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Make it 40... to me this camera doesn’t even exist. Eventually we’ll have footage from John Brawley or Frank Glencairn or Noam Kroll and the footage will look amazing. More people will love it but a few will find something wrong with it... Eventually card info will be released, and more people will complain. Eventually AF tests will show up comparing this camera to the PDAF of the a6500 and more people will complain. Eventually low light tests will show up comparing this camera with the GH5s or the a7sii and more people will complain. At the end, when it’s released, a bunch of people will complain because they hate that they have to use an IR Cut filter and they will complain that they only get 45-60 minutes of battery life and that they wish it had IBIS... And eventually the usual suspects will be the only people that have the camera and the footage will be absolutely gorgeous. The End.

I bought the A7Riii and I wanted to make this thread into a resource where I can learn from others and share what I have I've learned. There is enough overlap in video with A7iii that I think it would benefit both camps. I bought mine $300 less than the MSRP via GreenToe. If you're not familiar it's like Priceline for buying gears. You place your price and if it's reasonable, sellers match your price or make a counter offer. I placed a bid for $2750, later increased it to $2780 and I got an offer for $2890 which I accepted. It's from a US Sony dealer. I've also heard people buying some zeiss lenses about $200 blow MSRP. You can go to Greentoe.com or if you follow my affiliate link, I think I get $25: https://gtoe.me/YsjOxVWyaM So I like to discuss camera settings, picture profile people are using, AF settings, post processing, LUTs, noise reduction techniques, etc. I start with what @Don Kotlos replied to my question on his picture profile settings: setting suggestions by Sony Global Ambassador: a setting used by a youtuber: and by another YouTuber: Understanding picture profiles: PDF version: HTML version: http://helpguide.sony.net/di/pp/v1/en/contents/TP0000909109.html Picture profile comparison: One YouTubers recommendation for Cine4 profile settings: Exposing SLOG2 for skin tones: Wolfcrow's explanation and reasoning for his Slog exposure process: Cine4, Slog2/3 comparison video: Some good reads from XDCAM, they're not specific to A7Riii but still very informative: http://www.xdcam-user.com/2014/10/using-s-log2-from-the-a7s-in-post-production/ http://www.xdcam-user.com/2014/03/understanding-sonys-slog3-it-isnt-really-noisy/ http://www.xdcam-user.com/2017/09/why-is-exposing-log-brightly-beneficial/ http://www.xdcam-user.com/2017/09/why-are-sonys-isos-different-between-standard-gammas-and-log/ http://www.xdcam-user.com/2017/12/using-luts-for-exposure-choosing-the-right-lut/ http://www.xdcam-user.com/2018/03/banding-in-your-footage-what-causes-it-is-it-even-there/ http://www.xdcam-user.com/2017/12/more-on-frame-rate-choices-for-todays-video-productions/ Not specific to A7Riii but relevant to getting a correct exposure:

I'm not going to bother analysing the 'stolen clip'. It's completely pointless and all based on assumption. We know the camera was a pre-prod model so why is anyone bothering being so critical of it. I'm sure BM will release some footage soon that we can then judge properly.... Until then, everyone's getting worked up over nothing.

