kidzrevil

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.

How about NO Picture Profile?
Every more or less flat profile robs values from the skin tones and results in worse images, because in the 8-bit codec, little can be done in post to add vibrance to those. This Michael Jackson video shows this, imo. The skin tones are poor. Even if you had the best luts to nail down the right *colors*. Rungunshoot (Brandon Li) just uses autumn leaves, and then apparently you have some options for CC (though not for heavy grading, but this, again, is hampered by the 8-bit).
I don't say I'm right, I'm just starting to test with the A7s. I'd like you to show me that I'm wrong.

Thing I don't like with the A6300, A6500 is the 1080p sucks ass on them unless you down sample from 4k. Now 4k on a A6500 is about as good as it gets for the money.
But I must admit a Nikon D750 with the lenses you have can get the job done also. Pretty colors out of the Nikon. Not the best of the above for video though. But good.
There is a dark horse here and that is the New RX10 mk IV. That thing is pretty bad ass for the money and a killer lens is included. And if you are into travel, nature photography or video it is the Machine to have hands down.
But a G85 with a good zoom is the cheap ass way to go. I ain't too big on m3/4 anymore but this new GH5s may change that, but that is WAY out of your price range, probably for the money out of most people's on here, that is used C100 mkII, C300 territory, even BM Mini, Canon 1DC, 5D mk IV, Sony A7r mkIII damn near.  I know I am forgetting some. It had better be DAMN good..
And the Kicker is if you are Really Really into video is a used Panny GH4. I know the G85 has IBIS and a bit better colors but there is not a damn video camera in the world overall better than a GH4 with all it has to offer Video wise for the money, and if you want to do Anamorphic, well shit to bed, it is the one to buy. There is a Lot of people that have made some damn good money with one and still are.

If you want to see what the a6500 is capable of (with some work), check out any of @kidzrevil's videos in this thread: 
And @markr041 has some great looking footage in there pretty much SOOC.
If you shoot a lot of manual focus, I especially agree with Kidz on the g85. Panasonic's monochrome live view in combination with peaking is a dream for manual focusing. Does anyone else have this?

Tbh, I wouldn't get into the Sony APS-C system either. A bit russian roulette regarding overheating, because some people don't seem to run into it almost at all and others have it constantly. Of course, you now have the tripod mode, where you're raising the threshold where overheat protection kicks in, but rendering it so hot, that you can't comfortably hold it in your hands, hence: tripod mode. Of course it greatly has to do with them deciding to keep the body so damn small, which makes no sense as they've neglected a dedicated APS-C lens line-up for the last several years now, so it's more like an APS-C limited FF entry level to get you warmed up for an A7 or A9 body, already having the FF covering lenses. In the end, the lenses are what makes a system compact, so releasing new cameras that are very compact, but failing to embrace very compact lenses to me is the wrong strategy. Then there's just ergonomics 'n stuff. No frontfacing screen, touchscreen is a rather limited implementation, there's no dual cardslot, no dedicated headphone port, battery life is not that great. Then there's the footage... lots of potential on a purely sensor/pixel performance level, but that rolling shutter... and default profile colors you definitely need to mess about with because else you're getting zombie skintones and color channel clipping. All in all, I just can't be bothered with them unless they change up their approach in this APS-C segment (bigger body... better heat disspation, more features/better interface, new exciting compact lenses native to APS-C). Like, if Sony could give me a Panasonic GH5 or Olympus E-M1 Mark II with APS-C sensor... and a exciting compact lens line up to go with that, I'd be all about that. But... no joy. Maybe 2018?
In the APS-C realm, I actually consider Fujifilm to make the most sense now... and they're still quite traditional, have still a bit to go. Atleast they're nice to use. Now they just need a body with sensor stabilization, a frontfacing touchscreen and a dedicated headphone port on the body.
My money's still in the MFT basket. You just can't beat the compact factor and value you're getting. It just means you can't be relying on super smooth C-AF and you need to really think about your shots as lowlight and dynamic range challenges you. But, that's all stuff that you can actually make work. Except for the DR, this is as close as you'll get to shooting with an actual cinema camera. With a BMD, RED, ARRI etc, you're not relying on lowlight and C-AF either. So it also kind of depends what kind of shooter you are of course. Of course the GH5 packs a punch, but I'd consider the Lumix G9 as well if you're into a lot of viewfinder work and stills (I guess that's what the Nikon was used for partly as well). Shorter clips only, but still impressive. Supposedly the processing is quite nice and gets raving reviews. Both the GH5 and G9 are quite sizeable bodies though, mind you, so with going compact, it isn't so much about the bodies, but the lens advantage there.
But I always say: a camera wouldn't get made, if they didn't think anyone would buy it. And everyone has different needs/wants/budgets, so really it's up to you to figure out. If you have friends or a rental place, see if you can get your hands on 'em. Or just at the camera store alone. That will probably tell you more than comparing specs on paper.

