Geoff CB

Looks like better RS at least judging from the bullfighting scenes.

Rename them as one the non-4K modes and run it

I've been trying to give the A7r II a look similar to "Film" on the blackmagic Ursa Mini 4.6K that leans a little bit more towards green (Ursa is a little magenta) The need arose when I have had to shoot with the two camera side by side and inter cut them. Plus I wanted to get that great look in camera, S-log is too flat to shoot with by eye and breaks apart when trying to grade it, this gives a little more leeway for me and looks good out of camera. I'm away on vacation and will start a thread on it when I get back with more samples.

Sony GFILM

Black Level: 0
Gamma: Slog2
Black Gamma
- Range: Middle
- Level: 0
Knee: Manual  (It blows my mind this is left on Auto by default, it controls how the highlights behave)
- point: 77.5%
- slope: +3
Color Mode: Pro
Saturation: +3
Color Phase: -4
Color Depth: (Wish they would let this be adjusted for highlights/midtones/blacks independently)
- R: +4
- G: -3
- B: +3
- C: +2
- M: -2
- Y: +2
Detail: -7
- Mode: Manual
- V/H Balance: 0
- B&W Balance: Type5
- Limit: 3
- Crispening: 3
- Hi-Light Detail: 0
 
Recommendations: Always shoot 1 to 2 stop over what the camera tells you is proper exposure. Like S-log, the more light you can give it without clipping the highlights the better. With that said, I do not recommend clipping. If you clip the sky you will get a very poor image. In essence, expose properly
Do not shoot auto white balance in this mode, set it manually, using auto WB will throw off color and give poor results.
 

Premiere Elements would be better than photoshop. BUT I believe DaVinci Resolve is a free download. I'm not sure of the drawbacks but I believe you can't export a 4k video, other members on here can chime in. But maybe download Resolve before buying anything? Could save you money and I think you'd get a fuller featured video editor than Elements.

Well, not if people criticize videoquality based on that 720p bad rip upload (of their already questionable 4K original video). That's free badvertising.

All aerial in this video shot on GoPro 4. Get some sense in your head before saying shit
 
 

As someone who uses a A7r 2 and used to own a Nikon D750: the A7r 2 is a far better stills and video camera. The FF 1080p is great and gives you a great bitrate and leeway in post. I love the Full Frame 4K on it, great look and low rolling shutter, and working at a theater typically downscale it to 1080p for final delivery. I almost never use the Cropped 4K mode. Sure it has better detail and low light, but the Rolling shutter on it is horrendous.

A7r II + SLR Magic Anamorphot + Tokina 28-70

Voightlander 28mm

A7r II + SLR Magic Anamorphot + Tokina 28-70

Voightlander 28mm

The only thing you need to be a professional is a client.

Same here. The main advantage of FF is the small DoF, in which case aliasing artifacts are less and next to invisible. Also the A7rii FF mode has much less rolling shutter as well so that is another reason that is the preferred mode for handheld use. Then crop+clear zoom just gives you all the range that you need in one tiny package (in this case 35mm gives you 35-105):

 

I guess the problem is I don't spend my time shooting studio charts.

