Mark Romero 2

I know what you are talking about. I think it's Fuji's effort to make skin more flattering. Its actually one of the reasons I purchased my XT3.

I like Fuji's film emulations but I find it difficult to get Flog to look as nice. In terms of color I will once again recommend Emotive color's Alexa luts. He makes one specific for the XT3. They have been the saving grace on my Pana S1. 

Yep.  I can almost hear them discussing it in a meeting. 
"What about Takumi's work on the LA-EA4's implementation?"
"I'm glad you brought that up.  I have an idea to boost our e-mount inventory sales."
🤑 💵
There are about 400 A-Mount zooms and primes from different companies out there that are affected by this.
It feels like a slap in the face from Sony.

Some YT tests of the R5 and R6 found the maximum under CLOG was 11 usable stops. The S1 if I remember rightly using the same parameters was 12.7 stops so a massive difference. The R5 does have the advantage of RAW and while there's actually less stops of usable DR, with noise reduction you'll almost certainly get more than you can out of CLOG although I haven't seen any tests investigating how much more.

The other downside is the a7Smk3 is a much much more expensive camera than the Panasonic S1/S5/GH5
(yet another downside... is that the a7Smk3 lacks waveform monitoring, or anamorphic support)

Sure, but your country actually DID SOMETHING at the start of the outbreak, basically nipping it in the bud. By the third week of April 2020, the number of daily new cases in New Zealand was in the single digits.
So hats off to the good people of New Zealand, whether it was government imposed restrictions at the outset, or just vigilance and diligence by the common people, or whether they have discovered that a passion for beer and rugby makes a perfect vaccine.

Ditto, no restrictions whatsoever in my country either. 
(except recently a requirement was brought in for mask wearing on public transport)

I created 1280x720 mp4 proxies directly in Premiere and re-attached the originals for color and export.

- I always shoot in VLOG, when color grading are you using a LUT or doing manual primaries correction? I've stopped using LUTS for primaries and get much better results simply grading by hand. In DR I create 3 nodes (primaries, curves, false color), I use the primaries node to set the Lift, Gamma, and Gain, I set Saturation to 90%, and I set Contrast to 1.17. I then fine tune the image in the curves node and check skin exposure using a false color LUT in the false color node.  I've attached a screen shot from a recent fashion show, showing before and after.  I have never had a BM so I don't know if the attached image has more grain than a BM in the same situation so I will let you be the judge of that. 
What really impressed me about the attached image is that I was able to recover the white balance. Someone turned on a very warm spotlight right as the show started and I did not have time to adjust the WB (the joys of shooting fashion shows). 
-For IS, with the Sigma adapter attached for some reason most of the modes get disabled for me and it doesn't seem to give me the option to turn off body IS. My Canon EF 24mm has lens IS and I haven't tested which is better, so I've just left everything at their defaults and it seems to all work itself out. 
-For S&Q I never use it, I shoot everything in 4K and mostly at 60FPS, I feel like all of the modes in the S&Q options are going to require that I deliver at 1080P so I haven't experimented with the modes.
-I don't use AF at all, since I can't use continuous AF with the adapter I just use hybrid AF.....so half press the shutter to get focus then MF from there.
-Depending on the lens the magnifier will automatically come on when you set the dial to MF and start turning the focus ring as long as you are not already recording. In the menus you can set the center button of the focus selector dial to magnify when in MF so that's how I have mine set. Some of my lenses like the Canon 24mm-105mm don't automatically magnify when I turn the focus ring but the EF Sigma 50mm does as long as the selector is in MF.

And the ability to punch in while recording.

And the ability to punch in while recording.

Yes and its wonderful. Now if they would just add false color and better focus peaking it would be great.

Understood.
Are you using Davinci for post-editing? Whenever I've had clips with different frame rates I make sure to first set my timeline to the desired framerate (and not let it automatically decide framerate based on the clip properties). then I just work on the ones that I want to conform first by doing multiselect on those clips and then right click, change speed, and set the framerate to 24.
Also, I've noticed since updating to Davinci 17 that when I specify a project framerate of 24 fps, all those 23.98fps clips appear as 24fps once I drop them onto the timeline...so I really don't think the aforementioned additional step is even needed  if using the latest version of Davinci 17 and specifying project framerate beforehand.

Face tracking works very well as expected in 4k 25p on the little Sony, but 1080 100p is dreadful.
Revising my plan from shooting 1080 100p to 1080 50p in order to keep the face tracking!
Just in case anyone is interested 😉
Just need to work on matching Sony 1080 50p footage to Panasonic 4K 50p on the same timeline...
I appreciate it's not going to look 'the same' but I only need to get around 10 sequences in the ballpark/as close as so not too worried.
One day, I'll just have to get a Sony A7Siii but at around 7x the price (with no lens), it will have to wait until 2022!
Or maybe by then, we will have a FF PDAF Panasonic...

