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Andrew, do you film professionally? It's just that you speak authoritatively but I don't think I've seen anything other than what you post here. To me the skin tones (especially on the train trip) look pretty awful. No client I have would ever approve that. The blacks are crushed to death and faces are red and over-saturated.

I kinda agree with DPC, that comparison is really weird. I agree that canon has great colors, but that profile with crushed blacks is pretty extreme. I mean, it's ok as a 'look' I guess, but not really something you can deliver to every client. I'm also pretty curious about work or a reel, this site (especially the forum) is a great resource, but your opinions can be quite harsh and I don't see the actual knowledge and creative skills to back it up, except for a few music vids from a long time ago. This is not meant as a bash or to bully you, but I think it's too much spec talk and not enough filming.

The picture comparison made me laugh! For your home scrap book, the canon is fine, its a complete mess, but fine. However, if you showed them to a client...they'd tell you to throw away the Canon shot & boost the saturation on the Sony. If you do a comparison between 2 cameras, then you really need to level the playing field (use standard profiles on both cams, as was said above). I'm with you on Canon colour, but between the 2 pics, i'd go for the Sony (with some tweeking) or just take another go at the Canon one, so it looked better. The other problem, is that at the moment people are edging towards that neutral look (as in the Sony pic) - doesn't make it right, but if you want to make a living.....

The good things first : 1.finally an article about a camera comparison with a video, haven't seen that in a while here. 2. Seems like a good combo (good stills camera with decent video, however lacking resolution.) thought for the price it should be, and that's about it with good points. the bad : 1. PRICE, for real ? are we seriously even considering to compare a 6000+ camera to a 2400 one ? the price is just astronomical (people buy cars for their families for this price) 2. easy pleasant COLOR - :D this made me laugh. So you are saying that this camera gives you awesome color straight out of the box, no need to edit, yeah perfect, the thing is I dont know any pc (under another 5000) that would even be able to edit that mjpeg 500mbps shit. AND this is a subjective matter. Andrew you forgot to mention that Chris and Jordan specifically said that many many times over in the view that this is purely subjective. Moreover they are testing sub 2000 cameras with some being much less. Honestly i disliked the color in that video, oversaturated, punchy, crushed blacks, frankly this video is far from pleasing on account of colors and DR. bleh but that is just me. some may love unnatural red over saturated punchy color. 3. DR - do you honestly think that this footage with the edit you did has better DR than a7s ... suddenly it's no issue ? the footage looks like it's from a 7d. 4. Crop factor 1.3 IS NOT full frame. Everyone being disappointed by 1.6-1.7 on 5d IV and 1.3 on a 6000 body is okay ? please. The awful: 5. That thing is enormous. good luck stabilizing that. (another rise in costs) 6. No articulating screen 7. No focus peaking on a body for 6000 ? lol 8. 8bit for 6000 ? lol 9. Codec I mean, if anyone is doing sports photography and can justify the price, go for it sure, for video ? you'll be back to ILCS or real 10bit cameras in few weeks after using this dinosaur oh and i forgot , the ugly : 10. EF mount Cheers, meant no offense thanks for taking time to review, keep them coming !!! mickey

"Likewise when I invested – key word invested – in the A6300, had I known Sony would roll out the A6500 a few months later I would never have spent money on it. One should rarely wait to buy the tool you need, because there’s forever something newer round the corner, but it seems like every 6 months Sony make your last purchase a complete waste of money." 1) Oh COME ON. For two years you were yelling at Canon for not innovating. Now that they finally update your yelling at Sony for innovating to much with fast refresh cycles? 2) Cameras are not an investment in terms of resale value, camera's are in an investment into your art/business. I've grown very tired of base Canon profiles ( C-log is excellent however). They are excessively warm, not true to life at all. Which is great if your shooting weddings all the time, but not all subjects are served with that type of color. I find your comparison completely false. The Canon is using your custom profile GRADED and the Sony is using Standard, ungraded, and obviously underexposed! But most of all, no mention of the IBIS and excellent viewfinders on the High-end Sony camera's?? I could never go back to only using the rear LCD, a non-tilting one at that!

I agree with DPC and Gerbert Floor. There is no commercial potential in this footage, as it is.

I have to agree with jcs on this one - the Canon looks great out of camera but I was curious about the A7S II still so I messed with it in PS for a few minutes and came up with this. Not a dead on match but not bad either.

