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Ha! I think I'll just suffer through the smaller formats.

I bought my f3 for $12,000. Slog upgrade was $3000. I just sold my last one for $1,500 including tons of batteries and media. Out of every piece of gear, cameras depreciate in value probably the fastest.

Maybe worth getting back together with the ex

Maybe its time to ditch my i7 and GTX1060, going all AMD this year! (Ryzen + VEGA combo) Sick of seeing my 4core i7 is still relevant after all this years and 8 core Intel setup is still waay over priced (cpu + mobo is too high priced) 8core cpu at only 65W is massive! Intel 8core is pretty power hungry at 140w! Quicksync is irrelevant IMHO, doesn't care since my GTX1060 does big improvment over my old GTX660 on rendering time, 8c16t >>>>>>4c8t any time of the day, especially on vfx heavy projects

You can rent/borrow a 77mm and/or 82mm filter(s) and just hold/tape it in front of your lens to check for vignetting. Position it slightly forward to simulate two stacked filters with the added length of a step-up ring (and the extra millimeter or two from a polarizer). You could also just buy/rent a big matte box with the same filters.

I'm documenting the work of biologists in NYC who study coyotes that live in and around the city. So video is shooting clips of folks at work in a lab, or in the field when they are tracking animals, recording short interviews, etc.

I'm happy I held off with upgrading computers. The Ryzen 7 1800x and Vega will be the centerpieces for my new 4K video editing workstation, with MAGIX Vegas Pro 14 at the helm!

Really nice video, thanks for sharing! Please post some video footage with the adapter. I know you are not satisfied with the video quality of the original A7 after shooting such a good cameras like Red, BMC, A6300, but everyone is waiting for how the medium format video look! Im really curious how the "look" differs compared to a bright FF lens. For example background blur rendering, 80mm F4 with Kipon speedbooster vs Minolta 50mm F1.7@2.8. Roughly same fov and DOF.

This has little to do with the adapter but since an A7 or Leica is mandatory for it to work. And people still ask me about the A7 as a stills camera three years after my review of its video features. I thought a quick review could be interesting to some. There is some footage of the Kipon Reducer and samples at the end.

Imo, even the old Panasonic GM1 in standard without any grading looks pretty plesant. Not like film or anything but nice.

In image quality, I totally agree, and if my work (and hobby) was films with a small crew, you couldn't pry the F3 from me..... Unfortunately my main shtick is glidecam, interview, and adventure style videos. Long story short I was convinced away from the recently released C100 and towards the F3 a few years ago while upgrading from DSLR. After realizing of bought a heavier, pro-only camera, I've been trying to afford all the pieces it didn't come with since then. The right tool for the job..... Unfortunately the F3 isn't for my needs and I just want to move on to a lighter camera that can fit on my glidecam and fly in the overhead bin easily. 4K....uncompressed..... All nice features I don't mind sacrificing for a solo-friendly camera. So hey, if you know anyone who needs a complete F3 and Gemini kits with batteries and media, you know who to call!

The a6500 smokes them both for autofocus, with the Olly performing terribly at times. Just a shame that the Sony makes Max's brother look like the Hulk.

You might be better of keeping your F3, the prices are so low now it could make you cry besides the Canon C100 II, with the limit to 8 bit out is still nice, but it's not the 10 bit of the F3! I like the locking SDI connectors on the Sony, the C100 HDMI is too weak. The C100 original and C series cameras are lovely cameras, but you have more DR range shooting RGB S Log, with the F3. The Sony F5 would be a nice upgrade path, but it gets bulky when you add on the extras.

Thanks for the tips. I was shooting today in the wet snow/rain with my two gx80 @50fps. Been using the Olympus 9-18 and Panasonic 35-100/2.8 with lens hoods to keep spots of the lenses on each of the bodies and my PL15/1.7 for any indoor stuff. I brought along my PL100-400 but have not used it as have relied on 50fps + ETC for any extra reach. I shot about 25GB of video and timelapse and only went through about 2.5 batteries. Need to review the footage now that it is backed up.

Here's a low budget music video I made with the GX85 and a cheap toy 25mm 1.7 cctv lens. The look is meant to be dirty but what was great was that the GX85, with it's great IBIS, enabled me to get the movement I was wanting. We tried with a Canon C100 and it just wasn't the same. It's an incredibly versatile little camera.

I don't know about you but 6400 is easily usable on the GH5. And 12800 in a pinch. I am just floored how much better it is. This does not seem possible! Damned if I know? I guess we will find out soon.

I think his blog is something like the fifth most influential in this field.

I'd never expected that Mattias Burling would ever touch a Sony camera. He used to be an avid Sony hater (the only Sony I saw on his youtube channel was an FS100). And now, he is here as an evangelist of Sony technology. Hmm. On the other hand, he is really a knowledgeable guy, and worth reading his articles, and watching his videos, absolutely. On this topic he is delivering really great contents, so a big thanks, that he is taking the time of sharing his experimenting. I am a recent fan of medium format film photography, and I guess I'd change from Mamiya 6x7 over to Mamiya 6x4.5. I've been quite reluctant to buy anything smaller than FF (Kleinbild); so this thread of discussion was revelational to me: no GH5, no A6500 to me. I'll buy the first A7 with 4K and touch screen along with this adapter; touch-to-magnify for manual focusing while recording video is so brilliant on Sony.

