yiomo

are you referring to the variable ND adapter? Theoretically this solution could work, but I am afraid that adapted lenses will lose autofocus accuracy/reliability/speed. I will have to do some research on that.

Yes, I do wish to keep this camera at least for the next 4-5 years. Don't like to run behind the technology's latest and greatest every few months and cannot even afford it.

thanks for your input. This is exactly what led me to consider the Canon C100 mark ii. For now I don't need the 4k and I don't have any clients asking me for that. A better codec would be preferable but I am ok if I can get good colours straight out of the camera. So for me this is my answer to "A". Regarding "B " I am not so sure. I haven't been freelancing too long and the last year has been a disaster. It would not be a wise move to get a new HD freelance camera and after few months have people ask me for 4k. Although it has never happened, it might happen eventually. So I guess the question comes down to what is this camera that meets the minimum requirements of being 4k, having good AF for run and gun work, good colors straight out of the camera, preferably built in NDs preferably IBIS preferably works with my EF lenses with a price around 4.000 euros. Perhaps I haven't researched long enough, but I don't know if this camera exists.

Thank you. That sounds like a good reasoning. I am hoping to be able to do both side by side. My employment is flexible hours not an 9-5 office job, so I can probably still do some freelancing. The BMPCC Pro was something I did consider, and I am very tempted to, but I don't feel very comfortable using my A7s for content creation anymore. The thing is that my employer does not have any equipment, besides some lights and I am not sure they would invest in a camera at this moment. I recently had to film an event with a quick turnaround and I spent time syncing the A7s files with my Tascam dr-60d and exporting... If going to this more expensive route, what are your thoughts on the C70 plus my current EF lenses? Or The C100 mark ii?

I haven't been able to upgrade my A7s earlier as I planned, but now I am almost there. I need for some advice. Currently I am employed as a content creator (with a salary so I cannot add equipment expenses/rental) and on the side I am freelancing, doing low budget web commercials and corporate videos. I have been filming for a while a personal project- documentary with my a7s, but there is still more to film and I have plans for more docs for broadcast and hopefully a short film soon. I know Netflix wants 4K but my last project which was sold on several networks was shot on good old 5dmkii. My budget is around €4000 but I haven't counted the need for lenses. I have canon EF 16-35, 24-105, 70-200, and a couple of primes as well a cheap sony zoom. I have been trying to decide between the following: a7iii (yes an upgrade for me), a7siii/fx3 or to stretch my budget (go on credit) and go for the c70 or the fx6. It seems that in order to have decent colours from Sony I'd need to get at least the a7siii, but still I prefer canon colours. Many people bash the c70 for the autofocus, but it seems to me to be working fine. So I almost decided for the c70, which is a stretch for me, but then I figured I'd need to sell all my lenses and get rf mount ones, which seem quite expensive or use an adapter which I don't know how it will affect the still not so great AF of the C70. And then I had this insight. I don't really need the 4k. Just great colours, reliability, preferably audio inputs, and decent AF -something that dual pixel provides. So why not get a c100 mk ii for €2500? It is way within reach and I have great glass to mount natively to it instead of spending more on new lenses. It would cost around €6000 to get both the C70 and the adapter! What do you think about all this. Can you share some ideas? Please ask me if you need any clarification. many thanks!

Here are some of the reviews regarding the Flycam Redking https://www.youtube.com/watch?v=l_r4k8TbGIQ https://www.youtube.com/watch?v=X5SGcUKltVQ https://www.youtube.com/watch?v=HphIPPWzsGU

Thank you both. Several reviews show the Flycam Redking almost identical to the latest Glidecam signature edition that costs 4-5 times more. Also, in terms of price Glidecam Smooth Shooter vest + Glidecam Devin Signature Gimbal cost around €2500. This is Steadicam Brand territory and actually more expensive than the Steadimate-S 15 and Ronin S combo.

I am looking for the most affordable (but descent) option to purchase a new vest system for filming long takes(fiction filmmaking). It can either incorporate a gimbal or steadicam type. I do not mind spending some time learning to use it. But I would expect to be able to have good results after a couple of months. Mainly for dolly in/out and tracking shots. The solutions I have found so far are the following: Flycam Galaxy Vest + Flycam Redking ~ €600 Ronin S + Steadimate -S 15 ~ €1500 Ronin S + Flycam Galaxy Vest ~ €750. ( the problem with this solution is that it offers just support and does not have the yoke that provides mechanical 3 axis movement) Perhaps Weebil -S with a mod to attach it on a vest. Any idea if the Flycam Vista ii arm/vest is worth the double price over the Galaxy solution? What are your suggestions?

Well I am a member since 2009... I have posted few times. It is just weird, that I was allowed to create a new post and then not being permitted to follow up the conversation on my own thread!

Thank you all. I think I have enough info to get me started. Alas, my camera is still the A7s. Currently no budget to rent.

I am afraid I haven't heard of Joleko. Yes, I might need a reflector, although I'd rather fill any shadows with a small led. I have a Torchled Bolt. The model is going to be lying on the bed and the practitioner working on her with some metal tools. It's for a physiotherapy clinic. Initially I thought that direct lighting through a softbox would be a good option but thanks @androidlad for your tip. I have seen several videos online where red skin is too much. The big downlside is that with the rental price of 3 days of Aputure I can purchase a set of 2 softboxes with tripods and CFL bulbs.

Thank you both. It seems that the aputure is very well regarded. I will try to rent this. Although we are shooting on a saturday and we'll have to pay for a weekend - more expensive- price. So from your recommendations I take it I shouldn't rent any softbox to come with it. Just bounce of walls/ceiling.

I need some help with lighting a clip for capturing with my a7s. The client has asked for a white/ clean clinical look. I usually film with available lighting and use just a small bolt led or reflector for talking heads. Now I am a bit stressed as this might lead to more videos and want a good result. The location is a small room around 15m2 and one side has a large window which luckily has a white curtain that will prevent hopefully any burns. I will be shooting mainly medium shots of a model and techniques with tools applied to her and close ups. I don’t own any lights and was thinking if either building a cheap china ball with cfl lamp, or renting an aputure 300 with soft box or some other soft LED light. Perhaps better to build the china balls as it will be useful in other projects too. As a last and more expensive option I am considering purchasing a set of softboxes that includes cfl bulbs. This can be purchased from amazon from 50 euros to 150 euros with different branding and cfl bulb power (from 85w to 150w). Actually to build the china ball and to purchase 2 cfl bulbs separately costs the same as a cheap set of two softboxes with tripods and bulbs. Another idea is to rent a 120cm kinoflo. Any suggestions? Many thanks p.s. I asked the same question at dvxuser and for some unknown to me reason the moderators/administrators disabled my ability to post. What is wrong with that place?

A few years ago I produced and co-directed a documentary about a Chernobyl Liquidator and a mystical community he created on a remote Greek island. It touches upon his experience in Chernobyl as one of the events that led him to see life from a different perspective. The film was self funded and produced with great difficulty. It is not lush with fictionalised imagery and story, but very true and unique. If you are interested in the subject and find the trailer interesting, please consider renting it to watch it and support its creators. Cheers! https://vimeo.com/ondemand/immortalsdocumentary

Looking at the moondog labs one and was trying to decide about the case. I finally got the RhinoShield one with the 12.5mm. It should work better on a gimbal and easier to use. Other options are either unavailable or too expensive in Europe. That’s great insight. Thanks. I d love a case that would hold both the moment and moondog lenses, but not possible. From what I ve seen I like the moondog labs better for anamorphic. Indeed going the 37mm route is too much, I might as well grab my mirror less. Then again I don’t have an anamorphic lens for it... i think the RhinoShield case will do for now and if I need to use a moment lens I guess will have to get a moment case. But the beast grip looks very rigid. So does Helium Core that is not available in Europe.

Any suggestions between the 12.5mm thread and the 36mm thread? Is one of those going to be more stable or better aligning etc?

Is there a website that people prefer for sourcing free music for using with their video content?

Didn't have the time to read the thread, but was wondering how mark 3 colours compare to "normal colour rendition" cameras (as in canon/ nikon). I am still using my A7s mark 1 with its horrible AF and colours (no, eoshd profiles did not cut it), a purchase that was heavily influenced by this blog, and which I deeply regretted soon after. Lately, I have been considering the possibility of upgrading at a similarly priced system. So, does it come even close to Nikon d850 in terms of colour?

@Mattias Burling Looking at the d500 and must say it is very tempting. It is essentialy an APSC d850 ! How do you compare the d500 you have with the d750 you were using? Also, I presume you only have it mainly for stills, but how do you compare the video between the two?