Richard Bugg, I asked because I'm interested to know who's opinions I'm reading. It's getting a bit weird having so many of them and so little work to show. Apparently Andrew owns the camera and says "What a shame the 1D X Mark II is a pros-only affair." That made me ask. It can't be very hard to answer. It is relevant in that professionals have a skill set that clients are willing to pay for and the most to lose if their judgement turns out to be wrong.

When I looked into making a slave motor drive to sync taking and scope lens - it quickly became clear that to do properly would incur about the cost of buying an iscorama or cine anamorphic. You really need a stepper motor solution, ideally with zero backlash (to avoid mechanical drift in movement) - also a flexible interface to accommodate the offset for different taking lenses with varying focus rotation throw. In a nutshell, a vari-diopter or DIY front element mod solution is the cost effective way to convert most lenses to single focus IMO.

Looks pretty decent to me and is similar to the GX85. I think that some people have unrealistic expectations about image stabilization.

This test is a 100-400 handheld shoot... What do you spect from this long lens without a tripod?

Budget & 4K are not things that hold any interest for me what-so-ever. If a camera doesn't deliver in ProRes, then it's a waste of time. The same goes for 4K, it's basically a cinema format that is a pipe dream for the large majority of consumers - damn, they can't even give us proper HD tv broadcasts yet! If you're on a budget, then the Isco Widescreen 2000 is a really good option for a x1.5 - stunning glass, kinda focus through but nothing a few diopters can't solve (hard to find one now, but hey, worth the wait). The only other option is to wait for an Iscorama 54 to turn up, they are a lot cheaper than the others (people don't rate them, but they really are the best Iscorama MC or not) & it'll give you the diversity of numerous lens options, build quality & the weight you really need to film properly. Start saving your cash, stop buying camera after camera & loosing yourself in this stupid search for perfection that doesn't exist - find the one you like right now & stick with it for a while. I'm not upgrading my BM Pocket for quite a while yet, as nothing comes close to the beautiful image quality that it produces - it's not perfect, but that IMAGE!!!!!!! If you continue to find problems with cameras, then you'll never be happy, cause there is no such thing as the perfect camera - never was, never will be.

I'm a fan of Canon skintones and especially it's auto WB which i find superior to the competition. I actually switched over from Nikon for this. Andrew makes some valid points most of which I agree.. however to be fair to Sony, the comparison is an odd one since.. he compares Standard Sony profile to his custom Vivid profile.. which is rather intense! If one wanted to make a valid comparison about Canon colors vs Sony.. one really should have compared BOTH standard profiles (like TCS did in their Jpeg shootout). An interesting comparison would have also been Sony S-Log vs EOSHD C-Log. For what it's worth I do own and sometimes use Andrews film looks (for stills never video) but they do totally alter the infamous Canon color science.. so again odd conclusion, although I get the point for him personally it's just a more favorable custom look then what Sony may offer SOOC.. Anyways no doubt 1DX2 is a beast of camera (and it should be at that price!) but I still find the A7SII is still damn desirable for it's class-leading low light abilities, FF zero crop 4K, IBIS, EVF, Slog..etc

You can make your own single focus for nap2-3m, but big good lenses for single expensive

Here is a link to the LUT I am using. You can download the whole pack if you want as well. https://www.dropbox.com/sh/ljz17ji7k0q4kvm/AABZGeJdt2xz2Q94rQMvuhd4a?dl=0 I attached a few images that show what the LUT is doing. It's working similarly to those film looks you use. It compresses the highlights and will really create nice roll off for blown out footage. This is actually black magic pocket footage, but it's the only thing I have on this laptop to work with. The LUT isn't too aggressive, it may work with wide dr footage as well. Make sure you sharpen 10-15 in premiere as well. I appreciate that. Honestly, I think I haven't come to terms with the fact that a camera that is so easy to use and compact can actually produce high quality footage.

once i had shooting with a7sii, didnt had time to test it so i just set it 'manually' to focal_length_of_taking_lens divided by 2. Did u do the same? Otherwise IBIS to strong for horizontal plane (in my humble understanding of how it works). In my case there was some shots with whobling but not much and i think u get the same amount without any ana.