I too am excited about getting my hands burned by a Sony camera that's melting from recording 5 minutes of RAW.

100% Agree with this, I run with an F3 (S-log) + Gemini 4:4:4, and they're built like bricks, never had any issues. Often my clients have difficulty re-focusing from "need 4K" to "need awesome image quality", but after the shoot when I start going through the dpx footage, all debates stop. Biggest downside for me: It's a light cinema camera, but it still heavy as a cinema camera compared to stuff like the C100s. I'm usually a one-man band, so that means a lot more work, but if that doesn't bother you, I can't recommend better IQ for the price. In addition, the native FZ mount can adapt to pretty much anything other than E-mount for the price of a cheap adapter. My reel, shot mostly with available light, with this rig for demonstration:

Ehh, what Sony forgets to mention in the headline grabbing campaign is that the card is still V30 meaning the minimum sequential write speed can easily drop to 30MB/s. Even the upcoming GH5 400Mbps firmware will need V60 at least and that's far from raw. At the moment only Delkin makes V90 cards, offering a 90MB/s minimum speed.

I do like my F3, ( I have three of them now for multicam shoots ) I find for WEB and TV it has all the resolution I need, the image is wonderful going out to my Odyssey 7Q+ S Log RGB 444, it does have a great film like image when handled well, It is built tough and has so many solid HDSDI connections, just make sure you get the RGB S Log upgrade either installed already, or with the key! If I want to step up to a client that request 4K I bought a Canon C500, I do find 2K to be more than enough for everything I'm shooting these days. Some good information on the old F3 is out there. F3 in fact has a 3.4-3.6 megapixel sensor. And from further reading it seems engineers find that, while very small pixel pitches bring with them increased noise, once you reach a reasonable size -- 4-6 microns -- the benefits of larger pixel pitches in terms of noise are reduced. Thanks for the comments -- that's exactly the kind of info I was trying to suss out. Here is the full read: http://nofilmschool.com/2011/03/sony-f3-times-light-gathering-ability-red

People who can't adapt are dinosaurs. Your skills should be platform agnostic. I still remember using iMovie on a Bondi Blue Mac. Anyone remember lusting over the XL-1s? <3 MiniDV and so many CCDs! Now I couldn't give a shit if I'm using FinalCut, have a rig with RAID SSD scratch discs, or use MS Paint to quickly build a matte for tracking. Fuck it, I'll cut a video on my phone.

So, I have been simplifying my post workflow and to practice I've been messing with some old D5500 footage. I decided to stop using Color Finale, Film Convert and Colorista and only use the basic tools in FCPX. The D5500 has proven to be a great camera for this simplified process... just enough DR to handle a little post processing but not enough to let me get out of hand. With my latest tests I have been using some Film Grain from Red Giant Renoiser. I have been using it at default but I think it may be too much... even for Vimeo's compression. Any film grain tips would be greatly appreciated.

At the risk of flogging a dead horse, 444 Log masters is the answer.

Not sure if there are any concise and up to date videos @fuzzynormal, as things tend to be a bit fluid in the Magic Lantern world. But this is a quick and easy workflow, once you get it set up: 1. Virtually mount MLV files with MLVFS (this is just takes a few minutes) 2. Import resulting CDNGs directly into Resolve for immediate editing - OR transcode to Log 444 masters and edit elsewhere. Resolve transcodes very quickly. I'm finishing up a 17 minute short doc from 6 hours of footage using a similar method to this, except I use After Effects to transcode. This is the slow method that you might have used before. The debayering in Adobe Camera RAW through After Effects is slightly better than Resolve. My doc is destined for festivals so I want to squeeze every last drop of goodness out of the files that I could. But if I'm doing a corporate job with a fast turnaround I'll let Resolve do the transcoding. The quality loss is minimal - Camera Raw just has slightly different colours, better noise handling, better highlight reconstruction and lens corrections. You'd want to be looking fairly hard to spot the difference. Hey, if you want to mess around with an MLV to test it out and don't have a ML camera to hand, here's a file that's just a few seconds long: https://www.dropbox.com/s/9cgtnim7zwfmj71/5d3%20ML%20samples.zip?dl=0

So much love for the 5D3. If they ever get the preview fixed for crop mode 10bit (which enables 2.8k 24p continuous recording with a 2x sensor crop), I don't think I'll buy a camera for another 10 years. Being able to whack out a perfectly sharp 2k DCP from a 444 10bit source with beautiful colour is all I need.

Some quick and initial tests with my new system: 5D III (ML RAW) - Bolex 16/32/1.5x - Rectilux Hardcore DNA

I would like to test with the JVC LS300, if I found some time next week I will make it happen, why not for Adobe Premiere though? I don't use Resolve at all these days.

-I have read a bit about Aces but I don´t see any advantages with that because I just have one type of files! Don't bother with ACES unless you require it. Most LUT's and many of the color correction tools in Resolve do not work properly in ACES. -What colorspace to use in the camera raw tab? BMD or 709? Use the BMD to get the DR you want. -What node structure is the best? correction before or after look/lut? when to use scopes? when to correct skintones? I typically do base lift/gain adjustment -> Individual section of the scene adjustments -> clean up skin -> stabilization/noise reduction -> Then apply look