heart0less

Alright, you win.
🤔

Those were quite gorgeous 10 years..
 

Those were quite gorgeous 10 years..
 

Higher standard is NOT expected. 
People are influenced by youtube and instagram these days, or from the 1 bazillion reality shows they are watching on Mtv and 1000 other networks producing crap.
The only thing they want from their photos, is more bokeh. Shoot 5000, crop 200 of them, add some "filters" and you got a job done.
20 even 30 years ago we were going 1-2 or even 3 days per week at the cinemas to catch up with the latest and greatest. 
Now cinema seems to be based only on technical aspects.
Youtube is the big educator of YOLO generations, and all the main professionals are NOT there, there are just young kids, doing a few weddings, and then suddenly are the world's experts about film making!
I have worked with some of the previous generation here and abroad, and not one of them is on youtube!

It's definitely worth differentiating opinion vs. fact. But I'll second the opinion in this case: be wary of old pro audio equipment, modern engineering has done marvels at a low price. I tried out an FR2 back when I owned a DR-60D mk2. The FR2 was noisier using the same mic in a sound proofed studio. Granted, @independent 's numbers are for the FR2LE (which is supposed to have better preamps) and the DR-60D (which has worse preamps than the Mk2). also keep in mind that if your problem is too much wind, then you are certainly not going to be hearing the noise floor of the recorder. The difference between self noise in any of those recorders is negligible in any normal outdoor recording.
And, to bring it back to the original suggestion, I've had a Zoom F4 for a few years now. It is superior audio quality to either the FR2 or the DR60 Mk2 by a significant margin. Even more importantly, it has better ergonomics than the FR2. The headphone preamp is much cleaner than Tascam's rather terrible one, and the construction is another league from the DR60.

Well, still a camera limited to 8bit 4:2:0, and even for the Vlogger target group, I don't quite get how you can release a camera in 2020 that only has USB 2.0 with a MicroUSB port...
Not getting very excited by the image quality either - just see the newest DPreview episode which was alternatingly shot on the Fuji XT-4 and the ZV-1. IMHO, the ZV-1 footage sticks out like a sore thumb:
In the last segment (at 13:10), I actually find the iPhone XR footage looking much better than the ZV-1 footage... So then why bother with the ZV-1?

My EF and F lenses follow me from camera to camera, so it will be a long time before I buy anything other than EF. I'd love to see Rokinon get some competition for affordable EF cine style lenses. It's great that they also have mirrorless mounts as well.
Gotta love the #vlogger on Meike's tweet about manual focus cinema lenses though.

These two videos cover the subject:
 

You certainly had a busy day on Thursday joining EOSHD and all these other forums and asking this exact question :
https://forums.overclockers.co.uk/threads/how-to-remove-shadows-on-dslr-sony-a5100.18888587/#post-33640493
https://www.cnet.com/forums/discussions/how-to-remove-shadows-on-dslr-sony-a5100/
https://forums.tomsguide.com/threads/how-to-remove-shadows-on-dslr-sony-a5100.468121/
https://www.fredmiranda.com/forum/topic/1648443
https://www.cloudynights.com/topic/709844-how-to-remove-shadows-on-dslr-sony-a5100/
 

If anyone besides me use HLG, here is a little normalization LUT I'm guilty of.
I didn't use any charts, so it may be slightly untruthful and inaccurate..
( :
No need to overexpose, it's designed to bring out as much DR as possible while still achieving black and white points.
 
 

Your NTG2 isn't exactly a quiet microphone. 
Plus usually it is a person's technique more than their gear which makes the result unbearably noisy. 

For an example of awful technique, I experienced that first hand yesterday! Was cycling around town, and got interviewed by an agency crew out doing voxpops for their client's campaign. 

