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I have No complains about focus with my A7s in AFS like noone says. Is it a killer focusing camera, not if you have that Bottle Rocket burning your cheeks back there. I like the A6500 a lot better than the A6300 because of the IBIS. But Sony Has to be close to coming out with a new one, and the prices on it will drop like a rock. But it is a heck of a good camera now with the newest firmware. They raised the temperature thingy on it so it doesn't overheat as often now. Yeah the M50 looks interesting but no DPAF in 4K, and you really need to buy the Speedbooster to make it work. That is a 1000 bucks total right there. And it doesn't have many tricks up it's sleeve other than good color output, which I know is important, and soft 1080p with DPAF, which I know is ehh, well I don't like soft 1080p Unless I want to make it soft LoL.. The problem with most Video Cameras is they just don't have many features you need other than Sony and Panasonic cameras. I guess it just depends on how serious you want to get. I mean at the price point you are looking at you probably can sell anything you buy and not loose much down the road. Now if you buy a lot of lenses for it well then you can take a big hit if you change brands, or go from APSC say to FF. That is why I love the Sony A7s. FF and it has the APSC crop mode in it, plus the Sony Clear Zoom. And since it is mirrorless you can use damned near any lens other than s16, m4/3 stuff. I went to a thrift store near me a few days ago and bought a camera bag with a old Pentax SP 500 film camera on it with 4 lenses in the bag for 16 dollars! It had 3 M42 screw lenses, a 24mm f2.8, a 28mm f2.8 and a 135mm f2.8. And a Canon FD 28mm f 2.8 all with caps for both ends! All of it looks like brand new. All will work on my A7s. Just magic I tell you.

Finally did the update for the new X-H1 firmware yesterday. Here are my first impressions: Autofocus in AF-C is leaps and bounds better. My test shots on some birds and physically walking up to and away a moving subject were very good. Using the 16-55mm zoom lens it was able to accurately track my wife walking around the yard watering plants while I slowly walked from one end of the yard to another. Auto ISO transitions are super smooth and almost imperceptible. While I rarely use the Auto setting for video, it's nice to know I could use it in a conference or presentation situation and be okay. IBIS is slightly improved. Using the fuji 16-55mm, a 45mm minolta and 55mm super tak I didn't find as many huge jumps and shifts while panning. I'm sure this will be the focus of their next update. The overall system stability seems to be worse. I had 3 write errors happen while just messing around with the camera. All three happened while shooting in manual with peaking turned on. I'll be testing this more. Here is a link to the firmware if you're looking to upgrade http://www.fujifilm.com/support/digital_cameras/software/firmware/x/xh1/index.html Overall a really good firmware update, looking forward to the '2.0' update that is rumored for September

No question, I’d go with the a6500 over the a6300. But also be prepared to have a hard time seeing the LCD screen in daylight if using sLog and be prepared to get an on overheating warning. I can’t say much about the AF because I used old manual focus lenses with it. The 4K is insanely detailed and sharp, especially when downscaled to 1080p. And for me, the color was kinda wonky, but I’m sure a better colorist would do fine with it. With that being said, if you research online, there’s a reason why the lion share of wedding videographers still use Canon cameras. I honestly don’t believe in recommending cameras any more. I’ll discuss my experiences with them based on my limited skill set, but these choices are so personal to individual needs, one really has to decide what specific spec or specs get them hot and bothered and go from there. Whatever your choice, good luck!

Yeah, I'm probably going to have do something radical and download the user guide. And actually read it. Oh the humanity !

My view as a recent reluctant joiner to the Sony party via the A6500 is that as you are going to be spending a significant amount of timing cursing it and ploughing through endless menus shouting "Where the f** are you, you little f***" to hunt down and change a setting then you might as well spring for the A6500 over the A6300 as at least you'll be getting a bit better reward for your quests

@jonpais cool video, with AF much improved! Out of interest, you seem to film quite a bit in public and it looks like no one minds. Is there a technique you use? Do you ask permission beforehand? Does no one really care?

