Mark Romero 2

Luckily for you, the a7 III is sold out for at least the next three months
Again, if you have a stabilizer and a monitor (I think you said you do), then the a6300 might work. Stabilized lenses help with rolling shutter.
Oh... almost forgot... meditation. If shooting handheld, meditation helps with rolling shutter, too.
SIDE NOTE: I have been shooting stills with my a6500 for a long time now, and the other day I was trying to shoot with my D750. Now, a lot of people say the touch screen on the a6500 isn't worth it since it isn't all that accurate, is a bit laggy, and you can't swipe through menus with it. But I will tell you, after using a camera with a touch screen, you shure don't want to go back to one without (like my D750).
It's kind of like the tilty screens in general. Once you get used to a tilty screen you never want to go back to a flat screen.
So with stabilized lenses and a gimbal = a6300
Non-stabilized lenses but with a gimbal = a6500 or a6300
Non-stabilized lenses and no gimbal = a6500
Or get an original a7s.
Also, be sure to get EOSHD procolor no matter what you do if you get an a6300 / a6500
Final tip: I found (for my tastes) 1080p on the a6300 / a6500 is usable with very shallow DOF. Otherwise, it is aliasing city.

Yeah, he heard little voices in his head we don't LoL. I liked him. But he did ramble on about some strange shit. Smart guy though.

Go to dvxuser and find jcs.  Banned here for too much new age alien drug speak.  Super rich coder dude from the hills of beverly. Not sure if he will have time, but he knows the ins and outs of the c300ii and is very amicable.

The fourth reason is if you are mad enough to be creating a hardware remote control for the infernal thing
To be fair, the Sigma EF lenses do act as if they were native on this adapter, I was just trying to be cheap and not buy any real E mount lenses for what will be a short term relationship with it.
Of course, this didn't stop me then buying a couple of E mount lenses !!

@BTM_Pix
One other option that "seems" to work ok is to pick up the Sony LA-EA1 adapter (about $50 used) and put sony A mount lenses on it. It works OK-ish...
Here's the thing though:
There are probably only three reasons that you would want / need an a6500 over a GH5 or a G85, and one of those main reasons is the excellent autofocus (the other being an edge in low light and having more detailed 4K). Otherwise, the GH5 / G85 makes a lot more sense than the a6500 (and this is coming from someone who shoots with an a6500).
So if you giving up the excellent autofocus advantage by using adapted lenses... well... not a whole lot of reasons left to use the a6500 over the Panasonic cameras...
 

They both have about the same low light performance with an APS-C crop.
Rolling shutter is better on the A7rII and you can use the FF 4K as well for reduced rolling shutter and shallow DoF shots.
The FF 1080p from A7rII is very good as well. 
The stills that you can get from A7rII are amazing. 
Between the two, get the A7rII. But I would still try to save up for the A7III. You will gain better low light, better AF, better colors, amazing battery life, better slomo, faster to operate. 
For example as others have said, you can sell your A7II higher at other places like ebay/fredmirranda/craigslist. 

Used a D850 i think i also used a Tamron 24-70 with VC and its perfect for shooting handheld, just get used to holding your breath.
This was the first video we did, it lacks movement so i don't like that much. But in this setup he brought his mic which we plugged to the recorder, same with the guitar. The thing is, we prefer to do it without the mic to look even more acoustic than it already is. Also it was my second day with the Mavic Pro and flew it between some trees and didnt crash it so i got that going for me
 
 

All handheld, both him and me are just doing this for fun so we try to make it simple, and thanks!
Sure! Had a D750 on a tripod and was shooting with a D850 handheld, we had 3 takes i think, so i set up the D750 with the tripod on 3 different places on each take and did the same with the D850 and used a 35mm 85mm and 105mm, and placed the recorder next to him he only had to turn his guitar a bit away from the recorder so we could have an almost equal volume on voice and guitar sound.

I'd think of it as allowing you to record extra channels.  One thing that can come in handy is safety channels, which is where you record the same signal but at a lower volume in case there's a loud bit that overloads the louder signal, so in post you can use the quieter track (turned up to match of course) for that little bit.
Alternatively, you could buy a second 10 pound lav and record a third track.  When recording a guitar people often record it with two microphones, one on the body and the other closer to the strings, which can be panned a little left and right in the mix giving a nice stereo spread, or mixed in mono to get a nice balance of body and string sound.  
Alternatively alternatively you could record the crowd with the extra channel and mix that in to taste as well.
In audio extra channels give you flexibility if you use them right

Ha no I doubt you did.
H1 still has better amps than an average phone so it should still be a bit better. Since the videomicro has a built in amplifier and requires only a tiny bit secondary amplification, the more amplification an external microphone needs, the larger the difference between the H1 and the phone will be. Would you notice it in a street audio recording? Probably not, but for a quiet interview you might.  Also it gives you other things like decent built in mics for stereo recording. Also it is easier to boom with the micro or leave at a remote spot without worrying damaging your phone. 
 

Prediction- they'll put even more cool stuff in for a great price, and people who use it to shoot flower videos will still complain about it. 

S35mm sensor.

You left out the obligatory, "It's your boy..."

