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Hey guys thanks "paulraymaekers,Julian,Ebrahim Saadawi,Mattias Burling" so much this helps massively! and btw "j.f.r." Really off topic and you sound a little rude just throwing facts about how bad the lenses are i bought. as an indie filmmaker i don't have or really wanna spend $700+ on lenses when being honest at a certain point in my style of filmmaking it comes down to how much i can push the image in DR and the range in the camera than the lens. (also i'm using the 35mm t1.5) For a canon 60D in video mode (it takes very blury video) i think this is pretty good (: http://cl.ly/image/2W42340g373p Thx for help guys!

​ive been saying this for years and always get weird looks all over the place, but the relationship of Sony and Panasonic is strikingly similar to RED and ARRI. One tries to innovate wherever they can, which always looks great on paper. the other focuses on complete reliability and only uses what works 100%. If moire isnt a huge deal on the a7r II there is another benefit opposed to the A7s. native iso at 3200 is annoying as f*ck and while its awesome to have nightvision in our camera, we wont need it more then 2% of the time. Shooting in bright daylight and having to use iso 3200 happens a whole lot more often. using variable NDs with these settings is almost impossible because all of them suck at high ND values. and fixed NDs are just as annoying. native iso at probably 800 is a lot better to deal with if you want use S-Log

Hi guys, If you don't mind me complimenting you, but the information on this forum is the most on point in regards to digital filmmaking, indie filmaking and the like. Therefore, I'd love if you could chime on what it might be a dilemma for me, right now. I'd love to purchase a camera for some arty/indie filmaking, and I'm torn between these three cameras that are mentioned in the title. (the Sony being the only one we cannot properly check). I was trying to decipher what all the reviewers are saying, but I am still puzzled about a few things. So, there you go. I am not that worried about interchangeable lens. Sound as well. What I am worried about it is the cinematic quality of an image. Broadcast quality. Can we say with some certainty, which one has the "best" image? (most details, least artificial video look etc). Will Sony win that round - do we know? Obviously, ability to shoot 240fps in 1080p is great, but what's the quality of the image? What IS important for me is the low-light capabilities of each camera. I will be using a camera mainly for some guerilla micro-budget projects. That's the scoop. I'd super appreciate if someone can comment on it. Cheers.

Still, the shots look great. I took the liberty to watch some other videos in your Vimeo stream. I love The Fog, very well done. Keep up the good work

Hello all! Just completed a music video for the track 'Freefall' by Koishii & Hush. I was approached to make an action scene, no band performance at all, which was a challenge. There could be no dialogue and it had to be interesting for the length of the track. I wrote a detailed treatment about a female thief coerced into sneaking an organ into a fortified hospital, which the band approved. Casting the thief would be tricky; the character I wanted to create was not a tough-as-nails-seen-everything-badass. I wanted a sense of humor, not a female Steven Seagal. So I needed someone first and foremost who could act, but who was also athletic enough to handle the role. Thank god for Amber Marie Bollinger. Amber was in an absurdist comedy webseries I stumbled across a while back called Hollywood Is Hard, and she was hilar. I looked up another couple roles and reels she was in, and she more than had chops to handle the acting required of the role. And to boot, she was a collegiate track and field competitor, which knowing as many stunt people as I do (married to one), is one of the gateway drugs to becoming a stunt performer. Odds are she could handle the athleticism of the role. I cold contacted Amber and she was game to play. We met up with my stunt coordinator James Hutchison and my wife (who happened to be the right height to double Amber) and ran her through some basic fight training, which she picked up impossibly fast. We did maybe six or seven fight training/rehearsal sessions before the shoot. The shoot was three full nights and two half nights. I had the parking garage at work locked down on weekends, which was a godsend (I still owe the building manager a case of booze). Even so, we needed to fly through setups, I want to say 25-30 a night, and with more than half of them being fights/stunts, with a skeleton crew. For lighting, we kept it natural, augmenting a bit here and there, throwing a backlight or scrape when needed. We used a lightweight homemade LED system I built that was battery powered, which allowed us to work quickly. We shot on the a7s with Nikkor glass. I chose the a7s mainly for its lowlight; I couldn't afford to light a whole underground parking lot. I also wanted a high shutter speed AND the ability to shoot slowmo, and in that low light, only the a7s made sense. Given the time constraints, I'm happy with what we got. And while I love good cinematography, nothing is more important than performance, and Amber and the stunt crew killed it. Hat tip to Mark Musashi and Darren Bailey (knife guy) who had the longest of the fights and made a meal out of their performances. But the biggest asset was Amber, who aside from pulling off all her choreo (and that car vault!) kept the cast and crew laughing throughout. Post was a whole other story. The edit took less than a week, but the effects took about eight months. Reason? I never had done 3D work before and I certainly had no budget to hire anyone. So I taught myself how to use Blender 3D. Why Blender? It's free and there is a huge community of users and tutorials to help learn it. Took maybe two weeks to get literate enough to know what kind of questions to ask. From there it was tutorials and trial and error. The learning curve was a bit steep, but by month two I stopped yelling at the screen. I think had there been a real deadline, I probably wouldn't have even had a gunfight, but since I didn't I did. So that's the long and short of it. Any questions, I'll be around. The Music Video: VFX Breakdowns:

Thanks Hans! The car vault was a tough shot to nail (though not for Amber). We were dollying back on a jib with no monitor and no remote focus, just aiming and hoping for the best! To one day have a crew and a video village instead of throwing out my back would be a dream...

For the record I don't think Sony has gone 4k crazy. I think that having 4k in all the new cameras is perfectly sane. The question is, why in 2015 are other manufacturers still charging top dollar for cameras that can only do 1080p? Now thats crazy. If there is anything groundbreaking about Sony's new lineup it's simply this... it's a clear message that any camera released from this point on, sans 4k will be a certain failure. To all the naysayers who said 4k isn't necessary... well at least you have the option to record it 1080p if you so choose. Now here's hoping that A7Rii turns out to be as great as we all want. Honestly, while the crazy low light performance of the A7S is impressive, it's more than most people need. The A7Rii could provide a perfect balance between usable still and video capture. We will soon see how it stacks up.

Impressive stuff...especially seeing as you taught yourself Blender as you went! That slomo shot of her vaulting over the car towards camera is awesome, straight out of a Luc Besson film.

Thanks Santiago! As far as diving into Blender, I recommend this youtube channel: https://www.youtube.com/channel/UCuGWRbFrq3bZkOEpQ02Xpww His videos are short (sometimes too short) but they are very clear, and he covers A LOT of topics. Start with this playlist: Blender 2.6 Tutorials for New Users Beyond these tutorials, just search for intro to Blender type vids on YouTube. And while there are constantly new versions of blender every few months (they are on Blender v2.7.5 now), you can safely follow any beginner tutorial that uses Blender 2.6 and up. For the intermediate level videos, try to stick closer to videos about Blender 2.7.x. Also recommend the website blenderguru.com. His tutorials are on the more intermediate/advanced levels, but they are very good. I will be honest, Blender can be frustrating to learn at first, so be patient. Like I said, it took me two weeks just to feel comfortable using the program!

I think you should swap the NX500 for the Panasonic G7 on your list. The NX500 crop factor is a deal breaker. The choice between interchangeable lens and fixed lens you have to make yourself.

Lot of FX work, really love it. "I never had done 3D work before and I certainly had no budget to hire anyone." I feel like you, Blender is my pending subject and I want to do a video for Christmas about a comic superhero with a lot of FX and green screen. Could you post some links to the best tutorials or examples of Blender? Thank you very much!

I don't think this is general for Samyang/rokinon: I have always had the impression that the lens outresolves the sensor on the A7S. I use an 85mm​ T1.5, and when shooting stills with it on A7S, they are sharp up to pixel level so for HD film it just works perfect?

​totally different league on pricing, but I do hope they take notice and stay in front. I find the Panasonics, while cheaper to be far more reliable and user friendly for video than the sonys btw.

i disagree with those saying that "especially now Panasonic needs to deliver V-Log for the GH4". We're lucky that the update is rumored to drop very soon, because if anything Panasonic needs us to buy their next camera. And thats not going to happen if the GH4 takes away another aspect that the GH5 could show off. They will only make us buy their next product if they amaze us. V-Log is definitely the first thing on my list, closely followed by 10bit. the latter got even more important now that the A7r II doesnt have it. Personally i never cared for 4:2:2 and dont see why this is such a big deal to some, but 10bit prores or cineform would be a great start. Since the announcement of the A7r II IBIS is also a must now. this will mess up Panasonics entire lens line up with OIS but thats a shot they have to take. Lastly a 4k multi aspect sensor to come as close as possible to a larger sensor format. since this results in a 12MP senor this will also help in low light.The problem with sensors is that there are not so many great ones out there and you have to take what you get. But if we're honest: Panasonic is done, they wont have a market after this camera drops and after the A7s II even less. those Samyang lenses are still a lot cheaper than MFT glass surprisingly enough so for filmmakers the cost of lenses isnt even a downside with the A7 series. oh man Pana, you gotta strike hard and start delivering RELEVANT firmware updates frequently. id love to work for them in hard times like these.

