DFason

Good thing we shoot 25p here so 1/50 is perfect lol

I've used the 7IV on a few jobs now and love it. 
Next week I'll have my first video job with it. Excited to pair it up with my Siii! 
Its quick, easy to use and fits within everything I need it too. 

Again thanks for the input. I love the 4k but again rigging it out for outdoor use paired with hiking is brutal. I could run without a Vmount but the battery is horrid as you know. 
I picked up the HDMI, expansion port, rosette mount from Shijans. I was planning on using my FD speed booster with micro and 17,24,35,50 with it. It would be nice to have a remote for other lens down the road. 
Storage as well is a big thing for me. Some personal projects taking up ungodly amounts of room on the 4K. 
Lastly I am going to use the micro in a custom underwater housing I a building. For the time being I will use a Outex housing with a Laiwa 7.5mm. 
Some examples of photography that I am aiming for with the micro. 
Untitled by Dave Fason, on Flickr
BelizeLow-135 by Dave Fason, on Flickr
-Dave

I put a pre-order in for the 7IV to pair with my Siii. I own a couple other Sony's and have a lot invested in the glass. I also have a set of FD's that I can throw on for manual lens. Like another user said, the AF is incredible on these. I am a one man band and it helps in so many ways. 
I like the S5 IQ but the modern Sony cameras are damn close. 
Few rolling shutter sucks, NR built in blows and no waveforms is a bummer. Oh and no 1/48th... 
I love the Sony cameras but I would 100% skip the A7iii if money is the issue. Save for the IV or pick up the S5. 

I put a pre-order in for the 7IV to pair with my Siii. I own a couple other Sony's and have a lot invested in the glass. I also have a set of FD's that I can throw on for manual lens. Like another user said, the AF is incredible on these. I am a one man band and it helps in so many ways. 
I like the S5 IQ but the modern Sony cameras are damn close. 
Few rolling shutter sucks, NR built in blows and no waveforms is a bummer. Oh and no 1/48th... 
I love the Sony cameras but I would 100% skip the A7iii if money is the issue. Save for the IV or pick up the S5. 

A7IV? I wish. I have one on order LOL, but I'm in the US and we won't see them for another month. Right now its the a7III/a7sIII combo for me. All of your S5 points are great and honestly features I would like to see on Sony, though I get monitoring and false color with the Ninja which I don't mind rigging.
The latest Sony AF has been a game changer for me, I need glasses for anything within a few feet and its just made me so much faster, I almost never focus manually because I can't see further away with my glasses on. So I'm looking forward to the a7IV to better compliment the a7sIII - Sony's real time tracking never ceases to impress, its really, really good. The other upgrades are welcome too, and I really don't mind the 60p crop, even if I didn't have the a7sIII.
Cheers
Chris

I put a preorder in for one. I have a lot invested in Sony glass.  I'll be using this for a lot of photography jobs but it will make a great second camera for my Siii. The rolling shutter sucks but I know that going into it. Being able to match the cameras will really help out compared to previous Sony models. A huge selling point is my underwater housing will also fit the 7IV along with the Siii. 
Cameras are incredible these days. So many great choices for someone and with rental houses it makes it ever easier to test what you need. 
I am happy that the 4k/60 is cropped. Maybe we will see less "cinematic" videos shooting all slow-mo of a women walking in a city or run down area. 
Now the wait begins. Fingers crossed that the late December shipping date is accurate! 

Still available?

Cant say enough good things about the Siii as well. While not perfect it is an incredible tool. I also have fell in love with the smaller file size and look of the photos. I really try to stay with 640 or 12800 as well. 
Frame grab for a short I am working on. Crazy bright day on the boat. 
 

Nice! I think I'm going to get an FS150 to compliment mine.

Thanks so much for this thread! Just ordered my 300. First shoot next week! 
-Dave

Cant say enough good things about the Siii as well. While not perfect it is an incredible tool. I also have fell in love with the smaller file size and look of the photos. I really try to stay with 640 or 12800 as well. 
Frame grab for a short I am working on. Crazy bright day on the boat. 
 

Thanks so much for this thread! Just ordered my 300. First shoot next week! 
-Dave

Used it on a shoot for the first time today. I was slightly worried about the fan noise beforehand but didn't even notice it on set. Certainly not enough to make me want to perform surgery on it and if there is any hum in the recordings, it should be nothing that a bit of noise reduction can't fix.

I had a setup that was pretty much worst case scenario - a moderately wide shot looking out a window in to midday sun on a very bright day. It maxed out the FS300 but I was able to get a decent amount of wrap and fill on the subject. Lost the sky due to shooting in Rec709 (client request) but managed to keep most of the detail in the trees. I feel like if it had been log I could've saved the sky... maybe.

It's a lot of light output for the price!

