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https://store.dji.com/product/ronin-sc?utm_source=newsletter&utm_medium=edm&utm_campaign=ronin-sc-launch&sc_src=email_2781404&sc_eh=dc77b18ffe8764571&sc_llid=83273&sc_lid=134555375&sc_uid=DYH7XcS1Vw&vid=82221 359e for basic kit 459e for 'PRO' kit which has follow focus included.

CANON: SONY:

I dislike Canon's apathy to offer even the basic video tools on a reasonably priced hybrid for 2019 - so I can not logically invest on any of their bodies, but from a6xxx to FS7mkII the color science is pathetic. Even now, that I was in the market for a new camera, and probably system, decided to keep my NX for another year and buy the P4K as a more specialized video toy, with extra m43 and EF lenses. All in all, close to an 8000€ investment. I could easily choose an A7iii, but it ain't yet right and I can't wait them out forever. I see now that the A7Riv has, again, little ergonomical details improved, I mean, come on, Samsung did it in their FIRST TRY, and Sony has to reach version 8 or 9 to make it right, and we will see until then.. I vote everyone else, except Sony!

I bought into the numbers and spec game that Sony played for a couple of years (2015-2017). Used the A7s, A7rII, and FS5. 4K! 40+ megapixels! 240fps! I call these the dead years. Yes, I got some good stuff with them and thanks to a great colorist, was able to grade some films so that it looked great. But the day to day shoots, the general travel photos, the one-man band work, the portfolio of work that doesn't have professional colorist attached to it just isn't even in the same ballpark image quality wise as something from a Canon or Panasonic. While you use a Sony, you don't really realize that there is something off - you just get used to it. My wake up call is when I looked at old, 8-bit HD footage from my Canon 60D that I shot in 2012/2013. It just looked so much nicer, natural, and beautiful. Quickly tested out some new systems, felt the same about the footage I was capturing on those, and dropped Sony as quick as I could. Still love Canon and think they have the best CS and best image right out of the box, but Panasonic is very close and also give you the specs that Sony does. So, it's Panasonic for me right now. Maybe if Canon give us a 10-bit C100III with RF mount and a pro-body EOS R with 2020 video specs, they could come out ahead. But feels like Panasonic is the company that will give us what we want spec-wise while also giving us high image quality and color.

Sony A7S II: Canon 1D C same shoot, same day, same light, same girl: Sony A7S II (The Death Cam): Canon 1D C, 10 seconds later SHE LIVES! Sony ZombieCam Mark II: Canon 1D C ? Funnily enough these 1D C JPEGs direct from the card looked much better on one of my Macs compared to the other, so monitor profiles and display settings matter as well. Although it's not just the camera... I also agree with the point @Mattias Burling is making about colour in RAWs. Minimum effort counts for a lot. Who wants to go manually correcting 1000's of RAW files? What a fucking ball ache! Default colour in RAW matters just as much. No matter what software you use, you want to open it and do a few simple changes or preset moods and have it singing. Same with video and LOG. Sony A7 III got a bit better for colour, but I still don't use it much. The other thing that matters is white balance, and even the lens. Lenses can have different colour biases. Pro Color exists for a reason I didn't create it on a whim. It solves a real issue with Sony's video processing and I should do the same for their RAW stills as well! Be honest with yourself... have you used Venice CS? Or are you parroting a second hand experience of it versus Canon? Again same thing with the Nikons... You've got to use them on a subject, then decide.

Man, you are such a tease! ?

Good color science is equally important when shooting raw.

He loves hard but not long. Hope this relationship lasts longer than his love affair with Panasonic!

4K @ 60p

It'll never work

Congrats for the model ; -)

You must be Van Gogh to love Sony!

We have both been alive for the same number of years since the A7R II came out. Unless you have lived two simultaneous parallel lives in an alternative universe where all the facts are different and the A7R II shot rubbish video I bought both the A7R II and a7R III for video... Full frame image wasn't too shabby at all. It was one of the cameras that strived at the forefront of technology to do BOTH stills and video to the MAX. And now Sony has decided to hold it back and just tweak it... rather than push forward with the stuff it badly needs to stay competitive with Fuji and Panasonic's hybrid cameras... Like proper colour film profiles, 10bit, ND, etc. The X-T3 is also a camera massively aimed at stills people, but look at the video mode... amazing. The skill of the person costs time. Often it also costs money. And on top of all that, even more often it is a fucking pain in the ass. People who are skilled at grading don't suddenly have 200 hours in 1 day to spend on a bunch of RAW files from a Sony A7S II. @Mattias Burling has said as much again and again, he wants the camera to minimise his effort so he can do simple grades with a big impact. If you're implying that only post matters, you're also kinda saying RAW data and all sensors are equal... Well it isn't. They have different characteristics. The default settings matter. The white balance system matters. The colour filter array matters. The readout matters. The onboard chip A/D matters. The calibration and imaging pipeline matters. The Adobe Camera Raw presets matter, for each individual camera. RAW capture doesn't end when the light wavelength hits the sensor! Yeah, I buy a full frame sensor to crop.... NOT! I just love that small sensor look so much from my 61 megapixel A7R! I can't live without 61 megapixel... Gotta crop ALL THE TIME Who needs a zoom when you can crop to 1/2.3" sensor size!? 100MB per file isn't big enough, I want 2TB raw stills and 2000TB SD cards that take 2 weeks to open! I've nothing against pixel shift. I'm just a guy who has difficulty telling the difference at normal viewing distances of 24 megapixel versus 50+ megapixel when I am not zoomed in at 100% on a tiny window of the overall image. But yes, 240 megapixel... Bring it on Yes that much is clear. You sound a bit like a Sony exec. They clearly have decided the cutting edge hybrid video/stills focus of 2015 had to be watered down, otherwise they couldn't sell us 3 separate bodies. One for video. One for stills. And one that did neither well, but looks kinda cute. Segmentation is the name of the game when it comes to profit. Sony are the new Canon. (Just not when it comes to colour science)

I think that's what these arguments ultimately come down to, personal preference. I think the PB grades look hideous, but that's just my personal preference. I think the grades themselves are very well done, much better than most YouTube channels. I just don't like the style with lifted blacks, sort of a monochromatic faded wash, etc. My favorite film stocks are generally Ektar and Velvia type stuff, so very saturated and higher contrast. Just a difference of opinion. I think he has a good eye and is technically adept, just not my favorite style. And I do like his reviews, he's charismatic. But it feels like an instagram filter over everything (to me). Then again.... look how popular instagram is. But that's 100% personal opinion. And why I think arguing over color is a bit worthless once you've made up your mind about what you like. I strongly suspect we all see color very differently from each other.

You're entitled to have an opinion on Philip Bloom's many hours of custom grading and his LUT collection. But it's an opinion on that, not the Sony colour science or defaults, you do realise what you are seeing is not straight from the camera don't you??

Canon 1D C Sony A7S II Different opinions are fine but Alternative Facts aren't. Even a blind person can feel very clearly what the difference is because one is positively radioactive. And these are RAWs straight off the SD card with no colour adjustment whatsoever. The amount of time and skill it would take to create a custom grade for that Sony RAW still so that it matches the Canon would be immense. One preset might not work for all shots, you'd have to tailor it. The Sony has green and yellow going on with skin, whether it is in the RAW file or the JPEG, it needs adjusting no matter what. And while it's true you have more headroom to adjust it in RAW than JPEG, it is still time and effort down the drain.

Well done for discovering the upmost shit on YouTube that sums up everything I hate about the worst YouTuber tendencies. That is quite some find. HYPE HYPE HYPE Shilly McShillFace and his background porno musak, says the SEPERATE QUICK FUNCTION MENU is a MAJOR VIDEO FEATURE as he puts a 1000 watt grin on. Who needs a 10bit codec or 4K/60P when you have THAT kind of advancement in the market place?!?! WHAT ELSE IS NEW JOHNNY SHILL IN New York NEW YORK? OH MY GOD IT'S A GAME CHANGER NEXT!! You can change the naming format of video clips. WHATEVER NEXT FOR OUR MEASILY $3500 POCKET CHANGE!? GLOBAL SHUTTER!??! No---No--- wait for it...waaaait for it... YOU CAN SAVE YOUR MENU SETTINGS IN A FILE! (Although if you format the card they vanish) Video then ends... And it's his sponsor ad for next hour (at least it felt like an hour). Oh and there's EYE AF. But of course, you make far more advertising money from a 6 minute YOUTUBE HYPE PIECE than a one line blog post saying: Big new features for video: EYE AF. Erm that's about it. (End of article). I'll zip the original JPEGs up and send you to Spec Savers if it helps? Also Canon CS is the most consistent across camera bodies... Speaking from someone who actually has a 5D Classic, a 1D C and EOS R in front of me right now.

Okay, it's early in the morning/late at night here. I found this thread and thought I was dreaming about being back in the past viewing an Osmo Pocket topic for the first time. I have one of these currently. It's okay for what it does. I took it with me on a hiking adventure. It worked fine enough, but the internal microphone placement and lack of a decent built in microphone jack led me to purchasing the 3.5mm adapter and a couple microphones. Now, I am contemplating letting it go until there is a version 2.0. Dark Island Trail Osmo Pocket Hiking | Rural Exploration DJI Osmo Pocket Audio Tests - Saramonic SR-XM1 - DJI FM-15 Fleximic

..what do you think about THAT?? LOL

There needs to be some sort of external DAC for all these things. Or rather external A/D. For example a USB C mic adapter would be good for something like the Ninja or a mirrorless cam... bypass all that noisy analogy circuitry.

When using vlog there is no minus, it starts from 0 and goes to 10 So you can compare my settings with -5

Sure, Its a great camera. Plus points, footage looks very organic with vlog. 10 Bit is so nice for grading. Dynamic range is awesome Ibis is awesome Autofocus Is good enough for stills for me For filming I use mostly manual lenses. And I love the 96 megapixel pixel shift mode, those shots are so clean, no noise. There are a only few things I miss compared to my Canon 5d3 with raw. 1- On the canon I could crank up the sharpness to the max for in camera for monitoring only, and because it was raw the sharpening is not baked in the footage. I wish Panasonic will add this to firmware. ( Edge sharping for preview only ) 2. I cannot zoom into the footage while recording, only before pressing record can I zoom in. Again firmware request 3. There is no record trigger for the Ninja. also firmware request Besides those points I love the camera. I'm in the Netherlands, they send it to me after I send in my invoice last week. very fast turnaround. ( and yes it was free, thank you Panasonic)

hey yall!!!! sooo i was working on a set last week, just kinda helping my friends, being a white light, and we had this moment laaate at night where i was talking to the actors, pepping them up (theyve got their fkn sad faces on, woe is me, i hate acting, rite? mind u it is 2am), and i was being cooool af as i always am on a set, and i just started saying because... WE (*and the director joined me*) LOVE FILMMAKINGGGGGG ....remember that??!! from some bts of one of quentins more recent films...? he does that with the cast and crew, its... something he does?? anyway, i cant find the clip, can u guys help?? this is real i swear!!! ? sincerely, kaylee

After my bright sunlight shoot the other day, I went looking for a brighter portable monitor. I just received the Feelworld 279S monitor (2200nit). It was on sale at Amazon for Primeday for less than $280 for the SDI/HDMI version. This monitor really is viewable in direct sunlight. I have only played with it for a few hours, but this appears to be a pretty decent monitor, particularly for the price. It is fairly well built, but there is a lot of plastic (as you would imagine for the price). As long as you don't drop it, I think it will be fine. There is only a 1/4" mount on the bottom, not the sides or top, so be aware of that when thinking about mounting options. It also only has two function buttons, like for histogram & false color, but you can customize them to your preferred function. I think that people will have to be careful judging exposure just by looking at the monitor since it is so bright. It does have several exposure tools like false color, histogram, & zebras, so that will help you get exposure right (I didn't see waveforms). I suspect that I would really like the new Atomos Shinobi (I have Ninja Infernos), but I need HDMI in & out. I am going to place this in my workflow and see how it goes. This is an interesting new toy. This is a terrible photo that I snapped with my phone that shows you a little bit about how the monitor compares to the monitor in the P4K. The P4K monitor is a little better than it looks in the image if you move around to get an angle with less glare.

I would have to win the Lotto to have it. But yeah would be nice.

Rumor has it a new 102 MP X-Trans sensor is coming. But when? I do like the medium format look.

I voted Fujifilm ? Between the two, with minimal processing, I appreciate Canon more. Sony is capable, if you use the newer cameras and really work on it, but you can honestly even shoot JPEG on a Canon and get lovely colors ready to print. The same goes for video, though I'd give overall IQ to Sony in that department. Color wise though it's just hard for Sony to compare when you see them side by side.

Let me add RED IPP2 into the mix. Prefer it over ARRI Log C honestly.

Sorry, was joking. It will work because it does work...

Is Van Gogh where Sony got their green-grey-yellow facial shadow tones from? On the Camera Portrait setting in Adobe Camera Raw, the raw file gives the impression she's standing next to a just-out of frame Slimer.

Chill! It's a tongue in cheek poll. Anyway have a look at the lighting yourself. The RAW file is attached below. All I did was increase saturation and contrast equally on both the 1D C shot and A7S II... And not by much. Same day, same location, same natural light at same angle... Canon whipped the Sony's ass. See the JPEG from the 1D C attached as well. It was taken within seconds of the other one and same light. As you can see the yellow cast in the Sony shot, just isn't present in the Canon shot. You can't blame the fucking sun!! CANON 1D C RAW FILE: 1DC_8016.CR2 SONY RAW FILE: DSC03163.ARW I am sure someone will show me it corrected. Time how long it took you in the HSL panel and more. Then multiply that by the 700 shots of my shoot. If you want to do it like a pro, you have to adjust each different shot differently!

You can select Sony's camera presets in ACR as well. These are worse than the Adobe ones. We are not talking about JPEGs here, mainly RAW. Here is what the A7S II looks like after several hours of effort. CAMERA DEFAULT IN ADOBE: PAINFUL HARD WORK: CAMERA DEFAULT IN ADOBE: PAINFUL HARD WORK: Conclusion--- If you like painful hard work, buy a Sony.

Taste is a broad spectrum. Let's have a poll. https://www.eoshd.com/comments/topic/34918-which-colour-science-do-you-like-the-most/

Yes it's all subjective and even changes over time. I have gone through phases. Often preferring warm looks, then back to wanting to see strong blues and greens again. It also depends on the piece, the mood you're trying to do obviously. The job of the camera is to keep the effort down and get out of the way. I don't want to have to be correcting some green cast under someone's chin, when I could be doing SO MUCH MORE with my time.

When I shot this on the A7R II, I was reasonably pleased with the skin tones.... After 200 hours of LUT work.

No the thread is not about photography. It's about a hybrid of both. Just like the A7R IV is a hybrid camera. Video is very important on it. It's not a Nikon Df. Sony has decided to sit back and consolidate their sales. The A7 III killed the A7R III sales. They need a new model to justify the $3500 again. Problem is they haven't been very creative with it, simple as that really. Bringing Eye AF in from the cheap A6400 is useful but how is it ground-breaking flagship stuff? 61 megapixels? Nobody asked for that. If you find a use for it instead of 42 megapixel let me know The expectation was that this camera would at least be better than a $1300 Fuji X-T3 for video. It is $3500 after all. 2015 called and it wants its 8bit and frame rates back.

They are very much a numbers company. I look back on my Sony shoots and think exactly the same thing. Never spent so much time fiddling with a grade as I did with Sony cameras. Time and effort that could have gone towards other things. What model did you go for at that time? Funny thing is they HAD it right, with the purchase of Minolta. The full frame Sony/Minolta A900 has absolutely FANTASTIC colour science. It also has a very clear and responsive menu system! ? That's pretty much how I came up with EOSHD Pro Color!! Sony has had all our feedback for free and they thank us for it by asking us to stump up another $3500 in order to make use of it. Magic Lantern remember didn't even have access to Canon's source code, it is trial and error reverse engineering and they still managed to implement RAW while the big manufacturers moan about not being able to do it in 2019 on their own cameras which are a fucking open box to them, and their multi-million dollar engineering teams. Instead they go running off to Atomos and fiddle with HDMI cables, promise it externally at great inconvenience and cost to users, and then spend 6 months Q/A testing while users wait wondering if it has been cancelled. I bet there are a LOT wrong with these big companies and we only are getting glimpses.

I think I heard that from a friend (a working DP whose A cam is a C300 Mk II). He didn't like the the A7S, really liked the A7R III I believe.

So it doesn't suit the way you film. Great. If you're shooting live performances of bands, or short films or feature films or music videos or many other things you will be walking around with a big (or bigish) camera on a gimbal fairly regularly. I'd buy a gimbal and the camera I want to put on it any day over a gimbal with a built in camera that you can't change.

It's a POV cam from someone stuck inside working on a follow-focus who really wants to go outside... with ADHD.

The “you can make any colour from raw” argument doesn’t make sense. For example it is easier to edit a raw file from a Nikon Df than a raw file from a Nikon Z6 because the former has better colour raw files (jpegs different story). Colour starting point matters.

Canon or Nikon shooters are not switching to the A7RIV - they will all wait and see what their brand is doing.

Snappy!

- feature 4 ("All the tracks must have a safety backup track recorded to tot. -db to prevent clipping") is absolutely useless with good preamps and an analog limiter like on MixPre series. - All features with MixPre 10T - Only 4 preamps with MixPre 6 and limited timecode support. - For feature 3 : A ambisonic plugin for MixPre 6 and 10T https://www.sounddevices.com/product/ambisonics-plugin/ - For feature 7, you need some wireless audio monitoring system like comtek.

@Lars: did you see a difference when getting nr to -5? Also would be -5 for sharpening better in terms of in camera sharpening? Most people on the gh5(s) hat nc -5 an sharpening -5

A001_06201947_MOD.mp4

I've got one and I have to say its pretty nice. I don't have a fancy phone so it acts in lieu of that for holiday stuff and although the video is the main story, the quality of the stills are actually quite good. One complaint I have with it is that it seems to have a habit of reverting its settings out of the Pro mode which is a pain in the arse. I never use it with a phone so maybe that has something to do with it in terms of sync or something but its intermittent. I've just got some magnetic ND filters for it as it definitely becomes a bit too camcordery in bright light. The hyperlapse stuff is fun and the stabilisation is good in terms of being a tripod substitute and some slider type moves but walking with it is definitely going to give you some bumping unless you are disciplined in doing the silly walk. As I use it on holiday, the fact I'm wearing shorts is enough to make me look ridiculous without doing that as well. It struggles a lot in quite low light of course but these grabs are from footage I did in less than broad light and its does an alright enough job for what I'm using it for, especially considering the convenience factor and the tricks it can do. 1

I’m filming with a super 16 mm film camera in 2019 so I wouldn’t worry

Good luck getting that St. Bernard into a cardboard box let alone getting it into a bikini.

Everyone on EOSHD outbidding each other and pushing up prices on sub $200 cameras...