Davey

I have Tiffen variable ND filters for 49mm and 77mm lenses (55 1.8 + 28 2.0 and 16-35 4.0 + 70-200 4.0) on my A7sii.

Would only recommend them for hobbyists. Professionals would find a better (and more expensive) way.

Most couples in the UK would be happy with four hours CCTV footage and a few snaps from a mobile phone. A bonus reel containing shots of uncle Alf rolling around drunk in the hotel fountain completes everybody's joy.

Never again will I pour my heart into a wedding film.

17 hours ago, AaronChicago said:

I'd be willing to bet that fans of The Damned wouldn't notice a difference in the GH5 and an Alexa. Except maybe that <1% of cinephiles.

This. You'll generally find that those making the most noise about gear make very little themselves of any worth to anybody.

You took the wrong camera for the job. Lesson learned, presumably.

On 08/04/2018 at 11:51 PM, JordanWright said:

A bit underwhelming, doesn't look good for A7s iii 10 bit

Sony have given up. They'll still churn cameras out but they won't be any seismic improvement on what has gone before. If the high end looks like that then the bottom end will look like that and I'd be surprised if the a7siii even manages to have 4k60 without a recording limit of twenty seconds or something.

On 08/01/2018 at 11:48 AM, UncleBobsPhotography said:

This is probably a very basic concept, but I would like to get some tips on how to get the most consistent exposure during documentary filmmaking with limited preparation time.

With most settings on automatic, the camera might change the exposure dramatically if a dark or light subject enters the frame, which is difficult to make up for in post. The obvious solution would be to shoot with everything on manual, but I don't really have time to make manual adjustments between clips since I don't know what I'm going to film next. My next option would be to use AELock-toggle. This way I can fix the exposure with a single push of a button, either for the duration of a clip or keep it locked for several clips until I change position. As far as I can see, this should be a decent compromise between convenient and results, but I would like to hear any tips you might have on how you ensure consistency during run-gun-shooting.

 

Full manual and plenty of interesting B-roll that are subject matter appropriate. 

Just now, mercer said:

I’m really not, I’ve been laughing this entire discussion. People get angry and protective about their cameras. And it makes me laugh. 

It is definitely a funny thread lol. The only cameras I'll seriously bash on are the ones I own. I don't usually let on until some idol worshiper has exhausted himself defending the indefensible.

I want the a7siii to be able to make phone calls, or I ain't getting one.

Outlawed, probably - except for security cameras and body cameras on robocops. They'll be made by Sony, of course.

On 01/03/2016 at 4:07 AM, mercer said:

Once I've discovered 28mm and 35mm f2 lenses, I can see why someone may use only one lens. You can get tight for close ups with some nice depth, or pull back and focus to infinity for your wider shots. I am going to be testing this one lens solution out in an upcoming project. 

I love the 28 F2 on my Sony full frames for the same reasons. Bought it for astro related stuff as it's relatively cheap but use it mainly for events (particularly at night) when subjects are ever changing from intimate to afar. I say events, I mean riots and the like.

I'll wait for Photo Joseph to tell us how brilliant it is before not getting one.

What happens when the ten minute limit is reached in 4K60* - does it overheat, do you have to wait half an hour or a set time, can you just start a new clip immediately?

Photography aside, if this didn't have 4K60 I don't think any Panasonic owner between a GX80 and a GH5 could possibly be interested.

But it does have 4K60*

And it's £200 cheaper than the GH5.

I'll wait on a definitive list of pros and cons after it has been out for nine months and take another look. By then, it will drop another £500 and might be tempting depending on what Sony come up with - which will likely be not a great deal unless you are a pro as opposed to a hobbiest.

I suspect that the a7S3 will not have 4K60. If you want that, you'll have to go high end.

*4K50 in the UK

October 2018

Test.

Just now, Davey said:

Test.

That's good enough for me.

On 05/08/2017 at 5:45 PM, mercer said:

Also remember to use a strap, keep it taut with your elbows to your side and turn your waist not your arms. It's a good ab workout too. 

Tried to explain this to somebody until I was blue in the face. He didn't listen and cannot understand why his pans are struggling. He blames the camera. Tried to explain how to walk with the camera, smoothing out jitters by walking as if you have crapped yourself - didn't listen, bobbing footage, blames the camera.

Actually, he blames me because he tried to copy my style and bought the same camera as me thinking that results would be the same even if he did the opposite to what I advised regarding movement.

I despair.

Yeah, but what's the autofocus like?

I know what you mean about the a7sii. After buying the GX80 a few months ago, I even forgot how to use the Sony. But I went out and about with it at the weekend, using only manual focus and the 55 f1.8 - shooting everything wide open - and fell in love again. I was hunting for specific shots, so everything was controlled, but to have that subject isolation popping sharply was a joy to see again.

I'll just be using the GX80 for street run and gunning (my original intention) but got carried away with the ease of use over the Sony.

If I had money to burn I'd get the GH5 but have a nagging suspicion that I would only really use it for 4k 60p and little else.

5 minutes ago, tonysss said:

Still fighting with GH5 colors and dynamic range.....

Cinelike D is for me ,very yellow, slightly green and not real skin tone

Today I found a pretty promising setting, You definitely try..

---

Highlight/Shadow -1/0

Master Pedestal +5

i.dynamic - standard

i.resolution - OFF

Luminance level 16-235

Photo style: NATURAL 0,-5,-5,-2,0

And important -  AWB adjust. A:6 !!!

----

 

 

Isn't Master Pedestal the one thing that nobody really understood and roundly advised not to change when the GH4 came out?

What does it do?

Shot thousands of hours on Sandisk cards and the eldest ones (four years) are as good as new.

I prefer to buy batteries and memory cards from camera stores  - Amazon is awash with inferior copies of small 'everyday' peripheral items.

24 minutes ago, Axel said:

Both will have no problem editing HD video with optimized media, no matter the source codec. For UHD, I would go for a 5k iMac. Why? You might want to monitor the video full size once in a while, without having to shift cmd f. If you connect an external 4k monitor, the GPU will have to struggle to feed both devices. With 5k, you can customize the workspaces for Organize (100% video, space left for two to three columns of browser thumbnails and a slim inspector, no timeline), Standard (=Editing, all windows, with scaled-down viewer) and Color & Effects (100% video, no browser, three small up/down-scrollable "tracks" of the timeline, slim inspector and a "two-up" of scopes). 

That was my route and I don't regret it. My mid 2011 iMac really struggles with effect heavy 4K (especially if the clip/s are longer than a couple of minutes) but the maxed out 5K version screams through everything I throw at it.

Depends what you are editing. Both of those are going to choke and both will cut through footage like butter depending on what you are doing.

There's nothing else to shoot so zoom camera under this arch.

We've all been there.

5 hours ago, Micah Mahaffey said:

ok, so I perchased Pro color a while back, but i am now wondering what the S-log 2 settings are? Also.. Why were they taken away from the updated version?? 

Yes. They do work, though - just check out Harv's video and audio stuff on YouTube. He has got the best results using S-log 2 and Pro Color.

Sorry, can't help you any further.