Was a very small "crew" of 3:
The person doing the interviewing
A person handholding a Sony a7 series camera (with a rodelink on it, I assume the interviewer was wearing the transmitter)
A 3rd person, who was holding a Zoom H6 *(and NOTHING ELSE! Yes, just the H6 by itself! wtf)

So was interviewed by them, and I couldn't but help ask him "would you like me to hold that for you?" Because he was holding it soooooo faaaaaaaar AWAY If you're not going to swing a boom, or use a stick mic, at least hold the H6 in closer!
I really had to restrain myself yesterday
Like when he was saying "it's very directional, works great!" BUT IT IS A HANDHELD ZOOM!! With an XY capsule on it!!!! arrrggghhh
Not to mention, HOW. FAR. AWAY. he was standing from me

It wasn't even like he was trying to reach out with his arm to get closer or anything, he was just holding the Zoom H6 by his side

For half a second I was tempted to take pity on them, go back home to grab a length of XLR cable and a shotgun or a reporter's mic so they could use that today instead. But meh, I was running behind on some deliveries yesterday so had to go do those asap
It wasn't like we were standing next to a water fountain while interviewing me or anything like that

Oh hang on
THAT WAS EXACTLY WHAT WE WERE DOING
(next to the waterfountain/waterfall in the park behind the Cathedral downtown)

It does look good! Nice price also, especially for its length.
Keep us posted!

Zoom F4

I think it is a bit pointless getting anything else below that, especially when you already have the Tascam DR60Dmk2. 

As the Zoom F series (and the MixPre series too) offers so so so much value for money, they're leaps and bounds above anything else. (to give a camera analogy, would you bother with a GH5/a7S/5Dmk4 if an EVA1/FS7/UMP cost only a couple of hundred of bucks extra? Most commercial shooters would say "nope!" That's the case with the Zoom F series, they've brought features/specs/quality that used to be far more expensive, down to very very low and affordable prices. Why settle for anything less?)

The other issue, is that when you look in the world of non-F/MixPre series recorders and exclude them from consideration for a moment, then the Tascam DR60Dmk2 is damn good value itself in the "no budget" category. 

Sure, you could look around for something like a secondhand Tascam DR70D / Tascam DR680mk1 / Roland R44 / etc that could be found for only a little bit more money than a DR60Dmk2 but less than a Zoom F4 costs. 

However all of those other options merely give you extra channels over the DR60D, plus perhaps an extra little tweak or two, here or there, of benefits. But nothing at all which is a real step forward in features/specs/quality over your DR60Dmk2. 

So unless you DESPERATELY need "more channels" but can't afford a Zoom F4 (hint: you don't need more channels, not at this budget level), then I don't see why you should do anything else but stick with your Tascam DR60Dmk2 for longer into the future until you can afford a Zoom F series (or a MixPre series). 
 

Hi !
The eterna LUT is to use if you don’t have a color checker. You could actually use it before applying the color checker correction nod but there’s no point to it.
For the gamma question, I can’t remember what gamma there is in Resolve. You can try gamma input « slog2 » as it’s not far from flog gamma and I usually do a blackmagic 4k gamma output as rec709 crushes everything. But most of the time, I put the same gamma Space input and output so the color checker only corrects colors and put me back to some rec709 color Space, and I adjust the gamma curve myself in another nod, so I have more control.
But overall, if you don’t have to match your XT3 with other cameras, I’d suggest You apply the fuji WDR lut (the one which only affects colors, i can’t remember the exact name) so you’re back to a rec709 colorspace but with fuji’s touch. And then in another nod, you apply a custom curve. I have gorgeous results with this simple workflow.
and finally, another method is to use color transform and put « gamma input flog » « color Space input rec2020 » gamma output « blackmagic 4k (same as above) » « color Space output rec709 ».
There You go, 3 methods to normalize your flog image. I encourage you to use the second one if you wanna keep fuji colors.
 

