pablogrollan

Sounds like you are describing 'Gate Weave'.
That is when a film frame passes through a projector, sprockets outside the image area control the vertical motion of the frames through the projector. Over time, a film can become warped or the sprockets can wear, causing the frame to appear to move side to side. It can also be caused by a worn mechanical movement in the camera not keeping perfect registration with the sprockets on the negative or by the film itself being warped by heat.
A good plugin for exactly this (and other old film effects) for Premiere/AE is Red Giant's Misfire:
http://www.redgiant.com/user-guide/universe/misfire/
or you could try and see if you can customise the parameters in this free camera shake plugin:
http://premierepro.net/editing/deadpool-handheld-camera-presets/
 
Gate Weave is primarily a horizontal motion (like a soft sway left and right) that can have different speeds. You could possibly keyframe your clips to have this motion with a Bézier curve to mimic the effect with the inbuilt motion control tab within Premiere. 
The most 'scientifically accurate' way to achieve the effect would be to shoot on film with a worn movement in a camera that does not have double-claw pull down...or you could purposely introduce movement during the telecine scan.

I'm not in the industry, but I'd hazard a guess that if you're a TV station or an educational institution or any of many other types of organisation looking to buy 50 or 100 cams you'd always go Canon, Sony or Panasonic and avoid BMD like the plague (what? You buy 50 cams and have to send 25 back for replacement?). Likewise, if you're doing anything where serious money is involved at the kind of level at which this new camera is aimed you would (if you have any sense) go for the platform that offers robust, quality products for which replacements are available within 12 hours tops. BMD seem to make great cameras, with lovely imagery - but they're just nowhere near the QC and ubiquity of supply necessary when deadlines have to be met and crews standing around waiting for stuff can't be afforded.

Have you considered not using Slog2? Slog3 and 2 are not recommended in low light, and even less in slow motion. Try using a different profile and you'll probably get a much cleaner image that you can still grade (not so much in terms of contrast).

You're seeing exactly what you should be seeing.  It's just that with ungraded log material it will be more obvious.  Parts of the image with plenty of light will not suffer from noise.  Other parts of the image that are low light will show noise unless noise reduction is applied in camera.  This is just the physics of the situation.
To see less noise without using noise reduction, you have to increase exposure (more photons hitting the sensor).

Yep, and still it could be too expensive if it is indeed aimed at the C100 MKII/ FS5 crowd. Unless we see some extra features like high framerates and so on, I doubt the Varicam badge is incentive enough. For that price you are getting close to the FS7 or FS5 with Raw recording... not to mention the gap with the C100 or a rumoured C200.

Yep, and still it could be too expensive if it is indeed aimed at the C100 MKII/ FS5 crowd. Unless we see some extra features like high framerates and so on, I doubt the Varicam badge is incentive enough. For that price you are getting close to the FS7 or FS5 with Raw recording... not to mention the gap with the C100 or a rumoured C200.

There actually is a Sony to Sony speedboster, obviously Sony A-mount to Sony E-mount... and Kiwis do fly, mostly with Air New Zealand and Qantas  

There actually is a Sony to Sony speedboster, obviously Sony A-mount to Sony E-mount... and Kiwis do fly, mostly with Air New Zealand and Qantas  

There actually is a Sony to Sony speedboster, obviously Sony A-mount to Sony E-mount... and Kiwis do fly, mostly with Air New Zealand and Qantas  

It could be... but my guess it would have to be around 4000-5000$ in order to compete against the C100 and the FS5.
The recent Varicams have IMHO been overpriced; they look nice and all the feedback is positive but they are deep into Sony F55, Alexa and RED territory... You need to offer something else if you want to beat those established workhorses at their own game.
The FS5 is a little less than 6000$ and the C100 MkII is 4000$, so if it is in fact a small s35 cinema camera with EF mount, it would make sense to target the same price range and offer maybe a higher bitrate or better codec.

Not sure any sound guy would consider that an upgrade... lavs are "easy", as you just "mike the guy" and forget about it, but sound quality of a proper boom is better (super cardioids are usually more flattering for speech than an omni lav).

Yeah, I didn't misunderstand you, I got your point, I agreed and just enhanced that view.
I have put lavs a few thousand times myself. You never forget the lav, you constantly monitor and it is very stressful, especially if you have more than 10, as I was doing political talk shows and I had 10-15 people miked at all time (the good thing is I didn't have to hide them, that is always a plus).
As good as you have place it, there is always a chance to something go wrong, and you need only 1 second of bad sound to ruin the take/interview/scene etc. 1 mistake is too much, while an experienced booman can always perform 100% right. This is my 19 years sound experience.
Most people believe that a lav is the only think they need for sound. That is not the fact.

