Dustin

Man all I know is I enjoyed both video clips @DBounce Looked great to me. 

Google, reddit, youtube, etc.  I just started 2 days ago. Nodes is ok for color but I'm hating it for fusion right now.
Take a small old project and remake it in Resolve if you want to learn all the basics.
https://www.reddit.com/user/jayaretv
https://www.reddit.com/r/colorists/comments/31k26f/where_to_begin_with_becoming_a_colourist/
https://taoofcolor.com/
https://www.learncolorgrading.com/
 

That's some sexy ass kit! 
I'm bringing in the C200 to give it a go.....

Yeah well backlit, underexposed faces will do that.
It's not the camera's fault is it?!
It's the cinematographers job.
I think maybe we have so much technology now, we expect the camera to fix everything, rather than getting it right ourselves in terms of the light and grade.

Thanks! I'll look into the Sony 35mm f1.8. I was looking into the Sigma 16mm f1,4 before but it's too high for the budget plus I think the Sigma 18-35 gives the same results, image-quality-wise.

It’s the perfect camera for what I need right now.   I went with a native lens to give the Auto Focus a try and chose the Sony 35mm 1.8. Got it on eBay real cheap and I really like it. I’ve shot now about 6-7 videos with this combo and it’s a keeper. Recently did a big interview project and although I can’t share it on here, footage looked fantastic . It was the easiest interview I’ve ever shot. Used @Andrew Reid EOSHD and shot a combo of his baked in pro color profile and pro log. Just hit zone focus on the head and that is all I had to look at, the a6500 kept focus perfectly every time! Granted I lit my subject and chose the background/environment. Love this camera!

I'm also a recent A6500 shooter but still have my Panasonics. Bought it from a friend for cheap just to try and use it as a C-cam to the GH5/s. I have a Sigma 18-35 to pair with the A6500. What lenses are you using? Any recommendations?

I really hope this is true:

"One anonymous source told me the Sept 18 event will indeed give us the A7sIII with fully articulated screen and 4k60p."
-https://www.sonyalpharumors.com/sr5-sony-will-have-a-big-e-mount-announcement-on-september-18-1-day-and-a-press-conference-on-september-25-too/
If the Sony a7SIII truly had a flip out screen with 4k 60fps in 10bit....there would be a huge stir in the market and seems like a Sony thing to do. They have a history of crapping on their competition when things get competitive, and specs like this would crush Canon and Nikon. 

Sony really has such a lead in the marked of FF Mirrorless and it seems as though the beast has been awakened. Not even a week ago Sony didn't plan on announcing anything at Photokina, and based on the excitement for Nikon and mostly Canon EOS R, it seems Sony has decided to pull the ultimate mic drop. 

If there really is a fully articulating screen on the a7siii what does that mean about the body? Is it totally redesigned? Is it just an a9 frame with a flip out screen stapled onto it? Did they finally bite the bullet and pay a licensing fee to Canon for the flip out technology? 

Sony seems to listen to their customers and 4k 60, 10bit, and flip out screen are literally the three most requested features they have had for their a7 lineup I'm sure. I know as a pro youtuber, if sony gave a fully articulating screen to the a7siii, they would dominate the market. 
I sure hope these rumors are true. 

Sure is!!

@DaveAltizer “I’m diving in, I’m going deep, in over my head I wanna be!” That’s Steven Curtis Chapman isn’t it?

Some frames from a shoot I did this week. All shot on various Pro Color profiles (with some of my own tweaks here and there)
below are frames from two a7iii’s using a customized version of EOSHD ProColor V4 PP1. 
 


And below is a6300 on the tight shot and a7sii on the wide. Both using EOSHD ProColor 3.0

 
All of these frames were color corrected to match, and I was extremely pleased with how easy they were to match one another. The client was very happy with the results. 

Just wanted to thank you guys for the support again. Finally got to work last night and yes as most of you said, since I knew where the starting audio point was by their mouth I was able to drag the audio perfectly in sync! 
Sidenote- this is the first time I’m using the a6500 for an interview project and oh my gosh, the easiest ever. No more riding the lens checking focus and worrying if the subject is out of focus. I used zone focus, hit their general area and I didn’t have to look again, my simple Sony 35mm 1.8 nailed it the whole interview! Boy would I have loved to have that shooting with a D5300 all these years (I did learn manual focusing so I have that to thank for the Nikon LOL).

Jesus Christ, you people are such nerds. There are so many cameras available on the market, just pick your poison and CREATE SOMETHING! This endless droning about this company or camera being better than that company or camera is pointless.
You don’t like the 4K crop in the EOS-R, then shoot 1080p or buy a Z6 or an a7iii... it’s quite simple.
I’m not thrilled with the crop but the camera has a lot of other perks that make it a contender for me as a hybrid. I look at any 4K video option, cropped or not, as icing on the cake. I’ll rarely shoot 4K and when I do, I’ll have more compact lens options with a thick codec. I’ll have the definitive best AF in the industry. And I’ll have great focus aids for my manual lenses. Any and all lenses I have that are native EF, or adapted to EF, will have a built in ND in the adapter. I’ll have internal Canon Log for 1080p and 4K and 10bit for external 4K. I’ll have an articulating screen and what seems to be excellent ergonomics.
For me, this camera can be very useful. But so could the Z6. Or a GH5. Or an X-T3. So instead of spending your days bashing other brands to justify your purchases, why not go out into the world with your camera of choice and shoot something. I swear you’ll forget all about your problems with the EOS-R.

Can you see the clap? If so then it is easy! Just line up the spike of the audio with the moment you see the two hands meet. 
But guessing that is what didn't happen.

And to help create space and hide a cut under some B-roll. In an interview setting, cutting out the taletn's 'Umms' and 'ahhs' is quite important, but you still have to have a small gap otherwise the cut can sound unnatural. Room tone is like audio cutaways in that sense.

Very important there is a little gap between when you last clap (or call "action") and when the take starts. 

For instance if in an echoey room it might take a few moments for everything to completely die down. And you don't want the remnants of echos to overlap with the actor's dialogue. 

Also, you want a bit of quiet at each end of the take of room tone to give you some room to play with in the edit rather than having to carefully slice it down to the frame. 

This. And let this be a good lesson to take your time with your prep. A good clap into all mic's and in front of all cameras can really save you some headaches. When I'm working alone I always say what I'm doing out loud so I don't miss something. "Cam A rolling picture and sound, cam B rolling picture and sound, sound rolling." *clap* Then a few seconds to breathe and double check.
Good luck with your edit!

It's fairly easy to sync up to mouth movements. The hardest part is getting the audio in roughly the right place. that said, you can just find the very first word the talent spoke. You'll have that as visual and as audio. If you get that word or sentance close, just nudge the audio by 1 frame left or right until it matches. 
It's about 5 or 10 minutes work, depending on when you started the audio rolling. In all honesty, you could have got it synced perfectly in the same amount of time it took to make the post and wait for a reply. ?

Oh they have a great look no doubt. But the viewfinder, LCD, first gen DPAF, it, well it is just old and outdated. It is like the PMW F3, AF100, sure they are, well were great cameras at the time but their time is gone now, with heck mirrorless cameras that are 500% better overall.
I know he has a ton of Canon lenses but what can't the Sony A7 mk III do, and he can adapt all them on a Metabones SB I would guess, and 50 things more than the C100 other than built in ND filters. How often do you really have to use them. And they sell variable ones, or singles if you do need them. This is 2018. We have new stuff with IBIS and great AF that fit in your coat pocket. Why buy some clunky big outdated cameras for the same or more money. I don't see the reasoning. Heck this new Nikon may be ground breaking. Same with the new Canon ones. It just seems like a step backward in a day of magical cameras we never dreamed of.
The OP to seems to need a camera that is the jack of all trades. And the Sony A7 mk III is that camera. Now if he wants it to look pro get a rig from hell for it LoL.

It depends on what you are exposing to.
70% is fine for skintones, just like wolfcrow said
If you are shooting ETTR then yes 105+% is the best choice
Andrew just changed the color response but not the gamma curve. (If he doesent changed the black gamma curve settings for slog2)
 

Exactly.
The clipping point for SLOG2 is 107%
The clipping point for SLOG3 is 93% with consumer cameras
They both represents exactly the same dynamic range.
With professional cameras SLOG3 can go up to 109%.
Technically the dynamic range for most of Sony's SLOG2/3 capable consumer cameras are little above 13EV
The SLOG3 curve was created to handle around 16EV dynamic range if used for the whole range.

What about trying this. Take the SD card out reset the camera and bring up the 4 presets on your card back into the camera and see what happens?? You Did save them to the card didn't you?? ??
https://***URL removed***/forums/thread/4112856
 

Can't you just reset the whole camera and sort of start over? I did that several times with Sony cameras. They Have too damn many things to fiddle with. You can Really get them F uped!
This new BM PK4 will probably be a damn nice breath of fresh air for how simple it will be!

But would you want to color grade on a 21" TN panel that was run 8h for 5days a week for 3 years?
 
Also +1 to transcoding. I have a system with way better performance than what you're looking at and I still transcode all my H.264 stuff to ProRes because it's just less sucky for editing. A regular SSD or maybe 3 or 4 spinning drives in Raid0 are perfectly fine for even ProRes HQ in UHD 60p.

Transcoding the H.264 to ProRes really helps fluid 4K editing.
It helps more than upgrading the system.
To answer the OP... Yes the upgrade is worth it, 100%, over the 12" MacBook. But you will still need to convert the 4K H.264 from the A6500 to an editing codec to see the most significant leaps... Or switch to FCPX.