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I have upgraded the EOSHD front-end with a new theme It should be much snappier than the old one in terms of load times It now has 2 columns and a wider responsive layout (check it out - http://www.eoshd.com) Blog posts will be full width with HUGE images and video content (example - http://www.eoshd.com/2016/11/now-available-eoshd-pro-color-for-sony-cameras-including-a7s-ii-a7r-ii-and-a6300/) Hope you like it and let me know your feedback / bug reports below...

I think it is funny though. People used to complain so much that Sony releases camera successors too quickly and that the used market price depreciates at crazy speeds. Now the A7s II came out a bit over 18 months ago, prices are really stable (in Switzerland release price was around 3499 Chf and it still costs 3199 Chf. Used it's around 2800) and we aren't happy either. Even the old A7s still sells here for 1699 which I wouldn't exactly call cheap. I really hoped an updated A7s III would have gotten announced. But alas, let's use what we have.

Yeah and also thanks to Canon EOSHD is still relevant

Sort of like looking at a Sam Peckinpah movie while tripping on Acid LoL! I am not too big of fan of turquoise out the butt. But I REALLY liked how the actress was isolated using shallow DoF. Well done. Looked 3Dish, surrealist at times. Great stuff on that point. Overall I liked it a lot, but the over the top blue, well, ehh not so much.. but that is me, not others opinions.

Hey Phil, thank you for you answer and examples. I feel the color palette of three of his pieces I checked from Pono Grace is very muted, but with a lack of tonality. There are great examples of pastellic, less saturated color palettes in cinema. This A7s grading seem to try to mimic that, also so color falseness and odd videoish tones can be hidden, like mimicing the great looks of film, but in Sony8bitColor instead of Fujicolor or Kodakcolor:) Ricardo Fasoli and Tu Nguyen have some nice color moments, but still there is something to that Sony color akwardness, but great examples nonetheless and great examples of wedding cinematography! It is looking pretty in its own right! But with a GH5 it would have had even better color, by a mile, I think. Bet these guys will jump on the Panny waggon soon:) It will be, I am sure. I am astonished by the color I am getting out of my GX85 in natural ooc, linear rec that is. Not Arri, it will have its own look(s) and signature(s). Some of the best consumer 8bit color I have seen was graded material from the GH line. Ungraded material often looks so lala. Canon always had great color ooc, but that we know already, as it has become a part of DSLR folklore already:) You´re right, GH5 won´t hold a candle to Canon Raw colorwise just like an apple will not to a melon size wise, but oh what a delicious apple it still is in its own right. Also colorwise!

Let me start with this: ~ 2-4 hours 4K --> 1080p in premiere is nicely multithreaded up to 4 cores (here & here). After that nothing. Transcoding to 4K is up to 8 cores. Also premiere does not use the GPU for transcoding, whereas Resolve does (here), so it might be a solution for you. It will but don't get me wrong, if you need to edit 2-4 hour footage in a day, then any advantage that an upgrade will give you (which it will) might be worth it. Have a look at all the articles about Premiere performance over at Puget systems you will get a very good feel of the hardware you need.

This is in line with what is floating about and seems reasonable given their standard release schedules. I'm gonna take a stab and say they'll probably price it around 6-7000 mark, so more than the C100 mk ii was at release. Either that or they'll actually make it a C100 Mkiii with a small step up in spec as before. Maybe 1080p100 and 4kp30 Canon seem to have some kind of aversion to high speed so I wouldn't expect more than 100fps. They could also make a mildly upgraded C100 MK iii AND a C200 and not cannibalise the line, this would make some sense and keep the core C100 format profitable, a bit like the constant upgrades of the 550D ad nauseum. TBH it's the one I've been waiting for, but we all know pinning hopes on Canon these days is a bit like waiting for Father Christmas and seeing your dodgy uncle walk in wearing just a beard and novelty boxers.

Dave thanks for the info, don't mind these pricks... they know not what they do. Everything you've mentioned seems very plausible, Canon is known for their tier system. They also believe 4K is not the be all end all for all shooters, so it would make sense that they retire the C100, drop the C100ii price, and bring the C200 in at the original C100ii MSRP. Thanks again, can't wait for Cinegear.