I don't think this will come at tall. But what may come in the next generation of S bodies is a very powerful chip fully dedicated on AF, because as some article have pointed out, the contrast detect AF is very powerful dependent. So with the increase of power the AF has improved recently. So one of the solution would be to dedicate an entire chip only to control the AF. The more power, the more accurate and fast this will be.

I don't know if this has been mentioned elsewhere but if you have some vintage A-Mount lenses (Minolta, etc..) and you plan to shoot stills or video with the A7S III, the auto-focus will not work anymore with the LA-EA4 adapter.   It seems Sony disabled it.   And the new LA-EA5 can only do stills--not video.  This forces customers to buy e-mount lenses if they want auto-focus with their video.  

Have loved the Panasonic G6, such a big upgrade from the original Panasonic GH1 which I started this filmmaking journey with (although technically it was my girlfriend's Nikon D90 or my sister's Canon T2i that I borrowed for the first handful of shoots), but in recent years I've been considering an upgrade. First to the Panasonic G7, simply to get 4K, but as the price of the Panasonic G85 kept on coming down on eBay that tempted me instead for the better low light, the live HDMI out, and of course the IBIS! But this is a slippery slope, because as I wait... then the Panasonic G9 got that big 10bit firmware update, and their prices were coming down with time too. (& more firmware updates came out too, such as better AF for the G9, and being a USB webcam for the G9)

Never really seriously considered the Panasonic GH5 or GH4, as they always got the most attention, thus I felt they always kept up the highest prices on the secondhand market, compared to the value that the Panasonic G series offered instead. But I still kept half an eye on the GH4/GH5 sales, just in case. Even considered a few alternative options such as Fujifilm, or for instance the Panasonic S1 that I bid on last week until the price shot up far too high for my tastes. In the end I kept on coming back to Panasonic MFT as offering by far the best value for money. (& the fact I already owned MFT lenses helped too)

However, today I won an action for a Panasonic GH4 for only NZ$417! (less than US$300)
That was a price too good to ignore (but I doubt I'd have bid a penny higher), thus to my surprise I find out I've settled with the old Panasonic GH4 as the upgrade from the G6 I'm going with. Even though I'd like the IBIS / better high ISO / etc of the G85 or G9, it isn't such a bad thing to have settled for this cheap deal of a GH4 because it is just going to be for casual vlogging usage to create simple content for my YouTube channel. 

One very small benefit of going with the Panasonic GH4, is that when the price of the Panasonic G9 finally tumbles down to sub US$300 (right after the Panasonic G12 gets released?), then I'll be able to use the same Panasonic DMW-BLF19 batteries in both! (which wouldn't have been possible if I'd got a G7 or G85)

Now, how many more years until I upgrade my "big camera", the Sony PMW-F3? The F3 is a truly fantastic camera! I still think there isn't a better 1080 camera at this price point (but the world is moving onto 4K). Had it a fair few years, unfortunately the F3's popularity didn't last too long because the Canon C300mk1 got released shortly after and the C300mk1 just *dominated* the low / mid end professional work for that generational cycle. (interesting how the secondhand F3 has seen a bit of renaissance in 2019/2020 thanks to Caleb Pike & others)

Been wanting to do the natural upgrade to a Sony PMW-F5 for a while now, but can't justify it because as a Sound Mixer I don't do a high enough volume of camera work. The FS7/FS5 or even a secondhand FS700R might very well make more sense! (I like for instance all the work done with the FS700R by this guy: https://vimeo.com/paulbates However the FS700 isn't as nicely ergonomic as the FS5! That compact size is fantastic)

Just keeping my eyes open for the right secondhand deal, in absolutely no rush whatsoever. (as I'm still primarily by far a Production Sound Mixer, as what I do day to day)

