webrunner5

Guys and Gals,

I think I can hack an Alexa. Perhaps start a fund to raise me $100K to purchase an Alexa? Just kidding. I couldn't resist.

This Sony hack could open up alot of doors with their line of cameras. Fun stuff.

By the way, the ML can be downloaded for free now. http://www.magiclantern.fm/releasenotes

The camera you have + some lights

It doesn't have more highlights, whait it does is pull mid grey lower and clip signal at IRE 100. The lower midgrey point may create the illusion of more highlights latitude, but it is the actually opposite. The other three Cine curves go to IRE 109. Cine2 is supposed to be used "as is" and be broadcast safe (hence clipped at IRE 100).
I don't think any peaking setting will work well with slog. Peaking relies on contrast and contrast is very low with s-log. One way to sort of work around this is to pre-focus with a contrasty PP and switch to s-log for recording.

So I've always, always struggled to get SLOG2 right on the A7s. I'm self taught and not a particuarly good colorist. I still haven't learned how to read scopes properly and found myself relying on the presets within FilmConvert to help me get colour and exposure right when using it. I had a couple of tests that were 'OK' but always found there to be far too much noise and ended up switching over to Cine4, and recently, Cine2 when using the camera.

For some reason I decided to give it another shot this weekend after playing around with the new Lumetri Colour panel in Adobe Premiere CC, and lo and behold, it is far far easier to grade and I have finally gotten footage that isn't a noise infested mess. Being able to play around with the highlights, whites, shadows and blacks with sliders instead of curves (as I was previously using) gave me way more control over the image. Below is an example of some quick shots I took walking around Berlin this weekend, graded with a Visioncolor Impulz Ultimate LUT. Also have to add, that while the original footage did have a yellow tinge to it, this was easily taken out with the saturation wheel. Single out the offending yellow hue, drop the saturation of that hue, and its gone.
 
 

Now onto the next mystery of why my Vimeo uploads always end up pixelated when there's any sort of movement...better to download if you're curious.

Either way, if you found SLOG 2 was a nightmare beforehand it might be worth checking out again if you have access to Premiere CC.

​True. The G7 is hardly crippled in terms of video compared to the GH4. There's no MOV, only MP4 (does that matter anyway?). No Master Pedestal I think? No slow motion and no 200 mbps 1080p (does anyone use that?) But everything else is there... Cine profiles, Zebras, curve adjustments, etc.

7 years ago. Lumix LX3 and a Zoom H2 recorder. I have since learned to (1) cut faster and (2) make proper subtitles... 

Okay, eff it.
 
Here's the first short I ever made back in '04... Shot on a Canon ZR60...
https://vimeo.com/105266650
For some reason I can't get it to embed. It's probably better that way. 

Yeah, here's the silly trailer.  Funny thing is, our main actor became best buds with Matthew McConaughey after our shoot while doing that HBO series with him.  Oh, timing!  Fair warning, this movie is pretty ridiculous.  Man, to think this was a decade ago.  Too many drugs, not enough script.  (not me doing the drugs, the actors)  Good combo?  Probably not.  
 

The Sony Vx1000 is still extremely popular in the skate community. The 4:3 aspect fisheye is wider and the model built for that is a better than any other camera ever. Really nice audio and the color has a filmy kind of highlight roll. Nice looking warm colors. Here's a piece I did, mixed with S8 and 16mm.
 
 

Mini DV can look awesome these days - as an aesthetic choice for an appropriate subject.
I was recently digging through some old rushes from my Pd-170 and VX-1000, and it actually dawned on me that the 4x3 footage looked 'fresh' in a strange kind of way.
I'm surprised hipster kids have not used them more for tone-poem video projects. Think the secret would be to use these older cameras on full-auto settings, to get the crappiest image possible - then to completely embrace that.
It's very cheap now to buy an old hi-8 / minidv/ s-vhs camera for a suitable project (and a cheap capture card to ingest into computer). No overlays, post treatment will get higher quality footage degraded in quite the same way...it all looks fake. 
I'd say if you want a good looking low-fi video look...shoot it on low-fi video. 
Some of my favourite music videos and documentaries were shot on DV....back in the day when creativity and originality still existed.
 
 
 
 
 
 

I wish they'd just focus on developing a killer new model of the BMPCC. To me, it looks like they've wasted a ton of time and money developing all these niche cameras when the one camera they have that sold reasonably well and has broad appeal is in dire need of a hardware update. One or two cameras for BM is more than enough. Keep it simple. They have spent a fortune developing all these other cameras.  Just focus on improving the 4.6 and the BMPCC.

I personally would use the G7 as my main A camera and the GH4 as B camera , the g7 does have the better newer cleaner sensor .
I would shoot it all in 4K UHD 24 fps mp4 (internal codec is very good in 4K mode )
Natural profile saturation -5 contrast -5
dont go over 800 iso
light your sets for about f2.8 or f2 max
G7 focus assis is great it has 2 settings I use H
I would use your Zeiss primes as they are superb lenses same glass as Zeiss Ultra Speed cinema lenses - no differance
yes use the internal camera audio as I guide track and ADR it all in post
All the above is how I shot the feature film Pandora

I find the GH4 1080p to be very good, great even. It's certainly not immaculate- I do occasionally get fine moire- and downscaling the 4K is definitely cleaner and higher-res, so I use that for regular-speed stuff. But I shoot a lot at >30p, probably half of my shots or more, so I use 1080p a lot. The 100mbps is definitely better than the 200mbps, except for extreme motion (deep DOF, subject and camera both moving rapidly), which again is a lot of what I shoot, so I end up using 200mbps quite a bit. But for moderate/normal amounts of motion, the 100mbps is cleaner and higher-res.
I agree about the 1080p bitrates being disappointing on the lower-end cams. I want to upgrade/sidegrade my GH4 to a G85, for the better ISO performance and the IBIS, but 28mbps at 1080 is not enough for what I do. So I'm considering adding an external 5" recorder, either a Video Assist or hopefully a Pix-E5. Not entirely sure I want to dick around with HDMI and more batteries, though. The VA is affordable to me, but would only do 1080, which is all I would really need I guess. While the Pix-E5 would be a perfect match framerate/res-wise, but is pretty pricey, and would probably be a bit redundant once I go GH5 next year.

