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Thanks. We should be releasing a trailer in the next month or so. We are about 60 percent done editing. Had to grab some pick up scenes. For lenses, I like using older ones for NX1. I shot at 2-2.8 split. This camera has some really deep inky blacks, which I love, but using older lenses lowers the contrast, which gives me an extra half to 3/4 stop when used in conjunction with filters. Generally I expose for mood. I use white pro mist/soft fx filters, fog/haze, nets to roll off harsh highlights or under expose to protect important highlights or just look in another direction to avoid them. I've found through testing that I can safely recover about 1.5 stop of shadow detail before the image begins falling apart. But honestly I just let things go dark. I rarely recover shadows. But if i need too, i know i can. If theres something that needs to be seen, I'll generally bring in a light fill bounce/light to bring up levels. I don't rely on bumping up iso. Messes with grain texture too much. I like to keep images clean and consistent. I rarely go above 400 iso. Sometimes 800 if I'm short on time. My thought process with limited DR cameras is to shoot for end goal. WYSIWYG. We were influenced by Netflix Daredevil, which also goes pretty dark. You definitely have to have trust. Producers and Directors get scared of that amount of darkness. I always keep reference images on my phone to show them just in case. Here are some additional images and BTS screens. A rough clip of some pick up shoots. We haven't color graded, stabilized or fine tuned the edit. This is literally something I threw together to see how the scene feels. It's low bitrate to keep size down. The original is really clean. I also use rolling shutter repair on most clips. It helps with motion cadence in my eyes. The fight scene was shoot last year. Again, another rough cut. Test Scene Maya Conner.mp4 Fight Scene Test.mp4

That awkward moment when A9 owner realizes he spent $2500 more than he should.

I’ve been doing tests and am shooting like 5 different reviews on this camera for Kinotika and my personal channel and to me, honestly, the GH5S is game changer. I’m noticing significant improvement in skin tones and color science here along with better autofocus with the “hack” than the GH5. I’ve been comparing the two cameras using the same settings and the GH5S does seem to be faster. Also, I love the newer sensor size. Just that little extra amount of sensor size allows for the Olympus 12-100 zoom to be the best lens of all time! Constant f4 was always a problem with this lens, but now with the low light performance it’s a non issue. That 12mm becomes a 21mm equivalent which makes it the perfect “vlog” focal length and with the ability to zoom to 100mm... you have a 21mm-175mm which is unheard of. You get fabulous IS with the lens so you’re not missing out by not having ibis and call me crazy, but I’m not a fan of ibis. It’s always ruined the shots for me. 80% of the time on the GH5 it’s great, but sometimes you just see that wobble and it ruins the shot in my opinion. Lens IS never does that for me. So: GH5S + Olympus 12-100 = best walk around kit. There’s so many things with the panny cameras that just make my life better and more pain free too. Like the hdmi implementation. Having all your settings, audio levels, etc carry over hdmi is so incredible. I even love the stills off the GH5s. Really clean and 10mp is fine for me. Less megapixels than my iPhone but the photos are fine for my use (family portraits) I’m buying the GH5S with the 12-100 with a speed booster for my contax Zeiss glass and actually going to sell my 1DC for this. I’m so happy with the 10bit files and vlog. This camera makes me happy. The GH5 never did.

... you guys sound surprised as if Canon was really going to give DPAF, 4K, no-crop & manageable codec in a sub-$1K body when it hasn't even done so on their flagship 1DX2 / 5D4 / 6D2!! watching that unbox video though i gotta say the 1080p looked cleaner/sharper than i've ever seen a non-cinema Canon camera produce and if you forget the crop & dual pixel absence in 4K, the IQ remains pretty strong with those pleasing Canon skin tones. so my verdict is if you're on a tight budget doing 1080p interviews or vlogs with the occasional macro 4K product shot, this might not be as bad as it seems. and of course this paves the way for upcoming better spec'd higher-end models ( i still want to see c-log, peaking & zebras in non-cinema line).

Not just there, everyone is hyping it up. The coverage is misleading as the specs on the box are. Class action lawsuit level misleading for the average customer. The whole thing is an utter disgrace. You honestly have to ask about the love affair the online press have with Canon. NewsShooter today did their A7 III piece in a cynical tone moaning about the Japanese presentation and lack of 10bit, when it's basically an A9 for half price with SLOG and HDR!!? 6K full pixel readout?! $1899 for full frame 4K?! Are you kidding me - what's not to like about that?! Yet the M50... Glorious write up and as usual the glaring flaws simply glossed over.

Any word on if there is a crop in 4k or 120fps? How about the quality of he 1080p? This camera sounds excellent. Would consider it over the XH1 due to the bigger battery and headphone jack.

Practically, I don't need it. IF a shot has a gradient that creates banding I can fudge over it with some post voodoo. Or, more likely, just live with it. *gasp!* Okay, I'll pardon you to retreat to the chaise and allow recovery of your delicate constitution... Hey, I'm a low-fi filmmaker, got better stuff to worry about. Now, if I was in a more up-market situation, it matters. But I ain't, so it's doesn't. And, on a side note, the IQ tech will be so democratized in 5 years it REALLY won't matter. ---------- Funny story: running a filmfest and one filmmaker had the most engaging narrative feature length film about love/family/redemption. Beautiful characters, etc, etc. Looked like garbage though. Shot on a Sony HDR-SR1. Bad lighting, exposure, color grading, composition, cinematography, highlight roll off was disgusting! ... Still somehow an engaging film! Writing and acting were so good. However, the director came up to me an hour before screening, distraught that he didn't give us the ProRes4:4:4 file (we were going to screen the .mp4) "Oh, please fix this problem! Please!" Dude, what problem, I thought. Your film looks like shit and we still like it. 4:4:4 ain't an issue. Anyway, screened the ProRes4:4:4 and he felt better. People is crazy, y'all. On a side note, I'm watching "The Wire" for the first time. Looks like crap too. (yes, even shot on film) Sets are so poorly lit or overlit -- and there's nothing really interesting going on with the cinematography. Oh well. Still good stuff to watch.

Canonet QL19!

Well I guess if you are Really good at exposure, proper lighting, not shooting into the sun, etc, 8 bit works. It has somehow worked for many years, But in a professional venue they have every base covered. Better cameras, great cameramen, great audio, great lighting, great graders, great editors, great actors, on and on. So it is hard for the average person to compete with the Pros, but now I think the gap has been closed a Lot. But you are not going to do Green Screen, VFX effects in 8 bit very well. But I think we beat ourselves up too much anymore on output quality. I am not saying to not try as hard as possible to achieve it, but at the cost of always being in debt, worrying about it all the time Bah I say. Look back how bad 8mm cameras were, super8 even. Nobody said damn that sucked. They were happy to see what had been shot, not complaining about the quality. And I would imagine most of the people that watch videos have no clue what 90% of the problems we piss and moan about even exist. I would say the most important thing that drives me crazy is poor Audio, not poor video, in a short or a long. And other than one person on here, we rarely ever even talk about that subject.

How do people on here think this camera will affect others, I mean a 2k full frame camera with that set of features will surely impact the gh5/fuji xt1 etc. You will really really need the 10 bit, 4k 60 fps of the Gh5 to buy a camera with a minuscule sensor compared to this one. More so that in some case even in video it will be better like DR, auto focus and low light.

Look guys, every sub $1000 camera has handicapped 4K. Panasonic has a crop, albeit a smaller crop, but it’s a smaller sensor. Sony has overheating or time limits. And Fuji has time limits. Canon has a larger crop but it also has the highest bitrate 4K in the sub $1000 market. There are concessions to be made in the sub $1000 market. Hell, Panasonic’s entry level camera doesn’t even have manual video.

Great, A7S II and A7R II used prices will drop massively now. Its basically an A7S II that can also take good photo's, for almost half the price. If I was a A7S II user I would sell it fast to fund a new A7III.

You know I already find it pretty staggering the amount of patience shown towards Canon and their lack luster releases. It seems every other camera manufacturer can release products that their customers can get genuinely excited about.

Can we at least all agree that this camera is CANON’s entry level mirrorless? They specifically state that in their release. It doesn’t matter what other manufacturers charge for their entry level camera. This is the lowest camera in their mirrorless line.

Very nice colours in that Nepal video. I like how Eterna make the skies a tad cyan. Nice dynamic range and the night clips are beautiful too. Nice AF shift to that boy that suddenly enters in front of the main subject. I disagree with Northrup that the XH1 should have had a fully articulating screen. I really dislike them and it would be a definitive deal killer – I don't want to look down at my screen off the camera's center axis. Annoys me to no end. The articulation also adds extra movements that have to be performed to view the screen. Should just be a flip up motion like on a 500CM or Rolleiflex. I understand that it is valuable for vloggers but there are better cameras for vlogging than a reinforced sturdy pro body like this. For the occasional self portrait or weird angle I've found the smartphone app to work perfectly well.

