LightShooter

It looks great! I like the colors. The A7s3 is too much for me and my needs. What are you going to do with it? Are you going to put this video on your website, maybe as a video background of sorts? Where was that taken? It looks like there are some good trails and photo/video opportunities.

I gotta stop using my cell phone and use my studio setup more, when publishing stuff... smh.  I just had Premiere publish it straight after the export, since I was rushing out the door.  Then I checked it quick on the road with my phone, and it looked fine.  It wasn't until someone mentioned the blacks and the AUTO option, and I checked it as soon as I was back in studio and was about horrified, lol.  I've never used AUTO before and didn't know what damage it could do, but I also didn't want to do my own interpretive grade.
I think if you naturally focus on the brighter area's there was quite a bit of white and highlight detail, maybe they were also on cell phones.  No clue, I'm just glad we caught it.  I'm still looking for the most neutral corrective grade beyond the Leeming corrective (since just doing that produces a dark image).  Any suggestions?  Something repeatable that most would agree is as neutral and plain of a starting point as possible.  

OK, I reset everything and now just looking to apply the corrective LUT and some level of a neutral starting grade. 
Here is just 24 second clip of one of the first clip.  Just goes to show, I was so focused on the highlights, I completely ignored my blacks and shadows.  I think from here, a decent creative grade could be done, with plenty of room to push it.
https://vimeo.com/user122394328/review/464516430/65a7a1eb4d
Below is my workspace AFTER removing the damage from AUTO, and doing what I was trying to avoid (basic grade that might have my interpretations in it, but oh well).

And here is the cringy BEFORE, where I hit AUTO on my video layer and later when I went to see what it did on my adjustment layer, it looked to be no changes, when in fact it was.  Notice just how crushed the blacks were with the auto button and it just goes to show you, not to focus on any one aspect.  I would really appreciate feedback on what is considered a good neutral starting point after ETTR to 94+ and then applying the Leeming corrective LUT for S-Log3.  I'm looking for some good starting point that you could then take and apply a creative LUT to match another camera or do a custom grade to taste.  Any suggestions would be greatly appreciated.    

I figured out what happened.  I use Adjustment layers in Premiere, and normally work on it.  I applied the corrective LUT first to the layer, and then went and did more edits.  At some point the "AUTO" was done on the video itself, and I went on and did other things.  Then when I checked the first time, I went to the Adjustment layer and it looked like AUTO didn't do anything, so it was just the Leeming corrective LUT.  When back on each video clip was the mess that AUTO had done.. SMH
What I was hoping to achieve was a neutral display of the various codecs and options with movement and challenging light.  Your process commented above, is more of a full grade.  Any suggestions on how to keep this as neutral of a test as possible, yet still get the footage past the typical dark starting point of the Leeming corrective LUT?  I'm looking for a very repeatable process that will take us right to the point, anyone would start with that corrected footage and apply creative adjustments from there.
Also, it sounds like you have your RGB Parade in 8bit, since you mentioned 16-235 (on a 0-255 scale or 8bit).  Mine is set on 10bit which obviously is showing 0-1023.  Since I am publishing this Vimeo that supports 10bit, I was thinking I should be in the 10bit color space.  What are your thoughts on that?

Normaly i work from blacklevel upwards, that i lower just before legal clipping point.
Than lower whites and raise shadows, always in the range of 16-235 in the RGB parade. 
Finally add contrast and exposure of your taste and ad saturation if nedded.

