GregV

10 years ago, all the documentary films I made for TV, I shot them with a shoulder camera. The image was sharp and the bokeh invisible. At the same time, I discovered the Canon 5DmII, and I started (me and my colleagues French journalists) my first films with a cine image. Obviously it was a revolution! French TV and production companies immediately adopted Canon despite many new constraints related to DSLR. So what? The tool was incredible and the images broadcast magnificent! None of us saw fit to return to the previous tools, which were much more practical to use! Over time, we groaned against Canon, like all of you because it seemed to us that the company never listened to our remarks to improve its cameras. So, rebels, we adopted Panasonic, Sony or Fuji recently. Alas, in the end, the image was always less beautiful, the colors less real, and the editors pointed out to us that only the final result with the diffusion counted. TV editors have also lamented the Pana and Sony colors. We are in January 2020, I can certify that 95% of DSLR filming for French TV is done with the Canon 5Dm4. It is not snobbery, it is just the result of a collective reflection (Red Chef, JRI, Op Chef, Director, editor ...) which unanimously goes in the direction of Canon images. I also 100% agree with this reflection. However, I used GH2, GH3, GH4, Sony A7SII, Fuji XT3 ... See today that Canon is putting RAW internally in a DSLR! 4K 10 bit 422 in 60P, etc etc with Canon color science is just MAGNIFICENT. Yes there are still reasons to shoot Canon on sight for quite a few reasons, yes it is still imperfect ... but 95% of French TV and Productions will be delighted to use this 1DXMIII.

Sorry, I was referring to the documentary cameras used in TV. I wrote already here that colorists of French TV (Da Vinci Resolve) want no more images A7S, FS7, FS700. However, they all like work from 5Dm3, C100, C300, C500 for the richness of colors. For this reason, Canon is omnipresent in the documentary. I'm not a fanboy of Canon, I have a A7S and I turned a few times with a FS700. I just find that indeed the colors at Canon are deeper, brighter and softer. This is obviously subjective. Leica SL is facing a Canon 1DC. I just hope the picture will be as beautiful as that of the Canon.

Leica is the photo and not the video! The brand wants to attract users of video, but his main concern is the photographer community. I remember the announcement of Leica Monochrom and negative reviews. Yet the Leica M246 is absolutely amazing. And no other camera can also make a beautiful black and white. The question of the video in the Leica SL is up to one thing: color science. Sony A7SII / A7RII were one step behind Canon colors : French TV that no longer want to use them! Let's just hope that the colors of the Leica SL are beautiful and profound.

I use the Canon Log yes but I just know then they use Da Vinci Resolve for the colors. I prefer let this part of work to professionals technicians.

I used the Sony AS7 in SLog2 for 1 year. I shot two 52-minutes documentaries for French TV. 4 months ago, colorists using Da Vinci Resolve (they are 3 in Chanel 2) all said "PLEASE stop using the Sony A7SII, the colors are horrible! Calibration is a headache for us because skin tones are infamous 9 times out of 10, and it seems it lacks colors in each image ... ". I love my A7SII because it is compact, convenient, and that images always appear Detailed me. I yielded to their request: this summer, I rented a Canon 1DC. And surprise, I seem to have discovered what a palette of deep colors! The tones are warm, bright and the result after calibration is staggering beauty. I sulked Canon for 2 years. So, I kept my A7S to film my kids and take some pictures sometimes. Ok Canon is a company that is not listening to its users. Ok Canon provides only the minimum. But Canon has realized that the most important, beyond the technical advances, it is the science of color.