words: slightly more reliable than the one I pulled out of my arse about unicorns delivering my next Ultra Ultra UHD 32K camera.

Talking about the Chinese film industry, I was surprised to see that the Alibaba Group, which I know very well for its ecommerce dealings (mainly AliExpress/Alibaba/Tmall & Taobao), has recently stepped up to be a major player in the film industry. It was brought to my attention when I recently watched the latest Mission Impossible...


Dang China!

Agreed! The pocket was really something, especially when you picked it up in the summersale way back when it was 495 USD and there were rumors it was because they wanted to clear stock before the successor came out... and then none came! That's just insane power for the value. Of course, it's not without its shortcomings... but if your primary target is ending up with gorgeous footage... it sure delivers that!
I've been keeping my eye on the BMD Micro Cinema Camera as well, but unfortunately it's very BMD to have to wait for ages and we're not even sure if they pulled off the global shutter... maybe it's something they've said out to do as a goal and never quite reached it. The cameras they announce are more like predictions it seems... 'we think we'll be able to do this in due time, so just bear with us'. Well... NAB 2016 is just around the corner now... what's up B-M-to-da-Deeds!? Perhaps they did a complete redesign of the sensor and infrastructure, enabling finally both rolling and global shutter operation, the thing they were fighting with... as well as giving it a higher than FHD sensor now (2.5K/4K?). Maybe they'll even add a little screen, or a sweet accessory that will work together with the Video Assist like a charm, making it an ideal set-up... I've said it before, but oh how I would love to use it something like this:

which wouldn't be far off from shooting a caged GH4...

You're right, the footage out of these 1000 bucks Blackmagics are as well very organic looking. The Pocket wouldn't win the numbers game either, it is mirrorless, but doesn't really show all those crazy features we've come to expect from having had Panasonics, Sonys and even Samsung around. Again... maybe this is another testament that others out there are just trying too hard (perhaps even Blackmagic themselves with the URSA Mini?). Focusing on all the numbers and features, upping it with every release and here we have something that just basically has one standing out feature: rich meaty files with loads of embeded character. The benefit of the Pocket and the Micro is... they are great for the mirrorless shooters that now shoot GH3, GH4, G6, G7, GX7, E-M5II, NX1, A7S, A7SII & A7RII. A key benefit of me as Micro Four Thirds shooter is... I already have figured the mount out, so I have tons of native glass and ways to adapt other lenses as well! It's still small and light! And it doesn't break the bank! Maybe you shoot an interview that has to go online as soon as possible and you get things right in-camera and use on-board audio, well, it's great to use something like the GH4. Quick color adjustment here and there, 4K gives you some interesting editting options and bam! If you're a hybrid shooter, shoot some stills as well. But... for those times that you shoot moody stuff, where looks are a key factor and the image has to look, here I go again: filmic, dang, those ProRes or DNG RAW files will get you places!
It's a nice addition for a mirrorless shooter. Currently the typical combo would be GH4 and BMPCC. I can imagine in the next months that will turn to the A6300 and BMMCC. One for the thick moody stuff, the other for all other things including some sweet slowmo!
But first it needs to come out!

I lens that would be high on the list for this is the 35mm f1.8 OSS.
I had it for the FS100 and liked it. Sharp and the stabilisation was good.
Its almost a pancake, so a sweet companion to the small pz zoom. Couple those with a set of vintage primes and you're golden.

It probably will so it pairs nicely with the new sigma aps-h camera.