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S-LOG on A7s XAVC-S , this codec is so good you can basically grade it how you want....... As soon as you learn and understand how to grade using RGB curves you will see exactly what it is you need to do. Two frame grabs from a project I am editing which I also shot in S-LOG A7s Iso 3200.

​That's interesting to hear from Art Adams at DVInfo about the luma vs saturation of blues. Film can't do a bright saturated blue. Alexa caps saturation to avoid the same clipping problem of bright blues the Sony cameras suffer from. That's where the knowledge of film comes in useful. Take a hint Sony.

also inspiring... "Hands of Bresson" depicts the way robert bresson films peoples hands...pure poetry in motion.

I liked the posts of Matt James Smith. He challenged Andrew. He's gone. I like your posts. You challenged Andrew. Please don't leave

​Hopefully it won't need any add-on software, because it will just do what we want it do out of the box. 4K, proper focus aids, crop modes, nice codec, 422 colour sampling, articulated screen. But it won't because it's not a Cinema EOS camera.

This is a great shot, and maybe a key to how we should be lighting with this camera. Warm backlight with a cooler fill and key... Almost the opposite of how I'd light with film or Alexa.

Has anyone ever used or know if it's possible to use this this version of the Schneider cinelux lens with the FM lens module?

hdmi now also goes out to the back... carbon fiber would be nice but i`m lacking the know how for that.

I can turn on Smart Range + to get the exact same issue but then it vanishes when turned off. Smart Range + in the movie menu only affects image when in standby preview movie mode or whilst recording and the "Dynamic Range" option for Smart Range + / HDR in the stills menu only affects live-view whilst not in standby or recording. Seems to work right and I am on v1.10 as well. Maybe something went wrong with the firmware update. Did it reset all your settings upon upgrading? Did mine! When I first got the NX1 with Smart Range + turned on I was "WTF" as well. Some people who are unawares of what that does are reporting it as a bug when it isn't. You guys seem to have a genuine bug going on with it.

Ebrahim, good stuff. Love that step by step tutorial. Casey, just remember to expose to the right. I get as right as I can to the clip threshold. Also, I like screwing around with the pre-sets in camera such as boosting saturation and magenta signal (ever so slightly) in both S Log or PP6. I find this gives me a signal I can bend to my tastes better without breaking down or looking so "thin".

​Advantages - small, light, sharp, AF for stills Disadvantages - expensive for a 35mm 2.8, more than a Sigma 35mm f1.4! Fly by wire manual focus is trickier. No advantage to AF for video. I prefer the FE 55mm F1.8. Should have stabilisation for that price though and the Sigma 50mm F1.4 is as sharp, if not even sharper! Bulkier though. Don't get too heavily invested in sony glass if you might buy a different system later. Canon & Nikon mount Sigma 35 / 50 1.4 will come with you and these lenses will die with your A7S.

If you look at the measurements they made the 1Dx wins in all of them, except dynamic range below iso 400. Nothing strange when comparing between a high end Full Frame camera and a low level entry crop camera.

Sony's AVCHD cameras are great as long as the scenes are such that the codec holds up. With deep focus and lots of motion the footage breaks down to a level where no sharpening / post processing can help it. With my Nex-5 the codec is an unnecessary obstacle that I have to work around all the time. It is just too bad that Sony did not release a firmware update XAVC-S for A6000, that camera could produce so much better video with a better codec! There has been rumored over at sonyalpharumors that there might come an A7000 camera this year, but who knows... My recommendation: try to give D5200 and D5300 some testing in a proper camera shop, see if you can figure out if the film mode workflow is something that could work for you. Otherwise I think some of the Panasonic or other m4/3 cameras will be your best bet.

The Digital Bolex has great skin tones, very flattering.   Great camera for the money! It's detailed and rich without being too stark and revealing.

Ok, Andrew. This topic has made me register on the forum. PLEASE stop judging a7s' DR based on a jpg. go here and scroll to the end of the page to see my post that shows "what hides in the white sky". I isolated the sky, turned the dial down and just sat there with my jaw on the floor. <3 Slog http://www.dvxuser.com/V6/showthread.php?324777-A7s-sample-footage/page158 prores yes jpg no

​I just thought your initial post was "challenging", which is fine. Everybody needs to be challenged. Your input into these topics are very useful (sometimes beyond my brain receptors) so thank you. I thought lafilm's reply was inappropriate and could of potentially fuelled a few emotions of the more opinionated members. Everyone makes mistakes when they get angry eh? Ebrahim is a top guy, he is spot on. Topics like this are important to follow for the technical check-list - I'm trying to make a buying decision and this post involves those very cameras. These camera are very very close in DR. What matters is the price difference as per performance. Great sign for the future!

A while ago EOSHD had dissolved into a non-productive confrontational forum. Other forums bashed EOSHD and personally insulted Andrew Reid. I suggested to Andrew (as did others) that he use moderators to help clean up the forum: http://www.eoshd.com/comments/topic/5456-potential-changes-to-the-forum-to-prioritise-good-content-suggestions-welcome/?page=3. I was a moderator at Cinema5D but stopped going there after it moved to Planet5D and died (I made it clear I didn't have time to be a moderator again). Politely challenging someone with facts and logic and focusing on what is being discussed is not confrontational. It's how we learn and grow. I learn a great deal doing research in these discussions. I share the results with everyone. When one runs out of facts or logic, many times they turn to emotion and begin personal attacks. In debate, this is called ad hominem, and is an instant fail. When the site owner is participating in ad hominems with antagonistic and confrontational interactions, that sends the wrong message to the rest of the moderation team, and also encourages members to exhibit the same behavior. Leading by example is important. Is this post confrontational? It's critical and fair given what has transpired in this thread. Perhaps the current moderation team doesn't have time to help out. If Ebrahim has time, I think he'd make a great moderator. Perhaps there are others.

What JCS said was challenging, but lafilm has made it much worse with his comments, there is no need for such confrontational attitudes from anyone. Especially in that tone. It's fair for people to judge from their own conclusions, different eyes see different things. At least be civil about it.

​You're right that the way the 5-axis stabilization works can change my look on handheld shooting. I mean: it would be great to have it, this feature seems really unique and its implemented very well. Olympus did a great job. I quickly looked at Olympus cameras and some EOSHD's reviews and it looks that the only reasonable choice is OM-D E-M1. I thought for a second about E-M5, but improvements made in E-M1 such as focus peaking, better codec, mic socket and crop mode are really important while talking about serious video production. However, apart from great features, the price is way out of my budget. Sorry! Thanks. I agree with you that sensor IQ is only part of the story.There's more than that. There's the feeling. The way you work with the camera, the way you experience it. For example, one great thing with my A35, which is a SLT camera, is EVF/LCD. Back then, three years ago, I couldn't even think that in traditional DSLRs AF in viewfinder mode is different than in live view (phase detection vs contrast detection). I know basic technical limiations behind it, but for someone who grew up with modern technology, it looks just obsolete. And the comfort when I'm shooting that the AF performance is always the same - no matter if I'm using EVF or LCD - is huge. I don't even think about it, "it just works". And this is also why I'm skeptical about D5300 or some APS-C Canons. They can offer maybe better quality in terms of video, but you know - I really like the functionality of Sony A7/A6000. I haven't had a chance to try A7, but I played with A6000 twice and it was nice. I checked some videos shot on D5300 (there aren't many right know) and to be honest, wow, video quality and low-light performance is really great for such a (relatively) cheap camera. But I'm really, really worried about functionality for video... Talking about cinematography, I recently watched Inception for, I don't know, 5th or 6th time and analyzed camera work. And I discovered that sometimes, I just use shallow depth of field too much. Many scenes in films - not only in Nolan's Inception with DOP Wally Pfister - are shot with pretty "deep" depth of field. However, there are also scenes with shallow depth of field, typically while trying to show viewers' some details, try to make the scene more intimate. But we saw an enormous usage of shallow depth of field when 5DM2 came and it revolutionized the filmmaking industry (mainly indie). ​Hard to explain that. Probably I should look for a better store, not the generic "big" one with tons of electronics

Either the 1dc's sensor has taken steroids or the a7s is not delivering its advertised dynamic range. what was the a7s ev meter saying in spot mode on the highlight? I recon you could have slammed the a7s harder on the highlight without the information breaking up. maybe by as much as 1-2 stops harder. I'm finding my s-log footage is looking the best it has done after ragging it by +1 to +2 stops on the highlights. the zebras are useless on the a7s as is the metering when in s-log mode i am finding

Yes, FuzzyNormal, I wouldn't say ever had a "problem" with skin tones until I shot some RAW with a Canon 50D. That is, most video had a "video" look which I felt I was stuck with. But RAW changed everything for me. Then I went to an EOS-M, then a BMPCC and feel that both camera deliver great looks. I never get tired of RAW (just the workflow). Anyway, I've always wanted the nice crisp image, small file sizes, and video ergonomics of Panasonic cameras. What happened is that I wanted the high dynamic range, flat look, of my BMPCC with the GH4. So I used Cine-D and dialed down the contrast and changed the hue TOO MUCH. What I didn't realize is that the low-contrast look I was getting was AT THE EXPENSE of color, which meant the skin tones went to crap. So I can understand how this problem seems silly to you Fuzzy because you don't shoot RAW, far as I know, and you haven't pushed the GH4 too far as I did (and should have known better). The good thing for me, is that it has awaken me to much of the stuff JCS has been writing about for a long time here. I agree with him, people are biologically sensitive to good skin tone. If you're doing a very busy video, with many cuts, and high contrast, etc., you don't notice. But if you're going for a natural look it ain't easy. If you take a family member, and sit them down for an "interview" where the person has to look at their face for minutes on end I think you'll go through the same thing as other people--the image may not do justice to the person in front of you.

After shooting and editing extensively with the 5D3 (H.264 + RAW), Sony FS700, GH4, and A7S, based not only on my personal opinion, but on feedback from actors/models/clients, cameras which produce better skin tones are preferred. I found this out by shooting the same scenes with multiple cameras and reviewing the results with others. Doing research online I found that skin tones were the single most important element for cameras used to make money. Resolution, frame rates, viewfinders, ergonomics, etc., are all very important too, but skin tones are number one. Skin tones affect emotion, and emotion is used to tell a story or sell a product. What cameras provide the best skin tones? ARRI and Canon. What cameras are used the most professionally? ARRI and Canon. What cameras are used the most in Oscar winning films (last few years)? ARRI. What DSLR was used most in feature films? Canon (5D, 7D, 1D): http://shotonwhat.com/?s=5D. Why did the C100/C300 far outsell/outrent the FS700, even though the FS700 has way more features (and can even look full frame with a SpeedBooster)? C100/C300 produce better skin tones with less effort. In the end, it's possible to get similar, sometimes even better (rare/unusual lighting conditions) skin tones from the GH4 and A7S vs. the 5D3, however on average, the 5D3 requires a lot less time and work. How do we know when skin tones are better, when it's so subjective? Shoot the same scene with multiple cameras then show the results to multiple people for feedback. Some DPs do a ton of testing to figure this out before shooting a feature: http://www.hurlbutvisuals.com/blog/2013/10/arri-alexa-vs-canon-c500/