Looks really good. Nice job despite gear issues. 
chris

woo whooo..  Induro came through and sent me the replacement spider for my shoot tomorrow (shooting an OktoberFest).  I'm going to fill in that screw hole with some 6,000 psi ePoxy I have and hope it doesn't happen again

I exported 2 different 4K versions of this, one best for Vimeo and one best for YouTube.  I don't have a CFast card yet, so this is limited to v90, and had issues with gear and couldn't get RAW this time (well add both RAW and the higher options once I get my CFast card.  On my monitor the vimeo image looks better, it seems to have more details in the white water section.
Here is the YouTube video: https://youtu.be/PgS_RUuPun
Here is the Vimeo video: https://vimeo.com/464041748
Besides not having my longer HDMI cable packed (missing out on RAW footage), I also broke the 75mm spider of my trusty Induro GIT304L, which ended my ability to use my motorized Jib/pan/tilt setup, and had to revert to the much lighter slider.  Was able to somewhat hold up the tripod with the slider on it to do dolly out and slides, but it was very sketchy.  This also kept from using my Ninja V and getting some RAW because I only had a 14" hdmi cable and couldn't hold it and the tripod and the slider together.
I will get back out there and next get the higher quality 4K/120fps and HD/240fps as well as RAW.  
But in this video, you will see 4K XAVC S-I 24fps and 60fps, 4k XAVC HS 120fps, and 4K XAVC S 120fps from 100mbps to 600mbps; the first two with audio.  For each clip I provide all of the details of the shot (camera, lens, all exposure settings, codec, gamma, gamut, frame rate, file size, size per second of video, etc.
 
 

SWEET, my A7S3 came in today. So far, so good, can't properly test it just yet, but hopefully this weekend.  I tried posting using my cell phone, where I had some photos, but it was an epic fail, LOL.  Anyone know how to delete a Topic on the root?  It wouldn't let me.
Any way, will try to get some footage up this weekend.  No promises, was already going to be a busy one.

This is my portable video tripod setup, for when I need to be able to move around quickly.  I originally built this for doing video work on 1-2 week solo wilderness trips.  But it has turned out to be a stable and capable video tripod for more mobile shoots where I need to reposition a lot.
Gitzo GT1540G AcraTech 45622 leveling base Gitzo GHF2W 2 way video head The tripod itself is my old but trusty Gitzo GT1540G Carbon Fiber Mountaineering tripod (I think they are on GT1542G now?).  This thing has been everywhere and never failed me, yet I can carry it with all my wilderness and camera gear.  For it's weight it is very stabile.  The video head is fairly new, as I recent added it to get better quality pan and tilts in the field (literally, lol).  It's the Gitzo GHF2W video head, weighing only 1.3 pounds, yet still has a counter balance system and for under 9 pound setups you can dial in the tension pretty decent.  NOT an Ozen or Sachtler by any means, my main requirements for this one was more about weight, speed, but still with functional video capabilities.
That black mass between the video head and tripod is the AcraTech 45622 Leveling base.  Since this tripod isn't like my heavier duty 75mm or 100mm  bowl setup, and couldn't support the leveling arm passing through, I added this leveling base, so I could still get a quick level, but on a non bowl tripod.  It works great and is fast.
This setup is about a 1 man, small rig, where you need to grab a bunch of different locked down shots.  My shoot next weekend is just an event video for Oktoberfest, so I will be using this and my Ronin S.  Some of it will be of the live band and dancing, so that will all be done from this tripod setup using the 4 channel audio setup too.  All the mobile stuff will be on the Ronin S (Once I get the Kondor Blue setup, I plan on doing more shoulder shooting and less gimbal, as I like the look a should rig footage here and there.

ALL Loaded up, ready to do a day hike and see if I can't get some footage.  I am going to try to get some 4K/120p using a Motorized Jib with pan/tilt, as well as some Dolly in and Dolly out shots, and Sliders.  There's a small water fall I have access to, I was going to use as the subject.
I'm also going to take the same shots but in 24P along with RAW output at the same time.  This way we can look at the difference between ProRes RAW 12bit and Internal All-I 10bit.
I can't believe it all fit in that Edelkrone backpack, here's everything that is loaded:
Sony A7SIII with 24GM f/1.4 Induro GIT304L carbon fiber w/ 75mm modular system to swap out heads/motion controllers fast Edelkrone JibONE (for motorized jib shots) Edelkrone Dual HeadONE setup (for motorized pan and tilt) Edelkrone SliderPLUS v5 Long Edelkrone Slide Module v3 Edelkrone FlexTilt 2 Edelkrone Backpack Cat hair on backpack provided by my youngest daughters Himalayan Simese, lol HEAVY as heck, but the backpack has decent waste and shoulder straps, and the weight is stable.
If all works out well, I will try to upload the footage to my vimeo site tonight and will share here.
 

VERY TEMPORARY 4 channel RIG, fully wired up, with Timecode from the Atomos Sync.
Since I have a shoot next weekend, I needed to throw something together that was functional UNTIL Kondor Blue has those beautiful Ultimate Rigs ready to ship in a week or two.
This is fully wired up, so you are seeing 4 audio feeds coming in (1 from a boom to #1 XLR, 1 from on camera #2 XLR, and #3 and #4 are 2 sets of Rode Wireless Go.  That beautiful blue braided cable is Kondor Blue's 14" full hdmi to full hdmi braided cable.  I'm running a USB-C to USB-C cable from the FxLion NANO TWO V Mount battery to the A7SIII for PD charging (it is keeping it at 100% as I use it).  Also, running a locking cable from the Ninja V dummy battery to the FxLion NANO TWO.  Obviously the Sony XLR-K3M is powered by the A7SIII through the MI shoe.  The matte box is just a Tilta one I had laying around with a cinema soft filter (4" x 5.56") mounted on the provided 82mm ring to the Sony 16-35GM.  And in the first picture is a "poor mans" EVF, very similar to how the FX9 is doing it.  This is just a 5" Loupe from Kinotehnik that magnetically attaches to the Ninja V.  I'm VERY pleased with the fit to my eye and function of this, however, I am having difficulties with the metal strip staying attached.  Magnetics is fine, but the adhesive sucks.  I'm going to try and fabric a hinging mechanism that attaches to the top of the Ninja and then just screws into the plastic shell of the Loupe.
Without a proper cage I do not have anything where I want it exactly yet.  Like the Ninja V will be more to the side, the Wireless Go will be elsewhere, etc..  But this will do for next weekends shoot.

I m considering getting a ninja V  for the a7siii as well,
Could you share a small ProRes Raw clip of a challenging condition ? like shooting/someone or something in front of a window, I would like to see how much you can recover in the highlight, if there is a benefit compared to internal recording.
Cheers. 

Here's the XLR-K3M running 4 channels into the A7SIII.  This way you inject 24bit/48khz digital signals straight into the media file and have dials and switches of control.  In the A7SIII screen shot you can see the 4 channels levels on the bottom left with a peak marker.  Once the XLR-K3M is plugged in, you can no longer control levels in the camera, it is all controlled on the outside dials of the XLR-K3M.
My typical setup and what I used in this example is a boomed MKH-416 on Channel 1, the XLR mic that came with the XLR-K3M as the on-camera mic (or could be a second boomed mic) as Channel 2, and 2 RODE Wireless Go setups using a splitter that runs one of the lav setups as the left channel (Channel 3) and the other as the right channel (Channel 4).
I verified that I can take the MP4 from the A7SIII with these 4 audio channels into Premiere and see each of the 4 channels and can control each one separately.  For me this is HUGE, because you are basically looking at the FX9 I could not afford (or justify this year) and I needed 4 channels of audio preferably not external, for doing in studio or on location interviews. 

Some more tidbits I checked out tonight, before I head to bed..
ANY output over HDMI restricts you to only 2 audio channels (for those using the XLR-K3M 4 channel, it does do 4 internally, but you are currently restricted to choosing 2 of the 4 to go out HDMI for RAW or regular)  Those Sony G memory cards (UHS-II SD) that Sony sold before they came out with the TOUGH series, do NOT register as V90 cards to the Sony A7SIII unfortunately   Even though they have the same performance of 300MB/s read and 299MB/s write, they apparently can't sustain V90 speeds or something.  This REALLY sucks for me because I had invested several hundred dollars in those cards.  I only have 4 of the new TOUGH G cards and 2 of the TOUGH M cards, so will keep bugging PRO support to figure something out there (either Sony needs to support those very expensive cards or swap them for TOUGH G cards). The LANC option and record option in the Ninja V does not seem to be triggered by the Sony A7SIII.  This is a feature I use all the time on my Ninja V.  When I hit record on my other Alpha camera, it also triggers the recording on the Ninja V at the same time.  Atomos has been having problems with this as they were releasing new versions of their firmware, it would get fixed then broke again. There's a pretty cool audio monitoring feature that actually helps you monitor 4 channels (see the attached photo).  The caveat is to do 4 channels, it combines channels 1 and 3, and 2 and 4. but it does work I was able to record and monitor 4 channels.  All the controls of the levels were done on the XLR-K3M The only way to record proxy's at the same time you are recording to both memory slots and outputting over the HDMI, is with the high priced Express cards.   HOLY CRAP did my Ninja V get hot when recording that RAW output.  It has a really good exhaust fan and heat sync (you will hear the fan in your recording if your mic is not at least 3 or more feet away).  It literally blows hot air out like a tiny space heater.  The A7SIII was very hot to the touch as well.  I have an IR temp gun, once I calibrate it and make sure it is accurate, I will take some measurements of the two. Good  night, will work on some footage tomorrow (or today I guess, lol).

That is correct because the handle is right in front of the MI
But seriously, here's the thing, when the heck would you ever have your handle on (run and gun) AND be setup for 4 channels of audio?  One of those silly arguments from people not involved in the actual use case.  When I'm in interview mode, my handle is off, and I put it on when  I shoot B Roll or run and gun.  Shouldering or operating the camera from behind you are more likely going to be using handles from the sides of the cage or proper extended hands in the cases where you might be in that setup and still need 4 channels of audio.

I was pleasantly surprised to see that the A7SIII does PD charging faster than it can use the battery.  Which is why I went with the FXLION NANO TWO V Mount.  As you can see in the output of the NANO TWO, it's pushing 9.3volts and a couple of amps out to the A7S3, it too supports PD charging in and out.
I WAS thinking about putting a dummy Z100 battery in my A7SIII to run off my V Mount, but.... now, I'm leaning towards running it off of USB-C PD.  Between this solution and the previous post with the Atomos Sync Time Code device that allows you to swap batteries while recording; this PD solution between the NANO TWO and the A7SIII would also allow the same since the camera actually would be running on the Z100 battery.  I could be in the middle of recording to both memory cards and outputting RAW, yet swap my V Mount battery with no disruptions to video or audio (the XLR-K3M also runs off the A7SIII through the MI port).  
Of course depending on how much space you have memory wise, you will now run out of space before battery.  It's just comforting to know if you starting recording when lots of space on your sd/ssd, but low on your V Mount, you could swap while recording (mostly useful for events, weddings, interviews, etc).  Obviously movie production or any filming involving shot lists, you could manage a swap of the battery around takes.

I've been using Timecode lately and have gone with the Atomos Atomx Sync on my Ninja V's.  For multi camera that don't have a Ninja V, I use the Atomos UltraSync ONE (then unfortunately have to do audio based timecode on those camera's).  But at least on my main camera's the Sync device is absolutely seamless and your timecode is embedded in your media file as timecode and not audio.  
Was a relief to see that it still works on the A7SIII and the timecode ends up the my NLE 🙂  If you haven't played with wireless TimeCode networks, you should, the technology has gotten a lot better.  One warning though, if you buy into the Atomos solution (which is really the old TCS company that they bought), you pretty much will need to go mostly Atomos.  For me that was fine, as I was building up my timecode solution, but if you already have a bunch invested, you might want to look into interoperability.  But that $149 price tag is really hard to beat on the Sync
(a little known secret is that the Sync device also has a small capacitor/battery in it, that allows you to swap batteries WHILE recording)

I know some people were interested in the reported in camera Highlights and Shadows adjustment in the Standard Creative Look and aren't plan on using SLog-3 or RAW.  For those, you will be pleasantly surprised at the adjustments you can make in camera (and these make a lot more sense than some of the concepts covered in Picture Profiles).  I still recommend trying SLog-3 with this camera. 
Here are the Standard Creative Look settings and the amount of adjustments you can do now.  Defaults are 0 on all of them except Sharpness defaults to 4 and Clarity to 1.
Contrast -9 to +9 Highlights -9 to +9 Shadows -9 to +9 Fade from 0 to +9 Saturation from -9 to +9 Sharpness from 0 to +9  (default is 4) Clarity from 0 to +9   (default is 1)

It's the little things sometimes.  Comparing the Sony A7SIII's new camera strap to the strap that came with my A9, they have gone to a leather material and full embroidery of the orange stripe and Sony logo.  Very nice touch, this cell phone pic doesn't do it justice.  But basically the A9 strap was just a print on some kind of soft rubberish material.

The grip on the A7SIII is so much more comfy depth wise (though part of my pinky still does hang off the end).  In this picture you can see my the grip extender from my A9 and how much deeper that grip is.  It feels like you have so much better control

One thing that I am still trying to catch my breath on, is that it can only get about 48 minutes of 12bit ProRes RAW out of a freshly formatted 1TB SSD.  Get your wallets out, if you are looking to do mostly RAW.  I think it may be showing the amount of record time based on 60fps, because the calculations I was seeing put a 1TB 4K/24p recording at around 100 minutes for ProRes RAW and 70 minutes for ProRes RAW HQ.  I will know more once I test..
BTW, I confirmed that the Western Digital Blue SSD 1TB drives, can handle the RAW output from the Sony A7SIII.  And those are only $104 with a decent warranty.  I use only the WD Blue drives on my NAS and my Drobo 5C, so was hoping these would handle the RAW sustained write speeds.  We'll see, I will do more testing, like filling up the drive with a frame that has moving objects in it and see if it starts having problems towards the end of the space.  I mention this drive, because Atomos is terrible at adding new drives and such to their supported drives page.

Well, I got her earlier today, but it was senior night for my oldest and a big high school football game to attend to.
I will share a photo of my Ninja, receiving a 16bit RAW 4.2K output to it 🙂
One VERY odd thing though is, I was testing 4 channel audio through the Sony XLR-K3M plugged into the hotshoe on the A7SIII.  And it did 4 channel internally just fine, but restricted output over the HDMI down to only 2 channels?  Not sure what is going on there, the Ninja V is capable of like 10 audio channels.
More to come soon 🙂
 

Also I feel the majority of people are effectively 'married' to whichever brand they choose. They simply dont have the money, time or inclination to switch to another brand. I am a Sony user with a bunch of Sony compatible lenses, flashes and other equipment so really I only get to choose between Sony cameras. No big deal of course although it has been a little frustrating to see Sony fall behind in the video specs - particularly the move to 10 bit. Still they seemed to have made really good choices (for me) with the A7siii and I cant wait to get my hands on the camera....

congrats, same here.  I feel like I've "done the time" with past Sony 8bit color and long gop codecs.  REALLY looking forward to some colors I can push around a little and finally an Intra based codec (even if the "S" variation, I'll take it) as well as seeing 16bit RAW from a Sony.  I really won't need 16bit RAW for the gigs that pay the bills, but for my passion projects (solo wilderness adventures and a couple of Doc's I've written the scripts for), could most definitely take advantage of it. 
We'll see though. 
It is a very great time for photographers and filmmakers, as far as tools available.  Maybe now, people will focus more on "time behind the lens" and improving their skills versus GAS.  I for one really appreciated Sony's A9 and AF/Exposure speed when shooting sports.  In that example, I went from spending a good portion of my brain on exposure settings and nailing focus.  Versus with the A9 and 100-400GM, being able to concentrate most of my attention to tracking and composition.  So these tools can be a good thing, but many times people are putting too much emphasis on the gear over art and creativity.  But even my wife will tell you that I get GAS from time to time, lol