salim

The Argos catalog that released the 'leaks' on the Mavic 2 (Pro and zoom) implies that the 'dolly zoom' is restricted to the 'zoom' version which is expected to be a 1/1.7" 12mp sensor with a 2x optical zoom. Seems a shame as the 'Pro' is expected to be a 1" 20mp sensor which has plenty of on sensor 'zoom' capability (at 1080) to also do a dolly zoom.

I felt the same way until I started shooting with the a7r2 a few years ago. Now for landscape/cityscape shots, I don't want to go back to 24mp. The extra resolution comes in handy with wildlife shots too since there's always some cropping going on - at least for me. Oddly enough, full res uncompressed raws from the a7r2 are faster to process in Lightroom than any raw option with Fuji's 24mp files.
chris

I need a cheap fluidhead that can handle a eos m with máx 70-200 lens and a nikon d800 with the same lens.
Ideally it would be cheap (150€  ), light and small.
I would like to be able to do precise movements. Years ago I bought a manfrotto 500 something and it would always ruin the shot if I let go of the handle. 

NR's pics are  a little better: https://nikonrumors.com/2018/07/23/first-leaked-picture-of-the-new-nikon-mirrorless-full-frame-camera-with-z-mount.aspx/

@Andrew Reid - any update on this?

Well if the camera will not be at least as good as the phantom 4, ill pass. 

I disagree with your conclusions. I think this mostly about mobile phones and perhaps some B2B chip solution.  Most likely Samsung Galaxy S10 or S11 will have a class-leading colors and in return Samsung might become a secondary chip supplier to Fuji to help Fuji differentiate vs. Sony 6500-6700, etc. Anything beyond that is just dreaming.
You underestimate what it will take for a business to return back to a failed venture that they have closed-down once. NX2 that mostly appeals to DSLR filmmakers is a niche market for Samsung. It just makes no sense. There is no money in it. Samsung wants to compete against Sony in the chip market. Even though it's going to be very competitive against Sony, is still less complicated than building an entire support structure around the world to support Samsung cameras, lenses, etc. 

Voigtlander 40mm f2. As Salim said, I "see" in that focal length.

28/2 
Both on my nikon D810 and now A7Riii I have a 28/1.8 as my main lens which I rarely remove. My eyes now see in 28 which makes me be ahead of the image. 

If you were doing a roadtrip somewhere with a Sony A7III planning to shoot of video of nature, people ... only one lens with you for a light kit, what would it be? 

For me: 28mm F2 because: 
- Zoom lens do not work. One would say a 24-70, but a f2.8 would be too heavy and a F4 not good for low light and DoF
- 35mm is not wide enough for nature stuff and gimbal use
- 24mm is too wide for people/portrait
- The iPhone has a 28mm lens. When you think about it, you cover everything with it from landscapes to portraits. 
- On the Sony, you can use crop mode and transform it into a 45mm, very convenient 
- For the jokers on some forums that say the 28mm is not sharp versus the Batis 25mm or other lenses, check a portrait a took with it wide open and tell me about sharpness: https://500px.com/photo/135582633/no-country-for-old-men-by-loup-fsr?ctx_page=1&from=user&user_id=860266
What about you?

Wow. Thanks for those kind words. I’m the director/writer/VFX-supervisor & a member of Crazy Pictures which means that I’m kind of involvd in most things regarding this project. We worked qite hard to achive a high production value with the small budget we had, so it feel GREAT to hear that you enjoyed the result. 
(extra fun to hear about your girlfriends reaction!)
If there’s anything you wonder about the production, the process or some technical details, feel free to ask.  

WOW...so B&H/Luxli have quietly released their 1X1 RGBW light (Luxli Timpani) . It's available on July 2nd.  At $1000 seems like a reasonable price for a 1x1 RGBW panel with such a  hight CRI color. 
 
The question for most people is, should you buy multiple Luxli cellos or 1 Timpani. Cello retails for $400. But It goes one sale some times at $300 or $350.  4 cellos at sale is about $1200 which a few more LED than a Timpani but basically close enough. So 4 Cellos will give you more flexility, the Timpani might be easier to deal with, just having one light to worry about. Either defuse it, or bounce, etc. I guess Ideal case you have one Timpani couple of Cellos and one COB light source. 

https://www.bhphotovideo.com/c/product/1353086-REG/luxli_timpani_1x1_1x1_rgb_studio_light.html
 
 
 

WOW...so B&H/Luxli have quietly released their 1X1 RGBW light (Luxli Timpani) . It's available on July 2nd.  At $1000 seems like a reasonable price for a 1x1 RGBW panel with such a  hight CRI color. 
 
The question for most people is, should you buy multiple Luxli cellos or 1 Timpani. Cello retails for $400. But It goes one sale some times at $300 or $350.  4 cellos at sale is about $1200 which a few more LED than a Timpani but basically close enough. So 4 Cellos will give you more flexility, the Timpani might be easier to deal with, just having one light to worry about. Either defuse it, or bounce, etc. I guess Ideal case you have one Timpani couple of Cellos and one COB light source. 

https://www.bhphotovideo.com/c/product/1353086-REG/luxli_timpani_1x1_1x1_rgb_studio_light.html
 
 
 

His entire channel is great! I also highly recommend Luke Seerveld:
 
 

Thanks for the feedback. I ended up ordering the 55w bicoloured Boltzen with the Wi-Fi accessory. The fan noise seems tolerable, and with ~3500lumen output in both ends of the colour scale, I feel like it has a lot more use-cases than the Aputure 

