Ricardo Constantino

It probably will. Because it is easy on all Sony's imo. Just time consuming like you describe (minor desaturation of colors × 1000 images per day = gray hair).

A7S2 - VSCO Presets, WB adjust and minor desaturation on specific colors.
I find the darker tones to be more harder to nail a good skin (the girl has indian tone) but usually get good skintones right away, gonna get A7III I bet it'll be even easier ?

By the way, one slight drawback here is the price variation in different markets.
Most notably in Sweden where some of the prices I've seen him get gear for means that @Mattias Burling might well end up shooting his $150 entry on an Alexa
 

I win!
https://uk.webuy.com/product-detail/?id=sdigpandcgx800bob&categoryName=cameras-compact-system&superCatName=electronics&title=panasonic-lumix-dc-gx800-(body-only)-b
4K for £135
But this got me thinking as well... What if we have a fun "EOSHD Challenge" where we all trawl the bargain bins in our local towns and online, pick something for super cheap, could be $50, $100, no more than $150 or $200...
Make a video with it.
Then the winner is judged in a poll - on artistic merit, and technical image quality (can be 1080p of course)
The winner, wins the camera of the last place guy ?
Plus a special bonus camera from EOSHD.
What do you think? Worth setting up a challenge like this?

Well like my car dealership friend used to say, "There is an ass for every seat".

I think it would be a great upgrade from your (albeit amazing of course) T2i.

Your Pocket 4K advertising is getting more subliminal. Well done.

Me too!

That's great Andrew.
By the way have you heard of the Canon EOS R? I've been trying it all weekend and it's just fantastic!

Wow, you are really passionate about rolling shutter! ?

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What else are these fuckers hiding from me!

Cinema5D were at the Manchester event
https://***URL not allowed***/blackmagic-pocket-cinema-camera-4k-dual-iso-explained-and-lowlight-footage/
My nemesis.

I inserted myself into the discussion last night when I probably shouldn’t have, but I do stand by my opinion that Andrew should have been invited to the Manchester event.
I, for one, never felt that John Brawley was to blame for this and feel that most people on this site have been very thankful for his contributions, not just about info on the upcoming camera but his openness about the inner workings of a Hollywood set and his methods of shooting.
But the disdain displayed to Andrew in this thread is mind boggling. I don’t always agree with him, but the man has wholeheartedly opened his craft and home to a countless amount of strangers for free. There is not one other site in the video community that is completely ad free and he rarely asks for a thank you. I can only imagine the cost it is to upkeep this site. I’d be a liar if I didn’t admit that I find him infuriating at times, but I would never question his devotion to his craft and his readers.
With that being said, I feel JB’s reply to the events was unnecessarily rude. Perhaps there was a breakdown in communication as Andrew has already stated but for every person that felt Andrew could have handled the snub differently, they should equally admit that JB could have handled his response differently as well.
BM was born on the backs of hobbyists and enthusiasts. We paid for the R&D of the Ursa Pro with every Pocket or Micro we bought. As much as we appreciate their inexpensive cinema cameras, they are only available because we decide to purchase them... it’s like a television show, it only exists at the behest of its viewers.
But in the end, they are both artists and artists are passionate, honest and sensitive people... they must be to put themselves and their work out into the world for scrutiny.

Getting rid of the Canon will make room for one!

Direct from D750. Gotta love Nikon colors...and highlight rolloff...and motion. Wish the D850 was cheaper. 

SONYA.lphaseventhree

lol 

Now we all shoot at 800 asa. actually, I have heard some younger people get upset if they can't shoot at 1600 asa.  Pretty amazing to me.
Since most modern cameras can do this easily, and that gives you enough natural light in most locations, you just come in and shoot.  The style these days is use what already exists, and augment the lighting, and use grip to subtract light.
Subtracting light.  Before ASA 800, when many of us were shooting at around 200 ASA, you would add light.
Now we show up, use a window light - maybe put one light outside of it, and then 4-7 pieces of gripwear to cut it. 
Toppers, cutters, siders, eggcrates.   
But a recent job I did for a liquor commercial, we were shooting with the digital bolex as a b camera.  The bolex is a beautiful organic image, with a ccd sensor for beautiful motion and the ability to use 16mm glass, which is beautiful and lightweight.  We lit for this camera's low native iso, and the A camera, the alexa, we set at 200 ASA as well. 
At 200 ASA, I was back to where I started 10 years ago, and it was thrilling again.  
Light didn't spill all over the place - it faded into the darkness, had lots of falloff - and everything was deliberate. We Could liGHT up spaces deep in the bar with red color, and push light into areas we wanted, and hide the rest.  It was easier to do, since there were less stands to place on the ground and less rigging to do.
Grip takes up a lot of space and stands.   Lights -  not as much.
And we ended up making the bar more interesting than what it was - we transformed it. 
(I'll post videos and stills once the spots are released.
It was putting on a different brain from an earlier era - cause we had to move a different way. 
And we painted with 1k tungsten lights in a jem ball again and got that tungsten warmth again.  That color of a tungsten fresnel - it has a golden warmth to it.  Coming back to it, it reminded me of how unmatched by LEDs which have more green and yellow in them than that pure lovely orange glow are these chinese balls.
To rediscover those old tungsten fresnel units, that was also important to me.  These old lights you can now get as every grip house throws them out, as the world has moved onto led lighting like skypanels, these old lights are a thing of beauty.

Where is the footage? 

I'm just editing a little highlight reel from the Berlin Fashion Week last year, and I deeply regret selling my Canon FD 24mm 2.8 lens now. Some of the rendering is really nice, to my eyes at least. I replaced it with the Sony 28mm lens, and that's great, but it is just lacking something. Also used a Tiffen Black Pro Mist 1/4, GFILM settings and Deluts Downtown Alt as a base LUT if you were curious.

 

Looking back I owe everyone a big thank-you for using the forum and taking an interest in the blog, it is amazing what it has turned into with so little effort on my part  I think this place must be the only website on the entire internet without adverts. Long may it continue like that.
Got a GX9 arriving tomorrow... about time I did a review of something cheap with the big shift to high-end stuff. Let me know what you'd like to see in the review of it.

GH5s is used on Season 3 of Frontier TV show for some low light scene. 
 

Did you search for "Bolex" in the camera category or did you search "banged up old camera, don't know name, seems broken" under antiques?