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Andrew, while it's relatively easy to get great color and especially skintones from 5D3 RAW, the same cannot be said for the A7S. While the A7S can look great, especially with post work (sometimes a lot of post work), it has a problem with green that can make skintones a challenge. Have also seen examples online where the highlights make skin look like plastic (something I don't recall seeing with 5D3 RAW examples online (certainly not with anything we have shot)). When the A7S can produce something like this:

Hi everyone, I've decided to make all of the music on my site free for commercial use as well as noncommercial. Just please credit me properly as detailed on my homepage. If you decide to use one or more of my pieces, a donation would be greatly appreciated...any amount you can swing would be helpful. As always, thanks for your feedback and I hope you find something you can use. Eric

Only a few years ago S-LOG was a $3800 upgrade for the Sony CineAlta F3, itself a $15,000 camera. S-LOG made its debut on the Sony F35, a workhorse of Hollywood. Now Sony have put this on a $2500 consumer camera along with the best full frame sensor I have ever used for video. How good is it? Very!! I am sharing a pack of LUTs for the A7S which can be applied in Premiere, Resolve, etc. for an instant cinematic look to your A7S S-LOG 2 footage. Download Three LUTs are provided in the zip. Dynamic - for best dynamic range, will suit a low contrast shot requiring high dynamic range and plenty of shadow detail. Also good for low light. Vivid will give a punchier look to those shots that benefit from it like a sunset and where some dynamic range can be scarified for higher contrast and saturation. S-GAMUT is for when shooting S-LOG with the Color Mode of S-GAMUT and compensates for the purple tint to reds I find I am getting in this mode. For the Dynamic and Vivid LUTs you must set the camera colour mode in PP7 to ITU709 Matrix. Read the full article here

I get that, but my point is you're using a wrong term. Dull is a negative comment in the sense that's the opposite of interesting, and it doesn't apply in this case. Michael Bay in the uninteresting one IMO, or dull. Moving the camera around doesn't necessarily make a shot dynamic, and choosing to shoot a lockoff doesn't mean the shot will be dull. A still photograph can be dynamic and have rhythm. There's so much more to a a dynamic or interesting shot than the motion of the camera.

Nice tests. I personally felt the 5d3 raw had the richer colors. There seems to be a magenta shift on the A7s. When I tested f55 I noticed this as well which lead to either faces timed nicely to the expense of other colors being off or vice a versa or lots of windowing in the grade. I know good tests are time consuming, but it'd be great to see a similar shoot out with a face and a color chart. Grade to the face and see what happens to your chart and grade to the chart and see what happens to the face. This reveals a lot about a camera's color accuracy. Of all the camera's I've tested, the Alexa by far won this test while the F55 was a fail. I'd love to see how the A7s stacks up in this regard.

Ah, I loved Cibachrome back in the day. Still, modern inkjet techniques come pretty close for me. What I really miss is working with a master Cibachrome printer. Thanks for reminding me about it.

Sorry, I bought the Sigma 18-35mm f/1.8 finally and stuff just happened. I also have the Rokinon 10mm f/2.8. Can't explain, everything just made sense all of a sudden. Been doing a tons of adds the past weeks that will come up on vimeo soon; but here's one of them for now.

'> How is this shot dull? It's well lit, well graded, and well composed. Even though it's only an insert, there's variation and texture in BG to make it interesting and shallow depth of field to lead your eyes exactly where they want you to look. An interesting shot doesn't need to be a crazy MTV kind of shot. The Man Who Wasn't There is filled with extremely interesting shots and they're mostly lock offs. If Jeunet had shot that insert with flat lighting, texture and DOF, then yes, it could have been dull... this is anything but.

Argh. I want to like this camera so much but the colours are still bothering me a lot. This footage is some of the punchiest/most saturated I've seen but the colours do not imo come close to 5D RAW. They look cruder and significantly more artificial.

Here's some vacation footage that I turned into a semi-narrative. My friend composed an original score.

How much is the difference in video, between an APS-C and MFT sensor camera is CODEC and how much sensor size? I wonder if many of the problems attributed to the CODEC are actually sensor related. It would seem to me that the greater distance between sensels that must be sampled down to 1920x1080, the softer the image and the greater probability for moire. Is it possible that if both the a6000 and GX7 ran exactly the same CODEC that they'd get the same results we see? Is there a way to isolate these variables, Andrew? When I look at the video I get from the a7 and the GM1, which have a wider difference in sensor sizes, the smaller sensor has a finer, cleaner, sharper image. The dynamic range for video seems better from the GM1, though in photo mode (when the a7 uses all the sensels) the a7 crushes the GM1. In fact, as hard as I try, I still fee the MFT sensor is too small for photography, for me. As hard as I try to see better video out of larger sensor cameras, I just don't see it (unless shallow DOF is used).