horrible colors, horrible ergonomics, horrible AF, inability to properly AF with my canon lenses (need to go native, and I am not convinced to invest in Sony system - I am almost sure that when nikon or canon go mirrorless the result will be much better) 12mp barely OK (but around 20+ would be better for minor cropping), poor construction - feels like it is going to break during an accidental fall or some water spilling on it. even the most budget friendly AF lenses are TOO expensive compared to canon or nikon. I need AF for photography ridiculous battery whatever sony mark x I will get, I will always feel cheated after several months, because that's what sony does. peaking works so and so for me. It has created a barrier for me in regards to taking photos, because of the above. I am currently in the production of a doc and although the IQ of the A7s is much better than my 5dmark ii with which i filmed my previous doc, I feel that I had a more "run and gun" filming with the canon and much better colors for sure. The A7s needs too much attention. Lately, I am back to shooting stills and I believe the technology is already mature for a real hybrid. Although I miss a lot canon ergonomics, it seems that quality wise I should choose between an upgraded sony (a7r2, a7r3) or Nikon (d750, d850). But I do miss the sturdiness of canon, its grip, the peace of mind, ergonomics etc. Have even considered repurchasing the 5d mark , but couldn't go back to that video IQ. I think Nikon d850 would be my ideal camera but cannot afford it. Although I have few canon lenses it seems that canon is nowhere near the d850. A used a7rii could be an answer to most of the issues I am experiencing, but I am sure it will still not feel like a "glove" as a canon body would. I got the A7s for video and personal photography. Recently I used it professionally for stills and more than half the time I had problems with the AF in a dim lit theatre. It is what it is for video but personally I don't feel comfortable using it with paying clients. I want my full size sensor for stills. D500 is very promising with all its new technology, but I think I'd regret it. A used d750 could be an option as it would intercut with my A7s if needed. What made you stop using the d750? raw would be tempting, but not for run and gun (i guess) and not for interviews and longer takes. also ML is a hack and I am somehow hesitant relying on it. so do canon lenses autofocus well with the a7r mark 2?? I believe they do, just double checking. Thank you all. The general consensus is that the d750 would suit me fine and I agree, but alas I am drooling over the d850.. A used a7r2 is still quite expensive, so I'd rather sell my A7s and wait to get the a7r3 / d850 or perhaps the a7s3. Perhaps keeping the A7s and getting a used 5d2/5d3/d750 is the wiser choice for now.

Since 3-4 years ago when I sold my canon 5d mark ii (which I now regret) to buy an A7s my photography has been more like a burden. In terms of video it was several steps up, but in terms of photography it was several steps down. Recently in photographing for clients, I realised the limitations of the A7s and the need to upgrade. The whole hybrid solution has been very problematic these years and I feel I'd rather have a great stills camera, regardless if it can shoot video. I cannot afford to purchase the nikon d850 which I would love to and sounds like what would be great for me, or the a7r2 or 3. So, most likely looking for a second hand one. It seems to me for stills DSL is still king (not taking into consideration the newest super expensive sony models) So, the question is to go for 5d mark 3 or d750? In the plus for canon I have 24-104, 80-200, 50. What would you recommend?

Thank you all ! I am going to delete the ProRes converted files that have filled my HD, will create Proxies to work with while editing, and do the grading from the original files. I have one last question. What is the difference of generating optimised media vs transcoding to Prores Proxy?

From both of your replies I take it that it is better to color grade the original files, in this case of A7s xavc-s and Gopro h264, than covert them to Prores and do the grading there? What about the "built-in proxies: Generate optimized media." Does this exist in Resolve 14 too? I have found this link but did't have time to watch it yet.

In an other forum recently, I asked about some syncing problems I had from a Pluraleyes export to Resolve. It was solved after converting my footage from A7s and Gopro to Prores422. I searched about the whole transcoding approach and it seems that in many forums people are divided whether it is worth it or not. My macbook pro mid 2015 seems to be working fine with editing hd footage from the original files of the above mentioned cameras. So to transcode or not is quite debatable it seems. And then there is the big question: what should I transcode, every single clip or just the ones that I am interested in using. And would that mean I would have to go through every single clip and mark it? What if i leave something out that could still be used?.. Furthermore, I haven't transcoded all the footage and I have already maxed out my HD and would need to make a purchase. So, all the above made me thinking and I came up with a workflow about which I would be very interested to hear your views. It would be like this: Original --> Prores Proxy for the editing --> edit --> after locking the edit convert to Prores422 (LT or standard or HQ) for color grade and distribution. This way I would save money because Proxy needs less HD space and I would also delete it afterwords. In this way I would only have the Prores422 as the finished work and not several terabytes of useless footage. Do you think it is an overkill? It is definitely easier to convert EVERYTHING in Prores but I wonder why would I want to keep full HD drives lying around filled with useless footage. I would still have the original 1st gen camera files..

Thanks Davey, I plan on getting the fotodiox alternative which is aluminium but it won't arrive on time for this specific shoot. To be honest I already put the combo on a small magnesit copter tripod and is relatively steady. Nevertheless, in the back of my mind I can hear the thread of the A7 slowly cracking the plastic..