Davey

It's not an either / or situation - but the balance of good film making has to be in the mind of the film maker and not the gear. I am sure that Buddy Rich could have moved people more with just pots and pans at his disposal than I could ever have with a full Slingerland kit. Talent will always trump tools, but the right tools for expressing that talent will always trump inferior tools.

Not sure about differences between cameras at 6400 but I use Cine 4 with sharpening turned right down. No such smears but hair and fur can have the odd bit of mush at 25,600. Edit - a7s and a7s2

Quote from Max Yuryev's channel: So it's true, just got the info from the head of Sony Camera in the U.S. The A99ii (and other A-mount cameras) are limited to P mode at a stuck F3.5 (can't change aperture at all) if you want video autofocus. This is a hardware limitation due to the Phase detect module and can not be fixed in software. Dealbreaker for those who want to shoot video and use autofocus, unless you're in love with F3.5 lol.

4k 60p for £1600 is some achievement.

I hated the magnetic timeline when it first appeared but that is because I was used to doing things a certain way. After a few days I saw the sense in it and now consider it a timesaver.

Best in-camera colours I have seen in any consumer camera.

Brilliant find. Just listened to a few cinematic tracks - worked flawlessly on my mobile - and liked what I heard. As close to Tony Anderson as I have heard. The prices look reasonable.

Shameless USA version was shot on the ARRI ALEXA and the Red One MX Camera. https://shotonwhat.com/shameless-2011 Shameless UK was shot on - nobody seems to know, though 2004 would bring up a number of options as to what they might have used. This made me laugh because in twelve years we will look back on many a post from 2016 and wonder why we spent so much dosh on long gone, obsolete camera bodies: https://forums.creativecow.net/archivethread/35/616478#617095

This is on Live right now:

I always think (because of what I have read, as opposed to experienced) that Premiere is for serious professional editors and FCPX is for beginners who have just progressed from iMovie. Whenever I use FCPX it runs through my mind that it's for kids due to both its simplicity of use and the general consensus (mainly on forums) that Premiere is for serious filmmakers. Whenever I have watched editing tutorials for Premiere (usually when looking at a plug-in not yet released for FCPX) it looks to be the most complicated thing in the world that would take years to scratch the surface of. Perhaps I will look at Premiere sometime in the future, but for now I am happier with what I know I can do standing on my head. How much 'better' is Premiere as an editing suite over FCPX - for somebody with the same footage from the same camera and an expert with both, what can Premiere do that FCPX can't with regards to producing the exact same film?

Most things are, unfortunately.

Just premiumbeat - there are (according to my taste) around five good tracks on there for weddings. I have bought them all and can use them as much as I like. I have twenty other tracks for various moods but no good for weddings - unless the couple are into weird music. The production values are nowhere near as good as musicbed's, mind.

This is going to run for thousands of posts. All I know is that the first time I took a picture with the a7sii and 55 f1.8 it blew the fz200 I'd been using for the previous two years clean out of the water. That's all that mattered.

Not keen on musicbed. Spent £70 on a '5 times use' track for weddings but only got one time use. Somebody said that you just download the four other licenses as and when you need them, but I couldn't see how to do that without paying another £280. The site is an absolute mess and leaves you guessing. The FAQS also are vague and leave you guessing as to what their 'answers' mean.

I love stuff like this. Made my own bridge superzoom rain cover using a dense plastic bag and a Saxo salt container that just happened to be a sliding push fit on the housing around the lens. Looked ridiculous but got me shots that the broadcast cameras couldn't get at a number of events where it was smashing it down. Just finished making one for my a7sii and 55mm that sits on the lens hood and protrudes four inches from the glass without any vignetting. Used a Bisto gravy container and stepped down the diameter by using insulation tape (needed three millimetres packing to get a push fit). At the screen end I have a semicircular canopy that allows some latitude beyond keeping the camera horizontal and I can get in to see the EVF if need be. Rain covers are £10-£40 but are poorly designed and don't keep the glass free of spots. Mine cost £1 for the insulation tape. Will be using it in London next weekend where the weather is notoriously wet during November, though I am now hoping we have a load of snow

I'll hang back myself for a few months purely for the sake of my 3rd party plugins. Though I have never had any problems before, there is always a first time.

I won't use my FE 70-200 f4 on my a7sii or a7s without the tripod collar - just ridiculously out of balance. I can shoot handheld with IBIS on the a7sii no problem at all, even at 200mm, but I wouldn't fancy doing that on the other camera. If you value your equipment and your project, get the collar! This, for a tenner, has to be a compromise worth making - you don't pay for the Canon branding: https://www.amazon.co.uk/gp/aw/d/B00IPJVP5W/ref=mp_s_a_1_1?ie=UTF8&qid=1477258429&sr=8-1&pi=AC_SX236_SY340_FMwebp_QL65&keywords=canon+70-200+tripod+mount&dpPl=1&dpID=31w6lQhfa7L&ref=plSrch

He was probably busy scattering magic beans from his flying carpet at 30,000ft.

That's explained in the comments section. I never understood the answer, but you might be able to.

From what I have personally experienced the DS1 is simple to balance but quality control is poor - and after sales service even worse. Mine still sits in its case months after not being able to fix the common 'slow spin to the left' problem. My advice is to get an old fashioned Glidecam type unit and learn to master it. I used to have a Hague MMC and could dance around corners in the wind with it after a year.

To be expected, really. It's just an a6300 with extra heat inducing features.

Ah, that will explain the green tint on all my Panasonic videos.

Quite the most cheerful and enthusiastic thread I have read on this forum. The excitement the OP expresses reminds me of the child-like joy I experienced when first messing with a full frame camera with a prime lens back in March. Lovely.

Knowing Sony, they will sneak an A7Riii out before then.

Definitely THIS! When the a6300 specs were announced and the first round of hotel balcony tests were done by various YouTubers last March, the vast majority of people commenting were getting ready to sell all their gear and move over to Sony. Personally, I didn't have any gear worth selling but I was almost sold on the a6300 and couldn't help thinking how much money I would save on my original preferred choice. Thankfully, circumstances dictated that I would have to wait another month or so before parting with any money - by which time the dreaded overheating issue came to light and the vast majority of people commenting on various forums were now getting ready to call the fire brigade. I cannot see how the a6500, which is about the same size as the a6300 but with the added furnace inducing spec that is IBIS, can possibly avoid the same issue without Sony raising the critical temperature warning to something that won't switch the camera off, but will cause it to melt. Even if that is not an issue, it is still best to wait some months for the lemmings to test the drop height.