That makes total sense..  in a way the typical 24-70 can be thought of as a laymans scenery-to-portrait lens, so the only other shot left would be the telephoto, but thanks to the ~50mm equivalent second camera on many smartphones they're now covering off both scenery and portraits, so telephoto is the only one left.
Just wait until three or four lenses are common, the Light L16 has already solved the problem of how to get that variety of focal lengths into a thin body (the longer focal lengths go in sideways with a 90degree mirror):


 

so I was comparing Aputure 20D vs Boltzen 30 W bicolor.  I picked 20D over C because I wanted more light output and since it was mostly as a kicker/ hair light, I actually preferred the lights being even a bit cooler. Plus in theory you can gel the 20D to get to 5600k or 3200K.  I say in theory, because the filter for 5600K apparently bleaches. I tested the 3200K gel but I put it in the same slot as the 5600K filter spot (between the fresnel and the barn doors. And in matter of like 10 min of testing, it almost melted. You need to put those gel on the barn doors with the clip. Anyways, withe gel you lose like 1 stop so there is almost no reasons to get the 20C version IMHO. 

So, for the money Boltzen is a bigger bank for the buck! The Bicolor output is the same as the single color. It's really the best bicolor fresnel deal in the market. The output doesn't really change between 3200K or 5600K. There is a strange stepping between 4000K to 3200k. It almost jumps from 3600K to 3200K. But that's fine. 
The light is solid, no fan (for 30 W). But I returned the Botlzen and kept the Aputure 20D. For these following reasons (basically because of my specific needs). 
1 - The Aputure is not as heavy as Boltzen (the heat sink is very heavy) so it's much lighter on your luggage weight limits. 
2 - The light control with aperture was much better than with Boltzen. Botlzen would create these soft cut off shadows. The aputure (unfortunately more so on the flood spread of the light not on the spot range) creates fairly clean cutoff compared to Boltzen and has a tighter spot.
 
If you're going to push the light through some soft box, with some occasional spot needs, and you're not goin to be flying with your equipment so a bit of extra weight is not an issue, Boltzen 30W (bicolor) is one of the best buys in the market so far. I would pick that no questions asked. 

If your needs are like me, then Aputure 20D might work better for you. The fan on the 20D comes on in matter of 10 minutes, but it's not that bad and for what I'm going to use it for, it's fine for me. 
 


 

One part is to set up a natural behavior. This EOSHD member explains it for the Zhiyun (and why you would want to choose different settings):
The second factor is the speed of pans and tilts. Too fast, and they will stop too abruptly. Not sure how this is prevented with the Ronin S. Must be a very sophisticated algorithm, ease-in, ease-out, with powerful motors.

Saw a few interesting things.  Zeiss has unveiled six of their Supreme Primes.  A new snorkel company has appeared, and the lenses look pretty good for what they are.  Band Pro has one of the White Point rehoused Blad lenses with a speed booster on a camera, and it is pretty.  Schneider is showing their swing lenses with a PL mount, which was new to me.  OSRAM has on display their HMI STUDIO tungsten-balanced HMI bulbs.
 
Didn't see much new in regards to cameras.

Sony FE 35mm F1.4.

Available to buy now - click here for details
Cameras and displays have come a long way since the old standard definition Rec.709 standard came to be.
From today, Sony's colour science now gets EOSHD's cinematic overhaul on the A7 III and A7R III.
Read the full article

I bought the A7Riii and I wanted to make this thread into a resource where I can learn from others and share what I have I've learned. There is enough overlap in video with A7iii that I think it would benefit both camps. 

I bought mine $300 less than the MSRP via GreenToe. If you're not familiar it's like Priceline for buying gears. You place your price and if it's reasonable, sellers match your price or make a counter offer. I placed a bid for $2750, later increased it to $2780 and I got an offer for $2890 which I accepted. It's from a US Sony dealer. I've also heard people buying some zeiss lenses about $200 blow MSRP. You can go to Greentoe.com or if you follow my affiliate link, I think I get $25: https://gtoe.me/YsjOxVWyaM   
 
So I like to discuss camera settings, picture profile people are using, AF settings, post processing, LUTs, noise reduction techniques, etc. 

I start with what @Don Kotlos replied to my question on his picture profile settings: 
 
setting suggestions by Sony Global Ambassador: 
 
 
 
a setting used by a youtuber: 

and by another YouTuber: 
 
 
Understanding picture profiles: 

PDF  version: 
HTML version: http://helpguide.sony.net/di/pp/v1/en/contents/TP0000909109.html
 
Picture profile comparison: 
 
 
One YouTubers recommendation for Cine4 profile settings:
 
 
Exposing SLOG2 for skin tones:
 
 
Wolfcrow's explanation and reasoning for his Slog exposure process: 
 
 
 
Cine4, Slog2/3 comparison video: 
 
 
 
Some good reads from XDCAM, they're not specific to A7Riii but still very informative: 
http://www.xdcam-user.com/2014/10/using-s-log2-from-the-a7s-in-post-production/

http://www.xdcam-user.com/2014/03/understanding-sonys-slog3-it-isnt-really-noisy/
http://www.xdcam-user.com/2017/09/why-is-exposing-log-brightly-beneficial/
http://www.xdcam-user.com/2017/09/why-are-sonys-isos-different-between-standard-gammas-and-log/
http://www.xdcam-user.com/2017/12/using-luts-for-exposure-choosing-the-right-lut/
http://www.xdcam-user.com/2018/03/banding-in-your-footage-what-causes-it-is-it-even-there/
http://www.xdcam-user.com/2017/12/more-on-frame-rate-choices-for-todays-video-productions/
 
Not specific to A7Riii but relevant to getting a correct exposure:  
 
 

$hit just got real... More to follow

I don't see the button to enable the ProRes RAW 

What camera are you using it with?