Firstly, I think if you go the Sony route, the best cameras for your needs would be either the a6400 or the a6600. Don't quote me on this, but I think that one (or both) of them have no record limits in 4K, are better at resisting overheating, and have a larger battery. Sony LCD screens tend to get dim when recording in 4K to help reduce overheating. I am not sure if this dimming has been reduced / eliminated with the a6400 or the a6600.
The older cameras (a6300, a6500) would overheat and have a very dim (and highly reflective) screen. But hey, what they lacked in terms of monitoring, they made up for in being a great mirror 😬
a6000 and a6100 are 1080p only (as far as I can remember).
If one does experience overheating, it has been claimed by others that using either a battery grip or a dummy battery will help reduce overheating. 
The main problem I think you might run in to with the a6X00 bodies is what lens you are going to get. The 16-55 f/2.8 G is a great lens but it costs $1,300 🤬
The kit lens is horrible (16-50 f/3.5-5.6 pz). Maybe it is usable at f/8, but there are so many sample variations you might have to buy four and return three of them before you can find one that works well at f/8.
The other options are the 18-135 f/3.5 - 5.6, and the older 18-105 f/4 which some people like because of the power zoom feature. Don't know if it is parfocal nor do I know if it breathes heavily. I would imagine if it is a PowerZoom lens that it would be parfocal, but then again... Sony.
If you want a prime, the 50mm f/1.8 OSS (the aps-c version, not the full frame version) is quite good. But it comes to 75mm full-frame equivalent, which is kind of an odd focal length. 
I don't know how the 30mm f/1.8 OSS and the 35mm f/3.5 macro do. I think they are pretty good though.
Avoid the older 20mm f/2.8 and the 16mm f/2.8 as they aren't designed to work with the newer autofocus system, so they are slow to focus and will just leave you crying.
And finally, you might want to check out this video when you have a moment just so you get some perspective of what Panasonic AF is like compared to Sony AF. Both the a6400 and the a6600 should have equal AF performance to the a7 III used in this demonstration. Might even have BETTER AF since I think the a6600 has improved tracking over the a7 III (don't quote me on that).
Go to the 9:15 mark to watch the Autofocus tests, the comparisons with Sony are near the end of the autofocus testing section.
 
 

Accurate AF is critical in this particular instance.
Sony is the answer as things stand and it’s just a question of which A6000 series or whether the ZV1 suits my needs best.
I am attracted to one of the A6000’s purely because they are APSC.
Every other consideration, ZV1.
The only other option that might interest me would be one of the Fujis and am looking at that today.
 

@MrSMW I'm with @Thpriest do you really need the entire walk in focus? You can't just set up on a tripod, set it to F8 or higher, focus on a point half way up/down the aisle/walk and throw away the softer parts before and after your focus point?  I'm assuming your final wedding videos are far more video than the ones I offer based on the number of cameras alone, but I still would think an entire walk really wouldn't be that interesting. Also I simply use a wider lens like a 24mm which provides even more DOF during things like a walk.
It's been my experience that for things like walks clients just like to see themselves performing the action, it doesn't have to be a razor thin DOF or the entire thing. But it also sounds like your wedding clients have a bigger budget than the ones in my area. In my area the budget seems to end up somewhere between are you kidding me and not even close so needless to say I don't film many weddings.

I think that @omega1978 suggestion of an a6400 might be a good one. I have an a6500 - which has an older version of the AF system found in the newer a6400 - and it keeps up with people skateboarding around, so I don't think it would have much of a problem with a bride and groom walking down an aisle.
do you still have an X-T3 lying around somewhere???

Regarding Sony colors (and colors for ALL cameras):
The colors coming out of my Sony a6500 are HIGHLY dependent on the lens I put in front of it.
Same thing with my Panasonic S1.  Different colors depending on whether I put my Canon 16-35 f/4 L, or my Panasonic 24-105 f/4, or my Minolta MD 50mm f/2. 

I have the best result in single point mode. now in the new firmware combined with human detection, but not tryed yet.
My second angle camera is the Sony 6400 with powerbank on a free monopod. No record limit and fast reliabel AF.

I am indeed! I meant to thank bloggers (including Andrew specifically) for bringing the issue of overheating up so much. The pressure about the timer nonsense forced Canon to change the way the camera monitors temperatures, which is the reason the mod works at all.

As I was reading this thread and your lens lineup I was surprised that you were planning on relying so much on Sigma when everything I've read says that "native" Panasonic lenses are much better in the AF department...then I reached the end of the thread and saw you reached the same conclusion 🙂
I read a great article that I can't find now that discussed all of the weird quirks of trying to use Leica, Sigma, and Panasonic glass within cameras that are supposedly all fully L mount compatible and the article made it clear that beyond the actual mount there are a lot of issues between the alliance member's lenses and bodies; the article pretty much reached the conclusion that if you want the best user experience you needed to match the camera maker's lenses with their bodies, of course this kind of defeats the concept of an alliance.
This is also one of the reasons I am cautious about going all in on the S5, I feel like every native L mount lens I buy is pulling me into a system that may always have a lens shortage if you only count the 'native' Panasonic glass, so for me I decided to give up continuous AF in order to stick with EF mount lenses.

Panasonic AF motor scans with 480 hz the scenes and gives the DFD system faster information for contrast AF.
Sigma don´t have this technology..
But sometimes DFD truly sucks  ( no reaction in AF-C, only AF-S works fine )