Oh, jonpais, you've got the A7iii? Welcome onboard the Sony boat! Maybe, but then not because of better resolution than what we already have with our normal hybrids. Just compared a wedding video I shot two weeks ago with A6500 with a four year old I had then shot with BM Pocket - on a UHD TV, from a very short viewing distance. Negligible visible differences of resolution between "HD minus 20%" - the Pocket has 1920 by 1080 pixels on it's sensor, un-debayered - and "6k downsampled to UHD". How is that? Well, Yedlin was obviously right. The display resolution is of more importance than that of the camera and FullHD is the threshold. The BMPCC 4k also has just 4k pixels (the additional pixels for the wider AR can't be used for debayering). Decided I had to go back to the computer and finetune the colors, because in comparison *some* Sony shots looked like "video", colorwise. Not all though. And here is the interesting part. I had used GFilm as picture profile. And I'm glad I did. The A6500 may have it's shortcomings (more so if you compare it - on paper - to the Pocket 4k's specs), but it also has undeniable virtues (small size, low weight, good lowlight and AF), the most important one being that I already own it and a combo of good glass. Sony cameras are vloggers' choices. They don't care if their stuff looks like video. No one yet showed me a Youtube link to a Sony video to disprove that. But there will be a *few* Pocket clips to show such elusive qualities as better cadence or beautiful skintones. Few, because at least the skintones need the ability of the user-colorist to let them survive.

If you Only use one lens a lot, and it is not a extending zoom they are pretty good. If you change lenses a lot, you will try to find the highest skyscraper you can find and jump off of it. You are Never going to be able to use one of those mechanical Gimbals for a wedding. You have to change lenses all the time and damn fast unless you have 4 cameras hanging off of you. You can't really even use a Electronic Gimbal changing lenses fast. IBIS and a OIS lenses on it to boot that is matched to the camera is the only way it will work for fast changing situations. Giving up IBIS for what you want to do, nah, go for the A6500. If you really want to shoot videos for weddings the camera is the least of your cost. Getting into video is DAMN expensive. You are going to have to have a really good tripod and fluid head, damn good lighting, great lenses, on and on. And you Really need a backup to all of it. I shot weddings for years and years. If it can break, or you forgot it, it happened. I had backups for backups trust me. You Only have one shot to get it. And now everyone is sue happy. You can't half ass a wedding. And you really can't start small. It is balls to the wall or nothing if you want to charge for it. And on top of it you have to look and act professional as hell or oh boy. That means more than a Cellphone and a flashlight.

I agree I don't have any problems with AF with my A7s but could you honestly recommend it for AF in video for someone for whom that was a/the major feature? Pretty sure I would hate it if that was my most desired point (it isn't and there are so many things I love it for). Nice find with the lenses! I love haunting Pawnshops and charity stores.

I am run and gun; sticking with the MFT Sigma 16mm F1.4 and 30mm F1.4. I don't need better focusing. Will probably just keep the Sigma 60mm f2.8 with me too for occasional use, or it's forthcoming successor. I think there is some in-camera correction though with these lenses, so maybe the 16mm will just have to be tested before settling on it for sure.

The 700D, 100D and EOS M are now able to shoot around 2520x1320 in crop mode (previously 1080 was the max vertical resolution). 3k is also possible although liveview doesn't really work at that resolution. Record times are very short as it's only possible to shoot in 14 bit lossless for now. Here's my first successful test with the EOS M recording at 2520x1320 and 2336x1314:

This is awesome or was, since the company has been bought by assumingly Panasonic or Red. The Andromeda mod gave the DVX100 fantastic 10bit 720p in 444 color, making it a magic super 8 digital cinema camera with its beautiful three ccds, bypassing the nappy DV format and showing its true resolution in pixels and color. If digital bolex is the incarnation of its 16mm analogue ancestor, then the DVX is the kid of the super 8 bolex. https://vimeo.com/groups/andromeda @BTM_Pix, Hey, you have done such awesome stuff with software on the Pana GX camera and with your upcoming hardware controller. Would you be interested to revive this project? I would pay money for this to have this unique ccd cinema magic in my hands. Holy macaroni:

