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Hello. I'll maker this short but informative. Firstly, I sold my FS5 Raw setup - took a big risk, got a GH5 to replace it. The reason was mostly down to portability. Recently shot an entire paid music video with the GH5 and some stuff on the A6500. I'd never used the GH5 before - it practically just came out the box. Shot in Vlog L. Had an awesome experience. Main Pros IBIS. Much better than the A6500. Invaluable. Speedbooster XL gives a very different look to typical M43. Sigma ART's + XL = win! 1080p 10bit modes are fantastic. Made the A6500 in 1080p look fuzzy and blurry. Body design is one of the best I've experienced. Battery grip definitely gives a steadier feel to handling and definitely gives a higher impression to the client. Big impact. VlogL is fairly easy to get into (coming from Slog). Colours are accurate and lovely when graded. Custom white balance is very quick and easy. Menu system is pretty nice, especially the My Menu bit. Way better than the A6500. Small and powerful enough to put straight onto the Zhiyun Crane and Edelkrone Motion Kit. Battery life is decent (but nowhere near as good as the GH3 - which was ridiculous). EVF nice and large. Again much better than the A6500. Full Size HDMI. Yep. Main Cons (I'm being picky here) CineD skintones - finding it hard to get it where I want. Looks very odd off the bat. I need to work more on this as V-log isn't always the best profile to use. Photo Style options are very lean (compared to Sony). Not a massive deal, but would be nice to have more options. Autofocus is essential for my gimbal stuff. A6500 is excellent here. GH5 before V2 firmware is not. Hopefully this is reliable now. Dynamic range is a bit less and steeper in the rolloff than what I'm used to. Again, need to mess round with things to get it smoother in the grade. I think the record button is in the wrong place. I just use the shutter button anyway. Overall An absolutely outstanding piece of kit. I've only used the camera for one shoot, but using this camera has already made a big impression and is already serving my creative choices to a greater level than the FS5 did. I've not updated the firmware yet, but what Panasonic have give us is an incredibly valuable tool with almost very single feature you could ever ask for, or actually need. With a great emphasis on online video distribution, and video being consumed on smart devices - if that's how you're playing it, I would say you would never need another camera for a very long time. If the Autofocus is reliable in V2, it would relegate my A6500 to just a carry around camera. Got to say, I'm incredibly pleased and looking forward to shooting more. (see below for quick VlogL grade).

I am usually not that excited by 360 cameras but the OverCapture mode of Fusion got my attention. Imagine how this can be used for event type shooting, like weddings. Expensive but exciting!

Super short on "The Wrong camera" made by Paul Ream extrashot.co.uk

I put it together, I found these on Vimeo. I was looking at this camera 3 years ago, and found a lot of these examples on Vimeo. I ended up buying three of these F3's, as the price with the S Log RGB was $1,800 to $2,000 (with a few extras as well!) you can't beat the F3 for the money. And built very well with all the HDSDI outputs. I find it can shoot just about anything you can throw at it I recommend the Optitek FZ to Nikon or Canon lens convertor, it's rock solid and locks the Nikon or canon lens on the F3 without any jiggle or play. I use my Odyssey 7Q+ and together they work a charm.

Yeah, crazy how the tools in cinematography can change over time, it is so fast that sometimes is hard to keep up with all the new tools. I was aiming for Hero 6 then I found out about Fusion and now I am in confusion.

Also the Hero 6 was announced.

Ain’t that the truth. I am in no place to tell someone how to spend their money, god knows I’ve spent a small fortune of my own but as a hobbyist that is also interested in the conveniences of cinema cameras, I cannot rightly say that I could ever justify a $4500 price tag just to have 4K, when the majority of viewers will never see the benefits. In my opinion, if Arri hasn’t felt the need to release a 4K camera, then I don’t see why anybody on here really NEEDS one. So with that being said I feel the OP should get whatever he wants for whatever reason he wants, but I would still suggest either an F3, a C100ii or C300 or I guess an LS300 or FS5 if he really wants a 4K camera. And if he wants one on the cheap then get an LS300 but he should be fully aware of the build quality before just hitting buy it now.

Hi Just because they are identical doesn't mean they are of course. A lot of manufactures will buy in NAND memory from wherever is cheapest, and even if the same they will be differing quality. In the same way Intel CPUs are mostly the same with the best off the production line running and sold at higher clock speeds, NAND works in a similar way. Also as the NAND is used and bad blocks are mapped out, the speed and reliability will vary. If it works and it isn't a V60/V90 card, it's a lucky find, buying the exact same again you may not be so lucky. V90 cards are using the cream of NAND memory and a different recording protocol to achieve a guaranteed minimum write speed regardless if the card is fresh out of the packaging or on it's 100 use. This is why they are more expensive and harder to come by. Regards Phil Hi Me neither, and the likely hood of the final output being All-Intra is next to none, even if there was a visible benefit, it wouldn't be delivered that way. Also IPB in the GH5 codec isn't really that long of a GOP, as usually just 24 or 60 group of pictures is used in the GH5 for a group, in comparison internet streams or higher compression rates will see 200 or more before a clean I frame. So cameras like the GH5 don't really suffer from motion issues caused by the compression anyway. Regards Phil

That's why I feel like there should be something in between of 1080p and 4K, like 1440p, 2K/2.5K or 2.7K. Gives you more wiggle room for a touch of reframing, fake zoom/slide/tilt and stabilization, might be better quality than FHD when downsampled and allows for higher framerates than 4K.

Just linking to the post I made in the "shooting" forum of a 9-month documentary project I just completed with 2 GX80. The shooting details, etc. are in that post. Thanks to everyone who freely share information on this site as I probably wouldn't have attempted something like this without EOSHD as a resource!

I think it's because of all the other shit it will do.

Shot this throw away footage about a month ago. at the time I was all into that Steve Yedlin post and talk about resolution and haliation (is that how you spell it?) Went on a tear looking for a some Tiffen filters from my NX "S" Lenses average price was $100+ for a pro mist black. I scoured until I found a Pro-Mist 3 for $18 on amazon. I was walking past a classic repair shop and found these subjects... I put mega film grain on it trying to match that Yedlin look. All Hand held stuff. and if for some reason you want the 1.8 GB output from resolve (not sure why) its here https://drive.google.com/open?id=0B0mz6D_bQOx7dHRLZzJ4bThCdm8 Next Test I got a Tiffen Ultra Contrast Low Light....

Thanks @PannySVHS! The interview with my Grandpa was the first edited video that I did and when I shot it, I did use two EP-5 (which I loved at the time due to the tilting EVF-4). However, I found out about the Rode Reel competition and realised I needed to do a behind the scenes and by then had already sold the Olympus cameras for the Pannys so needed some creative B-roll for the BTS. It takes a sharp eye and a camera nerd from this forum to pick up the continuity errors I did a longer 10-minute doc on my Grandpa's life which screened at his 100th birthday in front of 200 people, and unfortunately his funeral at 101 this past spring in front of about the same amount of people. I'm also working on a doc of my brother who is preparing for the 2018 Olympics in Skeleton. Still need to do the interview though, although I'm a bit scared to throw him off his game by going too deep with questions and his 10-year struggle! Maybe a retrospective doc instead... Loved the LX100 (wish the colour was better, would buy a LX200 in a heartbeat with better IBIS). Liked the tilt-EVF on the GX7. Love the GX80, but wish it had a mic-in and a better EVF. Going to sell one of them now (and some lenses) for the GH5. I don't think I'll ever get to the aesthetic quality of the images that I see from people on this forum, but I'm going to do my best to continue to find interesting stories in my community to document. Thanks for the feedback and for all that I've learned from people who post on EOSHD!

What makes it cool is ease of use for these advanced effects. Lots of creative possibilities! Next they'll add depth sensors so we can simulate any camera/lens in post

Yeah I get it, I just believe that conversations sometime evolve and great information can be had from that evolution... so I guess I just don’t see the big deal if a side conversation occurs. But it’s not my forum, just my opinion.

Looking nice Jon... unsure if a matte box would have made that much of a difference. If you get a few minutes can you do a side by side between the G85 and the GH5 with a Veydra lens? And if you’re feeling really generous, I would love to see a side by side of the external ProRes on the G85 vs the internal GH5 video.

Hi Taken from https://superuser.com/questions/847016/performance-difference-between-sd-and-microsd-cards What I mean is, we might be lucky and have a card that whilst it isn't rated V90, seems to perform okay, we then buy 4 others the same and find they don't work reliably if at all. If it doesn't have V90 on it's label, then it isn't a V90 card, so whether it works or not is somewhat down to luck of the draw. The card could also be so borderline, that it will work for the first couple of shoots, then fail consistently on the third. The only way to have a V90 card is to buy one. A card that isn't V90 is a different beast and is written too like a file system, whereas a V90 card switches the camera to recording in a more efficient and reliable way, probably why you have to have a least one of these to allow the camera to work fast enough to write a backup to both cards if that mode is selected. Regards Phil

Yeah, whatever is your budget for a camera body, go ahead and double it immediately, then double it again! Once you add in accessories + lenses + lights + audio + tripod + etc.... it is very easy to blow waaaaaay past that!

Looking great. Had to dl and grade that footage pretty quick:)

Producing your own content is a good long term business model because years later when the repeats air on other stations, you can earn a lot from the syndication fees. Once Stranger Things is old and no longer attracts new customers to Netflix it will be on cable and other streaming services and Netflix will get paid for every view.

Fun video, just had to watch two episodes from their channel. Down to earth and delightful presentation. The presenter comes across a bit like Phillip Blooms older brother. I enjoyed just listening to the audio of this video. So, UMPro is good in low light indeed

What specifically is he saying? If he is just vaguely say "it is not good" then call him out on his bullsh*t Get an Atomos Samurai Blade like I did (or get a BMD VA), you can find it secondhand for just $300ish. Or buy new for $500 SSDs are dirt dirt cheap these days! We are not still living in the days of the BMCC when it was first released, and you had to spend a minor small fortune on recording media. A full Kinemini package for $4K would be good too, did you know they just recently announced a Terra 4K as well? US$4K for the brain. They shot a bunch of other things with their KiniMINI as well: Basically we live in a fantastic time, any of FS700/F3/Kinemini/Terra/BMMCC/BMPCC would be a excellent choice that great things can be made with!

As per the picture CInegain put up, the UHS-II (non V rated) cards work fine. I can't test the dual card record function though and it might only work with identical V60 cards. So considering both those points, everyone is right.

If the light doesn't change, and you make sure WB & exposure (and of course all other camera color settings) are consistent across clips, then yes using one LUT can make things easier. Of course using the colorchecker every now and then wouldn't be a bad idea.

I guess so, but I've always found the Alexa keyed a lot better than the Epic and F55. And that the cost of a fiber network plus storage and render times to support 4k pushed budgets up insanely high even for 2D work. That's true, though. That's a fair point. On high end stuff the cost of the network and storage must become irrelevant.

It is true that in most cases we don't need 4K, HD should be good enough. But to get proper HD, we need oversampling and therefore we need 4K.

So many people vlogging nowadays and using their own voice in their films. Its very personal and I love watching it.. but I've never done it myself! I film a web series with my good friend Sean who is a very talented chef. He usually does any VO or narration. So here's our latest episode and a bit of a new thing for us, we go down a street in Rochester NY and take you to all of our favorite spots to eat and get groceries. We had some fun and it feels good to inject a little of your own personality into your content. Not vlogging yet.. but a step closer. Enjoy

Just came across this and thought I'd mention a solution that worked for me. I used to find the camera gave very noisy darks as well in log mode. However I found out that once I'd switched to J-LOG I then could change my gain settings to -6db instead of 0db. This made a huge improvement on the LOG output of this camera for me. Not sure if you were aware of that, but worth a try if not.

Saw this tweet: "John Wick 2: 2k, Alien covenant: 2k, Arrival: 2k, Fury Road: 2k. Do people really think they are getting actual 4k resolution movies?" https://twitter.com/RuairiRobinson/status/912865327221846016 People shouldn't feel pressured to buy a 4K camera (plus almost all VFX, with some rare exceptions, is not done in 4K! And with how VFX heavy films are these days, even the 4K films are typically having a lot that is not 4K)

We were making "film" back in the day, not video! My 3 years old phone has better video than my first video "camera" in the 90s! @Amazeballs my posts just trying to put things in perspective. I understand your enthusiasm and need for better, and cheaper, equipment, but innovation and adaptation by the masses are not a given, and can't happen instantly. There are many reasons for this. Majorities are basically conservative (that is why in democratic countries conservatives/right wing parties are the norm, and a few billions of people do not even have democratic/forward thinking political systems), and they do not adapt very well with new and ground breaking technologies, one of the reasons that Canon is still number one, and in most parts, Nikon is number two. Their products work, and do most basic things good, and photos and videos just look good to most; also they have a history that people can connect with. Then, companies spend a lot of money on R&D, Canon probably spent a few good years, and put a lot of resources on their Dual Pixel AF, they had the pleasing colors, and they bet on AF second, and they won that bet. Now, they have to cash on, and make money, to turn some resources to something else (my guess is thermal management, GH5 is as big and as heavy as a dSLR to not overheat). They can't instantly sell for cheap, something that is putting them ahead of other competitors, that spent so many years and resources to make. Panasonic worked a lot on codecs and thermals. Sony is working on sensors and cheap bodies. Fuji on a complete ecosystem (lenses)and trying to up their game in video. Nikon does nothing. It is called evolution, it took billions of years and a chain of events for us to chat on this forum, just chill for a couple of years, try not to destroy the planet, and your next tools will be much better than the ones you have now; Or that is what the last dinosaurs were discussing before something fall from the sky. [the new Star Trek Discovery looks promising, by the way]

Note that pretty much no one could guess the right camera order in the A7S II, C300 II, 1DX II side-by-side test on EOSHD: And even on the more 'working professional' oriented dvxuser: http://www.dvxuser.com/V6/showthread.php?346890-1DX-II-A7S-II-C300-II-Compared-Side-by-Side I'm currently selling a bunch of gear, GH4, A7S I, Panasonic and Sony lenses... These posts have me seriously thinking about selling the A7S II (along with Speedbooster and MB IV adapter), and getting an 80D or 5D4 as the light/travel camera to replace the A7S II. In this 80D vs. Alexa demo: I have a pretty good idea how to get the 80D looking more like the Alexa with a custom picture style and WB offset. The 80D looks a lot more like the Alexa than the A7S II, it has DPAF, and can use all my Canon lenses natively (with AF). The 5D4 might make more sense if the 1080p is similar to the 1DX II (color/look is more important than the 4K crop). If the A7S III has something close to Canon DPAF, it will be worth a look (especially since they'll likely improve color quality and IBIS as well). Until then I might let the A7S II and Sony lenses go too...

The Sony PMW F3 was and still is a great camera! Just had to post some great examples of what can be delivered with this camera. Copy and paste only the underlined. https://vimeo.com/93482666 The Caravan https://vimeo.com/100404599 One In - All In short https://vimeo.com/82889552 Someday Soon https://vimeo.com/231103934 AFI https://vimeo.com/41164521 Mr Roberts short https://vimeo.com/95472923 The Good Wild Man by Grug (Dreamsmith Presents) https://vimeo.com/24823960 Insect https://vimeo.com/83833648 Trinkets short film https://vimeo.com/67683780 Inside Fighter short https://vimeo.com/33312169 Goosebumps https://vimeo.com/201181688 Agent F teaser https://vimeo.com/24606481 Indigo Teaser https://vimeo.com/55131809 Ice -cream Harrods https://vimeo.com/173607846 Invicto comercial https://vimeo.com/136651224 Comercial https://vimeo.com/136658635 Comercial https://vimeo.com/151151128 Fashion Ad The Clubsuit https://vimeo.com/189398621 Rocks and Splashes https://vimeo.com/36493981 Wish it Was True Music Vid https://vimeo.com/58104857 Rick - Tysabri by Ed David https://vimeo.com/50934216 Duracell by Ed David Ed David https://vimeo.com/138387726 Heather Hardy by Ed David

Netflix Originals are most likely Sony or Red because of the "4K" requirement (which seems like a political thing against ARRI domination, and perhaps a reason behind Steve Yedlin's recent resolution test. Alexa 65 is rental only and not widely available). Sony pro video cameras have been traditionally more reliable vs. Red (which in recent time is also pretty reliable), and thus Sony is a good guess. And then I looked it up ;). Watching again on the desktop with a high-end 32" calibrated 4K Dell display (vs. on my iPhone when originally replied), it does have that Sony video look. It's suppressed mostly by using low-contrast/glow lens filters (see glow on very bright areas), expert lighting, and expert grading. The recent Sony camera which doesn't have that inherent video look is the F65. Using the F65 for a Netflix production is probably too expensive (storage) and maybe the camera size itself is an issue (It's dumb, but people choose gear based partly on how it looks. The F55 is a lot sexier than the F65. This was pointed out by Lucy's DP when they chose the F65 vs. ARRI and Red based purely on image quality (Red used for some shots)). Can I get results I like with Sony, sure, with a lot of work in post (A7S II): Simple camera-specific things that help make an image 'filmic or cinematic': High color fidelity: lots of colors and color variation. For the final 8-bit render, lots of color/tonal variation is used and maximized. This is especially important for skintones. If we remove color and view the image in grayscale, we look for tonal variation in light & shadow, and texture detail, especially in skin. High intensity white is rarely if ever seen. In a sense, filmic tends to be lower dynamic range than real life. Highlights don't clip very often, and when they do, it tends to be a smooth effect vs. a hard clip. Noise adds texture and even when it's subtle does something to make the brain think the experience is more organic, more analog, vs. digital. Perhaps acting like temporal dithering in a way. Motion cadence and motion blur- more subtle, though people notice differences in motion, some cameras are more pleasing than others. Then we can add low-contrast/glow filters, lighting (most important), color grading/look, story, performance, sound (especially ADR and Foley), etc. to get the full filmic/cinematic experience. Shallow DOF is not filmic per se, as some directors love deep DOF, and ultimately depends on the story and emotion of the shot. ARRI, Red, and Canon (in that order) tend to produce the most filmic look with the least effort (Black Magic is getting there, and once reliability and quality improves, will be a contender). Sony and Panasonic don't look like ARRI, Red, or Canon (F65 and Varicam come closest). We've all seen studio tests where a bunch of cameras are graded to match and it's hard to tell them apart. For actual productions, the cameras that produce the best results with the least effort, are the most forgiving of errors (exposure etc.), ultimately produce the best results over time. And we can see why ARRI dominates, and why ARRI in general looks better than all the rest. It just takes the least effort. Red looks pretty good lately but still hasn't matched ARRI (and also takes more work in post). In the next tier down, Canon takes less effort than Sony or Panasonic. When the C300 II was priced higher, the FS7 got a brief boost because of the slomo craze, however now that the C300 II price has come down, that's not the case anymore. Look on eBay and see all the FS7's for sale (a bunch last I checked) vs. C300 II (none last I checked). You can also see true value by studying used prices. The 5D3 held it's value for a very long time (and still does relative to similar Sony and Panasonic cameras). 5D3 raw looks better to me than the F55 (but not the F65!). So if you're letting us know the mystery camera was the F55, then all I can say is wow! A fun exercise would then be, how do we intentionally make footage look like video? Use 'bad' lighting- low CRI/TLCI, unflattering light positions etc. (low CRI/TLCI will help with (4) below) Clip the highlights and/or blow out the whites frequently, especially in skin Go crazy on noise reduction- little or no noise, especially in skin. Reduce texture as much as possible to get that plastic look Massively reduce the color space. Imagine an RGB cube, representing all the possible colors. Now compress/crush it so many original colors are now mapped to the same color (quantized). This is especially important for skintones: the less color variation/tonality the better. Underexposing and/or shooting in very low light and using aggressive in-camera NR can also help (both (3) & (4)), then bring it back up in post: low noise/detail and low color variation! Enhance Magenta/Green instability. Meaning, make the highlights tend toward magenta and the shadows tend toward green. Make it impossible to get natural skintones without needing advanced / secondary color correction Produce a motion cadence / motion blur that makes 24p look like 30- or 60p That said, really "old" video, as in tape, has a fun look of its own, as with Kung Fury: Still looks great, was shot on Canon 5D3 and Sony FS700 (slomo). The FS700 footage needed less "work" to look like video (again, had one for a few years, great slomo, (internal) color was a challenge (external recorders look better)). While I agree that just about any camera today can be made to look filmic/cinematic, ARRI, Red, and Canon (and even BM) make it easier than Sony or Panasonic. We each have our own priorities, and for me number one is skintones. I still use the Sony A7S II when I want to use something small and light (the 1DX II is really right there for usable low light with the A7S II). However, SOOC the A7S II footage will look more like video than the 1DX II (esp. with my custom Filmic Skin profile). In the studio with high quality lights, the A7S II, C300 II, and 1DX II can match fairly closely (would need secondary CC to fix A7S II lipstick): As mentioned many times before, comparing Canon (or ARRI) to other cameras that one thinks looks good, is a useful exercise. Using a Canon camera as a reference for Sony is what led Andrew to start making picture profiles for Sony to match Canon. If Canon wasn't 'better', why bother? ARRI and Canon aren't perfect, however so far they are tools which provide the most pleasing color/look (esp. skintones) vs. the other brands for the least effort. Is anyone selling Red, Sony, or Panasonic looks for ARRI or Canon cameras?

The PanaLeica 15mm isn't too expensive considering it is an above average quality prime. The design is lovely. I haven't really appreciated a lens design before this, so I think whoever made it at least had Leica in mind. I love having the aperture ring. Lost the Leica cap yesterday in a taxi. Maybe I will look for a Sigma one to replace it

Even 900$ is a silly number. You had to pay double the money a couple of years ago for similar things, triple the money for much less 5 years ago, before that most things that it does weren't even possible. Canon's latest M cameras cost as much, or more doing much less (except Dual Pixel of course). You have to put things in perspective. For some, GH4 is still the second best m43 video camera, with even 10bit capabilities. GH5 is as new as you can get. There is a 2 month waiting list in my country, I do not see a GH6 possible for at least 2020, but I see a couple of more significant hardware updates in the next couple of years. Firmware 2.0 it is just out by the way, and tell me what other camera does all those things for less than 1999$. Only Sony is close to reach Dual Pixel, and all their latest cameras are nowhere near the Canon AF experience.

I got mine for a while now, and it sill surprises me video & photo wise, its a very impressive and versatile camera once you know how to work around its weaknesses (video frames)

Here's a series of screen grabs from some video today...critique?!?

You ever noticed this on the SanDisk UHS-II's tho ('4K @ 500 Mbps')?

Well, @gethin , this again: Though I've seen one ADATA card with V90 classification that fails to follow this logic, but I would still prefer other cards because it does make me wary (dropped frames and whatnot). I personally will keep getting SanDisk cards, they've been holding up superbly since the GH2 and BMPCC days and I've tried many brands since, but SanDisk are the ones that has that lasting impression of high standard, high quality. Their R95/W90 cards later got classified as V30, so I can imagine the W280 and W300 cards will keep up fine too in the V60+ segment. V60 (or V90 if you feel like it) is basically what you'll need for the FW update (and wanting to use those high bitrate settings). Before 150Mbit/s ~ 20MB/s, V30 of not even, should do, but I'd buy stuff with an eye on the future.

Nice, which city? I reckon you can recover some highlights in the sky with the Highlight/Shadow LUT that comes with it by the way! Beautiful skintones on the Pro LOG / WideDR1 shot there. Really shows the cold zombie Sony standard up for what it is... clinical! I like that all of these are subtle enough to just look at and enjoy without being distracted by the styles themselves. The LUTs benefit from tweaking in Lumetri after applying to a shot rather than slapped on, and it seems you did a great job there?

Yeah, no problem! This is a 30 second teaser. We're saving the actual trailer for much closer to the release date. This film was shot on a GH4, by the way.

I disagree, an active m4/3 mount makes a lot of sense. You could keep the s35 sensor and bundle the camera with high quality m4/3-EF locking adapter, like a higher quality Sigma MC-11 E to EF adapter, and use the full sensor for s35 glass. For m4/3 you can use a crop of the sensor -use the smaller crop like the GH2 multiaspect sensor -so 1.86X crop compared to full frame, so would be a reduction in resolution compared to s35 glass but you are starting with 5.6K so shouldn't be too bad. That way you keep your high-end camera market happy with an active EF option, you keep the GH4/5 users who have invested in m4/3 lenses happy with the option to use the same glass and have a smaller, lighter AF option for run and gun, you can potentially use a speed booster and you can adapt pretty much any vintage glass to the camera. If Panasonic itself won't support m4/3 for video then I don't understand why are they spending $$$ on developing GH5 and pushing it hard for professional video use.

@jax_rox...I only own 4 Panasonic native lenses...and I bemoan NOTHING...I'm expressing why this mount and camera means nothing to me...please refrain from inferring that you have any idea of my intent with my equipment...you don't....I am expressing my point of view re why this camera does not suit me with an EF mount and I don't give a fuck who Panasonic targeted with this camera...but it's not me...and as for the value in being able to adapt a multitude of lenses to one system....plenty of forum material on the internet.

Why not just be happy to keep the A7S rather than waste emotional energy "wanting" a sports-journalists still camera? The A7Siii might offer more of what you require for a video upgrade but until then you have a camera you "love" so it's a good place.

But then it wouldn't be SLog. CLog was designed for the C300 - a camera that recorded compressed footage at 8-bit. Slog wasn't. The implementation of Slog seems to have been to bring their product line-up into, well, line, with each other, so that whatever combo of cameras you shoot on, you should be able to pull something together that will cut and grade quite similarly. If anything, Sony should have included other PPs that were a bit more user-friendly, a bit more C-logish. Less drastic a curve than Slog... Oh wait, they did include that, as well as the ability to custom dial in whatever combination of settings you want. The problem isn't Sony, the problem is misinformation and lack of education. People tended to equate 5D's Cinestyle with log (which it wasn't) and I guess assumed that Sony's log would be similar (which it isn't). I think the biggest problem is people not really understanding what log is, and not really knowing why you should/shouldn't use it. The A7s(II) isn't an Alexa, RED, F55, or even a C300. It's recording in 8-bit. Does that mean you can't use log? Of course not. If you need to/want to, and know how to, you can. But so many people seem to be using it 100% of the time with no thought as to how they're exposing, or to why they're using it other than 'well, because log gives you better dynamic range' and then being overall disappointed with the results. And then they blame the camera for being 'terrible'. By all means, don't use the 8 other Picture Profiles, or dial in your own settings to get it looking how you like, just blame the camera for being wrong. Some of my favourite A7s footage I've shot has been using PP OFF - i.e. no Cine gamma, no SLog, no S.gamut...

I think the problem is in LOG mode the Sony cameras apply a wide gamut to colour which leaves it at the mercy of compression and bad colour paths in post. The white balance...something is going on there too... If they had just adjusted the gamma curve like Canon LOG and left colour alone we wouldn't have all these threads and messed up grades in the first place so the blame has to lie at Sony's door really

Sorry wasn't trying to be mean, but when someone is blaming a product for not being good and it's really due to their lack of knowledge well then let's call a spade a spade. A forum full of knowledgeable people are trying to help and the op is being stubborn in my opinion. This post is almost troll like. Maybe that is why I am caught up wasting time typing this out? Dunno...