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Which Hoya NDs did you have? Their ProND line is very good. But their others, not so much. If you want a variable ND, I've have very good experiences with SLR Magic's. In this video I compared it to the Tiffen VariND.

So first off I come from Live Events so my testing of the A7Rii falls into the pocket of shooting all day 1-8min clips and not getting a second chance. For that reason I am going to say upfront I would never walk into live event without a second body strapped to my hip especially with this hot 4K little monster. Now I shoot 1-8min takes because I lived through the 7D days of clips deleting at random so honestly I shoot smaller sized clips based out of habit. Even for toasts etc, we have multi cameras running so its no biggie. So I decided to run the new camera until I got the notorious temp icon of dread..... My take on that moment is what if I was on a shoot how would I adapt aside from dipping the camera in ice or holding a cold beer to the of the back screen. Shooting 4K 100mbs FF 3200ISO Image Stabilizer On I received the temp icon at roughly the 25min mark shooting 3-5min clips back to back. I quickly switched the battery out and than decided to use just use the viewfinder(not as heat heavy on the camera). I was able to from that moment shoot 3-5min clips for 40minutes without a single warning. I also switched over to S35 somewhere in the middle just to see if it would heat things up. Total Runtime was 65minutes without having to shut down /cool down. If my card did not fill up I would have liked to go even further. I know its not ideal, but if the moment presents itself swapping a battery and switching viewfinders is a whole lot better than waiting for the camera to cool off. This also does give me hope on the A7Sii body re design to fix the issue as its lurking around the screen more than the sensor. -F

I have the Genustech Eclipse Variable ND and really, really rate it. Never really dealt with any sort of bad colour cast. http://www.genustech.tv/products/eclipse-nd-fader-77mm

I haven't run into an X pattern with the SLR Magic yet but I know they (SLR Magic) have stated it can happen. I use it with step-up rings as well (49, 52, 62 to 77). I believe the only hesitation I have about it is that it maxes out at cutting 6 stops. And sometimes, especially on bright southern california days, I wish I could cut as many as 8 stops.

First thanks for the kind words TapTap. Yes it's frustrating DBounce I get it trust me. My iPhone1 used to drain power. My D90 looked like Jello mold. My 7D would randomly corrupt clips and the same for three of my friends. The 1DC has crashed on me. Reds software would freeze up mid shoot..... Early adopting any product comes with the landscape of stress. I don't like it but I'm interested in this camera for the same reason everyone else is. The 1DC is priced out and you want a dslr solution in 4K. I'm not saying in anyway Sony gets a free pass, all I wanted to say is that if your committed to the A7Rii as your main camera there are some work arounds if needed in a jam. Otherwise return it and go back to your camera that works for how you make a living. For me it's to volatile in 4K so I have to pass for now on using it for gigs.

For anyone with a B&H who needs measurements, I threw a digital caliper on mine:

I have the Rectilux 3FF-W and have considered it money well spent, but woke up this morning to this press release in my inbox and... well... looks like I'll need a little more money to spend well.... http://transferconvert.co.uk/cinemania/PressReleaseRectiluxCoreDNA.pdf

The new pilotfly H1+ is out with dual 32bit IMU. I think this is a game changer. Put your A7RII, RX100IV or D5500 on it and you get pro stabilized footage. Lots of creative possibilities (hyperlapse, fast movement while shooting in slowmo, ...) What do you guys think?

This is one of the best threads here in a very long time. Today I was able to remove the projection lens from the anamorphic and rotate the focus ring. The screws were hidden by the original paint, it seems no one had ever opened this one yet. Bold, if I don't figure everything out from the posts here I'll message you about a few bits and pieces, ok? Thanks a lot to Rich as well, for the initial kick on the explanations and QuickHitRecord for testing it out in the first place!

I don't have to, you just did. Love my car, but yeah, I do have to change the water pump.

Improvement over the last edit :

Yes, we know both capture the same info (nothing gets dropped at the top or bottom), the difference is in how they get ENCODED. I.e., which part (lows, mids, highs) gets preference in terms of space on the 8 bits. See comments on the page for the difference and effect on banding. Here's my summary and recommendation: 0-255. Works for most situations, especially recommended when mids are more important than lows and highs. Uses the entire 8 bit range, so it's the best you're going to get for mids and overall image. Not good if you aren't planning post work.16-235. Necessary when delivering out of the camera without post work. Also good on high contrast scenes where you want to preserve details in lows and highs at the cost of mids.16-255. Good when you have critical info in the lows and can't lift the overall exposure because it will blow the highs.

