Aussie Ash

Second hand Sony A5100

Here are the budgets,workflows etc
https://blog.frame.io/2018/03/05/oscar-2018-workflows/
(This link has a couple of pop ups)

So 4 out of 10 still use film.
And as I recall this is the smallest percentage it has been since people started saying "film is dead". 
Doesn't look very dead to me.

(I see you next year when history repeats itself for the tenth time   )

I have had the camera for over a week now and even though I promised myself, not to post in this forum again, I will give my opinion about a few things, maybe they help someone.
These are mainly about handling, the image quality seems to be very good and I don't want to start the discussion about 8bit vs 10bit again. 
The video options are set up nicely, the addition of DCI 4K is very welcome.
You can start the recording with the touchscreen, if you set it to Shot. I also like the silent controls, even if they are a little bit small. I just touch it once to start it and then use the joystick to navigate and set the different options. Not only is it much faster but it doesn't close the menu after setting up one item either.
the new linear manual focus option for focus by wire lenses is great. That Fuji implemented this before Panasonic or Sony does is interesting too. Talking about manual focus, you can punch in either with a key you set up (per default the back wheel) or by double tapping the screen. There are two magnifications, between which you switch by circling the back wheel. You can move the magnified field during recording either with the joystick or by pressing the corners of the touchscreen. Resolution of the magnification is very good.
The same two magnifications are available in the viewfinder, but you probably won't need it, because the resolution of the EVF is very high. There is an Auto-magnification too, which starts when you turn the focus ring, but you have to activate it in the menu. 
 
I only did a few quick tests on autofocus. It worked fine 90% of the time. Nothing to write home about, but acceptable. There are some AF options which I haven't played with too much yet, handling tracking speed and focus speed. 
slow motion has to be activated separately, either through the menu or a function button. I did program a swipe gesture on the touch screen to open the slow motion menu. 
 
Overall you notice, that this camera wasn't designed for video as it's main selling point. But coming from Fujifilm cameras, this is a huge step up. There are a lot of new options and you get the Fujifilm colors, which compensate for some drawbacks, at least for me. Overall I am impressed by the camera, especially for people shooting stills too, this is a very nice option. The new shutter is extremely quiet, you can probably shoot at a set and have no one noticing the sound. 

That was relatively thorough, but oddly I was liking many of the images coming from the a7sii. 

Thanks for the input. Yeah, I am sure that I was often blowing my highlights. When you say the first video they were way down under 100 IRE, about how far down do you think their highlights were? I have heard for cine 1 keep them at 95 (or below) even though Cine 1 is supposed to go to 109 IRE.
 
Thanks for chiming in. I will have to try the silver reflector on the floor idea.
When it is really bright outside, I can see using something in the foreground as a silhouette; maybe the tops of some chairs or some wine glasses on a dining room table...???
Yeah, setting up ply silver boards seems like a nightmare... heck, just putting them into my car seems like a nightmare (and I have a BIG car).
It's a lot!
But it is all about VALUE for the agents. I see some agents selling $5 Million or more homes using photos they took on their iphones. They can't be bothered to spend $100 on cheap run-and-gun HDR photos, let alone $200 for well-light photos.

here is quite a cool "behind the scenes" Red Screen productions put together.
 
 

Here is some of the gear Red screen productions have been using lately
"Ruben Sarian" Ceo of Red screen productions
Canon EOS C200,Sigma 18-35 f1.8 etc
https://www.sharegrid.com/losangeles/people/ruben-redscreenproductions-com
 