@Neumann Films That was really nice! Good work. I have been waiting to see more serious anamorphic footage out of GH5. And now they released even the 10-bit option which is great. Only if it could shoot a little more slowmo than 50p. Like 100fps in anamorphic mode would be great. You used IBIS in those handheld shots, right? How did the camera work with IBIS and anamorphic lenses. Did it make any weird shifts or corrections it shouldn't because of the anamorphic glass? Or did it just work perfectly? I assume you used IBIS setting as 35, 50 or 75 depending which lens you used. Those SLR Magic lenses definetly focuses quite close. Or did you use some diopters with them?

Beautiful... Panasonic made a great choice signing you up. That is exceptional

4k 60p and better battery life are a must. Better ergonomics and 10-bit codec would be nice. Built-in ND filter would be a dream.

I belive that I made the first cooking GH5 video :-D Shot L 709, 4K 24p and 60p + 180FPS. Lenses: Samyang 12mm T2.2, Panasonic 25mm F 1.4. Edited in Vegas Pro 14. Lets see my wife's carrot cake!

When PP CC was heavily leaking memory, the more one had the better (time required before having to restart). Perhaps best to monitor memory usage and see how one's projects are doing before adding more DRAM (same for VRAM, which would require a card swap). I put 64GB in the new box thinking I need a ton more DRAM (and is so cheap now). However after Adobe and Nvidia fixed their software, the 24GB box is working OK again. Have you done tests with drives? While I have a 2TB M.2 drive in the new machine (3.5GB/s read), I can edit smoothly off the internal 4T 7200, and on the 2010 MacPro, can edit without issue on external 5400RPM USB3 WD drives. Perhaps drive speed is more of an issue when cutting between multiple clips frequently (music video, short commercial, etc.)? The max bitrate for the 4K files for the C300 II and 1DX II are still under 1MB/s, so that's a lot of video streams which can be read before bandwidth is an issue.

1) Have you tried the rewrap to mxf? 2) Don't have your project media on a platter drive (if at all possible). SSD or raid. Complete a project then store it on the platter. 3) Generally speaking each logical core should have access to its own required memory, which for 4k is 4GB. 4) Each 4k screen you drive should have 4GB of video card memory, ie. running 2 x 4K screens = 8GB video memory I'm on i7-4770K, 32GB. Will try a test now.

I think it was Minolta. Because I went out and bought the 50mm 1.7 because of the video. I wasn't aware the adapter needed corrective glass to reach infinity... I probably didn't know what infinity was to be honest.

BMD's customer service hasn't exactly been stellar either, and they're native English speakers so not sure the comparison really holds water. To me, the advantages of the Terra cameras over BMD are the higher ISO, less FPN in the shadows, lighter weight, cheaper media, ability to add speed-boosters, and more lens mount options. The Ursas obviously have native RAW support via Resolve and faster shipping times. and the UM Pro has native ND which is huge. They're very even competitors in my book, all the way to their near-identical pricing.

This footage got plenty of light. That is the key to cinematic image. I love the sharpness of the kowa on this video. Also, the colour wheels are tweaked in a very good way

I love the closeup on the eyes! In regards to the WA adapter, tests on my modded B&H produced poor results. I believe this is because the helicoid sets the WA adapter too far from the front element of the B&H. I've decided to bite the bullet, and engage a machinist to create an aluminum part to replace my polyurethane. We reviewed all the pieces my mod to ensure that this new part will fit properly in my custom support bracket. I should have a final product in a few weeks. Cheers, |. . | .|

Couldnt it have been called preview? Amazing AF is already nice for a headline. But gonna watch it anyhow. Thanks, Max! Edit: Well, just watched it. Great preview or review. AF is impressive in video and photo!

Yes, there is this one called VideoLut It has an iPhone version https://itunes.apple.com/gb/app/video-lut-colorgrade-video-editor/id1082340556?mt=8 And an iPad version https://itunes.apple.com/us/app/video-lut-color-grading/id1170270352?mt=8 It has a bunch of presets and you can import additional ones of your own. The LumaFusion app is quite neat for editing as its allows a bit more picture control than iMovie. https://itunes.apple.com/gb/app/lumafusion-pro-video-editing-and-effects/id1062022008?mt=8 Whats good about iMovie though is that it does have a route into finishing your projects on FCPX (and by extension Resolve via XML) as it can use the desktop version of iMovie to act as a bridge between the two. Why they don't just let you put it straight into FCXP I don't know but the path exists albeit slightly convoluted if you need it.

As I don't have the GH5 myself yet I thought I'd just post this link to Luke's anamorphic shoot on the GH 5 re the videos comment.

Yep, a lot of the GH5 footage I have seen also, to me, could have been shoot with a GH4. I mean most footage does Not Have to be shot in 10 bit. Heck I would think it would actually hurt the footage if you were trying to make it look like s16 film stock! And I also wonder how much of the A7s, even A7sII is being shot in camera, or is a external recorder used, and do they have an influence colors wise, etc.??As far as I have seen the GH5 does not hold a candle to the ML Raw coming out of the Canon 5D mkIII. Glenn and others have shown that thing can kick some serious butt. Not even close to a BMPCC as best I have seen. Now I guess if I was doing a commercial spot, a interview with men in it, I would use the GH5 over the other two. I can see its use, but not for being old school looking. I think it is never going to have that look in my eyes. It looks videoish. No real surprise, so does a A7s, on and on. Not my cup of tea. But what I want is not the target audience of the GH5, A7s. So I guess they have done well with it for the masses. But it won't be on my short list for Christmas. I think a lot of it maybe using 4k. I really like 4k for certain uses, but really don't like it for most stuff. It is Too good I guess, is what I am saying. Maybe down sampling it to 1080p would let it have a better output for a film looking grade. And I would guess most of us on here Are looking for a great Film looking grade output. But the $64,000.00 question is, is the GH5 the vehicle to do it with?? I guess the jury is out yet on that question. Too soon to know. But overall I don't see how it can be beat for the money. It has some serious stuff in it. I don't think we are Ever going to get a Arri output for 2000 bucks LoL. Well maybe the 5D mkIII, hmm.

It's probably the H.264 compression that maxes out your system. I transcode everything because my system also doesn't do well with H.264.

Sorry for the late reply, I was on a business trip and didn't want to post from my phone. I think a big advantage of the A7s II / A6300 / A6500 over the older cameras is S-Gamut3.Cine for shooting in S-Log2/3, it's not as easy to botch the colors (which are a bitch to get back in the 8bit material) as in the older S-Gamut which seems to be super sensitive to the ISO/WhiteBalance. Another reason as I understand S-Log2/S-Gamut often looks so bad is because people try to "bend" it back to Rec709 by incorrectly adjusting saturation and contrast instead of using a technical lut for the transformation. I like things that just look good, I'm perfectly fine with stylistic grades. So, some stuff I subjectively think looks quite great is a combination of the actual color with the cinematographic choices of the shooter, lenses used, etc and I realize that other people maybe think it looks bad. But here we go, in general I think people who nicely show what the Sonys can do are: @Naive Studio https://vimeo.com/naivestudio Pono Grace https://vimeo.com/ponograce (but I'm not even sure, I think he still shoots with the A7s) Ricardo Fasoli https://vimeo.com/riccardofasoli Tu Nguyen https://vimeo.com/tunguyenwedding Guess I'm a bit torn to that stylized wedding look haha (will never voluntarily shoot a wedding in my life, not video nor photography) Like discussed so much, I think the good results are because of the whole package and not because of the camera and in the end it doesn't matter what you shoot with as long as it enables you to create what you envisioned and doesn't fight you doing it. I'm convinced I'd love what these people shoot as much if it was on a GH5, 5D IV or BMCC. I'm also seeing a lot of A7sII, GH5 and BMPCC footage that does nothing for me.

You can also now access text tools in the second tab of "Essential Grpahics", but these don't appear in the bins, confusingly enough. You also wont be able to use these without first selecting the type tool and typing on the frame. Also, in essential graphics, you can't type the name of a font you want, only the first letter, so if you have lots you have to scroll for days to get the one you want. It's just all a bit... shit. It's just really disappointing. Lumetri panel was a breath of fresh air, great accelerated grading in the timeline, this new update feel like some kind of mess. My only hope is that theyre leaning towards integrating the whole production workflow, but the suite is now spread out across so many different programmes, betas, tools and even some abandonware (Speedgrade) that something as contained as Resolve makes it look like a bit of a bad joke. Once resolve editing is as swift as Prem, it'll be a no-contest. It may well be for all I know. But I'm now a decade-long user, who has started learning a rival piece of software... The question is: do i really to give them £500 a year to give me occasioanl beta updates? I'm not sure I do.

Meanwhile Resolve gets Fairlight Audio. I think I'll let Adobe's new team rock back and forth in the corner for a few years while they figure out how to add Titles to the Menus.

I can't test this out with any real movement at the moment as its pissing down outside and much as I like to contribute, I'm not going to get soaking in the process! Anyway, here are a couple of stills I've just done using the 10-24 and for a comparison a speed booster Nikon 14-24 f2.8. That particular Nikon is one of their so called holy trinity that even has a big following amongst Canon landscape shooters so whilst its interesting to see how the Fuji compares to it at about half its price, this test at close distance and reasonably wide aperture (f5) is not in the 14-24mm's comfort zone (particularly as its on a cheap speedbooster) so ignore the soft edges as its within expectation under these conditions. It is purely there as a demonstration of a non corrected lens to show you how the native Fuji lens is being corrected. Here are the links to the original files. Fuji 10-24 https://mega.nz/#!lnZxkDKA!K_enymlxtptOM9oHg8NAHR-ZalNjpK-U8UZ53WlEr90 Nikon 14-24 https://mega.nz/#!Fm5QAbzZ!PXOFWjOpC6mKM6jDVMC_MPPGls904qqRCe3VGaJrPnw There is also a very short 4K video file of the 10-24 so you can see the correction being applied in video (and the crop factor for those interested in what happens to the X-T2 in 4K). The dip and correction in the first few seconds is a genuine physical movement as I had the camera on the work surface and was stabilising it with downward pressure and moved it slightly. As you can see, this is completely distinct from the behaviours shown in the other videos. Fuji 10-24 4K https://mega.nz/#!ZqBkAJSa!Cif-oIkckiplwdMX4IBe-w5vyncuXIbl48G5ldR-HWc Everything is straight out of the camera on the standard profile, manual focus and no OIS.

Pretty amazing how well the price of the original, used, Sony A7s still cost. Goes without saying, it still is a hell of a good camera. I would like to have one.

I really don't have interest in this camera anymore. The URSA is too close in price with much better support. If I had plenty of spare cash I might have bought one to experiment, but for work? No, no longer the price/performance king.

It looks great!...as does the design!...beautiful production value in your film, and the GH5 delivered as well!...can I ask which of your LUTS you used?

@webrunner5 We obviously talk about a variable sensor, not a m43 one. I do not own or have any m43 glass or cameras while I have a lot of different lenses for different mounts, I just express the versatility of such a thing, and why not, but use some m43 glass too (even though we use EF lenses with LS300 right now!) with a smaller, and all around camera like the GH5, or other. I thought that JVC is owned by Panasonic by the way, and I do not think that having a sensor, and take parts of it is copyrighted or whatever! That would be an obvious upgrade for a lot of m43 users that started video productions with the GH series cameras, and would help (or at least support and defend) their native sales too.

I'm just trying to share with the community. Take it or leave it. I'm sorry you don't believe me. We will see in about a month if it's true or not.

The licensing excuse is not the real reason that camera manufacturers don't provide shallow mounts. M4/3 works fine for up to S35, and there must about 5 zillion ways for manufacturers to allow a female E-mount mount (or an EF-M mount) on their camera/adapters, while avoiding licensing problems. One easy way is to simply provide a front plate with just screw holes and the end user can purchase the female e-mount separately. I saw the Kinefinity e-mount adapter at NAB, and it is definitely the way for camera manufacturers to go -- provide a shallow mount (simple mount plates are best) and make adapters for every possible lens.

Yes, but you need to boost the exposure for ML DNGs.