A7r II + SLR Magic Anamorphot + Tokina 28-70

A7r II + SLR Magic Anamorphot + Tokina 28-70

The BMD Micro CC was marketed with global shutter... in the end... they couldn't deliver on that promise and pulled it from the (seemingly finalized) specs (which made me order it). I was rather bummed when I found it was going to ship without the feature, which goes to show I'd rather have them release specs that they know they'll do, rather than making a prediction as a hard statement and then hopefully manage to pull it off somehow. Also... Craft Cinema Camera...
But yeah, I do get that they had to say something at Photokina. I was expecting them to! We all want to know: is it in the making? When should we expect it to hit the market and what can it roughly do?
I do think it's going to be a significant step-up in the way the m43 crowd shoots video! Like the hacked GH2 and GH4 were! In between the GH4R and (paid) firmware upgrade... and the G7 and GX80... I think we're going to be in for a treat. But you've got to be realistic. The GH5 is going to be the most productive and allround video tool in the DSLR and mirrorless market and have the best bang for buck. Yet sensorwise... it's not going to rival fullframe. Then again, that's only logical. Light gathering ability for each pixel is just not the greatest. But you know... isn't that the case with actual movie cameras either? If you look at Blackmagic and Kinefinity for example... you're expected to light your scenes and manage. Shooting ISO6400 is just not something you would/could go and do. That doesn't make fullframe options less interesting, especially for the run-n-gun type who shoots a night scene with just the camera on little to no budget... because then you can't deny the benefits of its flexibility. You can put it in any lighting scenario and it will cope with the conditions (to a certain degree). If that's the most important thing to you, look no further and get one of the Sony A7 series cameras (with their own issues; really comes down to the game of: pick your poison). I think it will be another one and a half year perhaps (2017?) before we see the new tech (organic photoconductive film (OPF CMOS) sensor with global shutter) hitting the market. That you may rightfully call a 'gamechanger'. But we're not there yet. It's a step up, as said, with V-LOG L and an anamorphic mode as firmware upgrades... with the GX80 sensor performance and stabilization however... we've seen that we can expect the GH5 to be a significant up from the GH4. And that is just how you need to see it. Still gives you struggle for wide focal length lenses. Isn't magically going to see in the dark with no noise or create crazy shallow depth of field by itself. But it is great value for the money and it certainly will be a treat to use stand alone as well as rigged up.
Secretly I was hoping for something between the GH-line and the Varicam, because getting a cinema tool step up from the GH4 and end up between 2999~9999 you'd be looking at the Sony FS5/FS7 (or something older 2nd hand), Blackmagic URSA Mini/Production Cinema Camera, Canon C100/300/500, Kinefinity Terra, (2nd hand RED package perhaps). In other words... a lot of people learn with the GH-line and when it's time to step up, their native lenses are probably useless and they have to look at different brands. If I were Panasonic, I would want people to stay in my eco system (and keep their money coming my way), hence create something Kinefinity/Blackmagic style that keeps in mind users coming from a GH4. Something like a true successor to the AG-AF100 but adhering to the modern standards and expections as well as being more compact and affordable. I mean, at around 3000 USD you buy a body only A7SII or A7RII. Can you imagine the things Panasonic would give you for that kind of money?! Something like JVC did (somewhat out of the blue) with the LS300... but done the Panasonic way with the GH heritage. Unfortunately the GH5 won't be that. I thought... ok, the G80 is now roughly the ultimate hybrid camera for stills and video. Maybe they make the GH5 really premium and focussed on video like that. But from what it seems, this is another ultimate hybrid camera... instead of what I was hoping, something in between the GH-line and Varicam (or as I've called it before 'the VC5' (a more serious cinelike approach to the stills hybrid GH5)). Doesn't make me less excited for the GH5 though. Might tick all the boxes anyways (with features that are now well implemented, ditching the YAGH-brick for a more viable solution and still being nice to use as-is, as well as being discrete on the streets and affordable to purchase).

No

Don Hertzfeldt is probably my favorite animation director currently, his film World of Tomorrow was my favorite film of last year. 
I saw "The Animation Show" in theaters when I was younger, during "Rejected" in the theater was the first time I laughed until I couldn't breath.
Cannot wait to see what the guy does next.

On the topic of animation, I always say WALL-E is an underrated masterpiece. 

Don Hertzfeldt is probably my favorite animation director currently, his film World of Tomorrow was my favorite film of last year. 
I saw "The Animation Show" in theaters when I was younger, during "Rejected" in the theater was the first time I laughed until I couldn't breath.
Cannot wait to see what the guy does next.

On the topic of animation, I always say WALL-E is an underrated masterpiece. 

Holy.... I never thought I would be considering a M4/3 camera. But this literally ticks ALL the boxes for me except the sensor size.
Edit: If this comes in under $1500 I'm buying it.

Holy.... I never thought I would be considering a M4/3 camera. But this literally ticks ALL the boxes for me except the sensor size.
Edit: If this comes in under $1500 I'm buying it.

Holy.... I never thought I would be considering a M4/3 camera. But this literally ticks ALL the boxes for me except the sensor size.
Edit: If this comes in under $1500 I'm buying it.

The only thing you can do is ask what is acceptable to use (they'll normally have a list of cameras) & rent for this one job, if it pays or gets you more work then consider buying something to keep getting broadcast work. Also, ask if what you're using will be good enough.
Having worked for the BBC, I know that broadcast standards are pretty high & it is more to do with how they have to deliver the footage. Therefore DSLR footage just isn't going to cut it in most instances, because they have to compress the footage into a deliverable format & in most cases it will fall apart - hence the 100Mbit/s min requirement. The special permission aspect is almost certainly to do with the fact that they'll have to spend extra time/money getting your DSLR footage up to scratch & they really don't like doing this - they'll see it as a waste of time & money, unless your piece is something that is going to get a lot of interest/viewers (ratings, it's all about ratings).
Don't let something like renting out a camera for a job put you off - this is your break & treat it as such.

Little things like dual card slots, vari-angle LCD, and larger battery will definitely help.  The big ones are the 3x faster sensor readout over the existing E-M1 and both IBIS and Electronic Stabilization with 4K video.