With all due respect, this is very wrong.
The 400 f2.8 issue which you continue to reference and described as prattle earlier on was actually my prattle about the A9 rather than the A7 but I thought I'd reply anyway.
Sony have produced a camera which they push as a professional sports camera and to say it has made little to zero impact in the field that they claim it will revolutionise would be an understatement. 
Why?
Well, lenses firstly and, once they've resolve that, ergonomics.
Unfortunately, whilst professional sports photographers would love to just be able to sashay around with all our gear in a man bag, we need fast long lenses not for some "alpha male" bullshit but because we have to photograph things at distance, in low light and with good separation against often busy backgrounds. 
We don't use 400 f2.8 lenses because we like having to pay for, carry and wrestle with them but because we need to.
To, you know, do our job.
So, if Sony want to actually make any headway in the market they push that camera to then who else should they have listened to other than the people that actually work in it?
Where did you source your data for the 'half dozen' photographers that might buy it 'unsponsored' ?
I'll be shooting a Champions League match tonight along with 50-60 other members of the "shrinking, impoverished and literally dying" demographic that Sony are trying to appeal to with this camera. There'll be roughly £15-20K of equipment being used per metre, none of which will be sponsored and none of which will be Sony, but all those kits will include a 400 f2.8
The total spend on the equipment contained in our oversized weather resistant man bags will be about £1.8m and we will expect to replenish that every 24 months.
Thats from this one game in one city.
Go and have a look at the sporting calendar and see how many more events the alpha males with the big hands are covering tonight. 
Even so, we are still small potatoes perhaps financially against the masses but we bring something to the party that is far more important to Sony than the immediacy of getting a few quid off us.
I'm in this picture somewhere

The worldwide TV audience for this game was around 350 million people.
That is 350 million people getting glimpses of Nikon and Canon cameras for 90 minutes.
If someone wanted to convince you to buy a camera that the pros use, there really is no more effective means at getting the point across than that is there?
Where else are consumers going to see professional cameras being used in those sort of numbers?
The English Premier League has an annual TV audience of 4.2 billion people, all of whom are getting regular glimpses of working professional photographers using Canon and Nikon cameras every time the ball goes out of play behind the goal.
It is a massive calling card for those two companies and that is why Sony want to be involved.
They're not in it to sell a few thousand A9s, they're in it to sell a few hundred thousand of their other ones.
So they have to produce a 400 f2.8 and they have to make it ergonomically viable to get real professional sports photographers to use it. 
And they have completely failed in that respect.
That picture is from the 2017 Champions League final, just after the A9 was launched. You'd think a company like Sony would've been able to persuade a few people to shoot with it wouldn't you? Even by paying us to do it? 
Can't see one can you?
And its got nothing to do with the specs, its all about it not being good enough for the job (and that is what it is, a job) that they were devising it for.
 Hence your dismissal of the balance issue and general body size as wittering is utterly ridiculous in that context.
Try balancing that lens with that camera on a monopod and switching it rapidly from eye back to reverse over your shoulder while you use your other body with a 70-200 f2.8 and tell me balance doesn't matter. 
Try using cameras continuously in that scenario for hours at a time and tell me the camera being too thin doesn't actually hurt your hands, let alone before we get on to button placement and button size.
As an economist, you will be able to speculate on numerous possible factors why the A9 has made more or less zero impact on the market Sony intended for it. 
As the actual intended customer of it, I can offer a completely non-speculative reason for it which is that it didn't have a 400 f2.8 from the get go and its ergonomics and overall performance are not good enough.
The Sony A7iii looks like a great camera though even for someone with small hands like me....

With the stills you can basically do 3 things: 1) print some of them (the best way); 2) put some of them on the net (well, a mediocre way, since they loose their precious IQ, and get lost into net galaxies of pics), 3) bury them into a hard disk folder and essentially forget them. And there is perhaps a 4th way: sometimes to combine stills and video sequences into a short video, organize them as a story, put there some humor and irony, music etc. Then your stills could then gain a new life and perhaps remain less forgotten.
I'm for this playful combo of different rhytms of stills and video shots into videos, esp. as personal small projects that keep you on both sides of the image devide.

Yep. It's a well known trick. 
https://www.bhphotovideo.com/c/product/90629-REG/Rosco_102302104825_E_Colour_210_6_Neutral.html
 
There's no old days about it. It's called real filmmaking. ?