This will probably only have an audience of one - hello @IronFilm - but might be of use for anyone else who has a need for what it does. So what is it? Its a small(ish) box that takes an HDMI input and encodes it into a live H.264 IP data stream that can then be used for monitoring or as an input source by devices on a local network or pushed to streaming services such as YouTube, Facebook etc. The version I have has an integrated Sony NP battery mount and hotshoe mount so is a completely standalone solution for use in the field but it can also be powered via a mains adapter. If you want to save some money and will only be using it in a studio environment then the version without the battery mount and hotshoe mount is also available. There is also a version with an integrated 4G modem so you can live broadcast from your camera on to YouTube or whatever service you use without any additional equipment. There is also an H.265 version available as well. Physically, the unit isn’t massive but isn’t what you would call compact either. Seen here on my LS300 camera (which ironically doesn’t need to use one because it has this stuff built in ) it looks in proportion but to be fair it does dwarf a small mirrorless camera a little bit. Seen here alongside its far more expensive alternative - the Teradek Vidiu - you can see that the base units its not that much bigger but obviously it gets much bigger when you slap the battery on as opposed to the Vidiu which has a built in rechargeable one. What has to be borne in mind though is the functionality you are getting here and should consider how much more unwieldy things would be if you had to mount a laptop to your A6500 as that would be the only way to get the same functionality. At this point, I’m going to have to say that if you’re not comfortable with some basic network configuration stuff then this product is not going to make you any more comfortable and you might want to walk away now OK, after plugging our camera into the HDMI port, we have to log in to the device and configure it. This is done by attaching an ethernet cable to the LAN port and typing in an address in a browser that brings up a control panel of the sort which will be familiar to you if you’ve ever setup a router. In here you set up all the options for the type of stream that you will be generating from the incoming camera signal and you can alter everything from re-scaling it, to frame rate and a wide range of quality settings from data rate to encoding profile. Most of it is self explanatory but you’d better get used to this interface because you’ll be seeing a lot of it as you tweak the settings for the optimum results. OK, so once its encoded your video and is merrily streaming it you can access it directly through its own LAN or WiFi interfaces or you via a wider network if you connect it to another router (which you will need to do if you want to get your stream out to the internet). This router can be anything from your home router to an internet access point in Starbucks or your mobile phone’s hotspot function for onward broadcast to the internet. So lets get down to some actual use cases. The first use - and the one that @IronFilmis waiting on - is to use it as a way of remote wireless monitoring on set from a camera. In this mode, we set it up as a WiFi access point and connect whatever device or devices to it that we want to monitor on and use a media player that can play network streams to watch it. Basically, any device that can run VLC will do so you use your phone, tablet, computer or even smart TV to monitor the signal. All you need to do is to enter the address that the stream is playing on into VLC and away you go. And if there are a few of you, then as you can see here with my MacBook, my iPad and my Android phone, you can all watch it together. Although, as I said, its more likely that you would use the encoder in access point mode for this, you could actually use a larger network infrastructure if you wanted to for extending the range and extent of the monitoring. These devices are used in this capacity to deliver digital TV service to hotel rooms so its very much a scalable thing ! The other use case that I have it for is to use to encode camera signals so that they can be accessed inside Live:Air which is Teradek’s live video production software that runs on the iPad. In this scenario, cameras can be connected to multiple encoder units which can then be brought into Live:Air and switched and have overlays added etc and streamed out to the internet