I seriously considered the Kinemax...liked the image from that camera a lot...but found communication with both Beijing and Berlin a bit vague...not quite sure how else to put it....but if I was going to spend $10k on a camera, I was looking for more in terms of support and clear communication...I thought the image lovely though!

Arguably. Depends. A shorter handle is easier to hold with one hand, whereas a longer one (or prolonged, i.e. with folded table tripod) is easier to hold with both hands - for occasions when you don't move much with a heavy camera/lens or in inverted mode. The same is true for the dual handle. Useful for certain shots, not so much for others. I experiment a lot. Screwed the Zhiyun on a monopod, screwed a hook at the other end, hung my camera bag on it as a counter weight and had a makeshift crane indeed. Wondered how to perform the perfect dolly shot on my parquet floor - too uneven for a Pico dolly, as I had learned before. I stuck a soft broom at the end of the monopod and shoved it gently (instead of wheels). Not a brushless gimbal any more ;-) Version 2 looks like an improvement. Still happy with mine, but for those who still don't have one it could be better to wait. Battery life of 12 hours seems to me kind of overkill.

I just got my GH5 today. One of the things I'm going to want to do is to match V-Log to ML Cinelog. In the process of doing that I'll probably be able to make such a comparison for you. But it will take a while as I don't have V-Log yet. For those of you that are ML users, check out my Ektar luts. TWISTED - this one is easy to use: https://www.magiclantern.fm/forum/index.php?topic=19338.msg183659#msg183659 ADVANCED - this gives amazing contrast but takes a bit of effort: https://www.magiclantern.fm/forum/index.php?topic=19338.msg183803#msg183803 ML footage needs to be in Cinelog-C or else Alexa Log C

A well respected member at dvxuser wrote this earlier "Just got this info about the new camera. It will have a S35 sensor and 14 stops of dynamic range. 4k up to 60fps. 1080p up to 120fps. All the usual stuff like ND, SDI/HDMI out. The body is very light weight at about 1 kg. Media used will be SDXC cards with dual slot capacity. The camera pars can be broken down and the shape of the camera is a mix of C100 and FS5. As is the price in the league of a C100 mkII." Would be pretty amazing if true

I wouldn't be surprised if they put the A9 sensor in an A7S body for a video oriented release. Given the advances in sensor technology, it is possible that it would be just as good in low light as the A7Sii as both have full pixel readout. The advantages of a 24 MP sensor are clear for photography and video, and give you digital zoom/full 4K at super 35. Maybe even 4K/60p at super 35 if the readout is fast enough, and hopefully better quality for 120 fps. The new longer life battery would be a bonus, but dual cards are not essential as video users are used to dual recording. Improved AF and a more affordable price would make for a very attractive option.

I wish they had released all 3 models at the same time. A little sick of playing the guessing game.

Hey Kidz, thanks for sharing your vids. Great examples of different colorsciences and your great practical approaches throughout your camera owning history. All put into really cool use to film something cool. Great stuff, visually and color styles wise! So, overexposing then with Portait profile? Btw, what are your preferred focal lengths? In S35 terms, speedboosterd m43 that is, I really enjoyed 24mm and 28mm, loving the 40mm as well, due to my tokina 24-40 I guess:) Pretty much all of my early stuff I shot with my 28mm FD. This is a repost, so sorry to all of you, who´ve seen it before, Panny G6, natural all -2 and graded with 28mm at f8. And variable shutter:)

I have yet to see any footage from this camera with good dynamic range and nice looking colors. Hopefully, the summer firmware fixes that or else the a6500 with its own issues seems like it has a better image at a much lower cost and 8bit.

I was just at the Sony press release and spoke to a Sony Rep. there was literally nothing interesting at the press release. I told the rep I was hoping for a Sony a9s and he asked me why? I told him it's because I want Slog and better video features. He then asked me "why why don't you just get an a7S II?" I said I want phase detect autofocus and the better battery. He then said "well you're going to have to wait a long time." conclusion: nothing new here. Looks like we will wait at least another 6 months before we see anything. At least I got a free cookie.

Too stylized and too muddy for my taste, but hey, that's what makes the world go round.

hahahahahahahaha It IS true.