Don Kotlos

I agree, a pocket v2.0 with a better LCD, UHS II support, better heat dissipation and the global shutter would make more sense.

I use this without a problem: http://www.amazon.com/gp/aw/d/B00PLENZX4/ref=mp_s_a_1_1?qid=1452780319&sr=8-1&pi=SY200_QL40&keywords=Lexar+sd&dpPl=1&dpID=51wB2njeF8L&ref=plSrch

Sensitivity is slightly better with A7Sii but nothing compared to either of those two models and any other camera. Colors are a bit improved too but if you don't use sgammut you should be ok. I have yet to see any advantages of the slog3.

Have you tried RockyMountains Movie Converter ? http://sourceforge.net/p/rockymountainsmovieconverter/wiki/Getting Started/

If you are going to use the Assassin without a doubt then you will not be needing the most important updates of the A7sii which are IBIS and internal 4K, so your best bet is an A7s. RAW quality is great but I am not fond of the ML/RAW workflow.

I assume that will be for HD. But even that will be amazing.

Yes definitely one of the factors for the low quality S8 stuff out there. Another being inexperience of the user @Ed David tried to replicated the S8 look with some old camera here: Global shutter, noise, punchy color, aspect ratio, deep DoF, no stabilization, crashed blacks and whites, can be used to get close to the S8 look with digital cameras. I will try give it a try with my A7rii and see how close I can get it. In 720p crop it has a 4ms rolling shutter and coupled with a c-mount lens can give interesting old style results.

As said, DNxHD is your best bet. Even if support for H265 becomes well spread, it will remain a delivery codec not meant for archiving and further processing. Now of course it can be done and if the tweaking is small enough there will be no problem, but since storage is so cheap these days my opinion is that you should go with the highest quality.

Yes that's what I use with the A7rii too. Cine2 also works great for low light. Check some profile settings from A7rII that I believe should give the same results with A7sii: http://www.eoshd.com/comments/topic/9191-playing-with-sony-a7r-ii-heres-my-fav-picture-profile-post-yours/

An interesting point from these tests is that while you need about half the bitrate with HEVC to reach similar performance to AVC, further increasing the bitrate does not yield that much better quality (fast rising log curve). In reality H265 is just a delivery codec that helps with storage. For best quality professional high bitrate codecs should be used (Cineform, DNxHR, Prores).

By Helen Green in tribute to Bowie:

Yeah they picked some wicked footage. The ones that @BenEricson or @Mattias Burling posted are much better examples. Here are some other examples:

I don't want to be that guy and I am not sure if it is the jpeg compression, but there is banding in all of them. Its this color blocking that happens across a large area of the image that creates the banding on the uniform gradient of the sky too. Nice colors on the third one... I might be to sensitive for it cause I spent too much time pixel peeping my slog2 footage , so don't let me stop you from using s-log3.

There goes Starman.

Wide angles work very nice with large format causing less distortion. Worked great with the camera movement too. Natural light was captivating, one of the advantages of digital: http://www.videomaker.com/videonews/2015/12/epic-western-the-revenant-shot-using-only-natural-light

Some more coverage: https://***URL not allowed***/kodak-super-8mm-close-hands/

no doubt but the video by bloom with an effective 1200mm does not look bad. Plus since it is 4k and with zoom, warp stabilizer will be very useful. Edit: my bad that was with a tripod.

I don't get why Olympus priced it so expensive, or why it had to be so large. Canon's FF 300/4 is cheaper and smaller (and FF ). While olympus has an unbelievable IBIS, the A7rii/A7sii are not bad either and with A7rii you can get even more magnification with a 400mm lens, S35 mode and 2X clear zoom (1200mm effective!) in 4K (crop a 1080p from that and you have now got 2400mm...) :

Can't wait for the first non-reusable SD cards

@joema Don't underestimate the importance of a pro body. Ergonomics and build quality are very different. While now I prefer a small body and tilting LCD I can see how for many (like photojournalists) pro bodies are a better choice. Shooting a D3 has left me with some very pleasant memories...

A7rii/A7sii do not have the color matrix correction but only depth and phase. It could still be enough parameters to get really close to clog but the FS5 should be able to do it even closer. There is another thread where we asked @Nate Mook that has 1DC and A7rii to see if he can match the colors in camera and share the settings.

Yep that interview was also conveniently less than 3 min

Dirk Jesper, Product Manager at Nikon Europe on 3min limit: - Due to heat during processing - D5 is not about video. Feedback from journalists and sports photographers that record very short clips. http://www.thevideomode.com/news/nikon-speak-about-3min-4k-record-in-nikon-d5-1915/

Probably we are talking about different problems. Yours seems to be GPU dependent and as you say a bug.

Sekhar, yes pre-rendering can remove any lag in the system but as soon as you make ANY change in the effects you will have to render again, so it makes it near-useless for online editing. Now it could be that FCP renders again each clip every time you make a change, but that is something that I don't know. So if your question was on that yes, I misunderstood. @jcs Premiere does not give me an opencl choice so I cannot test it. Also it is not a general 4K pipeline problem since many codecs work just fine (see my tests for a comparison), others are just not optimized.