for a pretty comprehensive live broadcast. When used in this way, the encoders and iPad are connected wirelessly though a portable 4G router to move the data around get the final output from Live:Air out on to the internet. The encoder can operate with 2.4G and 5G routers and clients. If you just want to do direct from the camera live broadcasts then the encoder can also be configured to overlay some lines of text and graphic logos onto the outgoing stream. Price wise, you can pick up the encoders for about £110 for the non battery version and about £180 for the version I’ve got. To be honest, you can easily knock up your own powering solutions for these for far less than the £70 difference so I’d be inclined to go for the lower priced one unless you need the really, really long run times you can get out of the NP ones. For comparison, even the basic version of the Teradek Vidiu (which doesn’t support the RTS protocol for monitoring on VLC) to encode live video for Live:Air or for YouTube broadcast is around £700 so it represents a significant saving - particularly for a multi-camera setup. So, is it any good? Yes for me but maybe not for you. It does what it needs to do well enough but the nature of the beast with these devices is that there will be latency and how much of that is acceptable is down to you and what you are using it for. The bigger problem is that this latency is also very dependent on how you configure it and your network infrastructure and even location if you are in a highly saturated place (which is where the 5G capability actually does help). All of this variance makes it difficult to recommend with any confidence purely as a MONITOR solution only. You can tweak away and noodle about with scaling down, bit rate, GOP, profiles etc and mitigate the latency but its never going to go away completely and I’d say that its difficult to find an acceptable balance thats not going to be below 1/2 a second. That doesn’t mean to say it is without utility when used as a monitoring solution but it would be in a secondary capacity as a distribution method where absolute real time instant monitoring isn’t necessary. So in this way you would loop it through from the primary operator’s monitor and allow everyone else on set to wirelessly monitor after that. There is also the question of how much real time you may need if you are using it in the capacity of primarily a framing monitor. If you have a Fuji XT/XH for example, this offers a solution to not being able to monitor and trigger the camera over wifi without it dropping to 720p resolution like it does with Fuji’s app. For Vlogging for example where you just want a remote view of the framing then this would give you that and allied with a cheap wireless shutter trigger you can get round the abysmal state of affairs with the Fuji app. Bear in mind that there is latency but not dropped frames. For my purposes of using it as a (much, much) cheaper way of getting camera signals into Live:Air than using Teradek’s own encoders then the latency is not an issue at all as each channel has an individual time align control to compensate for the latency. Similarly when broadcasting direct out of the camera to the internet, the latency at that level is not relevant. In summary then, if you have a need for the things that it does then it works well and is a huge saving on the alternatives. Its a bit clunky getting it going as the documentation wasn’t exactly readily available so I wasted a lot of time being unable to connect to it as an access point because the router address it uses when wireless is entirely different (and undocumented) to what it is when you are using the LAN port or it is in bridge mode.( Its 192.168.8.8 by the way ) Being able to live stream to YouTube directly out of your DSLR might not be something you want to do every day but if you ever have the need for it (especially away from the studio) then it doesn't come much cheaper and simpler (once you've unearthed the manual) than this. If you want to use it as your primary real time wireless monitor (other than just for framing or as per the Fuji example where its the only game in town) then I don’t think its the way to go because of the latency. If you are interested in purely doing that then I have another solution for that that is really low latency but thats for another day. Full product link here http://www.szuray.com/h-pd-84.html#_pp=0_304_9_-1 And here is the manual that you won’t find on their site either . User Manual Of Mini Video Encoder copy.pdf

I've done countless weddings without either of those. I also find it very hard to use the EVF on the a5100 ? I reckon my 18-105 is a great run and gun lens. Only probably is if you're using it on a much older camera such as the FS700 raw will lack the in camera optical correction that say a FS5 has. There is also the 18-110 which is a better lens but much much more expensive!

Hey guys, another massive contender for THE digital super 8 camera would be... the Panasonic DVX100 Andromeda! 720p 444 10bit, 3 ccd magic! See this footage and info from this thread. Would love, if this could be revived:

@Alpicat Thanks for all the updates and videos! At some point, I hope that someone will create a simple tutorial demonstrating how to configure the EOSM with ML to enable these capabilities.

Exactly. the implementation here is incredible. When shot properly, the M50 4k is REALLY nice. This entire video was shot on the M50 in 4k (with the exception of the ending which was 1DC)

When it comes to video, it can shoot upto ISO 12800 and currently the only smartphone that can do that. The main camera has a large 19 MP 1/2.3” Exmor RS sensor, f/1.8 lens, and 1.22μm pixel size. The secondary snapper is a 12 MP 1/2.3” monochrome unit to boost low-light performance. The lens is f/1.6, while the pixel size is 1.55μm. The secondary camera works together with the main camera to improve image quality. This is a very unique feature and requires a much faster AUBE fusion engine to do the whole process The performances are shown below (in a very dark indoor environment): as compared to Huawei P20pro and S9+: So far it looks like the low light shots are pretty good. Finally Sony does something unique in their smartphone lineup, it also comes with a 4K HDR display and High Frame Options upto 960fps. The downsides are the size, weight and some may find the design looks a bit old fashion.

Conformed might be a better word than compress, but yes.

Yeah the whole Sony line up is Really hard to pass on. They have really pushed for a lot of great ideas on their cameras. I know people complain about the menus, but it is complex because the cameras have a lot of complex things they can do that a lot of cameras, particularly DSLRs can't do. Other than if you need 10bit, which is nice no doubt, and are into Anamorphic big time, Sony has a camera that is probably not going to be beat by others. The newest A7 mk III has really good colors now right OOC and really good AF from the A9. And the face and eye focus alone is worth it. Not counting Clear Zoom, on and on..

Out of Likes. Yeah that sounds like a great plan.

@mercer I agree man right camera for the right job! As for me I’m obviously still evaluating. As far as my needs/wants the line gets blurred a bit, I believe I have settled on IBIS if nothing else to add some stabilization to the couple manual primes. Also my experience with the d5200/d5300 while I have made quite a few videos I’m proud of, doesn’t meet my current run and gun shooting style. If I’m on a tripod for an interview, I don’t mind the Nikon. If I’m on vacation or somewhere trying to get a good shot fast, I don’t want to be fiddling with settings. This includes focus which is why I’ve decided good AF would be a good benefit to my style. I was already impressed yesterday like I said playing with the a6300 AF. Im also wanting a more flexible image and 120fps which the Sony offers. That said if the G85 had Sony/canon level autofocus- I would be buying it in a heartbeat and could live without the 120fps. I hope that makes sense! I do understand the limitations of the Sony system but with my needs I can’t think of anything else that meets in and is ALSO in my price range. Besides maybe the m50. Edit: @mercer the overheating warning does bum me out as I’ve never had to deal with that before. I don’t really shoot much long form video anymore but obviously shooting weddings or events would affect that. I’m also starting to think maybe purchase as an introduction into the Sony eco-system and if I like and get serious enough, I could always use as a b-cam. (Or sell and switch to another system).

Yeah I have a woman friend of mine that is a Pro photographer and she still uses a Canon 5D mk III for all her work. And she does any and all that comes by shoots wise. She is not really a Wedding photog, but she has done them. She likes a few weekends off. ☺️

It is a really hard camera to not buy now that the prices have dropped. Just the form factor along is worth it. JVC has always had a pretty output on their cameras. I think you are making a good decision. If you don't like it I doubt you would loose much money on selling it. But I think it will get the job done for you.

Hah, this is really impressive. I'm a sucker for getting nervous, or feeling overly intrusive when filming or photographing people.

I think it depends what work you're doing, really. @IronFilmand @zerocool22 conversation was quite interesting. I'm at a point in time where I'm building up my portfolio and network to be working on jobs constantly, and I think investing in a camera like the C200 could be a good idea. Personally I feel you can tell the difference in quality between something like the C200 and a A7SII or a GH5. It's also a differentiator. So many people are 'grinding small businesses' and using GH5s and A7s which means investing in a C200 could certainly help secure some bigger, better paying work from clients who are looking for above average quality. Naturally that also means better lighting, gimbals and sound. And, obviously, experierience comes into it. Just jumping from a Sony A7S to something like this without really getting to the point where you are getting the maximum you can from that kind of camera would be a bad idea. For me though, I feel I'm at a point where moving up to a more dedicated video camera would actually help develop my skills. I also don't really see the negatives with 'grinding small businesses'. I get that it's not as 'professional' as being on a set, as part of a bigger team, but there is an attractive element of it in that you often have a lot of control and often get to have a lot of input into the final tone and look of the video. Obviously, putting 'DoP' as your job title is a bit much, but I don't really buy into this idea that you must be doing narrative work or on a large set to truly be called a professional.

