DPC

I'm a miserable bastard but reading this thread it seems to me that there are some rather patient and generous people on this forum.

It says R E A D M E . Follow the link I posted above. https://***URL not allowed***/properly-set-sony-a7s-video/ For an alternative, non slog2 approach.

I think that was probably too little. Even if you're never going to use Sony again, it might be worth reading Paul Leeming's (free PDF) setup guide as the principles apply to other cameras.

If you expose slog2 incorrectly you will have major problems trying to grade it. It requires a specific technique, different to what you may be used to using a more conventional profile, especially if you are unable to preview using a LUT while shooting.

OK. Did you actually test your rented camera before using it for anything important? You sound very cross.

http://www.leeminglutone.com/

Thanks! It's going to be video and I only need one side of the conversation recorded (incoming, to me). I have to cut the interview with others made in more controlled conditions. I did some tests using Skype and a Quicktime screen recording but the whole process was pretty clunky. It's the sort of thing a client thinks (wrongly) will be easy...

I'm going to have to record an interview via Skype (or equivalent) and would appreciate any tips from people who have experience of this. Thanks!

Footage looks nice but that guy looking down his nose... hard to watch for long. Maybe it's just me. I just hope that the Olympus subtext here isn't that with 1080P this good, who needs 4K?...

When you see how badly the Canon XC10 was received when it first came out and how many people like it now, wait and see seems the best response. That said, I'm getting more and more bored looking at camera specs. If I factor in user pleasure, Canon and sony are pretty far down my list compared to Olympus and Panasonic and I'm curious to see what they have up their sleeves.

Thanks Luke. If (ever) it helps someone, after a little more testing it seems (to my surprise) that having Long Exposure Noise Reduction ON reduces noise in raw files. They're still not great, but useable. Oh, and the camera is a pig for night shots anyway because the EVF becomes a mass of noise in the dark and focusing is really hard.

Devon - settings affecting the actual quality of processed raw files or simply being reflected in the way the raw files look in camera? On my A7R II and RX10 II, PP settings are carried over from video to stills (which is a pain). You should, however, be able to subsequently process your raw still files to whatever look you want although when you first open them in your processing application they will, to a greater or lesser extent, reflect the camera's settings (as far as the software can interpret these).

With just a Sony RX10 II available, I had a go at doing a starry sky timelapse yesterday. It was on my list of things to try. Exposure OK, composition too, raw images through Lightroom, all fine. But there is terrible confetti-like white noise all over the images. I think this comes from the sensor heating during the 30 second exposures. Long exposure NR was off and will be on for tonight's further testing. I didn't make any dark frames either. If any of you have had success with this and can give me some tips, I would be very grateful. My aim isn't to get involved with highly specialised astro tech, rather get some cool 10 second atmospheric b-roll inserts (that don't look crap). Thanks!

https://en.wikipedia.org/wiki/Match_cut Here you can see the technique often applied in a more gentle manner to get from one scene to another https://en.wikipedia.org/wiki/Ida_(film)

That's really interesting. Thanks for sharing. It's hard to comment coherently if we don't know what you are planning to shoot and whether you will be alone or assisted. For example : I do mainly events and documentary with some interviews. I can't imagine leaving home without my Tokina 11-16 but very rarely use telephoto lenses. I have a Rode VideoMic Pro but have almost never used the audio from it. On the other hand the Rode Link wireless is great. I never use a Flycam because I find I would really need to leave a camera and lens permanently mounted. Having had almost all my kit stolen at the end of last year, I am far more careful about the total value of equipment I take on a shoot, especially if I'm working long days alone.

Hope this isn't a silly question but why can't you just use nightclub type strobe lights? And they should be very easy to set to a beat.

Well I can't answer your specific question, but I reckon you could replicate that very easily with just stills and After Effects.

Link doesn't work.

And from a pragmatic point of view, just how long do you want to spend in post? I try to find settings that get me as near as possible to my final result without compromising shadow and highlight detail. These aren't raw files. I work the way I would with JPEG stills. The biggest mistake I made on early jobs with a GH4 was filming too flat and not being able to acceptably restore contrast in skin tones.

Out of curiosity, I wanted to see how far I could open up the image... For me, the original is a bit too flat. I had to really pull it around to get this.

I have the GX80 and an EM5 MK II. I think just about everything is superior in the Panasonic file wise but he Olympus is a much nicer camera to use and the EVF is much, much better than the Panasonic (which I would describe as being usable but not much more).

Not sure that DPR test shows anything useful. Try 4K / GX80 vs 4K / Sony A7R II and look at the detail in the hair (or absence of it). I think video offers too many settings variables (both in camera and post) for this kind of test to be of value.

Very quick grade in FCPX + https://www.fcpeffects.com/products/white-balance-plugin (which I like a lot). I would suggest using Paul Leeming's LUT http://www.leeminglutone.com/ and following his advice on exposure. This will correct the Panasonic oranges that are clearly seen in your footage. It looks pretty soft to me too.

I've managed to match pretty well a Sony A7R II (Cine 4 / Cinema gamma) with an RX 10 II (Cine 2 / Cinema gamma). The RX10 II will be a little less contrasty but that's quite easy to fix. My strategy when using different, unmatched cameras on a shoot is to use each one for a markedly different shot / angle. You use the closest matched cameras to film the same actions and the least well matched ones to film the most different shots. Dose that make sense?

mercer - I agree completely with your comments about the EVF. Really poor quality. For still photography, this is compensated for by the incredibly good auto-focusing of the camera, in all modes. When working seriously in stills the experience is this : worrying all through the shoot that your shots are not in focus and then marvelling afterwards at how sharp the images can be. That said, I'm not crazy about my Sony A7R II's EVF and focusing either. The EM5 Mark II is best.