kaylee

So it's named Raven.
still no specs nor price for now.

Hey CTRT,
If you're looking for manual primes to compliment your Panasonic 12-35, I'd recommend checking out the SLR Magic line. They're all metal, fast as hell, and have a creamy, 3D rendering style that's extremely cinematic. I currently own the 12 and the 25 for my BMPCC/GH3, and they've performed extremely well thus far.

thats awesome, great to hear.
unlike cameras and lenses, one thing that you cant buy is talent, which you seem to have plenty of based on your original post~! im sure that your practice as a musician informs your video work in all kinds of ways, intangibles that i might not even understand...!
if i could give you one piece of advice going forward, it would be this: avoid the rabbithole of technology research; its neverending
shoot with your new camera. its great. id buy one today!
cheers
p.s. it is WAY too hot for my st bernard-great dane in san diego rn 
 
 

Im not talking about anything that comes from post. im talking about camera output. more on that later
just talkin about in camera color rn tho
nothing could be further from the truth. i want a high level of color accuracy for reproducing sets, costuming, and prop elements (which were very expensive and time consuming to make). i want nature to look like nature, i dont want to have to avoid shooting something as common as a F------ BLUE SKY for any reason, i want people to look awesome, and healthy, like actual living creatures with blood running through their veins
fyi im capable of being extremely critical of the alexa, everybodys favorite movie camera. im not a mark; i know what i want and im gonna keep bitching until i get it, thats my job as a consumer. after TONS of bitching from us all about slog2 on the a7s, heres slog3 on its successor –– no coincidence. anyway, i digress, just saying that youre a bit unclear on what im "looking for"
these video reinforce my point: ive seen em, not impressed. at all. im not into retro luts or affected color grading, thats a fine option –– but i described above what i want from a digital video camera
but then again –– some feature filmmakers are going to map all their colors to teal and orange in their edit, and for them this shit doesnt rlly matter too much. slog2 is great for black and white work ive made some beautiful stuff
 
 

"4k for all"
Presenting
The RED Tombstone Piledriver

"4k for all"
Presenting
The RED Tombstone Piledriver

thanks for your advice, all of it...  I will be shooting with this for a long time... the only other tech I want really is a couple of quirky lenses and a new tripod...

The whole LUTs thing has really opened my eyes to a lot of potential for music videos, etc., and yes, music GREATLY informs how I edit, etc.

Here's a little thing I did today with my daughter:

https://www.youtube.com/watch?v=EpKUCgdrW4o 

Obviously it's not anything, but a little bit of footage for me to play with, but it still looks amazing... for just 5 mins of work. 

and look after your dog, it's meant to live in the alps I think!

http://admiringlight.com/blog/the-sliding-scale-of-camera-capabilities/
That applies 100% to video. 

Interesting to see how Canon was a killer, democratizing the industry for stills and then for video (5D2) by releasing affordable devices with pro features. 
Such a shame it is not the case anymore. What changed at Canon? 
All of this because of their Cine line   I hate it, and hate all of you who are buying C100, C300, C500 that make money to Canon and make them cripple the 7Ds/5Ds bodies for us non professional ... 
Without this Cine line, we would get a 5D4 with 4K with great bitrate and Canon Log - DPAF and so on.......
I still think 5D4 will have 4K unlike many of you (don't imagine how a body can come in 2016 without 4K, that would be non imaginable) when even iPhones get 4K. 
But it will probably a 5D3 like video, which means not clean, poor bitrate, no HFR, ...
Anyway. 

thats awesome, great to hear.
unlike cameras and lenses, one thing that you cant buy is talent, which you seem to have plenty of based on your original post~! im sure that your practice as a musician informs your video work in all kinds of ways, intangibles that i might not even understand...!
if i could give you one piece of advice going forward, it would be this: avoid the rabbithole of technology research; its neverending
shoot with your new camera. its great. id buy one today!
cheers
p.s. it is WAY too hot for my st bernard-great dane in san diego rn 
 
 

I got the free LUT Loader from Pixel Studios and now I am in flipping heaven... 

Crazy how easy it is to radically change - and improve - footage... Cine D is brilliant! May just have to spring for the LOG upgrade now.

My kids are pretty tired of this new camera already, but I am having so much fun... first big job is on the 22nd... can't wait! 
 