Thats what I thought before I went hunting for the EVF/LCD switch option. Spoiler Alert :::: There isn't one so kiss goodbye to one of your function buttons

Some People swear by the Gary Friedman books, http://www.friedmanarchives.com/ebooks/index.htm#Sony_Books I haven't read them though, but have checked out a couple of his free videos on youtube. I have no relation to him. However, I am notoriously cheap, so I would start with downloading the user guide as well.

While it's true that it can be a hassle, I have found that I can cut down on my cursing significantly by utilizing the M1 and M2 functions, optimizing the Fn menu, and customizing the buttons. Heck, in theory you could have five custom memory functions (three of them are recorded on to the SD card), but since I tend to format my memory cards, I am not sure whether the three that are saved to the SD card would remain (kind of doubt they would, but the sony cameras allows you to deleted multiple images by date without formatting the whole card so maybe there is a work around). Takes a lot of work to get it right, but it does help cut out a lot (although not all) of the frustration.

One other thing: The kit lens is no bueno. You will have to stop down a couple of stops if you want it to be sharp. People like the new 18-135 a lot, but I think it is about $600, which is pretty pricey for a kit lens (especially since it is not a fixed aperture lens). The 18-105 might be good for you, since it is a fixed f/4, but it too is $600 and some people say the IQ is only slightly better than the kit lens I would try and contact the people who run the youtube channel gear, gadgets and glasses since they shoot weddings with sony https://www.youtube.com/channel/UC6-NdwwgCY-DFaFDeEGr6BA I think they are currently using a7 III, but I know they have shot weddings in the past with a6300 / a6500 @IronFilm makes a good point about monopods. Wonder if you could make some sort of monopod / shoulder rig / quick release contraption that would make sense??? One other thing: Are you left eye or right eye dominant??? I am left eye dominant so I almost never use the EVF of my a5100 / a6000 / a6300 / a6500 cameras

Thank you! And yeah, that makes sense. I would have done the same. 31.3mbps isn't that bad. And I am sure if whatever you filmed had more action, the bit rate would go up from there. I think I've justified this camera enough to myself to go out and purchase one now haha

For $10K I'd be expecting a drone to be carrying me and the camera. And some luggage.

Hmm, I must have missed that. I never knew you went FF. Grats. Hell it's about time you saw the light. Sony, FF, heck you may have died and went to heaven. ? I agree with you thoughts. Panasonic and Sony have picked up the pace here pretty fast lately. But this new 4K BMPCC is more a Cine camera than a Hybrid. I think the GH5s is a bit also. But we are talking $8000.00 type Cine cameras this thing is going to be able to compete with. That is a Big deal. The average person is not even going to need it or the 8 grand cameras. They are slow and clunky. This BM might not even be clunky. We don't know yet. But for other than run n gun, and it may do that, this thing is maybe unbeatable for us money wise. I guess we will soon find out. I think we are going to be blowen away by the 4K Raw footage out of it.

Great points, but he is going to Have to have some kind of lighting at a Wedding. He just has too. Maybe not a lot of the time, but man when you need it you better have it and have it ready to go in a heartbeat. You can only slow down a wedding so much, even shots of the group after the wedding there is pressure to get you out of the church, people want to get to the reception, have to go to the bathroom, on and on. And when things get going, ergo, people get drunk at the reception, you are not stopping Anything. Ain't happening. Half the people don't even know or care about the cake cutting, bouquet tossing, etc. They just want to get drunk. Hey, free Booze. And if it is a Polish, Russian wedding even You and both Grandma's will be drunk! ?

As for a6300 vs a6500 vs other cameras... The three reasons to buy an a6300 / a6500 over any other cameras are: Really good low light Really good AF with Sony lenses Really detailed 4K at 24fps So you have to ask yourself if you will be negating those benefits with your shooting scenario: Motion blur (can) negate benefit of Really detailed 4K at 24fps Using adapted lenses can negate the benefit of the really good AF Using lights can negate the advantage of really good low light performance. BTW: a6300 and a6500 are both great stills cameras... as long as there is a sony lens that meets your focal length and - more importantly - your budget. Eye AF is great. The dynamic range is great. There is a reason I take my a6500 out on my paying gigs while my D750 sits at home.

Agreed, external recording in the C100 is better only if you are thinking to use a lot of grade in post or in extreme situations, really not much different in normal use, but under low light you can see some difference in color, specially in the sky during sunset.....also to use ProRes during post can be another plus for external recording.....I like to grade and test different looks so I always use an external recording, but that's me, internal recording is OK for most situations....

To be fair, it can handle focusing on a rock band where they don't move very far (or too fast) so I wouldn't call it Dog shit and it maybe could keep up with a three legged dog?

No I would say the AF is close to Dog Shit in video mode. But name me a camera in his price range that has good video AF? And 2 of those M42 lenses are Super-Multi-Coated Takumars!!

Today was less than ideal ... yesterday I found a Bluejay nestling in the yard ... had fallen 12 meters from a nest in a Chinese Pistachio tree. Barely alive ... nursed him all night and drove 40 miles this morning to deliver him to a wildlife rescue mission ... he will be there for weeks in rehabilitation learning what his parents would have imparted to him in days. Came home to find his nest lying at the bottom of the tree. There is a perceptable sadness in the garden this afternoon ... we have spent 20 years cultivating a place of rest and one that is somewhat protected from the vagaries of the wild ... although we routinely have predators that enter from the periphery. Thought I would film a bit of the garden ... seems a bit melancholy ... reflection on our loss ... and yes in view of all the evil in this world it is minor in comparison. All done with the Canon M50 ... Andrew's EOSHD C Log PP. https://vimeo.com/275941224 Password: Daysend Sorry it is a bit long. Regards, Bob

As much as I love my A7s (and it is to me still the best camera I have had), I would never recommend it for someone that wants good AF in video. It is ok for MY uses but I don't need it to focus on anything really far or fast moving for video. Likewise for stills, it can not AFC to save its life (though AFS is excellent and even in almost no light). I would try the A6500 (and A6300) and see what you think yourself as it seems they may well suit you and make up your own mind (lots of people will probably try and steer you to M43 or to stay with Nikon -both are fine for many people). There are a couple of Sony kit lenses and while they get a bad rap with some people, I thought the 16-50 I had was actually pretty good (though I only used it on FF cameras sparingly a little).

Interesting to me also.

1080p on both the A6300, A6500 is pretty terrible. The A6500 is damn good for 4K though. I agree, in this day and age I don't think either one would be on my radar at all. I would take a GH4 over one of them any day. AF is about the least of your concerns on a Video Camera purchase. You want to use touch screen focus. Why would you want a camera to decide what the hell it wants to focus on, not you? The Sony eye focus I can see if you are doing Weddings, Corporate Interviews, etc. Now if you want to run around like you have a Bottle Rocket up your Butt, well then I guess you need AF and a Life Squad! ? There is a Sony A7s on Craigslist where I live for $775.00. https://cincinnati.craigslist.org/pho/d/used-sony-7s/6611663099.html I would sure rather have that than a A6300 for nearly the same money. The A7s has about the best looking 1080p going right out of the camera sharpness wise. Maybe not the best colors back then, but I like those colors. But they do have Luts and Editors for that in this day and age LoL. ?

I think @webrunner5 was referring to cinema camera manufacturers, not all camera manufacturers.

Thanks, yeah, I ended up 2x sometimes 3x my sequence. But still ended up with blurry end results after encoding. So I ended up encoding in same sequence width and height, then used a program called GIF Brewery, which had tons of more options while finalizing. They look great now, but hate when clients ask for weird ass deliverables. Last week I made 3 intro videos for Queen Latifah, Katie Couric and Madonna Badger for their talk at Cannes Lion and they asked me to send them 720p 0.6Mbps finals, I was like, uhhh okay?! Well well, THANKS FUZZ

I think it works a bit like Panasonic. IBIS alone is good (But Sony's is obviously not in the same league as Panasonic) but dual IS (ibis + ois) is better. It is certainly noticeable that my Batis 85 (with OIS) is better for video than the GM 85 hand held. I havent used it on a gimbal and the 24-105 is both reasonably heavy and front heavy. There is a button to switch off OIS on the lens. I have a couple of A7riiis (just bought a second) because I like the high mp for stills. Little reason to justify it otherwise against the A7iii. I suspect that the 3 series models are all pretty similar for ibis and the like (and a good step up from the 2 series.

I've messed up an audio recording on a job I did recently. I'd like to get some opinion on whether it is recoverable or not. Would this thread be an okay place to post it up? Actually - scrap that - I've just heard we're doing a re-shoot. Not nice to have that fall on my head, but to be fair, the client is being really good about it all. It's a long-term client who I always deliver good work to, so I think they just appreciate it as a rare mistake. It helped that I just put my hand up straight away and said I'd messed up actually ?.

If I remember the DVX100 hack started on the DVInfo forum (in the Alternative imaging section), then they got their own website and it was named Andromeda. There seem to be a lot of desperate stuff going on in those days - I was one of a handful of people trying to use industrial camera heads for video, RAM-recording about 20 seconds at a time of Bayer video to a laptop, great times!

There is no installation, it's just specific settings in camera to achieve the look. Made a quick Comparison between S-LOG 3, GFILM, and EOSHD HDR. Love the results right out of camera with this. SLOG 3 just straight up breaks, GFILM still breaks but less so, and EOSHD seems to show the least compression. I've been leaning more on getting the image right in camera and not in post, and am heavily leaning towards this profile unless I'm using an external recorder.

@tupp thanks for posting that video - All-I frames video looks like a great option when recording with the full sensor! As for 1800x1030 resolution (without the sd card hack), with 12 bit lossless you can record for a long time if there's not too much contrast or highlights in a frame. 10 bit lossless is continuous There's some slow progress being made with the sd card hack, it's now possible to use it without having to run tests (which took around 3 minutes every time the camera was turned on), so it's quick to start up now. However that build only works with certain fast cards, and it's still not safe to use. If you try that build with an unsupported card, I don't know what would happen to it. Below is my latest test, this time with people! I'm using a Sandisk extreme pro 95mb/s 64gb card I'm still getting a max of 55mb/s write speed. At 2520x1080 resolution in 12 bit lossless, recording runs for quite a while unless there's a lot of highlights and contrast in a frame. 10 bit lossless is usually completely continuous. I shot this when it was 26 degrees celcius outside, but the camera worked - it didn't go above 42 degrees C. Also I've now bought a Canon efs 10-18mm lens. Waiting to get a viltrox 0.71x speedbooster when it's released. That speedbooster combined with this lens at 2.5k resolution in crop mode will result in a field of view of 24mm (35mm full frame equivalent). That's wide enough for me and will make crop mode totally usable.... and that lens has IS which works nicely.

I dont mean investment in $ profit. I mean investment in my skillset. I learn something with every camera I buy. I am more about investing in knowledge. I could do wedding, event, corporate video's but then I would loose my passion so fast. I am not in this for the money as most of you are, as I already have a job. Its a hobby where I choose to spend my time and money on. I rather develop my skill up to a certain level, so I could do certain projects where I could work creative but still deliver high quality.