My limited input is basically just a recap of wolfcrow's hour-long video on slog 2 exposure (which is well worth watching):
In a nutshell, use spot metering and expose whatever you consider important at 40 IRE or above, and set your zebras to 70 IRE for your skin tones (for Caucasian folks).
He cautioned against the generic "expose two stops over" or the generic "expose to the right" because you might have inconsistent skin tones (and he was assuming that is what most filmmakers would care about), and with inconsistent skin tones one would have to do more work to match skin tones from scene to scene.
That kind of makes sense to me. Say you have a shot with someone with darker skin and a not overly bright sky, and you just expose two stops over (or you expose to the right using multi-segment metering). Then your next shot features a lighter-skinned actor and a bright sky, and again you decide to expose to the right. The overall exposure is lower than the scene with the darker skinned actor and the dark sky, and the skin tones will be off.
He mentioned that slog 2 was designed to have a filmic look when handling highlights / over exposure
Anyway, I have watched it like three times and that seems to be the main gist of it. The info also seems to jibe with the information from the article by Allister Chapman that you linked to here:
http://www.xdcam-user.com/2017/09/why-is-exposing-log-brightly-beneficial/

True. Cops are always confusing boom poles for a pack of mentos...

In the US you don't have a problem of getting a citation. Its more likely you will get shot 

Just wanted to say awesome video and thanks for posting. Band sounds good.  Always nice to have a Captain Sensible sighting.
Really feel that those who are noticing the "look" of the camera instead of the the overall video are kind of missing the forest for the trees.

We plan for the beer. If any footage ends up actually being captured, that is just a bonus.

It may seem an odd suggestion at first, but have you thought about a Nikon D500?
1) Excellent dynamic range and image quality for your photos
2) Proven ruggedness, build quality and durability
3) Full compatibility with most of your lenses with no adaptor required
4) Great Nikon colours for video, but only 8 bit 4:2:0 internal with 8 bit 4:2:2 via external recorder
5) Cheapest solution for body only pricing
Only downsides:
1) No IBIS
2) 4K video crop factor

I haven't seen the X-H1, but I do not believe that Fuji have great ergonomics in general, but if you own one already, and you like what they got, then probably you like them ergonomics. GH5S probably is the best in ergonomics, among them, but I judge from the GH5, which I believe are the same. Video wise, GH5S again is the best, not even close, codec wise, and tool's wise, no external recorder needed and already has most tools, so no monitor needed either, and that helps a lot saving money and not carrying other things around.
I am not sure about A7iii color science, in every review I can see yellow skin and the such, it is mentioned in some of those reviews, the other two are much better, and the GH5S is the best Panasonic hybrid ever in color science, very close to Canon color (per a few of the reviews, which are posted on the GH5S thread) and very different from the GH5 which is "greener".
You have to consider the ultra wide shots that you may need thought. The 15mm isn't going to be that wide on a speedboosted m43 camera, but if you want to shoot stock footage, the best possible quality you can get, is very important (GH5S).

We plan for the beer. If any footage ends up actually being captured, that is just a bonus.

Someone has to keep us on the straight and narrow... otherwise no telling what kinds of trouble we would get ourselves into. (slowly pushes zoom h1 under bed with foot so it is out of sight / out of mind...)

Yes that is correct.
But again, rec2020 should be the preferred colorspace in most cases with HDR. 
 

So, I’m at the point where I am about to start shooting dialogue scenes for my film. Being a one man band, guerrilla shooter, I need my set up to be as quick and easy and inconspicuous as possible.
I’ve used the H1 and the DR-05 but they’re both a little big for my set up. Right now, I have two Olympus LS-7 field recorders and I love the quality and how small they are. I can have one attached to the top of my camera with a small shotgun and then have another in my actor’s pocket with a lav. They will do fine if need be, but I figured I’d explore my options.
I always liked the size of the Zoom H2/H2N... small but not tiny with external controls. And I’ve heard/seen some filmmakers use the whole recorder attached to a boom pole using only the onboard mic. But I know they’re pretty dated and assume there are better options out there.
So I looked around last night and came across the Zoom H5. Anybody have any experience with it? I have acces to a couple Rode NTG mics, so the onboard XLR inputs seem interesting but as I understand it, the onboard mic unit is modular... will the recorder work without any of those modular units attached? Because it seems like the perfect size without it. I figured I could pick up one or two of their new pocket recorders for lav mics and then run an XLR shotgun and maybe an XLR lav from the other input on the H5.
I know this isn’t ideal, @IronFilm but I NEED the small footprint, so is it usable? If not, any creative ideas out there to get good audio with a cheap and easy workflow that one person can operate?
Also, does the old line in/out trick from external recorders really work to bypass DSLR preamps?

Essentially, HLG gamma is just BT.709 with aggressive highlight roll-off. It's not advisable to do any intensive grading due to this highly non-linear distribution of bits.
If you have used BT.2020 gamut (often combined with HLG gamma as a default). Just map the gamut to BT.709 with some minor adjustment. The dynamic range will remain unchanged after export. After all, HLG is designed to work on both SD TV and HDR TV.