Gregormannschaft

Your skintones should not exposed higher then 60 IRE if you are using Cine4, otherwise it will be highly compressed, just like on your sample image.
If you are using default metering you have to underexpose about 0,66-1 stop to get proper exposure

Got my C200 and it really is awesome. Since I didn't found any case for it yet, I've designed my own custom foam insert in AutoCad. I precisely measured every part to fit nice and smoothly into the insert. The foam was sandwiched together and I also let them add a white sheet in between to make it look more sexy! The case type is a Pelican 1610.
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If anyone has the Sony 24-105mm F4 lens you might want to read these posts about Focus Shift!
https://***URL removed***/forums/thread/4251069

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'.

If you are in Germany you can order from here:
https://www.essentialphoto.co.uk/
OR
https://www.amazon.co.uk/PIXAPRO®-Continuous-Interview-Marketing-Registered/dp/B017M0CD14/ref=sr_1_fkmr0_1?ie=UTF8&qid=1517492062&sr=8-1-fkmr0&keywords=pixapro%2B100d%2Bmkii&th=1
 
I actually found them on amazon.de site also. So there is many options. I think those will be anyway sent from UK.

The autofocus is truly one of the best things about the A7R3.
Panasonic GH5S should have really addressed this. Bit of a missed opportunity. Because A7R3 going to gobble a lot of sales based just on the autofocus.

Got myself some new glass for Christmas. I do prefer native lenses but the Sigma Speedbooster combo works really well! Screengrabs from GH5 + Speedbooxter XL + Sigma 35/1.4 + Black Pro Mist 1/4. 
Edit. Oh yeah, thanks to @jase and @kidzrevil for introducing me to Black Pro Mist, and other, filters.

Yes, aps-c/FF is a custom button function and you can now switch between them. Its awesome - I wish Sony would add it in a FW update but the r2 is now left for dead. I do it a lot on my a7r2 - that's my #1 complaint about the r2, #2 is UHS-1 on a camera writing 42mp raws.
I have the r2/s2 - in FF 4k there is a world of difference, the r2 is softer and gets really noisy/mushy above 1600, the s2 is clean to 25600 or so. APS-c on the r2 closes the gap and is sharper since its oversampled, but its still noisier above 6400. Rolling shutter is bad on both. The r3 has improved that dramatically. It would be an easy buy for me if it had 4k60p.
AF on the r3 looks vastly improved, but I'm still holding off to see what NAB brings - a 10-bit a7s3 with the new body, updated sensor with faster readout/less RS, and PADF would be my ideal video camera. But Sony will likely gimp it in some frustrating way.
Chris

It doesn’t change the situation with Pro Color because the A7R III doesn’t let you select BT.2020 with a standard gamma curve, only LOG (HLG) mode... So you can’t use it for straight out of camera colour (which is what EOSHD Pro Color is for). You need to add a LUT.
In the article I say BT.2020 is developed jointly by BBC and NHK. It’s not a Sony standard but a HDR broadcast standard. Canon use it as well.
S-Gammut is the Sony equivilent wide colour space. And that needs tweaking to work well and / or expert grading.

Hey Gregor, tomorrow it´s gonna be beautiful in Berlin. So Andrew should grab a shot or two, don´t you think?:) We would love to see some classic footage from the fleamarket crowd and all the chills and thrills in beautiful sun and sunset, hmm, sunrise too, it´s gonna be a long day of beautiful footage!!!:)

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.

A little Leica R action from a recent short. Not final color.
 

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.

Well, if you'd have read what it said 'w/ tiffen pearlescent filter', you'd know.
https://tiffen.com/diffusion/
I think filters like these (and e.g. Smoque 1 or Ultra Contrast (low) 1 & 3) are underrated, more people should give that kinda thing a go.

Why sell your external recorder?  Was that what I suggested?  I only said that banding can be a result of an aggressive LOG profile, as Don said, or from too little color information due to a high compression CODEC that uses 420.  We both have different roles, right?  You shoot and grade real stuff I assume.  I'd hire you over me to go shoot something.  I test stuff, a more scientific approach.  We're here to educate each other, I hope   Just so the OP can make sense of this I will explain some of this stuff in more detail, as I understand it!
Many filmmakers believe their cameras record color just like our eyes/brains do.  But they don't.  Cameras can only see in gray-scale actually.  The manufacturers put color filters over alternating pixels and then composite a "color".  But it's not really a color.  It's just a brightness value of light through a filter with the noise floor of the silicon as a reference/floor.  Too much brightness, and the value doesn't change.  The #1 confusion I see is the belief that these values have an implied relative brightness; that is, that the brightness difference between 100 and 200 would mean double the brightness as we see it.  That SHOULD be the case, but isn't.  The camera records linear, we see exponentially.  But even that is IN THE WEEDs.  The fact is, as YOU WOULD BE THE FIRST TO POINT OUT, the real world of grading is getting an image that looks right to the viewer, or conveys the feel the filmmaker wants.  That will  mean adjusting the relationship of brightness across the image... 
But but but..., you must have enough color data to fit your display gamma or you will notice where you don't have enough color, which is banding in smooth color gradients.  You can't widen your gamma (LOG) in a fixed data color space (8-bit) and assume that you will always have enough color information in your image to fully saturate a gradient.  Don was basically saying, the less aggressive LOG you use, the less chance you have to run into banding.  AGREE!!!!  And he'd know more than I about which LOG profiles do what in the real world.
Let me say this again in other words.  Extending a gamma beyond the amount of color data you have can increase banding.  Similarly, forcing more color into a narrow gamma will result in an image that has no discernable visual difference, which is why LOGs can have benefits in certain circumstances (they exploit what may be unnecessary color data). But you have to really know your shit to know when that is!  What I learned in my experiments is I did NOT know my sh_t
As for the external recorder, I was just pointing out that its benefit can affect banding, but is a separate issue from how it happens when using a LOG gamma for shooting in an 8bit space?  The OP should really be clear about the differences, right, before assuming one will fix the other?  If he was, I don't believe he would have asked the question because it's very subjective, or too variable to give an objective answer, right?
Are we friends again?

The official review is live! I had fun with this. I'm trying something new...
 

First look and impressions. 
 
So far I really love this. Sony has really refined the camera. Andrew, I give you some love for your profiles in here!
 

"New to this and purchased a Sony FS5"

Quote of the year.

"New to this and purchased a Sony FS5"

Quote of the year.

My Mac does, but it uses Quicksync - and so does Resolve, obviously. It's a matter of configuration-optimization or so, I guess. I wouldn't worry. If you didn't already, use the one-month trial period of Kyno. The idea is that you browse your card, preview the clips, set in- and out-points, subclip them with "s", rename them, whatever, and afterwards batch-convert them to ProRes, which happens way faster than with Resolve. Kyno doesn't "import" anything. Yes, this does eat more disk space (depending on your shooting ratio of course), but you have your footage organized. I don't know for sure, but I think this will also be the perfect solution for the 10-bit clips which the free Resolve doesn't accept, for what reason ever ...

FF looks to be as good as the S35 in low light at least up to 12800:
It also has a very usable 1080p 120fps:
 

Wow I thought Premiere was a piece of unreliable shit in the last version of Mac OS.
It's even worse in High Sierra!!
Avoid this upgrade like the plague if you rely on Adobe Premiere.

Just a heads up that if you use CUDA, it hasn't yet been patched for High Sierra and won't be available to use.

It is using the same "WhiteMagic" RGBW LCD as the A9 so double the brightness than A7RII with less power. So no dimming while shooting 4K. 
I remember a hands on report verifying it, but can't find it now.