Fuji released an app that allows to use X-T4 (along with X-H1, X-Pro2, X-Pro3, X-T2, X-T3, GFX100, GFX 50S, GFX 50R) as a webcam with a simple USB cable.
No HDMI Cam Link needed.
Nice!
https://fujifilm-x.com/en-us/support/download/software/x-webcam/
 
 

Just the fact that you're on full frame means any bespoke cinema lenses are going to be pretty obscenely expensive. Established DPs will shoot with Rokinon or Nikon but there is a bias against Rokinon being cheap, I think. They're not even bad, but it's no one's top choice. Whereas Top Gun 2 is Sigma Art, which is kind of crazy. And Joker has some Nikkor. But no one's top choice is Rokinon. I'd try to avoid that kind of client in the first place but that's not always an option.
Not all of this is personal experience:
The Nikkors offer the best price/performance I think. They've been used for years for Vistavision and Joker had at least one Nikkor used pretty extensively I've read. Focus direction is backward, if it matters to you. The f2 versions of 28 f2, 50 f2, 85 f2 are all 52mm fronts. Make sure to match vintages approximately if consistency is your goal, coatings changed over time, likely not too much in recent years.
The Contax lenses do feel bigger and the mechanics are really high end, they feel a lot nicer than many "true" cinema lenses. But focus rings are a bit stiff in some cases. The 28mm and 50mm f1.4 have 55mm fronts, I suspect the 85mm f2.8 does, too. Again, I never had issues with Nikon focus rings being too small but these are bigger. More room for fingers. Better grip. Again you could just get follow focus gears.
https://followfocusgears.com/
And have wider diameters and a better grip and look more "pro" but a bit silly to get those without a follow focus?
Canon SSC Aspherical is rumored to share the same designs with K35s, the most desirable set of vintage super speed lenses you can get. The 24mm and 85mm are 72mm fronts, 55mm is a 58mm front, but is still enormous and the build quality is outstanding. A set has recently gone from like $2000 on eBay to $8500 or something ridiculous so good luck. This is sort of the ultimate, though. 
The next generation (nFD L) has the same designs but different coatings and the 55mm has been replaced with a 50mm f1.2 with a different design. By all accounts that one is tiny and has 52mm front threads but the others remain large. I think these correlate with second generation K35s, a bit less desirable. Build quality and mechanics have been downgraded a bit. Coatings are updated and a bit less vintage but a tenth of a t-stop faster. You could probably still get a set for $2500 or less. The 50mm might be a little small and you'd want to buy a 72mm step up ring I guess. I've also read the bearings in these can degrade over time and will eventually need repair.
If you don't need hard stops, Sigma Art is an option. If that's too clinical, first generation Canon EF L are the basis of the CN-Es, I think, at least some of them, and you get the pro red ring. I think Blue Ruin was shot on these, looked good to me. Mix of 77mm and 72mm fronts, easy to add some step up rings. If you don't need hard stops this might be the best option with that Sigma to L adapter. Never tried it.
Some of the ZEs I think are updated Contax designs and less desirable. I think the 25mm f2, 50mm Makro Planar, and 35mm f2 I think are new and excellent but the line was recently discontinued so not too expensive. Milvus is pretty high end, never used it, but excellent performance and big. Maybe a bit clinical. Sort of a Sigma Art/Otus type deal. Rent one?
 Can't speak for the build quality, but the image from SLR Magic MicroPrimes is stunning. Apo designs so bokeh is smooth with pure colors. You could get a 25, 50, 85 for 3500 euro I think. 82mm threads and 2 pounds each despite being "micro." I think these are bespoke "cinema" designs but miniaturized, but it remains to be seen how the construction holds up. Optically from what I understand they are excellent. Not so sure about the mechanics.

When you join the company Zoom meeting with a £10K webcam and wonder if anyone will notice.

Fuji released an app that allows to use X-T4 (along with X-H1, X-Pro2, X-Pro3, X-T2, X-T3, GFX100, GFX 50S, GFX 50R) as a webcam with a simple USB cable.
No HDMI Cam Link needed.
Nice!
https://fujifilm-x.com/en-us/support/download/software/x-webcam/
 
 

I'd say: forget about green screen. Not only is proper lighting - and postproduction - for grey screen complex/difficult, but the Sony isn't really the right camera for that task because of its 8bit 4:2:0 codec. (Greenscreen work is one of the reasons for using raw cameras...) 