After using both for quite a while the a6500 is slightly oversharpened and IMHO the IQ is slightly lower than the FS5 in every situation.
That much oversampling doesn't improve quality and makes rolling shutter jello way worse than what should be acceptable for a pro video camera. There is a a reason why F55, F5, FS7 and FS5 share the same 12mp s35 sensor optimized for video.
S35 is still the standard for cinema, narrative and commercials. Given the FS7 and FS5 intend to be hybrid cinema-broadcast cameras, they're right to stick to that standard -many cinema lenses don't cover FF- though I agree with you it would be very interesting to revive the VG series... it was a failed project but it was a good idea and I'm sure it could be done better with today's FF sensors, faster readouts, faster cards, etc.
I agree, but the same could have been said about the FS7 and look what happened. An FS5 II could be an update more than a replacement: improved EVF, new SD card slot to allow UHS3 cards with the second row of pins-, higher bitrates and/or XAVC-I -though using both L and I in many projects I can say 90% of the time you won't miss XAVC-I-, continuous 100 fps, etc. The "global shutter" part is what sounds wierd... What for? it's not like it RS is a problem on the FS5.

After using both for quite a while the a6500 is slightly oversharpened and IMHO the IQ is slightly lower than the FS5 in every situation.
That much oversampling doesn't improve quality and makes rolling shutter jello way worse than what should be acceptable for a pro video camera. There is a a reason why F55, F5, FS7 and FS5 share the same 12mp s35 sensor optimized for video.
S35 is still the standard for cinema, narrative and commercials. Given the FS7 and FS5 intend to be hybrid cinema-broadcast cameras, they're right to stick to that standard -many cinema lenses don't cover FF- though I agree with you it would be very interesting to revive the VG series... it was a failed project but it was a good idea and I'm sure it could be done better with today's FF sensors, faster readouts, faster cards, etc.
I agree, but the same could have been said about the FS7 and look what happened. An FS5 II could be an update more than a replacement: improved EVF, new SD card slot to allow UHS3 cards with the second row of pins-, higher bitrates and/or XAVC-I -though using both L and I in many projects I can say 90% of the time you won't miss XAVC-I-, continuous 100 fps, etc. The "global shutter" part is what sounds wierd... What for? it's not like it RS is a problem on the FS5.

Even though you don't really need a heavy duty tripod for a GH4, that Manfrotto range is crap and IMHO a total waste of money.
Like Kisaha said, if you can get to the 400-500€ range you can find decent solutions from second tier brands like Benro (and even the Sachtler ACE, which I've used and is a really nice head on "just OK" sticks).
http://cvp.com/index.php?t=product/benro_a373fbs8
http://cvp.com/index.php?t=product/benro_a573tbs7
http://cvp.com/index.php?t=product/benro_bv4
I found this one:
https://www.foto-klik.si/en/video-oprema/video-stativi-in-glave/genesis-base-cvt-20-kit-video-stativ-z-glavo-18551
I have no Idea how good or bad it is. Never used it nor know anyone who has used it. It is 10kg payload head on 50kg payload sticks. For that price I would be suspicious, but if you are willing to take the risk...

Even though you don't really need a heavy duty tripod for a GH4, that Manfrotto range is crap and IMHO a total waste of money.
Like Kisaha said, if you can get to the 400-500€ range you can find decent solutions from second tier brands like Benro (and even the Sachtler ACE, which I've used and is a really nice head on "just OK" sticks).
http://cvp.com/index.php?t=product/benro_a373fbs8
http://cvp.com/index.php?t=product/benro_a573tbs7
http://cvp.com/index.php?t=product/benro_bv4
I found this one:
https://www.foto-klik.si/en/video-oprema/video-stativi-in-glave/genesis-base-cvt-20-kit-video-stativ-z-glavo-18551
I have no Idea how good or bad it is. Never used it nor know anyone who has used it. It is 10kg payload head on 50kg payload sticks. For that price I would be suspicious, but if you are willing to take the risk...

