Benjamin Hilton

So I get the whole bit depth argument, but have some questions for you Sony users on the practical side. I come from Panasonic cameras where there is a massive difference visually from 8bit to 10bit when shooting log. The 8-bit has splotchy blocks of magenta in places, and just seems way less clean. Do the 8-10bit comparisons on the a7siii mean that: A) The a7siii 10bit codec isn't a big improvement over let's say the a7iii's 8bit codec in log? B) The 8 and 10bit codecs on the a7siii are both improved quite a bit compared to the a7iii and such?

Any suggestions as to what would help?

Hey there, I am running a small home studio with several different weekly shows using Rode Procaster mics. For one of the shows we just started (two person conversation), aesthetically it would look better to use lavs instead of the Procasters. I tried setting up with my Countryman b3s, but because of the room acoustics and phasing of two mics it's sounding pretty bad. The room is fairly decent acoustically, decent enough to sound great with the Procasters. Other than completely sound proofing the room, is there anything I can do to get better audio with lavs? Wondering if a cardioid lav

I have the old Glidecam HD2000, not recommended with a smaller camera setup. Something more like this would probably work fairly well though: https://www.bhphotovideo.com/c/product/1398457-REG/glidecam_glhdpro_hd_pro_hand_held_stabilizer.html

Both gimbals and steadicams have their place for sure, very different purposes and looks with some crossover. I directed a TV show were we had to follow around hosts and guests doing things for hours at a time, never would have worked with a steadicam, but was great with a gimbal setup on a backpack arm system. But on the other side, steadicams and get a specific look that gimbals really can't...just depends if you want hyper smooth planned shots (steadicam) or more reliability for longer periods (good gimbal setup) If you are going for a Glidecam or something for your xt3 though,

I'm pretty sure the setup from Sony's video is just that, the initial setup for choosing framerate. (the same thing you have to do on a mirrorless camera) Once you have that loaded all you have to do is push the S&Q mode then the record button to be shooting your high frame rate. I don't see the clunkiness here but maybe I'm missing something. Seems to be about the same as most mirrorless cameras, maybe faster since they actually have a dedicated S&Q mode. To do that on my GH5 would take a dive into the menus to select basically those same options as on the FX6, only I have slow motion

Have you given the GH5 or 5S a try? I think it would fit into your workflow very well personally, it has for mine for the last several years. Usability is very very nice with minimal rigging or accessories needed. The battery life is very good as well.

Yeah, totally I also wonder if using a polarizing filter to take the reflections out of the skintone and such would help with the look, I know Shane Hurlbut did that for one of his period movies, gave a similar kind of look

I actually think this is pretty close, would you mind sharing your grading process for this?

So I've been watching this TV show recently, and I would love to figure out how to replicate this specific look. Kind of a muted, but still saturated look, with soft highlights and really rich creamy shadows, and the skin has kind of a brown cast but still looks natural. I've been trying and trying and still can't get anywhere close. Are any of you able to do it? I know it's partially lighting, lensing and such, but I feel like I should be able to get at least close. These three screenshots are from the show: And here's a sample frame I have been working on, just Panason

I used the Canon L 24-105 with a speedboster

These are some stills from a recent GH5 doc project

Me too, honestly the S1 is really tempting at this point, although I can get really close to what I want with the GH5

Honestly if Panasonic created a camera with the following I would be completely sold, all I need for quite some time to come: 4k60p 10 bit S1H dynamic range and color Native duel ISO Super 35 or full frame sensor Built in NDs h.265 and prores codecs IBIS Duel pixal autofocus I could honestly care less about 6k or 8k, raw and the like unless it was a good compressed raw like r3d. A rich cinematic image, built in NDs and a reliable body would be top of my list. I currently shoot with GH5s and speedboosters and they are the clos

When are ND filters coming to their smaller camera bodies, this seems like an essential but is strangely being overlooked by all camera manufacturers. Variable NDs are a pain, period