Gregormannschaft

Bloody hell, guys. There's plenty of other posts like these from other organisation with similar offers of work. Up to the individual to weigh up whether they want to do it based on the exposure, experience and their situation.  No need to label them old hags. 

Nathan Gabriel asked in topic about BMPCC 4k - but I think that promised samples better fit here...
@Nathan Gabriel Do you know how the quality of the SLR Magic 10mm compares to their 17mm? I have the SLR Magic 17 and it's nice, but it doesn't come close to the quality of my voigtlander.
@anonim Later I could extract some snapshots from last clips shot with 10mm...
I hope that these grabed-stills could give you at least some idea about SLR Magic 10mm - yet unprepared material, almost straight OOC with some skin corrections for this occasion, taken with Atomos proreshq, so obviously lesser sharpening than internal codec... I'm shooting one short about triathlon champion (and painter also), so sorry for maybe boring content from one session of running in the nature, I choose SLRM10 for it... 

I remember watching this back when it was a fresh staff pick, absolutely love the end scene with the digital slate. Nothing better than a really well made short doc. So much great stuff in here.

It is highly unlikely for the A7sIII to have any form of 10bit. At least internal.  They would need to use a different wrapper other than the XAVC-S for that. Also it would undercut the FS5ii. XAVC-S can support 4K 60p though so I am confident we will see that. 
If they manage to get the fast readout times of their stacked CMOS sensor with video and offer near global shutter performance, coupled with 4K 60p, excellent low light, battery performance and very good AF that would still be an excellent camera and a worthy update from the A7sII. If the use the 24MP sensor of A9 then that would make it even better since hybrid shooters will appreciate the extra resolution for photos. 
While I would like 10bit as much as any other member of this forum, Sony does not have that much competition yet in order to potentially sacrifice sales of their professional line. Someone could argue that GH5/s is a good alternative but once you have the 60p with near global shutter and very good AF with a 24mp FF sensor it would distance itself by quite a bit. And I really doubt Nikon/Canon would come up with a FF mirrorless camera and internal 10bit anytime soon. 
That brings me back to the FS5II. A reason that Sony only updated a firmware might be because the competition is still slow. All C200/EVA1/FS5II have some form of RAW, 4K 60p, low light that is not that different. C200 offers a vastly better AF than the other two, EVA1 has the highest resolution sensor and FS5II has the electronic ND. Maybe color was the only thing Sony needed to address in order to match the competition...

This was such a simple shoot, but the story really just fell into place and came together. This is a little piece on my Great Uncle that I shot several years ago on my 7D and a 24mm L Prime lens. This video changed my career...
 

I bit sarcastic view of Miami
 

@Mark Romero 2 Sure, bud  My only short to get into a couple of big festivals. Also a no budget project with a few friends, shot on a hacked GH2 (Flowmotion) with vintage Nikon AI/AIS lenses.
 
 

Nice. Maybe add a little more sharpening?

Nice. Maybe add a little more sharpening?

Keep at it Danilo, maybe write a one minute short film to propel your tests. When I got my 5D3 and started shooting ML Raw on it, I jumped into a short and I was forced to not only learn the ins and outs of the camera but also to think more about composition and light. In the end, I think it really helped. Good luck and please keep posting your progress... there aren’t many C200 owners on this site.

Nice. Maybe add a little more sharpening?

Nice. Maybe add a little more sharpening?

This guy reminds me of every bad, psychopathic boss I've ever had. Which is 2. He reminds me of both of them.

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....

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

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'.

@Gregormannschaft thanks, the background is challenging in this shot. I really didn’t want to give away too much about the story, but I also don’t want to seem too willy-nilly about it either, so I will say that the cluttered bokeh fits with the character’s state of mind in that scene.
With that being said, I will probably reshoot that shot, I was hoping to get away using a lens I already own, but I think I need a longer, newer lens to get the full benefit of the effect I’m going for.
But I really like your take on it... the tones pulled out the inherent separation.

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

S-curve, slightly desaturated and secondary skin tone correction towards orange.
 

eoshdii.tif

My attempt, It's what I would have for a thriller.

Resolve:
Basic Correction with dropped mids -> Resolve's Rec 709 fuji LUT at 25%  ->  Color and sharpening to face.

When i started shooting (stills) all i did was grab the camera walk around the city where i live and try to look for interesting things happening around me and i do remember the feeling i had when i actually captured something nice! And at the time i was using medium format so i only had 12 chances to get something awesome, and i really miss the ritual of going out shooting and then developing those rolls just to find what came out of it, they werent always the best picture one could take but it was my own personal ritual which i think i will go back to.

Then you should use SLOG2 - S-Gamut with the official correction LUT
Or (not) use SLOG3 - S-Gamut3.cine with official correction LUT
The problem here: if you expose properly, then you have to correct exposure before adding any of the LUT's above. With s-gamut there is a color shift from magenta to green while the exposure rises, so after the correction you may have green tint...
Or use Slog3/S-Gamut3.cine correction which not shifts with exposure, but banding may occur with slog3 on 8 bit cameras.
The best case if you are using Davinci Resolve with Color space mapping and use SLOG2 with S-Gamut3.cine > SLOG3/S-Gamut3.cine > official correction LUT
After that a little tweak on the skintones, a little hoax on the green and the blue of the sky, and BAAM, you  have the same image what filmconvert can provide :D

When I used the A7S ii I preferred Cine 2 (-15 Black Level)

Mechanically great - focus throw was huge, it was hard to focus handheld but great for the 1st AC. Fully metal and quite hefty however short. Here are a few screen grabs with a 709 LUT applied. All shot on the 50 or 85

If your already used to Gfilm. Put in the same settings and set the gamma and color mode to "Still". Been using that setting alot when I don't want to grade much. I've had more luck with the default Cine2 than Cine 4 myself.
 

 
EDIT: Also drop saturation to +1, or the colors start clipping.