Shirozina

Any links to tests that show 10bit vs 8bit at this low bitrate ? I'd be very wary of shooting a flat log profile at such a low bitrate as problems with banding will be compression artefacts and not bit depth artefacts.

I woudn't try to mix on headphones as the sound presentation will be too different to a theatre speaker setup - headphones for monitoring is a different matter though. If you have you project ready to go to final mix I would recommend you hire a sound production guy and a proper mixing suite for a day and get it done properly. You simply can't make compromises on sound for a feature that will be shown to a public audience.

2 hours ago, Jimmy said:

An Apple v Windows thread turning nasty.... Who'd have guessed :D

They are just tools

To many the Mac is a lifestyle choice bordering on a cult as a result of a highly effective product development and marketing strategy by Steve Jobs and despite Windows closing the distance with Windows 10 few would argue that there is a cult surrounding windows and the most you can say is that it gets the same job done but is cheaper and more customisable. Desktop workstation machines are now a very niche product reserved for professionals (who have to make rational price vs performance decisions based on multiple units in a studio multi user environment) as most people can carry out everyday tasks that once needed them on phones, tablets and laptops. Mac should be able to divert some resources to a project for a workstation but in today's environment it's difficult to say if it will succeed unless it can significantly leapfrog PC workstations in terms of performance rather than just offering a nice piece of industrial design and an alternative OS. As they are dependent on off the shelf Intel CPU's (not like the old days when they had Motorola offering something unique) and essentially offering the same internal architecture as a PC I can't see it happening myself. 

I should amend my statement to say 'I' don't care what system I'm working on once in an app. I know windows strengths and weaknesses ( which are not nearly as dire as you make out BTW) 

Once inside an app who cares what system it's running on......

Picture style 'portrait', set sharpness to -3 adjust contrast between -3 and 0 depending on the contrast ratio of the scene. Set Zebras to 100+% and don't clip important highlights. You can't go below 100iso so if you want to shoot with wide apertures you will need an ND filter unless you break the 180deg shutter rule.........

Using 'FS5' settings on my A7s  -  filmic and natural but with phase to zero and not the listed gamma Curve (Am I allowed to reveal my choice of gamma curve?). On my A7r2 I'm using the recommended set of settings but not as keen on the results so far as it's all a bit less 'organic' for my taste but maybe I need to experiment a bit more.I have been previously shooting the S-Log on both cameras to an external recorder and even though I can grade it pretty well now in Resolve I just can't help thinking that why not just get it right in camera........

To the OP - forget doing pans if you are on such a small budget and get a sturdy stills photography tripod with pan and tilt head. Once you need to pan it gets very expensive as the legs have to be super stiff to resist twisting which causes backlash / bounce at the end of a pan (The best for this are the twin tube designs) and a proper fluid head to get the smooth motion and be adjustable to a range of speeds and camera weights can't be engineered cheaply.

I have an A7s and internal is probably barley 720p in real resolution terms. Once you get the HDMI feed the higher bitrate and resolution when downsampled to 1080 is vastly superior. As Webrunner5 correctly points out UHD (not quite 4k) is only just a bit over 8mp so not very taxing on a lens designed for a 36x24 filmgate even at near wide open apertures. Now if you start using smaller sensors like M43 with denser pixels then you may start to see resolution issues but that's another matter. Forget the maths and use your eyes......

Sony PR team to the engineers - give them 10bit (even if it has the living daylights squeezed out of it by a high compression)

Cheap ones kill resolution. Even expensive ones ( eg Tiffen ) have color casts, only the most exotic have coatings to reduce flare.

Due to the flange to focal plane distance they are not ( easily) adaptable to EOS mount so they have always been less desirable in the S/H market which has kept prices low compared to other mounts of similar vintage but for mirrorless cameras this is not a problem. The mount system is 'different' but with the right adapter it can lock the lens in place very securely which eliminates backlash in follow focus systems. General 'Bokeh' can be a bit fussy and they are pretty low contrast wide open which can be useful.

Just like any new camera I'll be waiting for the hysteria to die down and for detailed tests and reviews to be published before I even consider it.

You need a set of JIS screwdrivers. These and helicoil grease can be purchased at Microtools.

2 hours ago, Marco Tecno said:

This is caused by the lack of serious competition. Finally amd is back, prepare for a step up in the game soon.

Also the market shifted to more efficiency rather than power for use in mobile devices - for most users the existing speeds are fast enough and gamers were catered for by improvements in GPU's. Heavy duty CPU users must make up a small % of overall chip sales so the market simply followed the money.

This is good news even though I have just upgraded to an x99 / i76850k ( OC'd to 4.4ghz) - it's not 'that' much faster than my previous  i72600k ( OC'd 4.8k) considering the time gap.

Camera was set in still mode not video - working now.

It's set to 100+

I'm using an A7r2 and with the recommended Gamma setting  it's disabling the zebras - anyone else confirm this?

Motion blur - what do you expect when you wave a camera about with a 50th sec shutter

Please explain - I'd love to hear.

8 hours ago, Mckinise said:

Even when exposed to the right, the footage was noticeably flawed.

Log should not be exposed to the right - it needs exposing to place the tones in the scene in the correct place on the log curve. ETTR is for RAW. 

Intel have had H264 support for quite a while but that doesn't change the fact that their CPU's have not got much faster for quite a while either.

3 hours ago, Mat Mayer said:

 Any suggestions for something that can easily cope with 4K h.264 and h.265 on Premiere Pro? I don't want to use proxies.

That's a tall order on a high spec desktop at the moment so forget about it for a laptop. Intel have been working on energy efficiency with their chip developments of late which means there hasn't been much real speed gains in the last 5 years. If you really want to edit those codecs on any machine these days you need to use proxies or transcode. Be careful with transcoding though as unless you are using the highest quality codecs ( idealy lossless) you will loose image quality.

150mb/s bitrate is a hell of a lot of compression for 10bit 4:2:2. In my experience the compression causes a lot of the banding artefacts in footage rather than the bit depth. 8bit HDMI out from my A7s ( when exposed properly) is very robust and takes a lot of effort to break it. GH5's HDMI out could be where the camera reveals itself.....