Good I want to buy a used A7R II and hopefully this will drive the prices down.

Indeed! What season / episode have you made it up to in The Wire??? Far and away one of the best television series ever made. I remember in the book about the series, the dp was asked about how he made the dreary settings in the wire so authentic, and he replied, "I'm an expert in ugly."

Waiting game... hehe Exactly my mood here. At least until NAB expecting Blackmagic and a7SIII entries but each day more centered on the new X-H1 toy and perhaps that GH5S too if nothing more interesting won't pop up in the meantime.

NX1 !! Because I do not have to spend money on a hybrid for another year, and can continue "invest" on lights, sound and upgrading my editing machines. (I bet you saw that coming!)

GX9 seems interesting.

I have immediately conclusion about IQ and character.

Unfortunately almost all mirrorless cameras exhibit some kind of issue with strong direct light sources, particularly those from m43 and fuji. I've noticed Sony and Samsung cameras to exhibit it the least. But it's one of the main reasons I always feel like going back to DSLR's.

Yep, unfortunately, that is with all current Fuji cameras. A9 has it also and even E-M1 had backlit artifact problems.

I am surely not our good Jon but I think I can answer you on that one : ) You can mimic whatever outcome you want when you have certain features. GH5 series have all the features and many others to achieve that and beyond this. It just depends on your skills. SOOC any Fuji is better, from their unique color science. There's no worse, just different approach for. Depending on your needs and taste of working. Hope this helps! (E :-) haha I mentioned the camera, pal! : ) Nice to know brexit didn't pop up yet ; ) Always accurate AF? :-)

My guess is that it would fare better, so there was no point in including it

Where's Fuji in that shootout...? LOL :-)

Luckily he doesn't realize that in a Fuji thread... LOL :-)

@Arikhan thanks as an ex-sony shooter i'm well aware of these fixes. fact remains that with Canikon/Fuji the skin tones look right SOOC. it really baffles me that after so many camera releases Sony still haven't perfected their overall color science and AWB (although indeed i hear A7R3 improves on this). it's the one hang-up i got with Sony. otherwise solid specs for the price.

Yeah, I just read that as well. Nice to have options I guess, but I still hate the front heavy design. Not to mention the chances of them releasing an actual e-mount native design some later time of course. I was expecting more so I got kind of annoyed they just extended a tube and updated a firmware.

https://***URL removed***/samples/9120111657/sony-a7-iii-sample-gallery There is a lot of yellow in these images. Wonder if the other colour profiles will tone it down a bit. Otherwise looks pretty good.

Last one sample... to my eyes extremely nicely balanced level of details, non emphatic/distractive usage of colors/contrast, in word, identical to Canon mellowness and gentleness. I have no Vlog to compare with HLG, so I'm searching for respectable opinion, strangely how they sharply differ. From my pretty extensive experience with Panasonic realm, I pretty firmly can advice just one - if someone search for cinematic image as I above tried to define, than using of native Panasonic lenses is highly inadvisable. Maybe with exception of Nocticron. (Maybe that's part of reason why Panasonic don't include, at least as an add-mount-offer, m43 mount as crop usage for coming raw to EVA1?)

Did anyone read the NFS article? Because it was hardly praising of the camera, other than the title... which easily could have had a question mark at the end. The most positive statement and thesis of it is quite simply that this could be a sign that Canon is ready to embrace 4K in future models. But it went into complete detail why this variant is flawed. Either way, I don’t think any filmmaker is going to be duped by this camera but it still looks like a fun, cheap hybrid, for stills and casual video, to me.

My channel has not many views but I always got the VP9 codec from the start with my hundreds of 4K videos. They have recently stopped showing the VP9 in the nerd info. Instead they name the codec 313/opus 251. In Marks video it´s 315/opus 251. I never use any program for uploading. I just upload my original HEVC 120Mbps edited files.

The strong noise reduction (which can't be turned off) and terrible color separation especially between red and orange are other reasons for me not to use HLG. V-Log is way better. In terms of Luma usage both are actually pretty similar. V-Log uses full range, HLG limited range.

that's awesome, pal

You may be right about HLG, but I wanted to give it a play to learn what it was like. Granted working with it presents challenges.

This is a great release. Sony nailed it with this one, even more so than A9 and A7rIII. I wonder how cheap the previous A7 cameras will become now, and what is left for the S. Exciting times.