@Snowfun As I said, I agree, and I mentioned that tripod systems has to be very very expensive, I also propose the Sachtler Ace series that starts from 550euros, much more manageable than tripod systems 5 times the price.
Budgets though, can be really tough, we do not know the people here, and when someone sets a "hard budget", then he must have his reasons. For most people in the world (I know, our world isn't a fair place!), 1000$ can be a whole family budget for half a year.
And, to be pragmatic and precise, he has a GH4, if he is not planning to buy a FS7 or C300mkII soon, a Benro S6 or Sachtler Ace M will be fine for many years to come. If he finds the budget to buy the FS7ii or Ursa Mini Pro, then he would be able to reconsider then, and spend the 2500-3000 euros for a better one, because 1500$ right now, won't be sufficient for a much heavier load, it is kinda a dead man's land.
How's the Air by the way? Which model? It is in my list, but I said, I had bad experience with very expensive Miller's before, and I am a bit reluctant.
@pekoo I am not very familiar with the cheap Manfrottos these days, usually for similar prices, I found the Benro's a bit better, and that is why when I was choosing my head, I went for the S6 (S7 wasn't out yet, I would have gone with that). Someone with better knowledge of Manfrotto products can be more helpful.
I will seriously tell you to consider one of the cheap Sachtler's if possible, the head is really good for it's price.
Libec has some interesting low budget options as well.
http://cvp.com/index.php?t=category//tripods+||26+support//libec///price/asc////

I'm surprised no one has mentioned audiojungle.net yet... 
They have a large catalog and unlike most sites they allow you to sort search results by sales and rating, which is very useful when you need to find something decent and don't have the time to explore the library...

I suspect the US authorities might save more american lives by instituting a sensible level of gun control domestically - since 3,180 Americans have died in gun crime incidents so far this year while, er, none have died as a result of foreign terrorism. But what do I know - the only thing we open carry in Hove is our bags of hot, steaming chips (fries) from the chippy!

If the budget is only $5000 i'd recommend this kit.

Canon C100 MK1 - $2499
Sigma 70 - 200mm f/2.8 - $1299
Sigma 18-35mm f/1.8 - $799
Rode Videomic Pro - $229
SanDisk 128 GB Extreme Pro - $66

Total: $4892

@pablogrollan most of those middle to top tier laptops (and usually NOT the ultra thin ones) have a 256GB SSD and a 1TB HDD, plus all the newest (and fastest) USB variations and/or more, I do not see a problem here.
Then, if someone wants the absolute best from an editing machine, then going for a laptop is most certainly he is not going to get it, common sense!

I am looking at the various gaming laptops at the moment. Asus and MSI have a huge range, there are a few 14" ones from various manufacturers (and Razer Blade Pro).
I am looking for i7-7700, GTX1060, 16GB RAM and even considering a 17" one if it isn't in the huge side, and they seem to go for around 2000euros (a bit more here, but it isn't the standard), so you save some money from the same spec-ed Apple one (you almost can buy a second one!).

LOL what? So many contradictions.
 
You rig the bmpcc, a camera that literally fits in a pocket, and then complain about the size.
You rig the camera with a third party battery and then complain about the camera when the battery fails.
You use a camera that's purpose is 100% to produce raw DNG or ProRes, formats that everyone knows are data heavy, and complain about file size.
You think a production camera around the same size as the FS5 is somehow more portable than the bmpcc.
 
Your complaints smack of self inflicted trauma. You picked the wrong camera to shoot with. The gear is fine... you can't blame the camera for your mistakes.

In cinema lenses the housing is kept consistent across the whole setup regardless of the glass element size so that you can swithch lenses without having to reposition the follow focus and mattebox, but in photo lenses the filter thread size is pretty much the diameter of the front element plus 1 or 2 mm because the goal is to make the smallest lens possible without compromising speed or optical quality.
Usually... but the Sigma 50mm f1.4 has a 77mm filter thread and weights over 800 gr. which I'm not so sure means a huge optical improvement over my old Nikkor 50mm f1.4 with a 52mm thread. Same applies to some Zeiss/Contax designs which are very compact yet fast and optically superb... With stills lenses there isn't as direct a correlation as with cinema lenses...

If you don't mind the inconvenience of not having proper "cinema ergonomics" and focus breathing, fast-sharp-cheap is doable. After all, Zeiss CP2s are rehoused stills lenses and there are many, many used fast and wonderful primes in pristine condition on sale at ebay, Keh and similar places. Anamorphic is another story, though... I'm not convinced by the quality I've seen from any of the anamorphic adapters out there...