Glad you liked it! I plan on touching up the lut with the knowledge I have gained from making more luts since, but I am also pretty happy with it as is. I have a few more coming soon. I have made all of them with the base correction with the Color Checker, but it is not necessary to use them. I have designed them to not require one, but may end up posting luts that you could stack after applying a color match/correction base per each shot for improved accuracy (if you have a color checker and use it for each shot). Just use the suggested in camera settings in combination with the lut. On a side note these are all made for 0-255 which premiere clips to 16-235 on h265 files. I just use RMMC to convert to prores. I have been focusing on creating a main group (probably 10) and will limit posting of alpha/beta test versions of them for now. I do think an individual thread would make sense. Partially due to the amount of photo/video needed to properly present what each lut does, but to also not crowd/bury other settings. Organization also helps! I am working on this. I have a backlog of video shot with these settings (so I have some motivation to rework the main accuracy one). The colors/saturation/luminence do not uniformly scale between in camera settings, so it does require me to remake the lut(s) from scratch. Fortunately I have gotten better after creating a few.

The DSLR is dead. Long live the DSLR.

The 1DXII paired with the Canon 40mm STM lens is the most fun setup I've ever shot with. Spent three weeks travelling in Europe and everything was shot with that setup (combined with the eoshd chrome profile which I am in love with!). The fact that the lens is so lightweight and small makes it an even bigger powerhouse imo (getting difficult to reach shots etc) https://www.youtube.com/watch?v=IE-9EiMH_WU

I would just use gaffers tape. Or measure the circle around the light and see if you can find some colored filters that will fit in there.

Yup, and I prefer x1.5 any day of the week. Unless I can use a 4:3 capable camera, with x2 primes.

Ran off some more footage yesterday morning. Added grain to a few shots. Really love the color and image stabilizer, wish it could get more shallow. The lens really does seem to do best between F2.8 and F8.

Canon have made the biggest step forwards with their DSLR technology this year that we've seen since 2008 and the 5D Mark II. However it isn't the 5D Mark IV that has me excited so much the 1D X Mark II. This is a camera that will see out the next 6 years as the benchmark for others to follow. Read the full article

iThis is the first shoot I've done with the C500. The images coming off the camera are incredible. Using the whole range of original Canon C cameras! So fun.

You need to be in stills mode. Use the Stills/Movie switch to put it into stills mode and then try again.

“The winning part of shooting video on the X Pro2 is the colour science underpinning the video mode and JPEG engine. It’s simply the best. To the extent that Tina Turner would write a song about it.“ Fuji x pro2 review by Andrew. It would be a ruinous thing to base buying decisions on your fast changing gut feelings. Best Jan

Absolute amazing, but it's by far not only the lut!

I'm not sure that wether or not someone commercialises their work is particularly relevant, if that's what you meant. I have seen low quality output from people who charge for what they do, high quality output from people who do not, and a lot of stuff in between. So I'm not sure that commercialising your work is a necessary pre-condition for being able to express an opinion. Nor is it necessarily a good indicator of quality. Hence, not particularly relevant.

i registered just to like your comment. my thoughts exactly. i own the 1dx mark II as well (like many, i normally shoot on sony a7s, a7s2, fs700 etc). a couple of Andrew's pros made me giggle a bit. color flatter talent? you mean to say that a colder grade would be unflattering? lighting, make-up and distortion free focal lenght flatter talent. p.s. i even think the sony looks better in the first example for instance. next, it's 1,38x crop, which is closer to 1,4x than 1,3x, making it more similar to super 35 than full frame. also, it's far from having good dynamic range, it's decent at best, and there is no way any third party "log" profile made in canon's picture profile editor could come close to genuine canon's c-log. flattened neutral profile isn't log, it just lifts shadows, you cant make log with a curve in a rudimentary pp editor, it offers zero highlight gain. the a7s is the one with impressive dynamic range, AND it has proper log. you can overexpose it 4 (!!!!) stops before it falls apart. canon is a goner at 2 stops over. it's a great camera with great straight out color, just like sony is way better at other things. but the fanboyism is strong here. especially seeing how you initially bashed the camera without even having had tried it. nobody forces you to update your sony gear, it's an investment in your creative nature, not in your resale value. just because there is something newer, doesnt mean you gonna get shot if you dont get it. i still use the original a7s and it's more than enough if you dont shoot high end commercial stuff + (and even then you could manage with an external recorder).

yeah it's totally subjective. canon color is often praised for the skin tone, and i shoot a lot of people. having used both canon and panny for years, and sony more recently, i've seen a progression in how panny evolved their color. the gh2 and gh3 were much worse for skin tone, but the gh4 with my custom profile looks amazing in natural light. when i first got my a7s ii the skin tone was very underwhelming, but after tinkering with the profiles it's now spitting out images that are just as pleasant as canon, but not as overdone. i'm sure in post i can get the canon shots to match the sony in color, but there are other things that can't be matched, such as dynamic range and level of detail. so if i don't tend to use the canon cameras for a gig anymore.