Hi everyone. I am new here, but having got my H1 on 1st of March I've just speed read through this entire thread and feel like I have to chip in. I had been shooting Nikon for about 20 years and came via F5, then digital from D200, through to D4 and D750, before switching entirely to Fuji X, having an overlap of 4 yrs running both side by side.
I've sold my X-T2 yesterday and trying to sell an X-T1 and an X-PRO2 - I am so impressed with the H1. I just can't imagine ever wanting to shoot the other bodies any more! I do about 60% on video and 40% on stills, and have 14 Fuji X lenses from 14mm through to 400mm, plus an 8mm Samyang. 
Today I had been practicing with the H1 and an Atomos Shogun.
My initial reactions (I'll spare you from regurgitating the specs):
I got the body plus Battery Grip and 2 extra batteries and absolutely LOVE the handling. This camera is more pro feel than the X-T2, and is inspiring like my D4 was, when I have the grip on. BUT take the grip off, and it is the same height as the X-PRO2 and makes great walkabout camera. (In fact I would like a 2nd body!) The shutter has to be experienced, to be believed. The sound is like a lens shutter, with no perceivable body shock. The release is on a hair trigger, which took me about 2 minutes to get used to it. I used to do target pistol shooting, and this is like an Olympic grade target gun. You can release the shutter without jarring the body. Even without IS you can easily shoot 2 stops slower than "normal". Now add IBIS and then add OIS lens (the two IS's work intelligently together!) and I've seen people shoot handheld at 400mm and 1/5s and get usable stills. There is a TON of customisation options! Yes, any X cam user can feel quickly at home, especially after the X-T2, but there is another dimension, when you dig deeper. Such as user settable AF delay and AF focus pull speed. My unscientific gut feel is that although not quite as good as Sony - it is damn fine. Most pro's prefer manual focus anyway, but this is quite outstanding and the best from Fuji to date. Eterna is pure pussy! (Quoted from Blazing Saddles!) and available for both stills and video 4:2:0 at 200Mbps with Fuji quality is just fine by me, and externally on my Shogun I can record 4:2:2, so no issues whatever Love the top LCD, which is customisable and shows relevant and different data for movie or stills shooting As with the X-T2, having 3 batteries is great and being to charge all 3 simultaneously, whilst IN CAMERA is fantastic. Imagine that after a day's work you just connect the camera to the 9Vdc charger for the grip and a USB3 2A for the body, and the next morning you have all 3 batteries 100% full, without having to get up during the night to load the next battery into the charger! Bliss! The wireless stuff finally seems to work with my iPad/iPhone and has both WiFi and Bluetooth - but sucks battery something rotten! When recording externally, you can actually turn off recording to SD, and still control the external recorder via the camera shutter release (or touch) via HDMI control Overall, I simply love this. I have heaps to learn about this camera and do not claim to be an expert - far from it, but I know enough already that for me it is a winner.
Sure it is not a replacement for a Red Dragon or Ari, but I much prefer it to a GH5(S) or Sony A7... (both of which are very fine cameras).
Thanks for reading...
Paul

Here is another one off "Red Screen Productions" vimeo account
Camera test testing out the Slog2 picture profile on the Sony A7RII and a couple new fresnel lights we got. Shot in 4K in all its glory.
 

Here is another one off "Red Screen Productions" vimeo account
Camera test testing out the Slog2 picture profile on the Sony A7RII and a couple new fresnel lights we got. Shot in 4K in all its glory.
 

Here is another one off "Red Screen Productions" vimeo account
Camera test testing out the Slog2 picture profile on the Sony A7RII and a couple new fresnel lights we got. Shot in 4K in all its glory.
 

Hey Mark,
Thought I'd chip in. From what I've seen, a6500 and a7rii at S35 footage look, in practice, Here's a pretty detailed IQ test that might help:
 
My a6500 is actually up on ebay at the moment. It's a good little camera, but whilst I thought I'd be able to get over the awkward ergonomics, I never truly did. It took all the fun out of using it, and when I got a decent shot it felt more like pot-luck that I got the setting right, rather than capable of being confident that it was doing what I wanted!
Plus, as someone who shoots with their left eye to the viewfinder, I really came to be frustrated with the off-centre EVT, and ended up sometimes changing focus region with my nose. Would much rather their APS-C bodies had the same shape as their full-frame ones.

