tomsemiterrific

Thank you all for your  responses. They are very helpful to me. I'm very comfortable with grading and see that as no concern to me.

What appeals to me is the size of the camera, the Pro Res (I edit with FCPX), and of course it's image capability. I really wish the sensor was super 35

but MFT is not, in and of itself, a deal breaker.

4 hours ago, jonpais said:

Let me ask - did you check out the videos on YouTube and Vimeo before posting? Lots of comparisons there as well. Because what others think is probably less important than watching actual videos yourself. 

Jon, I've seen a few videos, but not any direct comparisons.

Frankly, the larger Blackmagic cinema cams are not interesting to me.

But a smaller cam would be great---as long as the color science is workable. I get good results with Canon--I was just never satisfied with the skin tones with Sony and Panasonic---probably my lack of editing and grading skill.

With all the hoopla about the new Blackmagic I want to ask opinions on EOSHD about how good their color science is.

I've never use Blackmagic myself, so I'm really curious. I tried the GH5---and really didn't like a WHOLE lot of things about it.

So, how would you compare Blackmagic color to Canon--Panasonic---Nikon---fer instance???

Shot march 3, 2018

This is very sad. A catastrophe for Canon. They continue to disappoint.

Love Canon cameras--Canon manuals make me crazy. They're the most convoluted, incoherent bunch of garbage!

Does anyone know where a simple explanation of how to use the browser remote for the C200? I do a lot of one man band shooting, and controlling the C200 from my iPad would be very helpful in so many way.

This is mainly a test to see how well the A7rIII does when shooting in manual mode, using manual shutter, aperture, focus, but in auto ISO---with limits being 100 to 6400.

Just for fun I shot this on New Years eve---using Canon FD lenses: light, inexpensive, good---3 axis stabilization---what's not to like.

Andrew, do you still sell your NX1 manual?
 

Screen grabs from a7sii footage---Pro color 3.0  XR

out of the camera, only slight exposure corrections

New A7sII video using Pro Color 3.0 and Pro Log (ersatz C-log), shot entirely hand held using Canon FD lenses (17mm, 50mm, 85mm, 100 mm, 200mm)

3 hours ago, jax_rox said:

I've never encountered this before. How strange. Good to know!

Yes. Me neither. I called the Atomos tech who helped me earlier and told him about the HDMI 4K issue.  He said it must have been some impedance difference that was causing it. It matters not. What matters is knowing about this in purchasing a mini-4k HDMI to standard HDMI cable.  Try before you buy if possible. Not sure you can tell by cost. The one that worked on the Canon but not on the Sony was a bit more expensive and more robust in build. So...beauty is only skin deep it seems. 

Hi, everyone, and thanks for contributing to help me solve my issue.

I talked to Atomos today, and after a bit of back and forth the guy asked me to check my HDMI cable--and see if it worked for 4k.

Now this seemed futile to me, because I KNEW it did.

But I pulled out my XC15 Canon to test the cable and BOOM, the Shogun was recording 4k like a top!!

Back to the Sony--Bupkis. 

But I did recall I had another micro HDMI cable, so,.....  just for laughs I decided to try it--and BLAM!!! The Shogun screen lit up with the Sony 4 K and I was recording on SSDs. 

So, here's the deal. Just because a mini or micro HDMI feeds 4k into your external recorder for one camera or brand of camera does not mean it will feed 4 k into another. 

Capisce?!?

Try to remember this...because it will be on the test.

4 hours ago, matthere said:

The videodevices Pix range of 4K recorders are also a more robust option than the Atomos recorders.

Not familiar with those products.

7 hours ago, Shirozina said:

You are gaining 4.2.2 colour and a much better codec which won't show compression artefacts (which people wrongly assume is an 8bit problem) This will allow you to shoot S-Log and not have smooth tones like skies fall apart (banding) when you apply a LUT / grade it later like it does with the internal codec. It's a clumsy solution though......

Absolutely right. The Shogun (Flame, etc) improve color info and image quality similar to the way superior components of an external audio recorder improves sound quality.

Not all that awkward a solution if you're just using it in studio.

1 hour ago, IronFilm said:

For the cost and ergonomic clumsiness of it all,  I would not bother with external recording from the a7Smk2. You're not gaining 10bit from it

True. But I'd only use it in studio--and I would be gaining Pro Res. Since I use Final Cut Pro Res is worth a lot in terms of ease of editing.