Congrats on the anamorphic lens! I had been wondering about that too, but after some searching I found an earlier Helios (the 44, not the 44-2) on eBay in great shape with a gorgeous golden coating. My understanding is that there were a lot of different 44-2's manufactured over many years, some may have the same coating. But keep an eye out for the original 44 too. Cheers, -Bold

Sony A7s + Atomos Shogun + Zeiss Contax (50mm f1.7 & 18mm F4) + Laing M30p Steadicam + MotionDogs Lenzhound. Still new at steadicam - just some practice shoots. All shot at ProRes 422 4k, downscaled to 1080p for Vimeo.

Where did he or anyone else claim it to be sharp and who said anything about shooting at T1.5? Just trying to see the point of your post.

​Hi all, Just in case you missed it, Kinefinity now bundles SCRATCH with its 4K and 6K cameras. Existing camera owners can also get a huge discount by entering their camera SN# on the order page. They also started posting the SCRATCH tutorials with Chinese subtitles on their Vimeo channel https://vimeo.com/kinefinity http://www.kinefinity.com/news-2015-kine-assimilate-press/?lang=en

Sony A7S = E mount Canon = EF mount Your question is about using Canon EF lenses on the Sony A7S, right? The focal length does not change. Sharpness and chromatic aberration won't make any difference: unless you use electronic Canon lenses on your Canon camera with automatic lens profile corrections (active on jpg files you shoot with the camera, maybe in video too, not sure about that). Anyway, your manual video primes should work the same on the A7S as they did on the 60D. The biggest difference is the crop factor of course. The A7S is fullframe, so your 24mm will give you a much bigger field of view. On the A7S it is actually 24mm, instead of 38mm (equivalent) on the 60D (24 x1,6x cropfactor).

Sold two months ago my 5D MKIII this is my next camera. Canon bye bye

Plug in more lights...

neat video does the job!

​I was a colourist for 4 years. If you think the Sony colour is as good as any other camera, great... But it is your opinion, not a fact. I know some of the best colourists in London and they all generally dislike Sony... Yes, you might be able to match, more or less, footage from an F55 with an Alexa... But you will spend more time doing it. Their colour science is not their strong point.

"S-Log2 Gamma setting: This proprietary Sony setting featured in professional camcorders creates a 1300% wider dynamic range for smooth gradation with reduced whiteout and blackout. Use color grading in post-production to make the most of low-noise images and super-rich detail to express footage in various ways. ISO 800 or higher is available when S-Log2 Gamma is selected" There is some plastering for the DR at least

​While it's not impossible (I'm sure we'll have plenty of high MP low light monsters in a few short years), if the A7rii bested the A7s in low-light performance, I'm sure they would be plastering it all over their their marketing.

Annoyingly despite being 100% happy with the a7r and a7s combo, This is very exciting. I'm going to avoid any more sony marketing otherwise this might replace both cameras.

By the way, the APS-C mode for stills will result in 18MP files. The A7R II + FE 28mm f/2 would make a neat travel kit, giving you both fullframe wide angle shots and 42mm equivalent 18MP aps-c-shots.

What we need is a more efficient implementation of IPB: one that switches to ALL-I when then encoder can't hit performance targets for IPB (large motion vectors, etc.). This would allow ALL-I spiking to well over 200Mbps (up to the limit of the hardware write speed). Manually switching between ALL-I and IPB shouldn't be required: computers are supposed to make things easier

Hey Wolf33d, I figured I'd jump in as I wrote the article originally referenced. Many thanks for sharing it here and I'm glad you found it helpful. That ProRes444 workflow retains the majority of the detail (99%) present in the RAW images, HOWEVER you just lose the ability to adjust color temperature and exposure of the raw files. With that being said, the files are such high quality, these files are such high quality, you can really correct almost any issue you can using RAW files, it will just take slightly longer (taking a few minutes, nothing crazy). On the other end, working with native RAW files requires significantly more storage and renders way slower (1-2 fps unless you have a very fast RAID). Should you want to, you can make corrections to exposure and color temp in MLRawViewer, but I usually just converted the files straight over to ProRes444. You can apply Filmconvert directly to the "flat" ProRes file and start coloring from there. The only reason you'd want to go through Resolve is if you MUST use the BMDFilm color space, which is what QuickHitRecord had mentioned. While I've also used this method (and recommend it for other uses), it has a couple of additional steps so I did not include that in the walk through. My goal with the article was to provide the easiest method to get the highest quality files so you can get straight to edit and color correction without spending hours on the forums.