I agree with most people saying the video is garbage and doesn't back up the post at all. I have been following this blog for awhile and appreciate the various insights into to gear. Having said that this post seems very strange. Andrew has been a huge advocate for innovation, yet this post would say otherwise. All of of sudden he's against Sony? Andrew did you not get invited to participate in the FS7 Markii event and this is your way of expressing your anger?

Here are some sample clips: Sorry for the bad focus, i shot this handheld with the camera LCD only.

Here's me walking with the GX85 and Panasonic 12mm 1.4 (no lens stabilization). Towards the end of my trip, I figured out how to walk better with the camera. Pull down with the weight of my arm while holding on the lens with the left hand. Then pull sideways with my right hand with an equal amount of pull to stabilize the roll.

i went back to re-read the press release, apparently they did just that but the Inspire 2 and P4 pro stole the lime light. DJI now offer X4s which is the 1" sensor. they havent specifically said it can be mounted on the Osmo grip, but if it has the same mount as the x5/x5r, i dont see why it cant be used as such. exciting time ahead!! Copy from press: "DJI has also released two new Zenmuse cameras for use with the Inspire 2. The Zenmuse X4S includes a 1" 20MP sensor with 11.6 stops of dynamic range, a 24mm F2.8-11 lens and a mechanical shutter." DJI's own page: http://www.dji.com/zenmuse-x4s i bet it is too, but the fact that they can do 60fps is impressive. since the camera/sensor module is mounted away from the drone main body may be thats how they can get away with the heat issue. the larger drone body allows it to spread the heat much more effectively (purely my guess).

Everybody who states he could bring back an industry that keeps everybody employed for the payment they were used to is a liar. Like Trump i.e. - and everybody else, to be fair. There need to be major changes, new infrastructures, new industries aiming for the future, subsidized by whom? People need to be qualified, because untrained workers will be needed even less in the future, and they will be paid less. These changes, if s.o. had any idea, any concept in the first place, would take time. One lost generation. You can't let people starve. There has to be a minimum income for everybody. Enough to make you feel part of the civilization. Everything else leads to disaster, unavoidable. These conditions can't be tolerated in one of the richest countries of the world. One day you would see people hanging from the trees. Probably not bankers or politicians. I sometimes think it's time to wake up from the American Dream. Trump is the ugly truth. Grotesque wealth is for very few. It tends to drive you mad.

Agree on Color but I find the Spain video very very soft (might be youtube). The contrast and DR is so "Canon", reminds me my first T3i. Not a bad camera but at $6k I would rather keep my 6D/5dmk3 for photo and get an extra GH5 or future Osmo. DJI is really moving like crazy. Canon still has the great DPAF and low light is not that good on M4/3. We can't have it all but with H265 and 10 bits becoming more mainstream I'm not sure where the 1Dx will stand in 2-3 years. Hopefully Sony will put his stuff together.

Good lord that image is nice

Too expensive for me. The GX85 image you put is amazing. Way better than the Sony. Good enough color wise. So the GH5 would do it for me if only it had DPAF like the canon....... it would be a way better tool than the canon actually. 3 times cheaper, articulated screen, 3 times smaller, better spec and 10bit with better codec. Just that AF which is crucial and which is going to be DPAF decent at best, and not DPAF at worst

Andrew has a weird/rare single focus x2 Isco Anamorphic, so Isco did make a few made to measure lenses it would seem. So is this a 54 housed in a smaller body? But the 49 name would suggest that the rear element is 49mm & not 54. Whatever you've got, it is rare & if it is as sharp as the 42, the OP has got a very nice lens indeed - none of this plastic 36 housing shit, that makes you too scared to take it outside. Flares be damned, it's the out of focus qualities that are the important thing.

Exactly, x1.5 is more than adequate & 2.66:1 is far easier to deal with. It's only really the purists (with their cheap x2 dual focus adaptors) that advocate a x2 anamorphic, and you can only use one with a camera with a 4:3 option.

Great invention but I don't see the reason of using this heavy, bulky (double)focusing mechanism over a rangefinder or other optics.

Also on YT: https://www.youtube.com/user/djiinnovations/videos .