 

If anyone is looking for a micro package I have one for sale! I would love to sell to someone on here that would really appreciate the camera. 
-Dave

No surprises here, but I'd say it's the Blackmagic Micro Cinema Camera.
A modular cinema camera under $1000 brand new, uncompressed Cinema DNG RAW at 60p, and a beautiful image.  
The image doesn't look like that second generation iPhone or camcorder that Canon love to imitate when clipped either..
https://www.youtube.com/watch?v=bMb6CR781Kc
With Resolve it superscales to 4K beautifully too.  You don't actually want 4K, you just got trained by the camera brands that 1080 is bad because they compress the absolute living crap out of their images - no-one is rejecting the Alexa 1080p because it's not 4K!  With great quality RAW images you can push and pull them in post and they keep on giving and this is pretty darn close to that...
Plus it's the easiest camera to grade that I have ever seen.  Great images just appear when you drop a LUT or CST onto them, rather than struggling for hours to get good colours.

Hello, I wanted to share with you a vid we filmed over a day a few weeks ago about Alzheimer's. Let me know if you have any questions about it.
 

A lot of this is due to 32bit float color space in NLEs. As long as the 8bit has enough to not have posterization the 32bit float will likely be able to fill in any gaps as the image is pushed hard. Grading is much easier for math to fill in gaps than say upscaling an image.
In the case of upscaling new pixels can be averaged but averaging doesn't work for fine details like a hair. Grading however we are trying to prevent posterizing.  That is done through smooth gradients.  Sometimes averaging surrounding values does perfectly.
For example if you have a color of value 200 and another value of 250 its easy in grading to averaging an in between value of 225 which still creates a nice smooth gradient.
Where 10bit is important is making sure the shot is captured well the first time.  Once you have posterization it will always be there and no 32bit float processing can magically make it go away. Visually ion the shot has no posterizing than no matter how hard it is pushed it likely never will have any or pushing the 10bit would show just as much. Thats why 32bit float was created.
10bit is a lot like 32 bit audio or 16 stops of DR that are graded down to 10 stops.  We record more so we have it and can better manipulate it.  Most of the shots above likely would have still looked good with 6 bits. You need a very long and complex gradient to break 8bit.  It can and does happen.  The more noise the camera has the less it will happen because of dithering. I think this is partially why Sony always had such a high base ISO for log.
Finally 10bit never promised to have better color, more dynamic range or less compression artifacts. Thats not what bit depth does.  Its all just about how many different color samples can be used across the image. The single and only real side effect is posterizing. Many computer monitors at one point were only 6 bit panels even if they claimed 8bit.  Most never really noticed unless they did something like use the gradient tool in Photoshop to span a full 1920 wide image. In the case of the clear blue sky image in the article that wasn't even a difficult gradient. Most of the sky was a similar shade of blue. To break 8bit you need to create a gradient going from 0 blue to 255 blue across the full 3840 pixels for 4k video. That means there is a unique blue sample every 15 pixels if you create a gradient like that. So your sky needs to go from black on one end of the screen to bright blue on the other side. Not always realistic but you can shoot Skys around dusk and dawn that spread the values out a lot more than mid day. By comparison 10bit has a unique blue color sample every 3.75 pixels for UHD video.
It doesn't even have to be something that covers the full screen.  If you have a gradient over 100 pixels from 200 blue to 205 blue that still means a new blue sample every 20 pixels.  Even though the screen area is very small. I develop mobile apps and when I add a gradient I run into the same problem trying to do a subtle gradient across something like a button. The gradient needs enough range to cover the area of pixels or it will look steppy. 10bit and higher is a safety net or guarantee to likely never have any kind of posterizing. In the professional world thats important and nobody wants surprises after the shoot is done.

This commissioned skateboarding video was shot using the fx3, but it used the features that the a7s iii has: 120p 4K, all intra-codec to minimize motion artifacts, IBIS, good AF, and the parfocal behavior of the 28-60mm lens.
The expressions of the skateboarder as he fails over and over and then nails it, twice, are the foci.

Take it with a grain of salt, BUT despite the clickbaity title (which is totally intentional), it's a solid piece of advice and shows how a professional DP tackles basic color grading.
 

Just like dehancer, it only supports mac.os

With the larger of the grips available, or the cage inc. grip from Smallrig, plus the EVF, pretty much...which is why you then have to ask yourself the question, "what does it do, that something else does not?"
Maybe it's the colour science or some other aspect?
Maybe because you are just one of those people that say "damn convention!" and just make it work.
I've just looked at the work of twice voted best wedding videographer in Europe and he's moved to shooting the FP handheld from Black Magic.
Some will want to rig it out, but for me, the appeal of it is pretty much straight out of the box, other than the smallest hand grip attachment which barely adds any size. Bare bones simplicity.

I almost sold my micro the other day with prices so high but I just can't do it. Every time I shoot with outside I am blown away with the IQ. I love my Siii but there is something so nice about the micro. 

I almost sold my micro the other day with prices so high but I just can't do it. Every time I shoot with outside I am blown away with the IQ. I love my Siii but there is something so nice about the micro. 

Here comes the king: