Gregormannschaft

I'm not really sure what you're arguing for here. Making a video of your family's trip to the park, it isn't really essential that every shot is perfectly exposed is it? In most documentaries there's a natural tolerance of bad exposure, framing, and jerky camera movements right? Because a lot of time they aren't detracting from the story. A lot of the time they add to it, in fact.

Love gimbals for some select shots, like walking and panning down to reveal your protagonist walking, but I do find that longer shots will show this very artificial movement characteristic they tend to have. Steadicams don't have that kind of effect and that's a massive plus if you're shooting something with a more naturalistic feel.

I thought that must have been what you were going for with the lens character and to be honest it works really well. Especially as the actors face seems to be saying, 'I am freaking the f– out'.

This was a lot of fun, cheers Mercer. Great still, even if the background is hella busy.

Thanks, this is very helpful. I haven't used a Cine profile in ages and I was under the impression that moving away from LOG would simplify things. I'll try underexposing Cine 4 with Stills colour mode and see what Cine 2 is like as well tomorrow.

This is very helpful, thank you. I had a vague memory that it's best to underexpose the Cinegammas but didn't follow through on that gut feeling. Was a test shoot so wasn't a big problem. As always, thanks Geoff. I'll give that a go. I have set out to completely crush the image I attached above, but it's unacceptable colour. I'll give Still a try.

I'm using the Sony A7SII. I really like the Sony A7SII. I've used Geoff's G Film settings a lot with Slog 2 and have loved the results. Recently I've wanted to get a slightly cleaner image and thought I might be able to get that with moving away from a LOG profile towards a Cine profile. I've seen a lot of people use Cine 4 so I thought I'd give it a shot. Here''s a scene I've WB'd with an 18% grey card, under a skylight with daylight pouring in. Applying an unusually large amount lot of contrast, the skin is yellow. The shot is messy, I know, I'm used to SLOG so I overexposed, but still. I have this weird thing where everything I shoot with Cine 4 ends up having a strange colour cast, I seem to only get really strong, good results with SLOG 2. I fixed this image with RGB colour corrector, applied a LUT, got an OK result, but I can't help escape the feeling you should be able to get acceptable colours without a LUT and a ton of fiddling. Am I doing something glaringly wrong here? Anyone a fan of Cine 4 and had better luck? My exact settings were simply Cine 4 with Pro colour.

I had a VERY bumpy ride with after upgrading with Premiere, certainly don't do it if you have WIP projects that you want to work on afterwards.

Looks great, but where do you lot buy these things? I'm based in Germany and all I can find is an Amazon link with them listed at 1300€.

Not a problem at all if you do it in a way where you're not concerned about the skin being a strange shade of unsaturated orange, and everything else is just very noticeably off. I speak from experience of having simply thrown a teal and orange LUT on footage and I just think it's a shame as the piece is otherwise very nicely put together. It's also hard to judge footage when the colour is uniformly 'off'.

Yeesh, looks like it's either been horribly WB'd or they have just thrown a teal and orange LUT on there and called it a day.

The original frame grab, on my Macbook Pro monitor, looks by far the nicest out of all those posted so far. I've colour checked it a few months ago, so it could be slightly off now.

Yeah, time to download everything for proper backup I reckon.

I believe Andrew confirmed this function in the original post. There wasn't a world of difference in video between the A7RII and A7SII, I wonder if that will be the case with the SIII. I'm tempted to grab the 7RIII, useable autofocus would be a huge help for me on solo shoots.

What a brilliant find, nice one @Andrew Reid. Especially given that I'm guessing the EOSHD Colour thing is a big earner for you, you could have kept this quiet. I'm guessing the specific colour mode that is in there BT.2020 is a broadcast specific colour mode specifically for BBC? The footage you shot looks really beautiful, would be curious to see it at night and during the day, that is if Berlin feels like having a sunny day anytime soon.

Is that a still or a screengrab? It's amazingly clean. Lovely shot.

This has been covered A LOT in here, thanks to kidzrevil, but yeah, they are incredible for transforming footage and making it more cinematic. Wanted to quickly ask if anyone here had a chance to check out the new Sony 24-105mm yet? I am fed up of the Canon 24-105 w/ the Metabones adapter on the Sony A7SII. Would love to go native, drop a little size and weight and from what I've heard it's a pretty great lens, if pricey. Will still use primes when I can leave my camera bag at hand, but I've missed an all purpose travel lens that works without any problems.

Really appreciate this level of detail and passion, I feel like I'm learning a lot from your posts even though I don't really agree with not using the LOG profiles. But, your thoughts mirror that of someone I met at a film workshop in Brighton who hated the Sony LOG profiles in 8 bit and suggested only to shoot in the Cine profiles. I get the argument, and in layman's terms, the improvement I see is that you get less macroblocking, less colour noise and in general, just a cleaner, bolder image. Would that be correct? The only problem is that for me, the LOG profiles give you an aesthetic quality superior to that of the CINE profies, or even the standard contrasty profiles. And it's less about technical colour spaces and more about gradients. I'm happy to trade a little noise for a more pleasing image, with smoother rolloffs and shadow gradients. The initial first impression you get from the LOG profiles is a much better one that the contrasty, cleaner profiles that have this off-putting video quality to them.

Brilliant review, love the funky VHS style.

I'm a bit off the pace with all of this, anyone mind sharing what video changes have been made? Asides from the spec sheet stuff, like added Slog3.Cine colour. I've heard FF quality is better on the A7R3, but compared to the generations before are we looking at better colour or resolution? There was a really pleasing improvement in colour quality from the 1st generation to the 2nd.

"New to this and purchased a Sony FS5" Quote of the year.

First off, always always always use an 18% grey card to get your white balance perfect. I've found this is by far the biggest thing you can do to help your colour. I started doing that, even for my travel shorts, earlier last year and the difference is night and day. Secondly, give Geoff's GFILM a go. It is by far and away the best SLOG2 profile I've seen for Sony cameras. If you want a straight out of the camera look with no grading, EOSHD is the way to go. (p.s custom white balance erroring out with an all green screen? You'll have to switch your PP setting to OFF, do the custom white balance, and then switch back to SLOG2. It sucks, but takes an extra 10 seconds if you have your PP button set to a custom button)

This looks great, thanks for the tip.

Old argument, but doesn't building this thing up so big make using such a small camera kind of pointless?

Yeah, I reeeeaally want to go for the iMac instead, but there's a chance I'll be back to a 2011 Macbook Air instead of my mid-2014 Macbook Pro early next year and I'd love to continue to be able to work out and about next year.