The lesson is - if the Sony model doesn't quite meet your requirements, wait a bit and they may find a way to add the features you want. With Canon, if the model doesn't meet your requirements, you might as well buy it, as you will have to wait 4 years for the next model, and it won't be much better.

The FS7 shoots 4k 10bit 422 in XAVC-I. That's the big difference to the FS5.

How about the 1.5x-crop a6300 with the 0.71x EF-to-E Metabones Ultra Speedbooster, giving 1.065x, basically full frame 4k with full-frame depth-of-field results on Canon glass? Plus the Speedbooster gives an extra stop of light and even increases effective lens resolution. But although the June firmware helped AF, but there are still AF issues with some lenses.
Looks like the a6300 (with its 6k-to-4k oversampling/full-sensor readout) delivers currently unbeatable resolution:
https://***URL removed***/reviews/image-comparison/fullscreen?attr29_0=sony_a7sii&attr29_1=canon_eos1dxii&attr29_2=sony_a7rii&attr29_3=sony_a6300&attr72_0=4k&attr72_1=c4k&attr72_2=4k&attr72_3=4k&normalization=full&widget=378&x=0.4307963787018565&y=-0.174296745725317
https://***URL removed***/reviews/image-comparison/fullscreen?attr29_0=sony_a7sii&attr29_1=canon_eos1dxii&attr29_2=sony_a7rii&attr29_3=sony_a6300&attr72_0=4k&attr72_1=c4k&attr72_2=4k&attr72_3=4k&normalization=full&widget=378&x=0.22088384225870783&y=-0.5714285714285713

it is alot cleaner in low light - the blacks are stunningly clean, cleaner than the Red Epic we tested it against, image looks very similar to the Arri Alexa we tested it against - there is hardly anything in it !! amazing camera from Panasonic   , the G7 camera lets you shoot in the shadows very cleanly in very low light. I am using 4 Panasonic G7 cameras for the new Pandora feature film I am DOP on , Panasonic have partnered up with us for this movie and we are working together to show how good the G7 is a film making tool. I am using Metabones XL Speedboosters on all the cameras, Brian Caldwell and Metabones have kindly supplied them for us to use in Nikon and EF mount . We are using these with Atomos Ninja Assassins and all the rigs for the movie are supplied by Gini Rigs , I will post some pics of these rigs soon.

I have just been sent a ProRes file recorded in 4K UHD off a Panasonic G7 via the HDMI out onto a Atomos Ninja Assassin , on checking the file in Quick Time movie inspector it says APPLE PRORES 422 (HQ) 3840 X 2160 25fps 744.97 mb/s
 
So it does it the G7 streams 4K UHD out its HDMI out !!! - amazing this is now a serious film making tool when paired with a Metabones Speedbooster XL and Nikon 2.8 Zooms lenses

I use the Olympus E-M1 and E-M5 Mk II cameras and the 5-axis optical stabilization is better than the OS with the pro lenses from Nikon and Canon and it is very evident with longer focal length lenses, including the Olympus 300mm f/4 which also has OS. The electronic view finders on these cameras are excellent and so a cost savings in not having to use an external monitor or even resort to a hood over the rear display. ISO 6400 is usable with both these cameras which impressed me when I saw the RAW output on my monitor.

10-bit is definitely awesome specially with a real Log, but I'd rather have 60p raw for photo and phase instead of DFD and JPEG until otherwise corrected . My problem with the RX100V is that it makes the Olympus not so insane but you have to buy several cameras if you want to do different stuff. Selfie Vlogging RX100, photo-video a6500, dual card oh-no-crap-the-SD-failed-in-the-ceremony system a99II. I guess people will still complain about the small sensor and bigger DOF but all what Oly is offering in one single camera in contrast with all the money you have to spend with Sony makes Olympus look revolutionary!
I should shut up, I'm pumping up myself 

Almost Inspire 1-like with the wide angle and realistic look, rather than something a little more 'cinematic', but I agree on the potential! Need more sample footage! Preferably as well shot in cities, also with some longer focal lengths, shallower depth of field, lowlight and moodier grades. And a cute model perhaps... for ehhh... reviewing skintones.   Ooh, and C-AF of course.

Holy.... I never thought I would be considering a M4/3 camera. But this literally ticks ALL the boxes for me except the sensor size.
Edit: If this comes in under $1500 I'm buying it.

Shogun Inferno will be able to, and I suspect we'll see more at NAB.

I would say that by not mentioning it in the launch indicates that there is a better chance of not having it then having it.
Im not saying they wont put it in. I am just saying IMO its more like 85% chance no IBIS and 15% IBIS.

@Mattias Burling...I think judging by the footage I've seen you produce on the LS300 and owning both GH2s and GH4s, the GH5 will be a no-brainer for you...the GH4 is the only cam I pre-ordered, and actually thought of pre-order on the Terra 6K, but its for a specific project, and if the funding for that comes through, I might bite the bullet and go for the Varicam LT...will still get the GH5 as a companion camera...I've yet to sell any of my GH camera's...IMO Panny just makes camera that work and I need that reliability on a set...