Good news! The color luts are complete, I will now create 2 black and white, and a free lut as well. Heres another quick look : Some are soft, others are more stylized. I also tested them with the Nikon D800 files a friend sent me, and they work great! Im really excited to hear what you guys think, what should be tweaked or added and all the stuff you can come up with!

arourke! that lut is just AMAZING. I used your settings but didn't touch the MBL (except one high contrast scene) just amazing. Smart Range+ ON and Exposed for Highlights ISO 100. My best footage ever. :-) Converted to Prores SQ with RockyMountain, then applied your lut. no other changes. perfect!

I have the D750 and the D500 (and a D3s and D800), and they're both excellent. The difference between the two are mostly to do with features rather than image quality -- both images are pretty much the same, you have to push pretty hard to see the difference. One place where you can see differences is at high ISO -- the D500 might have a 1.5 million ISO headline, but it's pure BS. It's just acceptable for certain applications* at 12,800 ISO in RAW, the D750 is definitely better at 12,800 (not a massive difference a la A7s, but noticeable.) The D750 and D500 has the same colour, they mix and match perfectly. Not sure if that will be the case for any new cameras, since I've noticed that Nikons do change in look from generation to generation (as you would expect). It changes enough so that I keep slightly different Lightroom presets for each of my cameras to get a consistent look, even in RAW stills. Another thing I'll note is that while each new Nikon I've bought have feature differences, they're not hugely different. Nikon is at a place where they're happy to do 4K in crop mode -- I wouldn't expect a new upcoming Nikon to do 4K without a crop. Nikon is incredibly conservative when it comes to adding new features, it would not surprise me that it would take a D6 (probably 4 years from now) before you see un-cropped 4K. No one buys Nikon for bleeding edge tech, they buy Nikon because it always works, under any circumstances, all the time. (That said, the 4K crop is about the same as the GH4 with native lenses at 2.3x, and I never had a problem with either camera. I do have a Tokina 11-16, which is a lovely looking lens) For what it's worth, if I absolutely had to only go with one camera I would pick the D750 with the 24-70. But only just, since I also have a D500 with the Sigma 17-50 2.8 with OS, and that is a pretty sweet combo. * I'll go right up to 12,800 for events in a dark room, but in any situation where I have some control over lighting/set/talent, I'd keep it no higher than 6400.

I have to say this thread and Ed Davids other thread are ruining eoshd for me. This was my safe space from the political talk. He's now brought his hate and bias into this forum. I'm out....

Finally had the time to post some results. Here are some before and after shots using Andrew's C-Log. This was shot incorrectly, though. I used very high ISOs to brighten the image. Instead, in his included guide Andrew recommends using a very low ISO and exposing for the highlights. Afterwards, ideally, you can bring up the shadows in post. Gear used: 7D Mark II, 17-50 F2.8 at F8, 30 fps and ISOs in the 8000 range (lots of mosquito noise when seen at fullscreen size) In post I just used a bit of Film Convert and bumped up the saturation. Notice the shadows below the tree trunks. Those would never be visible with Canon's standard profiles. So overall very happy with the results, taking into account this is a bit of a torture test for an 8-bit codec.

Hi, I just used two different 2x front and rear lens and got at least 2.8x ratio. But looks like it needs much longer FL taking lens to use. P.S. Image taken by hand hold front lens, 3m distance, resized only.

definitely. On a side note the stacking of two off the shelf 2x units presents quite a few limitations. length of units dictate longer taking lenses or smaller sensors in order to keep field angles small enough to avoid mechanical vignette. both of which have and adverse effect on dof - meaning the effects from the system don;t show up as much. also the longer focal lengths require larger diameter glass to provide adequate transmission of light. I expect a 135mm on full frame, in combination with two 2x anamorphics will result in no faster than f5.6 apertures - even with the taking lens set to f2.8, the size of the anamorphs are gonna limit things. I think for the ultimate setup based on this concept using off the shelf parts you;d want a kowa b+h and a 120-135mm at f4 on full frame, then a iscorama 54 on the front. that way dof, fov, transmission, iq, and used sensor real estate are all optimmally balanced. What will be rather mad is when something like a big rare Kowa 35 - 2x is partnered with a 75-85mm/f2 on a portrait orientated a7s, then OLIVIA SCOPE is installed up front. 16:9 aspect, with lots of oval defocus, incredible shallow dof, wide angles, efficient transmission and deadly sharp.