Just get the G85 dude. It's much more ergonomic in comparison to the a6500 and XT20. Also from my experience, the G85 is no slouch in dynamic range or low light. Yeah it's not the best, but there are definitely worse - including from APS-C and full frame cameras. A lot of it comes down to how they process the raw image into video. 

Man It is pretty scary how far video stuff has come. But the basics are all the same. Even the same type of equipment needed I guess. Trouble is not much of it in this day and age is worth watching on TV.
When the average person only had a 17' to 19" TV didn't really matter if it was only 480 lines anyways LoL. I never noticed any difference until Beta and S Video came out. That was like 550 lines I guess? But a lot of older TVs would not even show it. Only Mitsubishi and Sony TV's seemed to have enough oomph to use it!
Panasonic was pushing big time at TV stations to go to S Video. But most all had Sony Beta stuff, was a damn hard sell LoL. I had a Nikon Camcorder and a Mitsubishi VCR, both S Video that I paid a fortune for at home. Everyone that came over was amazed how good it looked on the TV. Exciting times back them between video and computers coming out better and better each year.
My pocketbook started shrinking big time when I got into buying old Broadcast TV stuff from the station LoL. Man my wife was a saint LoL. I loved that stuff. I still love the look of 3 tube cameras. Ikegami cameras were my favorite!

Cheers - I do put a lot of effort into the "look", whether that's grading, lighting, composition. 
The cameras were tough to match, and to my eye are still not spot on. GH5 favours green whereas the A7SII is yellow, and the A6500 blue. They behave so differently, with each camera at a different white balance to compensate for their differences. 
Well, we had the astonishing feat of filming TWO performance videos with this band in a different location in just 7 hours. So I had to ask both the behind the scenes shooter and photographer to shoot both a B and C cam! Worked out. 
Honestly, I don't think there's an excuse now for ignoring your lighting gear when you have companies like Aputure and Blind Spot Gear knocking down walls. 99% of cameras will now do the job - keep your bodies and invest in the paint instead. 
I've not really followed Casey, however I can already see a lot of people outside of EOSHD forums basing their camera decisions around his. I don't think it matters too - a camera is there to be an extension of your own creativity. Everyone's purpose is different. 
Also thanks for the kind words - I honestly think I can do a lot better and kick myself for it often. I might even V-log myself this next year, taking viewers through a fun ride of the general day and force myself to be thinking beyond my own creative plateau. 

I really enjoyed the clarity in Casey's GH5 videos. It really showed the places he visited or lived in in a new light. The colours were good as well I thought. Shame about the swap.

Yep, and most generated  content is not even stylized that much to require extremely flat profiles. And in most cases with 8bit compressed codecs (or even many 10bit), you will get better results by getting natural colors in camera, and then using rec709 LUTs in post for stylization. 
The problem with the Sonys is that the default profiles (without the PP) are really only usable with daylight. At least for me, PP are NECESSARY to get the colors where I need to in any lighting condition. The control of the color with PP is so amazing that I find hard to use any camera that doesn't have them. Even a non-Sony. 
What all companies should implement is baking in LUTs both in video and in stills. Computationally it is trivial (they already do that), and it would add a tremendous amount of color control without the need of bandwidth-heavy codecs. 

The "YT Culture" side of things has sh*t quality on average (but arguably that *works in their favor*, as it makes their videos feel "more real") but knows what buttons to press to reel people in and then to subscribe

Sounds like an excellent plan you have there. I'm looking at a few options myself, trying to wrap my head around anamorphic right now. I think ultimately I'm just trying to up my game and maximize the output if the tools I already have, while weighing out pros and cons of going various directions. I might be taking on too much at once and just need to cool my jets and scale back. 
Of course, regardless of whatever direction I go in it's going to punch me in my wallet as anything relating to filmmaking is expensive. I should probably switch my information channels as ingest a lot of gear review channels and it just makes me thirst for shit I can't really afford right now. 
I always had a knack for getting more out of less and I probably just need to return to that and not worry so much about keeping up with the Jones. Thank you for your voice of reason, it's been helpful.  

Are these solutions good enough? And isn't good enough merely an euphemism for actually pretty bad? Time will tell. As we will get accustomed to see HDR images, we will later, probably years later, be prepared to compare and judge them. That makes early adopters brave pioneers. The more I learn through articles like these, I realize that my hopes of getting started with the bare minimum are naive fallacy. The point where I land with a smack is usually when someone introduces monitor calibration to the discussion. A long and winded rabbit hole with the conclusion that I can only come incrementally closer. Some colorist (van Hurkman? Hullfish?) said that to be aware of the problem was more valuable than to have access to a (sort of) perfectly calibrated monitor without an inkling of what that meant. In the FCP X thread you showed that it's by far not as easy to know all variables to keep the correct color space conversions (another horrifying term) in the 'pipeline' as it should be. I keep reading and commenting, but right now I feel confused and frustrated. I hope, not entirely unselfishly, that your efforts pay off and that you then can explain how you got there!