So after a few days, and shooting a few dozen photos, and a handful of videos, I have to say I'm pretty blown away... it definitely feels a lot more "modern" than the Nikon, whether or not that's good in personal taste, but I dig it... it's not exactly intuitive, especially how the menus are so context sensitive, but that's just getting used to it... the 4K is AMAZING! But wow, the file sizes eh? 

Overall, couldn't be happier! Thanks again everyone!

I wonder how they will call it. Red-uzi, pistol, knife, bonebreaker, baseballbat, shrepnell...

Red butterknife

Love Enzo
 

Im not talking about anything that comes from post. im talking about camera output. more on that later
just talkin about in camera color rn tho
nothing could be further from the truth. i want a high level of color accuracy for reproducing sets, costuming, and prop elements (which were very expensive and time consuming to make). i want nature to look like nature, i dont want to have to avoid shooting something as common as a F------ BLUE SKY for any reason, i want people to look awesome, and healthy, like actual living creatures with blood running through their veins
fyi im capable of being extremely critical of the alexa, everybodys favorite movie camera. im not a mark; i know what i want and im gonna keep bitching until i get it, thats my job as a consumer. after TONS of bitching from us all about slog2 on the a7s, heres slog3 on its successor –– no coincidence. anyway, i digress, just saying that youre a bit unclear on what im "looking for"
these video reinforce my point: ive seen em, not impressed. at all. im not into retro luts or affected color grading, thats a fine option –– but i described above what i want from a digital video camera
but then again –– some feature filmmakers are going to map all their colors to teal and orange in their edit, and for them this shit doesnt rlly matter too much. slog2 is great for black and white work ive made some beautiful stuff
 
 

I was looking forward to this announcement and now I'm not so sure what I think. All the obvious improvements are there, IBIS, 4K plus that nice extra of 1080p 120fps. And, of course, I look forward to seeing some consumer footage. But I had kind of hoped for less rolling shutter...or slightly increased MP count...

I might save (a lot) more and look at the Ursa Mini at some point. I can't quite get over the fact that some of the most impressive and filmic footage I've seen is from Blackmagic.

The new camera will also have S-LOG 2, so you can easily switch back and have even more fun  

and an rx10m2 as a slomo/b cam right??? lol  smh 
regarding my comment: whether this implementation of slog3 proves to improve color vs slog2 dramatically within this 8 bit output remains to be seen; ill be watching carefully. ive read a lot about slog3, but have never been convinced by my eyes at all. i want to believe.

show me~!
/im agnostic at best about both the cameras you mentioned as a hybrid shooter. the aesthetic of sensor size not withstanding, these cameras have NOT blown away a gh4 yet for video imo. they will soon enough if sony keeps running their own models out of business with rapid updates, buttt.... its about priorities
sony can barely write a press release. i work for a tech company *cough* that "gets" photography more than they do....... and im buying a note 5
imo theres some big ideas getting lost in the details
 

and an rx10m2 as a slomo/b cam right??? lol  smh 
regarding my comment: whether this implementation of slog3 proves to improve color vs slog2 dramatically within this 8 bit output remains to be seen; ill be watching carefully. ive read a lot about slog3, but have never been convinced by my eyes at all. i want to believe.

show me~!
/im agnostic at best about both the cameras you mentioned as a hybrid shooter. the aesthetic of sensor size not withstanding, these cameras have NOT blown away a gh4 yet for video imo. they will soon enough if sony keeps running their own models out of business with rapid updates, buttt.... its about priorities
sony can barely write a press release. i work for a tech company *cough* that "gets" photography more than they do....... and im buying a note 5
imo theres some big ideas getting lost in the details
 

Sony's plan cannot get any clearer:
Get an A7rii for high res stills,
then an A7sII for low light video,
then an FS5/7 for actual work, 
and next year start all over again.   

Still don't understand the purpose of making another camera that can't shoot for over 20-30min w/o overheating. *shakes head*

1. No crop 4K 
2. 2 stops better than A7rii (FF / S35 ?)
3. Rolling shutter same as A7rii (FF / S35 ?)
4. Overheating same as A7rii (FF / S35 ?)
5. color science same as A7rii (improved over A7s) other than slog3/sgamut3.
6. Assisted gamma. Something like lut. This is very nice when trying to set exposure and wb.
7. 1600 for slog3, 3200 for slog2
From :
http://www.newsshooter.com/2015/09/11/ibc-2015-a-detailed-look-at-the-new-sony-a7s-ii-camera/

Think about what they could do with nx1!