Clearly this camera is not for any of us....AF in 4K is just crap....unusable.....but this is good news anyway....we will see in the next iterations new Canon cameras with 4k and DPAF....probably with a higher price...but anyway worthy.....this is just the starting point guys......let's be patience...sooner than later we will get what we are waiting for.

I find the FF HD from A7rII much better than D750 as far as resolution goes. The Sony is almost as good as the oversampled image from A7sII in HD. 24/30 I haven't seen any difference but haven't used the 30p much.

From, I don't want to post his name. He sort of got banned not long after this post for selling stuff that sort of ehh. But it has some interesting info in it. Report post Posted January 21, 2016 Lets make a list for FF lovers. I am one. It's a GORGEOUS look for beauty shooting and epic modern narrative work. (Keeping it under 5000$ish bracket) First we have to classify them into two: -Full frame size sensor camera -Mirrorless S35 camera can take Metabones Speedbooster EF converter 1- Full frame cameras -Sony A7s and A7sII -Sony A7rII -Canon 5D MKIII (ML) -Nikon D750 and D810 -Canon 1DC (1.25x crop) 2- S35 mirrorless cameras -Sony A6000 + SB -Sony A5100 + SB -Sony A7rII (explanation later!) + SB 1- First the FF cameras. Sony: The A7s series have a 12 megapixel FF sensor, with 1:1 native 4K crop and easy 1080p downsample A7rII has a 42 megapixel sensor, so has to o a lot of pixel-binning/line-skipping to reach 4K or HD. In S35 mode, it uses a 15mp portion of the sensor and thus easily makes a 4K downsample. What does that mean: A7s has an extremely clean non-binned FF image (HD on the A7s and 4K on the A7sII) A7rII has worse binned slightly aliased FF image (4K&HD), BUT has a very clean s35 cop mode (4K), That's the reason the A7rII is included in the second s35 SB segment, because you treat it as a s35 4K camera + SB and get a very clean EF-mount FF camera. How does an A7rII + SB-EF image compare to A7SII FF + dummy EF mount using sme lens? Pretty close. A7sII having an advantage in super high ISOs, and has S-Log3 mode + can get the FF look with e-mount or any lenses not just the mounts that come with a SB. Conclusion, best Sony in A7 series for FF shooting is A7s/A7sII. But A7rII can shoot a bit compromised FF too if one needs its 42mp stills. Canon: 5D MKIII (raw) has a 21mp sensor that does a very clean HD binning-downsample, reserving resoution similar to A7s HD (pretty sharp HD), The advantage with the 5D is that it's a 14bit uncompressed raw colour data vs heavily compressd 8bit 4:2:0 with hugely better colour appeal and thickness in the image. It's an overally better FF HD than the A7 series can achieve EXCEPT: it's not as clean at high ISOs. Doesn't have an EVF (need a loup), bigger/heavier files and a fixed LCD. But has a better UI, buttons, menus, video aids, ruggedness etc. 1DC: while not a FFF (full full-frame) i's pretty close in aesthetic to FF (just 1.25x crop). Vs the 5D it has higher resolution 4K, smaller files that are still not very compressed, C-log gamma encoding and a leaner/sharper 1.2x HD HDMI output. It's also fully resistant to the world. The 5D still has thicker colours, better kin and gradients at HD raw. Plus smaller and lower cost. Nikon: D810 and D750 both have a solid FF HD image. Slightly lower resolution than a7s/5D HD but very close and with post sharpening pretty similar. Ther's no alisaing/moire, much less rolling shutter than a7s/1DC FF, pretty colours straight off the card that need minimal grading and still yet remarkeably small files and solid high ISO performce. Great ergonomics/buttons/UI/speed. Compared to a7s it loses the EVF (need a loup), ISO performance and 4K capability, ability to adapt to all glass (but gets a more solid/ronomic ody, better/easier colours, large lens lineup with VR/AF native). The D750 is the best no-fuss FF aesthetic camera on the list. No haking/raw data, no Davinci grading wars/overheating/rolling shutter), just easy good enough FF HD. Solid. D810 loses tilty screen and adds 36mp stills and slightly stronger body and a good non-aliased s35 mode. 2- S35 Cameras with SB -The A7rII S35 4K + SB has een discussed earlier. -A6000 is the main contender here: if you want the cheapest best FF video camera, A6000 + EF-SB is that. It has a good 1080p image (good resolution), an EVF, small size, and with FF EF/Nikon/m42 glass it's a FF HD camera. Yes not as high of IQ as the higher-end models especially in ISO perormnce (a7s) or Colour (5D), but it's a lot cheaper and offers that good clean, FF HD image at lowest cost. -A5100 is even cheaper with no EVF recap Q&A -Only need HD FF looking for absolute best image and can handle any downsides? 5DIII -Need 4K FF looking for absolute best image and can handle any downsides? 1DC -Only need HD image and don't want to deal with many downsides (loup/raw data/size) and still get a pretty good similar-ish results to the best (5D raw)? A7s original if you value EVF and amazing high ISO and 4K HDMI, D750 if you value easily graded colours/ergonomics/battery life/stills/rolling shutter/ruggedness -Need 4K image and don't want to deal with many downsides (loup/1dccost/largefiles/size) and still get a pretty good similar-ish results to the best (1DC)? A7sII. (A7rII + SB only if 42mp stills are needed) -Only need HD FF and don't want to pay a lot? A6000 + EF-SB Quote

