Geoff CB

Thanks for the explanation. I'll probably try KS's hack first.
Would be nice if there were separate threads on this this sub forum dedicated to each of the different hacks with instructions and links in their first posts (including how to donate to the authors). Would make things a lot easier and move things forward faster I reckon ...

2.5K mode on the NX500. Very impressive RS performance.
 

2.5K mode on the NX500. Very impressive RS performance.
 

2.5K mode on the NX500. Very impressive RS performance.
 

2.5K mode on the NX500. Very impressive RS performance.
 

2.5K mode on the NX500. Very impressive RS performance.
 

I have the 64gb version of that card and I was hitting 220 mbps. But the default 180 is already a huge improvement if your worried about issues.

I have the 64gb version of that card and I was hitting 220 mbps. But the default 180 is already a huge improvement if your worried about issues.

Some questions:
Can it record clips longer than 30 minutes in a row (like a 2 hour uninterrupted event)? Does it have 24p? Will DPAF work with regular Canon EF lenses (like the EF 70-200mm f/2.8L II lens) ? Does it have clean HDMI output for external recording? If the answer to any of these is "no" then it's definitely not for me. If they're all "yes" then I would be very interested.

Seems most here are convinced that FF on the A7Rii is garbage. Yet I thought the difference in iq was marginal when compared to the aps-c mode. So much so that it was my preferred shooting mode 90% of the time. 

I am confused as to what exactly you guys are trying to do? Are you trying to get the camera to dump the RAW sensor data out the HDMI port? 
I dont know how external recorders work but I am sure it would have no idea what its looking at meaning every camera's RAW output would look different. 

While not fully fixed, it does seem like the readout speed for the sensor is a bit faster because this looks shot on a long lens. Excellent image, very fun to grade.

I started in photography prior to video. I too wouldn't take my GH4 on a shoot for stills. I'd take a Nikon or Canon.

So we've all been waiting for months for this camera... its supposedly shipping and yet there is not one single image out there... what's going on ?

I think what I have to get away from is the "fix it in post" mentality. I actually prefer a clean image right off the camera. I have to stop shooting in S-log on my A7r 2, every time I use it I just don't need it. Normal audiences DO NOT CARE about a "film - like" image and I have to constantly remind myself of this fact.

Sorry what I meant was that I shoot in S-LOG then mess with it endlessly in post, at the expense of working on the edit itself to make it better. 

More on topic, I do think the film grain and film look are not as popular now as just a few years ago. I think films will be moving away from film in terms of look to something that looks good on their own. To give an example MAD MAX is the direction I think budget grades are heading in, over-the-top bright and attention grabbing, not subtle looks.

Oh the usual internet stuff: I'm right, you're wrong. I need to make sure you and all the other users here know that. I will not give up responding to your responses until it is clear to everyone here that you are an awful human being and my powers of intellect are superior to yours. This conversation is so important it'll occupy a good portion of my day. There are children getting bombed in Syria right now but someone with a random name on a very specialist hobbyist forum about something completely meaningless has a different opinion to me about it and he dared to answer back when I pointed out he was WRONG. Oh so wrong. Everyone is wrong. Listen to me I'm the best. My camera is best. No wait actually let's make this personal - your films are rubbish mine are great. Your existence is less valid than mine. Give up filmmaking! You know nothing! Hang your head in shame, fiend! Be gone! Actually no please stay I regret my outburst you are lovely. I love you. I love everyone here. I love everything. I love pretend film grain. I even love video without grain!

ive given this a lot of thought, and, imho:
film grain, as we know it, adds a lot to a certain kind of motion picture filmmaking. would it add a lot to gopro drone footage of a beach? no, and heres why
youre looking at the beach. watching a movie is like looking though a window as opposed to looking at a window
a huge amount of narrative filmmaking is just footage of people talking. when we experience a conversation in real life, we dont look AT the person we're talking to the same way we look AT the beach video.
this is one of the reasons that super shallow depth of field can be effective – im not looking at the tip of your nose while im talking to you. scott mccloud explains it like this

film grain provides a visually soothing abstraction of reality that is particularly useful for movies where people are talking to each other for 2 hours. its organic rhythm gives us a sort of translucent repeating pattern to look through that we perceive on a conscious as well as an unconscious level. it relaxes us, to listen to a story – its subliminal; hypnotic. and it feels more like real life when we're interacting with people, as illustrated above
although film grain is great at doing all this, what im describing should apply to any kind of subtle pattern noise – which is something im going to experiment with.
im not suggesting that a film image is empirically better than a noiseless alexa image, but for reservoir dogs, i think it is. a new purely digital patterned noise that does not seek to emulate film grain would prolly work pretty well too – as long as its not distracting or hideous, obviously. id like to develop that idea
and now, back to your regularly scheduled programming 

I know the Zoom line has pretty much become the go-to recorder for prosumers, and even a lot of pros, but the preamps on these units have always been disappointing imho. Then again I'm looking at capturing audio that sounds great as part of a larger visual/soundscape and equally as great solo for radio broadcast where there's nowhere to hide. I still recommend the Marantz pmd661. Its amps are way better than the Zoom line, the sound is broadcast quality level, but it isn't as big or expensive as one of the Sound Devices units.
 

I think what I have to get away from is the "fix it in post" mentality. I actually prefer a clean image right off the camera. I have to stop shooting in S-log on my A7r 2, every time I use it I just don't need it. Normal audiences DO NOT CARE about a "film - like" image and I have to constantly remind myself of this fact.

Quick test of the 40mm Voightlander with the A7r 2 and SLR Magic Anamorphot.
 
Also a Back to the Future Parody shot with the Voightlander 20/28/40/90 on NX1:
 

Fully manual all settings, even in event work. Have had to many times when a camera made the wrong choice for me. I will check out Smartrange+ again and do more tests with it because your results look very good with highlight rolloff.

Hey everyone,
I have some new free looping tracks ready for you. They are:
"Building Themselves"_Looping
http://soundimage.org/sci-fi-4/
"Hong Kong Midnight"_Looping
"Jewel Thieves"_Looping
"The Jazz Man"_Looping
"Stage Door"_Looping
http://soundimage.org/urban/
I hope they are helpful!  :-)
Eric

Nice stuff hempo, is your zeiss modified for super 16? That lens and wide angle adapter is a nice piece of kit!! Would love to film with a digital bolex and some of my 16mm glass one day. I was looking at used D16s right before the company stopped producing cameras and have been having trouble finding any used listings.  
Here's a short I just shot with the Angenieux 15-150 on a GH4 
 

Quick test of the 40mm Voightlander with the A7r 2 and SLR Magic Anamorphot.
 
Also a Back to the Future Parody shot with the Voightlander 20/28/40/90 on NX1: