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​> use only ProRes-flavors > use only Menu >Recording >Dynamic Range >Film > use only Menu >Display >Dynamic Range >Video > use exclusively ISO 800, no matter what > use 180° degree shutter in standard situations (for 24p with 60 Hz power frequency, for PAL countries then 172,5°) > use bigger shutter angles in lowlight for slow moving motifs, up to 360° (doubles exposure w/o more noise or worse DR through ISO 1600) > use smaller shutter angles for slomos (down to 11,25°). Twixtor and the like don't handle motion blur well > roughly guess the right color temperature, i.e. 3200 for Tungsten, 5600 for daylight. You have to grade anyway > buy the Zacuto loupe if you want to see anything > buy a camera grip with remote, like this, not a big cage, rods, mattebox and these gadgets > if you need s.th. like an external monitor, beware! Not all will show an image. Lilliput has a compatibility table (1080p through HDMI) > during recording, leave focus peaking on always (since latest FW update, it stays on after power off-on) > rely on 95% zebra ("ETTR"). It gives better results than trying to get a wide range in the histogram, in my experience > if there is no zebra, it means you don't 'fill the well' because the location is lit too poorly. This ain't the A7s! > therefore: search the sun! or light the scene! High contrasts, backlight: that's where the Pocket's DR shines > use an IR-cut filter > use externally recorded audio (built-in audio only to sychronize it). Or this (resp. it's successor) > use an app that allows to load LUTs (i.e. the free Resolve lite). Try Captain Hooks LUTs, here (download), from this site (starting point for your grade) > don't grade too flat. One gets used to flat looking images very quickly. But others don't. > To quote Stu Maschwitz: plan your shoot, then shoot your plan! Follow the suggestions above, then make a small doc, no cats, no flowers, no landscapes

​I have a feeling that rumor will be proven untrue. It just doesn't make sense with so much competition out there in this segment.

Hey guys, Not sure if anyone has pointed this out before, but last night I was messing around with my Sigma 18-35mm F1.8 on my Sony A7S. Once attached to the A7S, I reminded myself that I was going to have to switch it to APS-C mode. However, to my surprise, the lens wasn't vignetting, even though the A7S was still in full-frame mode. Eventually, it did vignette, but not until around 24mm. I concluded that between 26-35mm, this lens is absolutely fine for full-frame sensor use. You can even get away with 24mm, which produces a very slight vignette (if you letterbox your footage, it would hide the vignette at 24mm). Anyway, just thought I'd point it out. Enjoy!

​In the proper hands telling the right story, either one could make a Billion Dollar Award Winning Film, or a Billion Dollar Loser. The rest is just specs and camera nerd talk.

this doesnt sound like something that panasonic would do. i hope. however the wording sounds very solid and not like "the gh5 will have ibis!!1 yolo" -trash rumors. i would most definitely switch system if its a paid update. even if its just a few bucks. the competition is extremely high these days, with lots of other companies to switch to. Panasonic has never been "great" about firmware updates (not terrible either) and going this route would make me sell my gh4 immediately and get a NX1. (im on the edge anyway) this kind of marketing and selling scheme disgusts me. Panasonic said themselves that the feedback and sales on the gh4 are way better than expected. why not give a little bit back to the users, as an action of good faith? that way theyd be building trust for future cameras, which is something the need badly. lets face it, we all know that the NX2 will be better than the GH5, so trust, believe and good faith is something they should be aiming at. i have trouble understanding, why so many companies dont get that. but until its official ill be leaning back and sipping ice tea

No way Panasonic would ever admit that it's crippling something intentionally. It has to be B.S.

​A7s produces beautiful log images which you can basically color/grade how you choose too. The first step is taking that log image and converting to REC 709, then you color to taste...... From my experience Sony A7s produces amazing colors and grades wonderfully, you just really have to spend some time with it and understand how it works. Here's a before/after picture of an unreleased Music Video (Artist: Gyptian) I worked on. Graded in RESOLVE and Tweaked in FINAL CUT

​Yes, in this two days I tested the Pocket I started to questioning my normal workflow and I started to look at this little camera like a "teacher": I have to plan more before shooting and to be more pragmatic in the exact moment I have to shoot. That's good, because limitations always push me to better results and to be more creative. Of course the Pocket is something I have to get used to, but I'll start using for some personal projects, then I'll try to use it for the works I normally use GH4. Thank you very much Alex (and all you guys!)

It's my same conclusion: I would have a GH4 with the 1080p of Blackmagic, maybe with at least 60p

​So how is this avoided then besides not shooting on grass? Is every other camera automatically compensating for the green?

You can go blue in the face looking for perfect camera there is no such thing I bought Red one MX 4.5k pro camera with all the trimmings and sold it why? because its big and takes shit load of post work to get it nice. I bought Pocket camera with metaboone and i love it is it perfect camera it is for me. Can you shoot nice videos films or music videos? sure you can This short shoot all on BMPCC really good work

I gotcha, yeah that must be annoying not to be able to see the changes on the screen as your changing it... Didn't think of that.

​Sorry for the late reply! It's coming in tomorrow I think. When I get it I can tell you the answer. I think 14mm x 2.88 crop factor will be around 40mm which is wide but not ultra wide.

​But unlike the (beautiful) Alexa, it costs less then 1500 €.... and you can take it everywhere: with a couple of cheap batteries you can shoot for hours and hours. If you use it in a proper way you can achieve a very cinematic look... take a look here: http://www.eoshd.com/eoshd-panasonic-gh4-shooters-guide/ and here: http://vimeo.com/107747711

​The successor would be this (139 €). In the image you also see a good way to operate this camera handheld. With a heavier lens and the speedbooster, it's better to move the grip to the side, horizontally. My DIY solution: Had there been the Lanparte-Remote then, I would've used this. Mine isn't that elegant. But it was ~$ 15 ...

Of course the lcd is a major issue and you aren't the first person I have heard who have had issue with it. Like I said, I don't have one... So is the issue it is just too dark in general or due to the angle you hold the camera makes the screen too dark?

Good to hear! Good for you as well I use the Sigma 18-35mm on the GH3 with the Speed Booster and I'm still amazed at the results after every shoot. When shooting a medium close from someone with this beast at 35mm, there is almost an 'anamorphic like' distortion / perspective thing going on. It's by far the most beautiful lens I have ever used. If it only it was a 17-50mm it would literally never come of my camera.

Get the new micro camera… 30p global shutter, 60p rolling. 60p Pro Res files are going to be just awesome.​

3328x2496 sounds like plenty of resolution to me. I like that panasonic gave us more vertical resolution to work with.

Arri's 4:3 is 2880x2160.

I'm thinking it's finally time to get into anamorphic and join the party. The footage I've seen with v-log looks great as well. Any recommendations on which anamorphic lens would be a good start?

It sounds awesomely annoying. I have been mad at myself for the better part of a year about not jumping on the BM pocket last summer.

Thanks. I'm getting close to doing the online for my documentary. I'll dabble with your settings and see how they play.

The $/min is a great consideration for this as well, never something I really thought of much before, but the difference between 25c/min and $31/min is enormous.

Still badly need the 2.35 and 2.66 cropmarks for "normal" video modes though.

Nice chart. If you're comparing super35 cameras, might as well include the Kinefinity 4k and 6k ones

Sounds like no internal recording.

​They're all afraid of doing things properly. Business men who see everyone talking about anamorphic and think they can make a quick buck without understanding why people shoot anamorphic in the first place. ​it's an awfully large lump for such a tiny front element. they claim it's for use on their fast s35mm primes, but that element aint big enough to do that. then they select 1.33x. I'm not afraid of 2kg, if it does more than a isco54 - ie, is sharp at f1.4, full frame, single focus, allows 50mm or wider taking lenses on full frame. Unfortunately it looks as if it;s gonna be another pointless lens that the uninformed owner operator buy thinking it will make their work look more cinematic. Then they'll slap a 'cinema lens' price tag on it. LOMO don;t need to return. They did all they needed to with the square fronts and round fronts. why do these companies always miss the point, reintroducing something but in a watered down boring way?

I started creating a tutorial for good skin tones on the A7S- higher priority projects have taken my time. There a many ways to get good skin tones on the A7S- creating custom profiles can help, though stock PP6 can work very well as is. Slog2 gamma with Pro or Cinema also works well. It is possible to get good skin tones with the A7S using Resolve and no LUTs at all: everything from scratch (scopes are indeed helpful). Casey posted some test images shot in Slog2 on dvxuser. Here is the thread: http://www.dvxuser.com/V6/showthread.php?334239-a7s-skin-tones-slog2-vs-pp-off-(shogun-4k) (IIRC, account login required to view images). Here are the stock Slog2+Sgamut images: Here are my grades (no LUTs- just the basic tools in Resolve): More blue to separate the foreground actor from the background, also changes the mood: Casey's PP Off shot: I prefer graded Slog2+Sgamut vs. PP Off. I use mostly tweaked Slog2 + Pro color and CINE1/CINE2/CINE4 + Pro or Cinema (tweaked). Casey also created some useful Stock PP7 (Slog2+SGamut) LUTS: http://www.dvxuser.com/V6/showthread.php?334831-a7s-slog2-3d-luts (based on the F65/55 LUTs).

I've got to ask... Is there any meaning to the numbers at the end of some of your posts? I've been noticing this for a while now and got me intrigued. Are they referring to passages from the Andy Lee's Bible of Filmmaking? If so, where can I get one? 404

austinchimp, I have the a7s since a couple of months and I am still on a path to get decent skin tones while having accurate colors. Trust me, I tested all those profile guides that I found on the net. s-log is at the moment no option to me since I want to have ISO 100 and i did not start using ND filters yet. Anyways, you might give those settings a go: Take PP2 as a base (with default values of course) and change the following: gamma: cine4 color mode: pro color phase: +5 These settings work amazingly well for me, here is one quick example: Another very important aspect I found out is setting the white balance manually to appropriate kelvin values. You can look them up using Google if you are not familiar with them. Interestingly, I found myself nearly always using 5600k during daylight circumstances, no matter whether it is shady or bright sun (even with snow!). Only on tungsten light or halogen, I change the white balance to about 3900k and within the above mentioned color profile, i change color phase to +2 (i use PP3 for that to change it more quickly), otherwise the image is very yellowish. You could give those settings a try. I would love to hear from you if it helped a bit since I am sure that this journey is not done yet.

​I think it's handy - not 'huge'. I've shot a lot of night stuff on Alexa, even while owning an A7s. It's super handy to have a little camera that has superb ISO performance and allows you to steal shots or whatever. Yes, it's freedom etc etc. But I've never lit a night shoot, then had my crew mount a lens on an Alexa and looked at it and thought 'man, I wish I was shooting this on my A7s' nor have I ever thought 'I reckon if I didn't light this and just used my A7s at 12500 ISO, it would look equally as good'. I love my A7s. But if someone said to me 'would you rather shoot A7s and never be allowed to use lights, or shoot with something else and use as many lights as you want' I am going to pick lights, every time. Put your time and effort (and money) into lighting your scenes - or pushing your Producers to get you some lights. It will make a much bigger difference to the way your images look.

​Besides 12 bit RAW and 10-bit prores with 13 stops of dynamic range, better rolling shutter, and WAY nicer color?

The body cap lenses from Olympus and Panasonic Pancake primes are a fantastic combo with the Pocket. ​I agree. I still love using this camera, especially when I see how flexible the image is to grade. Feels akin to what a 2.0 darkroom would be like.