Well I guess if you are Really good at exposure, proper lighting, not shooting into the sun, etc, 8 bit works. It has somehow worked for many years,
But in a professional venue they have every base covered. Better cameras, great cameramen, great audio, great lighting, great graders, great editors, great actors, on and on.
So it is hard for the average person to compete with the Pros, but now I think the gap has been closed a Lot. But you are not going to do Green Screen, VFX effects in 8 bit very well.
But I think we beat ourselves up too much anymore on output quality. I am not saying to not try as hard as possible to achieve it, but at the cost of always being in debt, worrying about it all the time Bah I say.
Look back how bad 8mm cameras were, super8 even. Nobody said damn that sucked. They were happy to see what had been shot, not complaining about the quality. And I would imagine most of the people that watch videos have no clue what 90% of the problems we piss and moan about even exist. I would say the most important thing that drives me crazy is poor Audio, not poor video, in a short or a long. And other than one person on here, we rarely ever even talk about that subject.

"The entry-level model will launch for around £330/€380 body only, which would equate to somewhere around $385 without tax. That's the lowest launch price of any DSLR we can remember."
"The 4000D shares its body and viewfinder with its more expensive sibling (and previous cameras of this series), but relies on a version of the 18MP sensor first introduced nine years ago in the EOS 7D, and the Digic 4+ processor that made its debut in Canon's 2014 model-year compacts. The camera's rear display is a 2.7-inch LCD that we last encountered in 2011's EOS 1100D/Rebel T3."
"Finally, some kits of the camera will include the unstabilized 18-55mm F3.5-5.6 III first announced in February of 2011, although we're pretty sure the plastic lens mount is a first for a digital EOS."
"Still, we've not seen such aggressive corner cutting unit cost optimization since Sony's a3000 (which was seemingly made from upcycled yogurt containers), and can't think of a DSLR that has ever launched at a lower price."
A sensor from 2009, a processor from 2014 and a rear display from 2011 with a kit lens of that said year. 380euros for this thing is not cheap at all, and yes, the mount is plastic.

A time-travel DSLR ,date back to 2008,so  cool

Oh imagine my surprise that this is ending up another piece of crap, half assed camera from Canon. Drink the Cool Aide boys.
From DPR,
"it's a 1.6x crop from a 1.6x crop sensor, meaning a 2.56x crop relative to full frame."
Jesus Christ LoL. And you thought a BMPCC was bad!

X-H1 vs A7RIII
 
 

Oh no, what have I done? Have I gone and bought the bmpcc again? I tried 4K, it was fine, now I'm back to the land of better color and DR, and ProresHQ/Raw files and that s16 sensor. Feels good. I'd say this is still my favorite camera. Anyway, I decided to compare some of my c-mount lenses. Don't mind the quick and dirty lighting and grading, this is more about the lenses and their sharpness wide open. You can tell the 12.5mm is the sharpest because of the aliasing in my beard. I still love the camera though. Here's some bmpcc/c-mount lens footage I shot a year ago (which is what made me want to get the pocket again) with the KP 26mm, KP Yvar 16mm 2.8, and Fujinon 18-108mm 2.5 zoom:
 

It's ten years next September since Canon's 18MP sensor was first introduced in the original 7D, and ten years this October since DIGIC4 showed up in the 50D. It'd almost be impressive how much longevity Canon have gotten out of those components, if not for the comparative lack of progress elsewhere since then.

I understand the chassis is made from recycled baked bean cans.

Tamron just announced an AF version of their 20mm for FE mount. Why is it great? 

Well imagine this: you get a 20mm F/2 on your A7RIII that is light and small with great low light and that should be perfect on a gimbal, and at the push of a button you switch to S35 mode giving you a 30mm equivalent, close to the famous 35mm. And since it is digital, you do not need to rebalance your gimbal at all nor changing lens. 
Amazing. FF-S35 mode is really great to allow light travel with 1 or 2 primes. I really hope that they release a 18mpx A7S III with S35 mode, with 4K60P 10 bits and A7RIII AF this would kill the segment.