I know plenty of people would love it to be true. But there is no way getting around it. The reason the 1DC or C100 isn't hacked is because no one knows how. Otherwise it would be done. 
And all the "some guy told a friend's cousin" isnt gonna change that.

Kind of funny for me to hear Rap music in German! Works fine.
I think I would at least wait for this GH5s thingy to see what it is. Might be the best thing since sliced bread for the money?
Trouble with the BMPCC is low light and it is not the easiest thing to handle. I sort of like the BMCC better for production. But you are not going to run n gun with it like you sort of can with the BMPCC.
Yeah that seems crazy the a Sony a7r II would be noisy?? They are almost as good as the A7s. Yeah not a lot I have seen either that is Cine looking out of a GH5 compared to what you get form a BM product.  But it does have a wealth of features in it not many cameras have. I think better LuTs will come out. That Arri LuT on here Sage has looks great for them.

Just tried it out for the first time
It's fucking good.
Looks more like A6500 than X-T2
No crop either. Super fine noise grain.

Voigtlander 58mm 1.4 SLII

@kidzrevil, for your A6500. You are so posh, baby! Now show me some magic!
Edit: my apologies to all of you. I meant, of course:  Now show US some magic, please:)
 

hi guys!!! im wondering if youve ever seen a "cinemagraph" film... a short or whatever. a narrative
for the uninitiated, cinemagraph is a term that has become popular for a certain style of gif – stuff like this

i would describe a cinemagraph to a novice who hasnt seen one simply as a still photo where part of it is moving

what i find interesting about all this boils down to a notion of controlling motion, and less motion in film. limited motion

as gifs so often do, cinemagraphs often utilize a looping effect – a repeated loop of motion. something simple, iconic


it reminds me of animation


anyway guys, my question is: has anyone ever seen a film like this?
does this ring any bells? if theres something similar to what im working on out there, id definitely like to know!
happy holidays ??????

DUDE.
i THOUGHT we were over this for some delusional reason (i watch pro stuff), but SOMETIMES i MIGHT want to watch some St. Dane dog videos on a site which i abhor like fb, and PEOPLE ARE SHOOTING THEIR FUCKING VIDEOS VERTICALLY ALL THE TIME
WHAT THE ACTUAL FUCK
 
THIS IS MY CAUSE TO CHAMPION AND PERHAPS MY VERY PURPOSE IN LIFE
 
WONT YOU JOIN ME IN CREATING A BETTER TOMORROW?
WE MUST #STOP VERTICAL VIDEOS 2018
lets come up with memes and names for our group. anyone can join, all you have to do is swear never to shoot vertical video and upload it. if you went to art school this obviously doesnt mean you
first off we need a sicc name for our movement... if its mocking something contemporary thatd be hilarious, but im open to whatever
like... ANTIVER? ANTIVE? VV is catchy...
lets get into this

Typical. Pre-order promotion (free battery grip) for the G9 ends 24th of this month. Do think it's time to get rid of some camera gear though. D5300 has served me well, but a liveview approach for stills on this is the worst and the video capabilities... so-so, it's just no mirrorless camera with all the innovation and features. Do love me some APS-C/S35 goodness, but... apparently you can't have it all. The original E-M1... has been a good sport too, but is starting to feel dated and most of the more dedicated stills shooting happens with the G80 these days. That one itself has been great too, but it's probably a good idea to ditch all three and get myself in on that G9 promo and make that one the new dedicated stills cam. And then the GH5... what is the GH5s going to do? Will it be the ultimate video focused camera to compliment the G9? Or will the GH5 hold its own? Hum. Anyways, one thing's for sure: Panasonic is on top of the game and they're coming after our wallets!

Ibis in an xt2 sounds like a big deal imo.

Yeah it is pretty much fact that Fuji has a better color science.

According to Fujirumor's trusted source, the new camera will have a better grip compared to the xt2 and other ergonomic improvements. And there will be internal flog. 
The advantages over Panasonic will be the colour science, native aps-c sized sensor and more reasonably priced glass (eg 35mm 1.4, 23mm 1.4, 56mm 1.2 are all cheaper and more compact than m43 equivalents whilst having more character (i.e. imperfections)). As well as phase detection AF. 
Im not planning to get this camera since its out my price range ($2k) and im not a working video guy but if it was id buy it.