As someone less than politely pointed out on the other thread, I appear to have been a bit of a lazy arse in the almost 12 months since I tripped over and found the Cinelike d thing. You may recall it happened because I was researching making a hardware controller and after several iterations, here it finally is. And yes, it does look rather like a calculator doesn't it? The different iterations (including an Android app at one point!) have been in pursuit of making something small, standalone, self powered, fast connecting, push buttons and with an integrated screen at a lowish cost and, well, here we are. Here is the finished spec and features : Compatible with all Panasonic Lumix cameras that can be controlled by wifi Integrated USB rechargeable battery Full colour screen 20 keys with 3 bank switch keys giving 60 direct switch operations of functions Control of Aperture, ISO, Shutter Speed, White Balance, Colour Profile, Contrast, Saturation, Sharpness and Noise Reduction. Automatic unlocking of Cinelike D and Cinelike V on GX80/85, LX10/15 and TZ10 Control of manual focus in fine and coarse steps Control of One Shot AF Control of Record Stop/Start Store and Recall 8 focus points 4 selectable transition speeds between focus points Store and Recall 8 setup presets (each consisting of Aperture, ISO, Shutter Speed, White Balance, Colour Profile, Contrast, Saturation, Sharpness and Noise Reduction) Presets are stored in non-volatile memory so are available in any session. Boot time to camera connection and control under 2 seconds. Wifi control range tested to 20m. Optional accessories : Interface module to support Nintendo Nunchuck controller for manual focus control (native lenses and adapted lenses with smart adapters) and zoom (integrated lens cameras and power zoom lenses only) Wireless interface module to sync remote record and stop on supported Tascam, Zoom and SoundDevices audio recorders. The controller fits a regular cheap cellphone to threaded adapter holder so as well as being used handheld it can be mounted to anything you have a need for with the right attachment so could be on a cage or a gimbal or whatever. I'm going to be doing some more testing of it in anger in the next couple of weeks and I'll put up a video of it in action then. So, I have been a bit less lazy than first imagined By the by, the controller has both wifi and bluetooth so it begs the question would anyone be interested in a version of it for the Pocket 4K ??

Closest I've got is this, the original SLR Magic 35mm f1.7 I've just put it on the camera and, yes, it looks suitably silly Will that suffice ?

I've taken full advantage of its very flexible mount and had all sorts of lenses on it! Angenieux B4 ENG Lens with 2x doubler (which the onboard prime zoom can double again), RED PRO PL zoom and primes, Nikons, Canons, Contax Zeiss, M42 Zeiss and Meyer Optik, Leica R and the most recent one is the Mamiya 645 Medium Format 35mm. Oh and native m43 as well obviously! The only bugbear is having to dismantle the feet off the Canon and Nikon speed boosters as they won't mount as the ND wheel protrudes ahead of the mount. I'll do you a few frames of JLOG tomorrow if I get a chance so you can have a look. There is a freely available LUT from JVC that you can download as a starting point. There is also a Leeming LUT for it but obviously thats a paid option. Pick a lens if you want to kill 2 birds with one stone.

Watch the LS-300 get a Raw export. It would be the camera that just keeps on giving.

Hi @mercer I had a chance this weekend to take the 1DXMK2 and GH5S to the track. I shot both cameras in portrait mode and compared. I wanted to see what they could deliver straight out of camera. I compared color and overall "mojo". I cheated with the GH5S adding the BPM to it, in hopes it would yield more pleasing skin. But after much review, it confirmed what I had noticed in my prior footage. The Panasonics do not deliver the same level of "mojo" as the Canons. And you will work harder to get a good look from them. So, about that Canon C200... YES, I will be picking one up next week... after I return from DC. Having spent more time than anyone really should, comparing footage from the camera... both in the hands of geniuses, and the completely hopeless, I have concluded that the results from this camera when in the hands of someone with reasonable skill... and some knowledge of lighting, framing etc... can be virtually indistinguishable from footage from an Alexa. In all honesty, some of the footage could have legitimately fooled me into thinking it was from the aforementioned camera. I can't say I have felt that way about the GH5/S. Yes, the C200 is a lot more money... and I know the GH5/S can deliver great result. But for me, it always seems like I have to work harder to get good result from the Panasonics. Whereas my Canons just spit out great footage effortlessly. As for my filmmaking focus, narrative work is really what I enjoy doing. I love to see the whole production come together to tell a story. Any camera can do that. So don't worry about a budget if it's a strain financially. Heck, there's a new movie out soon that looks like 90% of it is shot with a webcam and screen grabs. I am, as you suggested... a hobbyist. I film for the sheer love of it. This is not my day job... it is a creative outlet. I do sometimes collaborate with a small group of likeminded creatives to work on projects... but it's just for fun.

I meant specific adjustments to the Raw Tab in Resolve... changing the numerical values for Vibrance or Shadow Detail or Midtone Detail. For the most part I’ll do a rough trim of the clips, correct WB and maybe Saturation in the Camera Raw Tab before I export to ProRes for a final edit and grade in FCPX.

While implied, they never showed the sensor tilting. Their claim is that it can correct for yaw/pitch which it can but not very well. Here is a small discussion: https://diglloyd.com/blog/2015/20150823_0800-SonyA7R_II-IBIS.html But you can do the experiment yourself as well. Take the lens off and observe the light reflections off the sensor while you tilt the camera when it is on or off. If it was actually changing the yaw/pitch of the sensor you wouldn't notice the light reflections changing since the angle should remain the same (stabilized). What you will see is that the reflections change the same way when the camera is off or on. You can even do another test to see how with longer focal lengths, tilts of the camera affect the x/y shift more (since their trying to compensate for yaw/pitch).

I know it is not a solution for everyone, but I use Lightroom to copy all my footage (stills/clips) and with the "rename during import" function you can adjust the naming as you wish. I use the date + sequential numbering.

39 now... because it still needs to be said. It's insane to me that people are actually analyzing this footage.

Hey austinchimp, how do you like V2? By the way, I want to recommend to all Premiere users to avoid the Lumetri Luma curve. Instead use the Shadows/Midtones/Highlights sliders of the Color wheels section, or Obsolete RGB Curves. This was added to the PDF for V2. One of the elements of the project is to identify anything which will compromise the color pipeline, to ensure everyone is getting the best image, despite NLE. When I was coding the color engine, I implemented a 'common sense' algorithm to alter luma. It turned out, I had a lot to learn. The common sense algorithm was distorting the color space, and I was distraught for two weeks trying to figure out where I went wrong. It nearly destroyed me. I figured it out; that color and luma are intrinsically interlinked. A month later, in Premiere's Lumetri luma curve I recognized the same common sense algorithm. They didn't catch and fix it. The Color Wheel section's sliders are much better in this regard: Luma Curve Shadows/Midtones/Highlights Sliders - No color modification

Oh WOW, just WOW, what a tremendous fvck up by the post house. And it took a whole MONTH to resolve that?? They should be ashamed to call themselves a "post house". Unfortunately not only do most people not appreciate what goes into the sound department during the shoot, but they don't understand that it needs to also be properly handled in post as well. Just like what is shot in camera isn't magically the same as the final resulting video, but it needs to be carefully and skillfully edited together, and have a good color grade done, and VFX etc etc Likewise post sound is composed of a tonne of different distinct roles such as: Dialogue Editor ADR Recordist Foley Artist SFX Editor Composer Sound Designer Re-recording Mixer Etc etc Expecting your guy who cuts the visuals to also do the sound post is like expecting on set that your 1st AC would also be a great boom op. Likewise to expect your composer to be a great dialogue editor is like expecting your steadicam op would also be the best choice as a drone pilot. Sometimes people have skills in both areas, but it is totally wrong to assume that. Every year I greatly enjoy doing the 48HOUR film contest (during which you must make from scratch a complete short film in only 48hrs, from conception, to script, to filming, to editing, to submission by the deadline). 48HOURS is extremely popular across the country, with hundreds and hundreds of teams entering just in my city along, let alone the rest of the country: https://www.48hours.co.nz At the start of the competition each year (when the 48hours starts ticking down) each team gets given randomly an assigned genre along with certain requirement elements (props/sounds/actions/cast/lines/etc. You can see this year's here: https://www.48hours.co.nz/news/genre-elements-and-ultra-2018/) which must be in the final submitted film (there are also a bunch of other requirements which are the same for all teams, such as what fps / resolution / max length / etc that the film must be). Naturally such a format means you tend to have smaller teams with an extremely fast turn around (under forty eight hours!), thus of course a lot of compromises have to be made. However, I was bitterly disappointed in how the audio turned out last year on the team I was on. Because while we had a professional editor who does this full time as a job, he comes from a background of editing picture for reality tv (I heard some horror stories for sound from him!), thus his expectations/workflow/standards/mindset for sound is radically different from what you'd want for a narrative short film. This means when I got to experience our film for the first time (as I missed seeing it at the heats due to work) at the Auckland Finals (one of only a dozen films chosen) I got quite the shock (although those who had heard it in the heats did give me a heads up beforehand). I wondered if our editor had painted on ears? I dunno. Even so, at least it was good enough we made the Finals, and even into the Grand Finals of the entire country wide competition. So even if you have a great sound recordist on set, your final sound in the film will be far worse than what it can be if you don't take the same care with it as you do with the visuals. Thankfully they did teak the audio a little before putting it online, thus the audio wasn't quite as awful as I experienced in the cinema, this was our film from 48HOURS 2017: This year I thought I'd be missing out on 48HOURS for the first time, as I had to choose between those dates or being able to work on a feature film. Obviously I took on the feature and the paid work. However at around midnight on Thursday night I discovered Friday/Saturday/Sunday's shoots was cancelled! (due to rain) Thus I was in the strange position of having a weekend free for once, what to do? Then I remembered, of course, 48HOURS! So at the very last minute I looked around for a team to join as their sound recordist (I'd had heaps and heaps ask me in the weeks coming up to the competition, which I all sadly had to turn down due to the clash with the feature film I'm working on), and on Friday morning (the event starts on Friday! At 7pm) I got confirmed onto a team. I was hopeful this year would go differently, as I'd joined quite a good team, in fact they were the countrywide winners of the entire competition last year with their film "Under the Bridge": However after principle photography wrapped on Saturday night I realised from discussions with others on the team that the guy they had coming in to do post sound tomorrow morning after picture lock was someone primarily with a music/composing background and thus I was immediately starting to develop deep concerns about this year's dialogue editing as well. As a sound recordist your primary job on set is to "protect the dialogue", everything else in your job is secondary to capturing the best dialogue you can under the circumstances. So in a way I decided I better on carrying on protecting the dialogue another step further as it passes through post. Not ideal, as my practical experience as a dialogue editor is right next to zero (but I have been reading through a textbook on dialogue editing: "Dialogue Editing for Motion Pictures: A Guide to the Invisible Art", dabbling a teeny teeny bit in a DAW: REAPER, and hanging out in various sound post forums. All of this significantly motivated by my bad experience last year, I didn't want to leave sound post at risk in someone else's hands again. But I'd been too busy and 48HOURS came around surprisingly earlier than usual this year, and so I hadn't got around to mastering dialogue editing at all in time). So I proposed that I (together with Josh our picture editor, who kinda had some spare time after picture lock, as he wasn't handling the grade at all, rather they had a specialist color grader coming in just for that do it in DaVinci Resolve with a BMD grading panel) focused specifically on doing the dialogue edit, while their post sound guy focused in on doing his composing together with the overall sound design and final sound mix. Really needed Josh's assistance though, as I have no experience with Premiere (what little video editing I do very occasionally do, is done in Vegas) and his computer was the only free computer there anyway to do editing on. But by guiding him along (read: "micro managing" :-P ) with identifying where the issues are and pointing him to how and where solutions existed (seriously, if not for me, I bet he'd never have even glanced once at my sound report file! Even though I gave him the heads up a sound report existed every time I offloaded files to him during Saturday's shooting). However in the end I only managed to do one very very quick and rough first pass through the dialogue of the film (ah well, better than nothing!), as in the end I got dragged away by the director herself as she instructed me to do foley and SFX that was needed (WHICH NEVER GOT USED!! Even though Josh & myself not once, not twice, but three times ran upstairs the files to him for the sound design / mix, but he claims he never got them?! I to this day do not know what was going on.... In the end I saw him recording with a handheld mic in his noisy room the extra sounds he wanted, and I just bit my tongue... as I knew my objections would just be overruled by him, the producer, and director. Plus we were running very short on time by then so anything I said that I knew wouldn't happen would just be wasting time and thus be bad for the team overall. Thus my best course of action would be to walk out of the room to keep my thoughts to myself. Although it sure feels good to let them out now....). Oh and btw, although I did the foley and SFX (which never got used....), there was no need for me to do any ADR! ;-) Because I'm awesome. (and modest) And that is the end of my tale about how sound post is important, don't neglect it! </rant> Addendum, I did some BTS videos during the weekend: Also from my SECOND team that I was on that weekend (this was done after principle photography wrapped on Saturday evening for my main team, and then I returned to their base on Sunday morning before picture lock), I must be just a little insane to chose to do such a thing, and I barely slept that night:

Some TV shows shoot prores XQ, so file size is not the issue, it's just that they don't like raw. Lossless raw might even be smaller than Prores XQ but the workflow is more expensive.

I've used the 18-135 which also has OIS and I was pleasantly surprised by how well it stabilised my shots. I didn't use it for that long, but I generally don't like the weird movement that OIS generates especially at long focal lengths, but this seems to be a little bit better than some of the others I've seen. If the 18-55 is as good as the 18-135 then it should be more than workable.

Thats the way it is.

The guy who shot it was a member of the Blackmagic facebook group. He removed it hastily after Blackmagic requested it be taken down but others reposted. If it's truly 422 then I see no reason why the clip is only 12fps and contains so many dropped frames. Higher end productions like TV shows are shot usually 4:4:4 1080p. So I could assume 1080p 4:2:2 will likely be used when shots are needed with this camera. For Netflix I assume if this camera is used, maybe we'll see more 4K DCI Raw at 3:1 for VFX work although 4:2:2 Prores HQ I think fits within Netflix recording spec for 4K capture. High Capacity recording is nothing these days as hard drives are getting cheaper and cheaper. Really only reason against raw is the speed of the workflow as RAW is not much different from prores file sizes.

Agreed also with your original point that I got, I was just further expanding upon it :-)

Agreed. I was referring to a situation where you are putting a noisy restaurant or nightclub ambience over the top. Many years ago when I was helping out student films I was asked to 'fix' dialog tracks with hiss in them and the only way I found to hide the hiss and make them usable was to use a mixture of background noise over the top and a fairly aggressive noise gate on the offending channel. My point in listing it first was that if self-noise on a piece of equipment is high then the rest of its attributes are basically irrelevant.. it could be very very low distortion, have huge bandwidth, large headroom, if it's digital it can be 24/192, etc etc etc, but if it puts unacceptable amounts of hiss into the dialog of a quiet scene then it's game over.

I shoot exclusively hand-held and rely on OIS to help me stabilise shots. The way I think about it is that OIS and IBIS 'absorb' a small amount of movement, with good OIS and IBIS absorbing a greater range of movement, but if you move more than they can handle then the movement shows in the footage. The way to improve this is to use some kind of camera stabiliser or mount. You can start at the small end by using a camera strap, adding a handle to your camera, all the way up through using something like a Gorillapod (a small bendy tripod used as a kind of handle) to full rigs like shoulder-mounts or steadicams. I mention the Gorillapod as it's what I use and I find it to be quite effective up to about 100mm or so in combination with OIS. Happy to give you more detail about how I use it if you're interested.

honestly i havent gotten into my processing options too deep yet. after i shoot my short that should be quite an adventure lol

@tweak 100% agree. When their cheap monitor was announced, I tried to buy it but the shipping & import rates to Spain made it too expensive. Finally i got a Lilliput A7s with same funtions and identical menu layout. Another topic of conversation would be the aggressive strategy in introducing a product below its cost to break the market to get publicity or notoriety.

Yes, slave modules are able to be incorporated.

Can we stop down voting every post that can be remotely interpreted as critical? Everyone knows and agrees this is a revolutionary camera.

Indeed, and also strange so many remain convinced without seeing any footage from the production camera. For myself I will wait until the real reviews are out. With official footage. This camera seems interesting... let’s see if it lives up to the hype.

It is pretty absurd to be analyzing a surreptitiously shot screen grab from a preproduction demo at a trade show. Making judgements about it?

Nice one. I'll try and deliver it before your Hydrogen arrives. <Relaxes and takes 2 years off>

There is definitely some strange colour splotchiness going on, but my question is what the signal path of the image has been to get it from the camera to my monitor. I agree with @Cinegain that it could be from some wayward processing. The ISO performance on that image is terrible!!! And it's a daylight landscape too!

1. I shoot by myself and with my assistant. We always have the SmallHD focus monitor on it. 2. I’ve always shot on gimbals with manual focus. I’ve always shot on cameras that only have manual focus. This is not an issue. It’s how I learned and how I’ve always shot. I just set the focus, look at my monitor and make sure the subject I want to be in focus is in focus, then I make my move. Very simple really. On the MoVI M5 you can take one hand off and change focus while you hold the gimbal by the top handle. You have to treat the 1DC like a 5D mkiii basically. Use a monitor or a Zacuto Z finder and you’re set! It’s what we all did back in 2010 and that’s all I’m doing now.

Well the thread was originally meant to be a simple post that a new firmware was out and hopefully for people to discuss how good or flawed it is. But Kisaha just has to take any opportunity to gloat about his beloved camera. I see it in so many threads and its just getting annoying.

@Kisaha A broken record player is not funny

EOSHD: come for the camera discussion, stay for the suffocating toxicity

Good grief, your attitude is pathetic. I've changed camera systems once since 2014 but then I don't use these cameras for work. The Fuji is my personal camera that I use for taking photos of the kids, travel etc. The video function is secondary. For work, we use Arri, Red, BM Ursa Mini Pro, F55 etc. And that's the thing, professionals and filmakers don't get all hung up on one system. Can you categorically say that you have produced better images than anyone using an XT2 because you had 240fps four years ago? It doesn't really matter which camera had 120fps first or that you might have one that does 240fps. To XT-2 owners this is a great, free upgrade. All cameras are different. Does your 240fps camera have Fujifilm colour science? I'll take Fuji colour science and 120fps over something like Sonys or even Samsung's colour science and 240fps. I'll also take Fuji lenses over ANY Sony or Samsung lenses..... Either way though, who cares who did what first. Choose the tool that you like using. Why should anyone care that you had a camera that did 240fps last year if that's not a feature I'm interested or have the need in using. The sum of a camera is all if it's parts, not just one spec. I bet you can't wait for the NX2 so you can brag to us all how far ahead of its time it is.....tell me, when are Samsung releasing the NX2 ? Finally, if Sumsung land is so fantastic what are you doing in the Fuji Land thread anyway. You obviosly have nothing constructive to add. Did you really just come here to gloat?

Don't. Own it, I love the look. Watched this earlier today and both the director and the DoP appear to be big fans of using diffusion wherever possible.

I believe it's user error, and a common one unfortunately, even among people who actually teach log grading. He shot many clips in S-Log2/S-Gamut, and forgot to convert color space during color correction. This a screenshot from his video: Here it is corrected with the color space transform plugin in Resolve, I only added a bit of contrast: Now if I skip color space transformation and only apply contrast and saturation, see what happens: And finally this is the uploaders grade: So it's pretty clear what's happening here, it's not the camera's fault.

GREAT SUGGESTION! I just installed Kyno. I know I've become a little slow, but I always struggle with creating clips from my footage in Premiere, or anywhere else, that I can use later. I always want to do a pre-trim right after I shoot so I remember what I want. With Kyno, I figured it out in 5 minutes and it has all the options I can think of. I look at the video, mark my in and out (it scrubs through quickly), then cut the clip (no transcoding) to the same file name + "something that describes what this freakin' clip is" text. Very exciting piece of software! For what it's worth, it's as if they read my mind about all the scut-work that makes it so I do far fewer YouTube videos than I'd like. Again, thanks Axel!!!

I reported earlier that that the camera was dropping frames. It may well be that 12bit raw produces too much data for the current cards to write at 30 FPS. Don’t be surprised to see the specs change on this camera.