Coiii

It's more than fair. You have a lot of low budget/pro choices like the FS7, URSA Mini Pro, C300 MKII, RED Raven and the EVA 1. Cameras like A7SII / GH5 are photo/hybrid cameras, not "real" digital cinema cameras.

Having a fully equipped A7III, these specs are underwhelming. At least for me there’s  no reason to think on buying this.

At this time it’s better to think on the new A7SIII for a new body (with the A7III as B cam) or jump to a really noticeable improvement like the BMPCC 4K. And maaaaaaybe think on Canon with their cinema cameras like the C200 and C300II.

I'm sold! This camera will be the perfect companion for my A7III. Pocket 4K for narrative and low budget commercial work. A7III for photography, low light, events and more "video" projects.

The only thing it's that I'm not gonna be a early adopter. BMD has not a good record on launch (delivery, sensor problems, updates, etc) so I'll wait until all problems, pros and cons are well documented. Maybe 6 months are enough?

On 8/27/2018 at 9:56 PM, Robert Collins said:

An interesting take on Mavic 2 Pro v zoom...

 

Anyone knows the aspect ratio (or the cropping bars...) of this video?

1 hour ago, heart0less said:

Love the results!

Really punchy, saturated and full of energy.

 

What look are you aiming for?
For me, this looks good as it is.

Yeah, I made a video a few weeks ago with the A7SII, and now shooting with the A7III with Procolor was "daaaamn, this is way better than the A7SII" haha. I really liked the look of the location, it has good natural light and lots of color, it's perfect for a colorful work.

I'm not looking for a special LUT for this work (client it's happy with the results), but in a few weeks I have a fashion video for a shoes brand, so I'm looking for a more cinematic/desaturated look, something more commercial, more urban, so I want to test some LUTS, or maybe buy a package for future works. Also I don't want to shoot on any LOG profile because I had some awful results in the past (I know that a skilled colorist can make magic with A7 series + SLOG, but I'm not that skilled haha)

On 8/9/2018 at 8:55 AM, heart0less said:

Everything should be all right, but remember to use LUTs designed for Rec709. 

And, please, don't overdo it. LUTs are meant to slightly alter the colors/contrast and to make it more pleasing / fitting. Michael Bay does it wrong. 

Thanks! Can you recommend some LUT pack for rec709?

Today I made a quick test for a shooting next week. I want to use ProColor with my A7III and I'm very happy with the results. Here is a screenshot of one of the takes, straight from camera without any correction. A7III + Tamron 28-75, Procolor and natural light. 4K24p

I know that the ProColor it’s made for having color straight out from camera, with little or without color grading in post.

But how about using LUTs with the pro color profile? Anyone tested some LUTs shooting ProColor or ProColor HLG?

I will shoot some commercial footage next monday and I want to try ProColor (already bought), and I want to try some LUT color grading. Anyone has tried it? Can anyone share some results?

2 hours ago, Sage said:

@Coiii @Wild Ranger I would like to.. supporting the GH5 fully has been time consuming. If I do support more, I would like to make sure its quality work, and fully supported. If I could do this full time, that would be awesome. I've got these other offshoot(s), that is/are potentially amazing

Nice! Im sure you will have a lot of support from Sony users since it's a more popular camera. I hope you find the time soon to start experimenting with colors ?

Is there any possibility to bring the LUT package to Sony cameras like the new A7RIII / A7III? 

The new and not released Pro Log it's included when you buy the Pro Color V4? Or are they separate purchases?
I want to try the Pro Color V4 but also I want the Pro Log when it comes out in the future.

On 7/10/2018 at 10:27 AM, Geoff CB said:

Shot with this yesterday on a shoot with quick turn around. All Procolor V4. Still need a little white balance to match (and Pre boat removal on the horizon )

Do you have the full video and specs? Looks really nice!

Quote

 

Is this related to the P3 color management on the latest iMacs? I saw a lot of people having issues because of the poor color management of MacOS.The thing is that not all the apps are color managed by the system, like Premiere, VLC or DaVinci. Native apps like FCPX or Quicktime are color managed, that's why everyone sees different colors between apps.

If that's the problem, it's a color management issue, not a camera issue.

Maybe wait a little to check the framerates supported by prores raw recorders on these cameras. We are talking about old technologies here. I'm thinking that it will be compatible but only on 4K 24/30, no high frame rates, at least on the C500.

I have used both in commercial projects, mostly digital content for brands. The C300II since it came out, the same for the C200.

Both are great cameras for low budget production, it's the step before a RED or the Alexa. Both also are great in hands of good colorist for matching with high end production cameras like RED or Arri. That's my experience.

Talking about the C300II vs the C200, I think that the C300II falls with the inclusion of 4K60 RAW in the C200. The color science are a little better, but definitely the game breaker it's 4K60. The DPAF it's better, the monitor it's better, dynamic range and low light are better on RAW, and the body it's better. Since we were shooting commercial jobs we always wanted the highest quality possible (and delivering 1080p final output!), so we are not concerned of storage or the cards we use, that's why we always shoot raw. Also the crop factor on the C300II its a big deal. My only concern it's the lack of interchangeable mounts for some projects when we were using PL cine lenses.

But now things are a little different since the C300II option to shoot external Prores RAW, but the lack of 60fps at 4K still hurts.

Now, if you're shooting in more run and gun situations and you need fast delivery or broadcast standards, the C300II it's the camera to go, but only in this situations. I feel that the C200 it's something like a "future proof" camera for at least a few years. 4K60 RAW it's a huge step for our workflow, and the DPAF works amazing. And don't forget the canon color science, you can almost start grading for yourself with the Alexa standard lut in premiere if you can't afford a colorist.

After this review I can't wait for the A7SIII with the new color science of the FS5II.

15 hours ago, Don Kotlos said:

In my experience you can get better results with the cine gammas + the pro/cinema/sgammut3.cine gammuts than the HLG+rec2020. As scotchtape & Robert already mentioned, try playing around a bit and you can make the colors look as you want. 

After moving from A7rii to A7riii, there is a significant improvement in color even with the same video profile settings. Even the default jpeg profiles look better than they used to. Sony finally started paying attention to color, and they even released the FS5II with better color being the only real improvement. Adobe has also improved their color with Lightroom. I like this direction!

Thanks.

I've previously used the Cine4 + Sgammut3 combo with the A7SII with good results. Maybe the best result for my taste, but in the end it's not good enough for me compared to the 1DxII or 5DIV (talking about color rendition only).

Now I'm wondering if with the new HLG profiles are really better or something closer to the new FS5II but I can't find anything relevant :/

11 minutes ago, webrunner5 said:

Not a fan of Ken Rockwell, but his review has some pretty much in your face shots on his review of the A7 mk III. I guess this is what they look like Color Science wise.

https://www.kenrockwell.com/sony/a7-iii.htm

I have seen some shots from it that look more Canon looking than a newer Canon! To me the newer Canons are looking more toward Red than the older ones that were a Orange Red.

Thank you! I will check this now ?

If color it's a big deal for you stay with Canon. You will hate any Sony.

Im also with you in the lack of any kind of internal stabilization. Maybe the only solution its to buy a smaller gimbal like the Crane 2, the Tiilta or the new Ronin S. It will take you a little more time but you will keep great color, great video quality, great autofocus and high end photography.

Hey guys! Can anyone please help me with this. I've never been fan of the Sony color science, but I just remembered that in the EOSHD review of the A7RIII, Andrew mentioned that the new HLG color profiles are a lot better than the previous cameras, and almost fixed the "Sony color science"

Since the A7III has the same HLG color profiles, where can I find some good examples of the new color profiles? Anyone has a good example? Or maybe a comparison between cameras? I want to check the new profiles because I'm tempted for the A7RIII (or A7III) as a video/photo hybrid.

Yeah, I've watched a loooot between Blurays and Remuxes.

Its a big difference between native (not upscaled) 4K and 1080p. But definitely the best feature it's HDR. I have a high end Sony 4K HDR TV and some material looks stunning... Amazing! It's hard to go back to SDR after a few hours of HDR.

At least for me HDR it's a big deal, maybe the most impressive technology implementation after the 1080p standard. And by far more important than 4K.

For me the winner here it's the C100. I love the footage from that camera. My only issue with the original C100 it's the lack of any kind of slow motion. I know you can do some slow motion shooting at 60i and slow down in post (i used it and works nice) but it's not the true 60p and sadly the C100 MKII it's not a big upgrade to consider.

My next camera will be a C200, but if I someday I have the opportunity to buy a cheap C100 I will not think about it. I just need to check how it intercuts with the C200.

19 minutes ago, jonpais said:

Not to be snarky, but we can't answer affirmatively until we see some footage - hopefully, soon!

Yeah, I know that, at this time we don't have any official footage. It's weird but I think that we don't have any BMD camera with the new color science 4.0 right?

I'm really curious about that, maybe my expectations are a little high but I think this little camera will have the same quality (or at least very very close) to the Ursa Mini Pro. Perfect for a B cam to intercut and B roll. It's obvious that it will not be a replacement thanks to all the professional controls on the Ursa, but for low budget filmmakers this will be more than perfect. My only complain it's the sensor, I would love a S35 but I can live with that.

Speaking about footage quality, color rendition and sensor, can we expect something similar to the Ursa Mini Pro? I'm not a big fan of M4/3, but for me this camera looks perfect for micro budget narrative/documentary work.

Ate least for me this camera with a SmallRig cage, a good monitor and the Metabones + Sigma Art Primes looks like the perfect combo for small projects.

Oh my god, I'm dying for some sample footage. Can we expect something like the Ursa Mini Pro? BMD mentioned that they are using Color Science 4.0. Is there any camera using that at this time?