Gregormannschaft

Tip #1: Be grateful to anyone who gives you their time and advice. People help you get somewhere in this industry, not gear or good technique.

Tip #1: Be grateful to anyone who gives you their time and advice. People help you get somewhere in this industry, not gear or good technique.

Ive always been very happy with the Edelkrone. Can just leave it permanently on the tripod. And like all their products its a solid build.
 

For anyone finding this by google in the future -
DSLR Video Shooter
Very useful on lights as I think jonpai said, also ok on basic lighting technique and some other gear
https://www.youtube.com/channel/UCMmA0XxraDP7ZVbv4eY3Omg
(Note: Apurture seem to be very good on CRI. If not spelling)
Dugdale:
I found his website completely useless. There may be useful info on basic technique there, but if so it is buried in a hotchpotch of other stuff.
Focal length reducers:
Much less useful than I hoped. They reduce FL by 0.7 before the m43 35mm equivalence factor comes in. So a 50mm takumar becomes about a 70mm lquivalent ens, and you can forget finding lenses to use as real wide angles.
Additional lens option
At least one Oly m43 lens seems to have real manual focus - the Pro 12-40mm . True of the other pro lenses as well???
 

meanwhile, it sounds like you'd like some sort of crash course for video work. I'd recommend delving into Dave Dugdale's earlier posts and videos as he documented his learning process pretty extensively. I'd also recommend looking at Philipp Blooms stuff, specifically when it's related to a piece of equipment or camera you're using or plan to use. He typically gives very in-depth run throughs. 

Nice work! Also not happy with the official LUTS provided by Sony.

This is a great thread.
I've been experimenting with colour profiles once again on the A7SII after settling with the GFILM recipe for SLOG2. I tried out PP Off and Cine 4, and what I couldn't get away from was that SLOG2 produces a certain look and texture that the other profiles simply can't match. Perhaps on one or two shots you could get close, but for most, there's a tonal graduation that is unique to LOG profiles. 

Yes, when I zoom into an image, there's more colour noise, but I can live with that given that the image as a whole is much more pleasing, more film-like when compared to the Cine gammas or PP off. 

I don't actually shoot S-LOG all the time. 
In a situation where 14 possible stops would spread the data too thinly (low light), I'd opt for a hyper gamma mode, where highlight roll off has a bit more control yet the image retains a lot more info into less stops. 
For the TV scenario, well, it really spends on what you're shooting, the lighting design, the style - on what camera and setting I'd choose. Is there are big 5k Arri coming through the window, and 150w Dedolights providing a kick for the actors face? Or is everything lit with Kino 4-banks at high key? Are there lots of colour variants, or is it just consistent tungsten? All these choices determine what the best profile to use for the project. 
I've had a lot of my music work on TV, however I've only shot primarily for TV once. They wanted SLOG-2 4K ProRes 422, yet would also accept SLOG-2 4K from the A7SII and A6500 as B/C cams! (This was BBC3). The variants in location was staggering, but they just wanted a consistent, grounded film look. 
Whilst I do pay attention to the technical side, the look is most important. SLOG gets that look for me, so despite its shortcomings in colour, it gets the look I want much easier than standard Rec709 profiles. 
 

Thanks for the love. 
Im not saying everyone should shoot S-LOG.
My opinion is that S-LOG, under a skilled hand, will more than likely give more pleasing results - with the majority of users on here are going for the "filmic, organic" look. 
Forgive me, I'm not that interested in the scientific depth of how it works. I just learn to expose it and grade it like a painter would choose their paints. 
You're right though, you do lose colour information. Put any A7 camera on PP off and bang! Colour explosion. BUT... the dynamic range is very poor. 
I feel what you lose in colour, is worth the benefit for that LOG range. It's not enough of a loss in my eyes to dismiss S-LOG.