I own a Shogun, and was hoping to record 4k with it from my a7SII. But I can only figure out how to make it record 1080p.

So, can you record 4k from the a7SII on the Shogun?

Besides ATOMOS, is there an external 4k recorder that will work with the Sony?

6 hours ago, EthanAlexander said:

Hope this isn't getting complex, so to summarize: Since all you're trying to do is figure out the math to tell the camera what focal length to stabilize, there's actually no need to do any math for the sensor size, JUST the focal reduction. All you've got to do is tell the camera what the "mm" is, and when you add a speed booster (0.71x), you're literally placing a 71mm lens on, whether it's APS-C or MFT.

Ausgezeichnet! Danke viel Mals. As clear as an unmuddied lake, sir. As clear as an azure sky of deepest summer.

4 minutes ago, EthanAlexander said:

You'd tell it to stabilize a 71mm (or whatever's closest.)

It's helpful to think of these as "focal length reducers" and then it's easier to remember that what you're really doing in effect is putting a 71mm lens on your camera.

Ethan, would that be true for a MFT camera as well as a APS-C?

Yawn, I'm sure this topic has been covered before but I can't seem to find it.

Here's the question: I have a dumb speed booster with a 0.71 reducer and a lens that is 100mm.

My camera asks me what lens angle of view I'm shooting so its internal stabilization will make the lens usable for hand held use.

What do I tell my camera to stabilize the 100 ff lens on my aps-c camera?

Enquiring math-challenged minds want to know.

Just for ha-has I decided to look through the videos of the Sony a7sii on Vimeo. First, I didn't go through all, but most for sure. And none mentioned they used Pro Color 3.0. 

I was looking at the videos particularly for color. And the color, compared to the videos I've seen on this thread, is not good at all. 

It makes me think Andrew (and those he has inspired here to really investigate the capabilities of the pic profiles) really has put together a game changing thing with Pro Color 3.0 and Pro Log etc.

As a hobbiest I don't get a chance to shoot and edit as much as I'd like, so the time I do get is precious...and telling. Since Pro Color 3.0 and the Log/LUT additions I bi-pass my GH5 in the time I've got (hate MFT sensors anyway) I head straight for the a7sii.

Hmmm. Think I'm going to sell my MFT cams.

2 hours ago, EthanAlexander said:

Based on my tests, using Pro Color +1 and Pro LOG matches very well with Wide DR 1 and Pro LOG S. You'll still want to tweak them but they're close. You can see in this vid:

 

Thanks. Yes, that's really helpful in seeing how closely they conform.

Different strokes for different folks, but I really like the look of Pro Color Classic. I'd really like to see how a vectorscope reads with that profile. My guess is the red would read well to the left of the skin tone line.

The sections I was thinking of in my video was not concerned with skin tone, per se, but with the general land scape or scene. Below is what I'm talking about.

2:43: graded Pro Log S, 2:47: 2:49 Pro Log S, Pro Log (Canon Log) with pro color -1, 2:51 Pro Log S graded,  2:53 Pro Log w/ pro color -1.

All shot with Sony a7sii and Canon FD lenses.

On 10/9/2017 at 4:38 AM, Andrew Reid said:

If you're using the on-screen exposure meter as a guide then 1.5 to 2 stops to the right for Pro LOG S as it is S-LOG based, and for Pro LOG Cinema you can expose as normal in the middle at 0, or maybe even slightly under - depending on if you want to protect the highlights.

So, Andrew, I've really been enjoying the results of these 3.0 offerings--much better than Sony color OOTC.  I've gotten some nice comments on how well the color looks--how natural they are....-but I do have a question about Log cinema and LOG S and the use of LUTs you provide for each.

Specifically,, the various Log S LUTs don't seem to match well with the LUTs you provide for Pro Log Cinema.

I recently did a video where I shot mostly Pro Log Cinema. But there were a few instances I really needed more dynamic range to protect the highs so I shot a few clips with Pro Log S. When I got them in my grading program I really had a bit of trouble matching the Log S color with the Log Cinema.

Where am I going wrong, or what would you suggest would work well to match the mixed footage in post?

On 10/8/2017 at 8:13 AM, Trek of Joy said:

The pink on the shirt and on the playground equipment looks oversaturated on my MacBook - or is it supposed to be red? 

Graded or SOOC? Colors look very natural, nice. 

Graded, mostly using the "canon log" pic profile, a few of the falls in Pro-log S, graded in FCPX

Autumn shots from Dallas arboretum...