It's something I "discovered" after shooting a 2 camera shot with both GH4 and G6. It was some months I did not use the G6 (normally I use the GH4) and I tried to match them in order to have less problems during the color correction. And with "natural" with saturation all the way down and contrast -3 I had pretty consistent images between the two cameras and great skin tones - something I normally have to work with when I use Cinelike-D. Wow, amazing footage! Never seen something like that from a GH4! If you have any suggestion to share... I'm here

Sorry for off topic, but i want to purchase a 4/5 stop nd filter but do not know what to get. The main thing for me is that there is low color cast on the image.

Well I can't tell you how much is too much since each one has its own thresholds. Head over to the dpreview forums, there are plenty of examples so you can see if you can handle it.

I just tried it with the a7Rii with IBIS turned on, looking at the footage I feel like a professional now.

i don't use multiple step up rings. i use a either a 49, 52, or 62 to 77mm. i've got step up rings coming outta my ears. i'm silly with all these step up rings.

I've noticed the battery gets really hot when shooting 4k. Swapping it with another really helps.

Could be, although one other person I spoke to who hadn't had the problem was using PAL and the Lexar - could be it's just not surfaced yet. It's a little irritating that you can't switch between PAL/NTSC without reformatting or swapping the card - not sure why there should be a technical reason for it...

I do the hard work in Resolve then just apply the LUTs and don't fiddle with anything afterwards. That makes for a much quicker edit. It is tempting to tune each shot isn't it? Shouldn't be necessary. A LUT can be consistent and give you the same look for everything. It also helps to use manual white balance. Most shots need tweaking due to the wrong colour temperature rather than the wrong exposure.

Auto Exposure Lock

Auto Exposure Lock

GH4 in C4K recorded externally to an Odyssey 7Q+. for day exteriors i'm usually trying to shoot at T/2.8 with ISO at 200.

What I'd need from samsung is the possibility of storing different settings for video so to recall them fast and handy! Please samsung...

In my own experience, ois on 50-150 is much better than that in 16-50s. At least 1 stop more for stills.

yes sir it works great with 1080P and 4k. I also think it produces the best possible results with the 96FPS mode if you plan on using that as well.

Chill out brah, there's no need to declare a state of emergency over this. If the a7r II is "DEFECTIVE" according to the strictness with with you are applying this definition, I can't think of a singe camera/camcorder that's ever not been "DEFECTIVE" for at least part of its shelf life. Every camera ever made-- especially groundbreaking cameras that offer a bunch of new features not available before-- have issues and quirks that need to be sorted out. Not that issues and quirks are completely acceptable, but what really matters instead is how it's handled. If Sony, or an ingenious filmmaker (like the guy who started this post), comes up with a workable solution, then great, no need to declare an emergency. But if Sony ignores this (which, should be pointed out, was the result of a stress test) and no one can figure a way around it, then you can freak out and type in caps all you want. Until then, be grateful you have the knowledge shared here and proceed accordingly. yeezus.

"In order for the EditReady file to look “right,” you’d need to apply a LUT or color correction to adjust the signal." When I developed my LOG LUT for the NX1 I had better results in Premiere when the camera was set to 16-235. Trust me 0-255 is asking for trouble, it is a whole host of complexity on top for virtually no gain! Whether 0-255 or 16-235 we are splitting hairs because the NX1 has banding in both modes. As the EditReady blog post said, NLEs expect 16-235 and the ProRes files won't look right in them if you shoot 0-255. They don't explain HOW the LUT should correct for this. Even if you use a LUT in EditReady like my LOG converter, Premiere will still crap it up in 0-255. Is it worth getting confused about? Just shoot 16-235 and be happy! Rocky Mountain probably remaps 0-255 to 16-235 anyway.

Has anyone had glitches when recording 100fps 1080P? It only seems to happen within the first second of shooting, but it's like it misses a chunk of the middle vertical strip and stretches the remainder to compensate... This is taking the 100fps MP4 into After Effects CS6, and interpreting it as 25. Seems to do it when played via VLC as well though. I've not seen it before today where I was shooting at a local comic con, card is a Lexar 64GB 1000x (150MB/Sec) Professional UHS-II SDXC Card, which is what I've been using before with no problems. I've attached a rendered clip from after effects, but the source seems to have the same glitch. Thanks, Steve C0002.mp4

It's Sunday! Thwack...Thwack...THWACK!!! ....i'll get my coat..

Yes. Used pros: Price (vs new) / warranty if recent and with receipt (almost never the case on ebay..) Used cons: Never know how it was used by the previous user, so it is a bit of a gamble Grey market pros: Price also, the camera is brand new you are the first user Grey market cons: No warranty except going through the dealer himself I would take grey market over used for same price. I need something better for the pictures though (that is why A7RII fits the bill, as well as D750 + RX100IV). Another idea is D5500 (450$ grey market!!!!) which is 95% as capable as D750 for video and photo + RX100IV with the idea in mind to re sell it either right after the trip or in a year or so. I did exactly this (D5500) for my july trip in the rockies. Got a Sigma 10-20mm for landscapes at 250$CAD on eBay, sold it with auction 2 weeks after and it went for 350CAD$, made a 100$ profit without asking anything ....

You do have to figure out how to make it work and in what situations to use, then it's not absolute crap.

Just got back from holiday having taken video and manual focus stills with the A7s...and have to say I'm surprised at how much I like the stills. Feeling better not having that fabled 'all in one' solution that I thought the A7RII would be.

If you don't want to use half your trolley/bank account on photo equipment, becoming a robbery-candidate all over Cuba, get a Panasonic FZ1000, three extra batteries and a way to unload your pictures/footage.

Thank god! Incredible that Samsung keeps updating this camera, probably the best bang for buck camera you can buy.

Anyone looking at the A7R2 for video primarily, and sinking £2500 into it is mad. If you want the best camera for stills with interesting manual focus lenses like rangefinder glass then the a7r2 is it, period. The raw files I'm seeing from my A7R2 are astounding. The best image I've seen. it also shoots video. The image from the a7s internal 1080p is as good as the 4k image from the A7R2. the a7s is now less than half the price of the a7r2. if video is your primary purpose for the camera, a7s cant be beat.

One-man-bands definitely need to own at least one camera. There are shoots that will be jus fine with a 5D, A7s, etc. There are some you would want higher end stuff and would be very difficult to pull off and sell as a one man band. Can always rent for those. It's truly based on your needs. Personally speaking, I own a T3i and use it for the odd personal project and stuff where people would pay me a small amount. If I am being paid a decent rate, I always rent either an A7s or three or a C100.

I can see where you are coming from when it comes to the big guns. I find it a bit strange that people on reduser will take out huge loans for their cameras. Unless they have a steady stream of high end business. But something like a gh4, A7S, BMPCC, why not? They are cheap enough to get even for goofing off and practicing.

No. Can't argue with the box office.

And....perhaps few noticed that, but now focus peaking can be turned always on during video...just set the focus peaking to a custom button and you're done. I tested it only with nx lenses, but I guess the same goes for legacy lenses.

In addition to image stability, I'm happy to announce my unofficial, unplanned drop test was a complete success. Peak design backpack kit was a complete failure though. Dropped the nx1 from 5 feet onto solid granite straight onto the lens and slid 10 more feet down the mountain. It still runs like a champ. The thing is a tank.

it's probably the same glass as the Rectilux 3FF-W which doesn't restrict wide open apertures. it's pretty much neutral optically.

No, this is the small one. The 28 2 is huge, there is also a rollei version, a pentax version (andrew has one I believe) and probably a few more. this one was shot with the pentax one https://vimeo.com/7028401

Uh...28mm is traditional. Very traditional. It's a classic focal length, from way back in the day to right here in 2015. Especially in the near-standard focal lengths, cinema sets tend to offer lots of different options. You can get a PL mount 24mm, 25mm, 28mm, 32mm, 35mm, 40mm, 45mm, and 50mm. Art Adams had an article a while back where he wanted the widest lens he could dolly from a wide shot to a close-up without making the face look unnaturally stretched. They tried the 28, the 32, and the 40, and settled on the 32. It's not weird or esoteric--it's just that once you get into that zone of 24-50 or so, you get a lot more choice because every few millimeters matters.

I used it the other day to get some pick up shots for a music video. Shot in Slog.... It's the same old story you will hear over and over. Very yellow, kind of ill-looking Homer Simpson skintones, lots of tweaking required but achievable. HOWEVER - mess with the Slog profile (lots of resources online) and Slog becomes something quite beautiful. Still, grading after is key. Filmconvert, Impulz and the like are your friend. Everything is cool with this little guy. Battery life isn't the best, peaking could be better - but hey - it's a great tool in the bag. Highly recommended.

same ballpark. but has some differences. for one, the front element on the Rectilux Core DNA doesn't rotate so you can use a variable ND, if i'm reading the press release correctly.

I see that's being addressed! https://www.kickstarter.com/projects/665053329/veydra-m4-3-cinema-lenses-for-gh4-and-bmpcc/posts/1321995 Although the biggest update might just be: - Upd. VIDEO:

yeah, I tend to keep contrast at 0 in camera because there are things that the GH4 does to the colors in the image when you try to flatten things out that are permanent and kinda ugly and better handled in post. I like a low contrast image and have better results dropping contrast in post than i do in camera. with the GH4, that is.

yeah, i shoot in the "Natural" profile. The only difference between that and "Portrait" is one step plus or minus in color saturation (i forget which). but the Alexa LUT i have is a nice tool to have for GH4 clips. Lately I've been using my own LUT generated form Davinci that used the Kodak 5207 ImpulZ LUT as a base with a bunch of my own adjustments on top of that.