I managed to contact the people who did this video and they were kindly enough to tell me they used a Zeiss Loxia 21mm 2.8 - in case anyone is interested, too

Personally, the 55 1.8 is the lens for me.       It can be found a LOT less than its list price (I paid a lot less even fairly early on) but to me it is worth every cent and has spoilt my lust for older 50-58mm normal lenses (I have had a lot and still have a few that no longer get a look in unless used on my M43 camera).
What about the Samyang 50 1.4 AF FE mount lens if price is an issue?
Also, the 28-70 FE kit lens is a nice enough handy lens (at least on the lower pixel count cameras) and for me, my native E mount lenses are the 55 and 28-70 and will soon add the 85 1.8 and that will do until I add another next year (maybe) with adapted lenses for the rest.

Hey everyone,
I created custom Slog2 S-Gamut3.cine to REC709 LUTs because I wasn’t not very happy with the official LUTs or the ones that included with Davinci Resolve.
Inside the archive you will find technical Slog2 into REC709 LUT as well as more stylized LUTs for specific looks. I also included versions with exposure compensation -1EV for overexposed material and official LUTs by Sony for your convenience.
Get it here

I'm used to full frame, and I'd have guessed 50mm. Maybe I'm wrong, but certainly not as wide as a 24mm. I'll give it a go later when I have my camera and 24-105 at hand.

S-LOG is totally worth it, if you now how to use and treat it. 
It's not only the extended dynamic range, its the impact it has on highlight rolloff which makes the transitions from shadows to mids to highlights very smooth. The difference is night and day. 
If you know what to do, using S-LOG will give you a far superior look to standard profiles. 
I personally modify SLOG 2 for better colour and I love it.

full time freelance editor here. I bounce around at a couple different companies whose clients are the major studios. for example, I cut this piece for the mummy.
the pay is great, frankly. i have been doing this sort of work for about ten years. I have also directed two features. the most recent was distributed internationally by paramount three years ago and we're still seeing good money from it. I don't spend more than I can afford on cameras and lenses, but am fortunate to be in a pretty good financial situation. No debt at all. My wife and I do not have kids. She also happens to be a film editor so she has an appreciation for my gear lust. But yeah, short version is that I work professionally editing and directing, and some of that income supports my personal collection of camera bodies, lenses, and support gear that i use more for fun, personal side projects that keep me sane.

The Tamron is big, heavy, has horrendous distortion and (wide open) hopelessly outclassed in resolution by my 35-70 Contax. I'll return it and wait to see how the new Sigma and Tamron 24-70's perform but after playing with it for 1/2 a day I'm suddenly I'm not so convinced that I 'need' anything to replace the Contax. 

Just ordered the Tamron - will report back!

Sony have got loads of cashback offers on.
I'm literally stood in a camera shop in London trying to exercise one of them right now!

I found this which looks pretty helpful: 
 

I found this which looks pretty helpful: 
 

I found this which looks pretty helpful: 
 

You're not really supposed to manually focus while flying the camera on the gimbal. So you basically have three choices:
A) a lens with auto focus (which rules out the vintage lens you want to use) on a camera with reliable auto focus (which rules out the A7sII)
B) set the lens to a small aperture with enough depth of field and use hyperfocal distance
C) set the lens to the desired aperture, focus it (you can put the gimbal into sleep for that if you fear it strains the motors) and keep the distance to what you film consistent

I saw a video that explain that Zhiyun Crane 3-Axis v2 is not good for heavy gear such as some DSLR Canon. I wish to ask you, if I need a gimbal for my 7D does exist a "one handeld" Gimbal enough strong on the market that may fits my needs please? I would be grateful for your advices!

Just bought myself a Black Pro Mist 1/4 after watching your stuff over the past few months. Hoping I can get at least somewhere close to the look you manage to achieve, fine stuff!
And I ordered some flat black spray paint for this adapter. I'll keep you all updated, sure you're all desperate to have a progress report.

Just bought myself a Black Pro Mist 1/4 after watching your stuff over the past few months. Hoping I can get at least somewhere close to the look you manage to achieve, fine stuff!
And I ordered some flat black spray paint for this adapter. I'll keep you all updated, sure you're all desperate to have a progress report.