Jordan Drake

OK, to keep confusion to minimum: The opening shots from 0:45 to 11:35 are all shot on the A7S II. The talking heads before and after that are shot on the original A7S. This might not be an ideally shot and graded video, but we only had production model A7SIIs for the one night and a half hour in the morning. Editing was obviously hurried as cameras are shipping right now. While it may not be our best looking work, I tested everything pretty extensively to make sure all our findings were accurate.

I appreciate the kind words! I'm hoping this episode does really well and we can leverage it to do more traveling for TCSTV. I need to come up with a good hook for the Best and Worst of 2015. Expectations are high.

I didn't have a chance to test the 60P recording, it was pretty decent on the A7S, so I'd expect it to be very nice on the new one. The Loxias are beautiful lenses, great contrast and flare characterics. They do breath like crazy though, so avoid large focus pulls mid-shot. I haven't had a chance to test the Milvus line yet, but I use ZE lenses a lot. They're wonderful as well, but the appeal of the Loxias for me was the smaller size when traveling.

As mentioned in the video, the daytime shots were made with the original A7S. Only the nighttime stuff, slow motion, and SLog 3 examples were shot on the A7S II. Dynamic range certainly looks improved, but that's mostly due to the SLog3 implementation I think.

Crop only, sadly. The quality 120P quality is better than the original, but still not that great.

I know it's not too much new information, but you can see my thoughts on V-Log in this video starting at 13:45.

​I hate to say it, but I've agreed not to share any V-Log L files while I'm testing. I think the screencap below is your best bet at seeing how the files respond to your workflow.

Playing with V-Log L a bit more, I've found that it responds wonderfully to Alexa LUTs. This is great, since I won't have to wait months for V-Log L LUTs to become available for the shoots where I don't have time to manually grade (also, I'm not a great colorist by any means!)

​Perhaps, but the GH4 not matching the FS7 (and previously FS700) isn't a huge slight. I far prefer the look to the previous episodes we've shot on the GH4. I'm also just getting used to the profile. In the most recent episode, I went for a much more contrasty saturated look in harsh light, you can see those results here (https://youtu.be/Ye9TrMw_nHI). I'll be finding a middle ground in the next few episodes, stay tuned.

Hopefully they'll come around. I have no idea how many cameras are floating around with the V-Log L right now.

​Yes to both.

​I've noticed a huge improvement in skin tones with V-Log L, I've been bitching about Cine-D 'wax face' for some time. I've only shot preliminary tests with 10 bit, but it does look to make a difference in skies. I'll test it more thoroughly this week.

Loving the V-Log L beta Panasonic Canada got me!

I've shot with the A7 for a full day, you can see the video here: http://www.youtube.com/watch?v=bnvgceTEV3c Looking at the image afterwards though, I'm not as excited as I initially was.  I loved the process of shooting with the camera, but the image quality is pretty wanting.  As you can see on the video above, the image is quite soft, and moire is visible in many shots.  Hopefully, this can be chalked up to pre-release firmware, but we permitted to judge the video quality based on the models we had, and I'm not delighted with the results.  Once the production cameras come out, I'll post a follow up to the above video with my revised opinions.