For a good and inexpensive mic, I'd first go for a lavalier, especially if you speak to students. The Audio Technica ATR3350 is a really good low-cost solution. - And I wouldn't use an on-camera mic 10 feet away...

Lenses have resolution and contrast, which can always be degraded by filters on set or by processing in post.  Things like barrel distortion (which some love and says it gives a very cinematic look) can also be added in post.
There is always an argument to be made for having the lenses with the most resolution and contrast and then using filters to degrade them, because you can always take those filters off and get a cleaner more modern look, whereas with vintage lenses you can't put a 'modern' filter on to increase resolution and contrast.
Building the look with filters instead of with the lenses themselves also allows a more consistent overall look if you want to shoot at different apertures, as lenses are often softer wide-open and then have radically increased resolution when stopped down, and can also have significant differences between the centre of the frame and the edges.  If this is the case then putting on a filter acts like a unifying force to make the whole frame more uniform.  Of course, if you're shooting the whole film at a given f-stop then this doesn't matter as much, but then you have to contend with radically different DoF from shot to shot as the subject distance varies giving different amounts of background defocus.
Apart from the look of a Black Pro Mist filter to reduce contrast and a Black Soft FX to reduce resolution, what are the parts of the cinematic look that you're chasing?
You mentioned vintage Nikkor AI lenses would fit the bill, but then said that Samyang wouldn't as they're not expensive enough.  If you're concerned about being judged on set wouldn't the Nikkor lenses also be perceived as cheap?  After all, they are.

The production company I work for has purchased the new 1.5x Aivascope from the Facebook page. I honestly love it. It’s certainly not perfectly, but it’s given us the flexibility we need to shoot anamorphic without totally breaking the bank. It’s quite easy to use as well. 
In my tests, I’ve found that the taking lens often gives the characteristics I’m looking to achieve. I feel the Aivascope is quite clinical and sharp. If I put a modern stills lens behind it, the image will be exactly that. However, if I put our Contax Zeiss set behind it, it takes on a totally new look. We shot a few spots with the Aivascope, Contax taking lens, and the S1H. 
 
I believe we used the 50mm 1.4 for most, with the 85mm 1.4 and 35-70 3.4 for some pickup shots. We shot mostly at f2.8

 
 
 
 

Some frustrations come when you change your gear constantly and you get mixed results. If you take the time and effort to know your camera, exposure and post workflow, your luts and how much can you change your image after, you might be surprised how good an old camera can be. That's one of the reasons why professionals stick with certain gear. They get to know it and push it as they go on the next job. If you keep changing your gear, you might be surprised when it doesn't get you the results you wanted. 
You can argue about his films and whatnot but I think this director is a great example for this post:
 

before i found this forum my inclinations where left to right, large format, medium format, 35mm format , super 35, micro four thirds 😉

But but but Video IS easy!     So is stills photography.
FILM making on the other hand is very difficult.
I am not now and never will be a film maker.     
Every time I tried, my mind would just be blank (permanent writers block??).
 
  I am (I think) a reasonable photographer and my videos  pretty much consist of bands playing songs live and that is as simple as finding a spot, putting the camera on a tripod with mic facing the band, set camera to suit and hit record and turn off after the song.    From time to time a few very short videos experimenting with stuff as well.      The new little Sony vlogging RX1## camera would be great for me (not that i will get it) I would not use it for vlogging but to do the same as i do with my A7s for recording songs but in a tiny package that would make it even easier.

I know this is probably not anywhere close to the real quality, but if anyone wants to watch the video on a phone i shared it on instagram. Feel free to have a look or if you want high quality screengrabs tell me or alternatively I can upload it to vimeo.