Hey Mark, Thought I'd chip in. From what I've seen, a6500 and a7rii at S35 footage look, in practice, Here's a pretty detailed IQ test that might help: My a6500 is actually up on ebay at the moment. It's a good little camera, but whilst I thought I'd be able to get over the awkward ergonomics, I never truly did. It took all the fun out of using it, and when I got a decent shot it felt more like pot-luck that I got the setting right, rather than capable of being confident that it was doing what I wanted! Plus, as someone who shoots with their left eye to the viewfinder, I really came to be frustrated with the off-centre EVT, and ended up sometimes changing focus region with my nose. Would much rather their APS-C bodies had the same shape as their full-frame ones.

In short creative fall update messed something up with driver and on a system level, so I had 3 2560x1440 screens that didn't go anywhere but at least teamviewer saw them. I uninstalled the KB and reinstalled Nvidia driver and it kinda worked. There is still an internal 2560x1440 monitor left that noone knows where it is and what it is connected too, some other stuff still left from creative fall update but it works again. I had great trouble installing it from the beginning too where it did the same thing. So windows update pushed out a driver for the Nvidia card that don't work and bricked it before I could do anything. So one reinstall later (are we having fun yet) and I unplugged network cable before windows could do anything, and installed driver manually first thing. Then it worked. Searching for this problem shows threads two years old and windows still bricks installations this way (yes we having fun).

Canon's main strength is DPAF and to purposely remove it from 4k is ... vintage Canon. I truly believe they sit around in meetings discussing how they are going to cripple their next camera. I would have much rather seen this camera w/o the crippling lack of DPAF, ridiculous crop factor and heftier battery for $250 more. Why do I keep hoping Canon will wake up? This is a lesson in futility.

Just because a technology is used in a major film (complete with publicity) doesn't necessarily mean it will become mainstream. While I'm all for anything that breaks the mold, this project does not herald a slew of new theatrical releases shot on cell phones.

Despite several attempts at peace, humor, relating, conceding. I just had a fucking talk with my 13 year old child about a contingency plan if someone comes into his school and starts shooting it up. He is scared as hell. Can you blame him? This is not a conversation a parent living in 2018 in the U.S. should be having with their child, and then you have otherwise sensible people here getting worked up over a stupid object, that has a tiny bit less of this, or a tiny bit more of this. Really? This thread needed some perspective a long time ago.

Thanks a lot guys those are all great ideas, I'll definitely be using them.

Holy shit, we posted the same video. ? I worked in print for a few years, right before the industry crossover into digital. I think ppl have an understandable misconception on how printing actually works. It's similar to theater projection. Especially for things like billboards, as the video explains you have to factor in viewing distance. Now, for the various configurations of magizine spreads, you need a minimum of 300 dpi, and a minimum of 8MP. (8 million pixels) Again, the veiwing distance is relatively close, so pixel denisty matters a lot more here. Sometimes, you get what you get from a client and you have to run it. In short, for most applications, at least on the resolution end, the GH5/s should be adequate. That being said, the GH brand of cameras have never been touted for their photos end. That does'nt mean ppl don't shoot stills with it. This goes to show ppl that the resolution race, although nice to have, has largely been a gimmick to sell cameras.

A still is probably going to be a much more useful takeaway from a casual shooting environment than a video clip. A good still is more easily singled out and more easily presented to an audience. A video clip usually needs to be contextualised by other scenes surrounding it, or it can feel aimless. There's a lot more work involved there. Generally I'd agree with the consensus that video is better used when you have an idea (or are committed to finding the idea) behind what you are shooting.

Nothing some noise reduction in post can't handle: