Shirozina

There's as much chance of an A7 full frame mirrorless camera having an internal ND as it having propellers that pop out and becoming a drone.......

Cameras are disposable assets as the technology is in continual development. Having said that if you can't make a good film with what is now available (and available very cheaply) it's not the fault of the equipment......

Internal ND filters on a mirrorless body - what are people smokin'??? The only game in town now is 10bit 4.2.2 internal codec. They can do this with an upgraded processor, add a couple more FN buttons and increase the customisation and menu structure like the GH5 then they will have done enough for a worthy upgrade IMO.

New menu line - Video Guideline.

Guidlines! - that was the only criticism I had with the camera in it's present state. Not sure I've ever owned a camera that has absolutely nothing I can find wrong with it........

After doing some more tests I'm not convinced that V-Log offers a real practical DR advantage over Cinelike -D (with contrast at -5) so you can easily get going without it. Certainly with contrast other than minimum you will start to see the shadows block up but it will take a very contrasty scene to make this a problem. Cinelike D (and the other profiles) also have much smoother highlight rolloff which can be useful in many scenes.

Can you define this 'distinct video look'?

This is pretty basic stuff...... Perspective is entirely governed by subject to viewer / camera ( specifically the lens's so-called nodal point) distance and nothing else. Focal length and format size just change the crop / FOV. All other factors brought about by changing focal length, sensor size and optical formula such as DOF and Bokeh will change the apparent 'sense' of depth or other peripheral characteristics but they cannot change perspective which is a clearly defined and universally understood concept in geometry and specifically the projection of the 3d world onto a 2d surface.

If they just improved the screen it would be a worthwhile upgrade. I'll never get rid of mine.......

Not especialy - the bodies can be found very cheaply but to get a good set of lenses will set you back quite a lot of money. If I were starting a MF digital system from scratch on on a budget I'd be looking at a 645 system.

P20+ is 16mp - as you say probably not the sweet spot. I'd be looking at a P45+ for my 500/c but then if you haven't got a set of lenses it gets expensive.

ProRes is still lossy compression and you have to factor in what each app is doing in the process of transcoding in addition to to the compression. There are some non lossy formats that are pretty good but the data bloat is huge. Additionally my concern with the new 400mps codec is that if it's compressing every frame individually then overall the compression is going to be more severe than the existing 150mbs codec so it may not be quite the miracle everyone is expecting????

Premier and Resolve studio both play them. I'd caution against transcoding as there is data loss and thus potential image degradation involved in the process. Premier and Resolve both have proxies and optimised media options to work in the timeline which then use the original files for the final render. At present Resolve Studio on my laptop is just about usable but Premier bogs down significantly.

How many here offering their opinions have actual experience shooting and processing MF digital - by the sounds of it not many......

So many naysayers who just don't get the fact that MF digital ( even older models) have way better tonal and colour fidelity than DSLR formats that reduce the CFA density to the bare minimum in order to boost high ISO performance. If I ever get back into doing stills for personal projects I'll be buying P45+ or P65+ for my 500c/m with 50/80/150 lenses (still used via adapters on my A7r2 and still competitive with native glass)

If it's any help I found that out of all the non Cine / S-LOG profiles that work well with video is 'portrait' with all the settings at minimum. It gives very reasonable DR and 'workable' colour. I'd also highly recommend Andrew's EOSHD Pro colour for these cameras. Sony cameras are capable of very good colour but they just don't seem to know how to create any profiles that make use of it........

Glad I got 4x Newmowa's.....

Here is the RGB parade in Davinci Resolve after the file is imported properly for Sony internal codecs (clip attributes set to full) - you can see how far the whites in the image are away from their clipping point and how the different channels are uneven which indicates an incorrectly set WB. I played the clip on my 27" workstation monitor and can see the very slightest amount of grain - pretty amazing for an underexposed shot at this ISO!

One of the reasons I got rid of my XC10 was the poor performance of the 305mb codec. Despite it's high bitrate it's not a very efficient codec and I found shooting outside that blue skies would show horrendous banding with the Log profile. It was a little better with the cine profile but there wasn't much latitude to work with them in post before banding set in. Also there seemed to be aggressive baked in NR which mushed fine detail in 4k. In other respects it was a very good camera and ideal to use with P&S 'camcorder' approach to filming.

Yes use the Histogram and / or Zebras to set exposure. Your WB is not set correctly as the image has a blue/magenta bias - how are you setting WB?

Only Cine 2 / zebras 105% show the absolute clip limit on these cameras - all other's show clip before that actual limit. Also all cameras show clipping only on the green channel so you have to make sure you get a perfect WB otherwise you can clip on the red and blue channels and not be aware from the zebras.

I don't use the exposure guide at all. I set the zebras to 105%, set the profile to cine 2 and place white just under clipping although this depends on the scene contrast as ETTR is not ideal for low contrast scenes.

I can't see any noise on my UHD screen laptop (but my eyes can't focus close enough to be sure). Loading it into my NLE shows you are underexposed though with the whites peaking at only 80% so upping the exposure will help reduce any noise. Hope this helps?

Can't believe how 'robust' the 4.2.2 10bit files are - even in V-LOG they are virtually unbreakable (Blue skies remain banding free) even with very heavy adjustments. Coming from a Sony A7s and A7r2 where skies band without any processing this is nothing short of a miracle how Panasonic have done this with a 150mbs codec. Still prefer Cinelike-D for most scenes unless they contain huge contrast ranges as the highlight roll-off is smoother and light shades have more tonal detail.

You presented a Wikipedia as fact - please do yourself a favour and do some proper research which also includes using your own eyes.