TheRenaissanceMan

That's tech, man. Nothing is an investment anymore. Looks like some awesome updates to what was already a solid editing platform. Audio and performance on sub-par machines were my main complaints, so this is like someone read my letters.

It is better to shoot and process in the highest but depth you can, then export to 8-bit or whatever you're delivering to at the end. That'll guarantee the best possible image quality for all your delivery formats.

Extreme low light is a great reason to pick Sony. For 98% of shooting, that advantage holds little allure for me. Thus, I continue to wonder what advantage Sony holds for that vast percentage of shooters that don't need crazy ISOs.

Well the forum is focused on video, as was my post. I understand photographic needs perfectly well, but was not factoring them into my discussion of the marketplace's offerings to video shooting.

For real. If it turns you off, just don't participate. Seems like personhood 101.

While these points are interesting, I think we've wandered pretty far afield of the topic...

Photos, or videos? I was under the impression we were just talking video. What do you do that requires 12,800 on the regular? Even the weddings I've worked rarely even need 3200. And if you don't need great slow motion, 4K, or autofocus, and take lots of stills, what does Sony provide over a D750, for example? The point remains: besides extreme low light and sensor size (which is a non-issue imo), Sony lacks a definitive image quality/usability differentiator over their competition's offerings.

No, stepper motors allow lenses to make smooth transitions from position to position so that AF in live view/video works quickly and looks natural.

I think it's a side effect of stepping motors, as Canon's STM lenses have the same problem.

Most manufacturers look fine at 3200/6400 these days. Even in the evening or at night, I've never needed more. And personally, I find full frame overrated. Difficult to focus, and easily matched with a speed booster.

They problem as I see it as that the GH5, on a spec for spec basis, competes with the FS5/FS7. In order to compete in pure capabilities, Sony would have to canibalize their own high end cameras. Don't get me wrong, that sounds great, but I just don't think it's probable. Plus, on a pure reliability/ergonomics/ease of use level, none of Sony's mirrorless line holds a candle to Panasonic's. Low light performance has reached the point of diminishing returns, frame rates are impressive all around, and everyone's sorted out internal 4K. The technology has begun to plateau, begging the question: how will everyone differentiate themselves? Panasonic rocks in ergonomics, bit depth, and stabilization. Canon has pretty color, lens selection, and DPAF. Sony still has the edge in extremely low light, but other than that...What do they offer over everyone else?

How is quoting scripture exclusionary? Not religious personally, but it didn't bother me. 1DC produces lovely skin tones, and the contrast/color on the C/Y Zeiss is so choice. Liked the edit and lighting too. What exactly are you dissatisfied with in your current setup?

Blackmagic Pocket. Amazing image for the price and a great learning tool for beginners.

I'm sorry, but that's incorrect. The 35-70, 24mm Elmarit, and 16mm Elmarit were all Minolta Rokkor designs licensed by Leica and built to their QC standards. Nonetheless, the coatings are similar enough that they match without much fuss. Minolta famously worked hard to mimic the Leica look, hence the nickname "baby Leicas."

The Leica R 35-70mm is actually a rebadge of the Minolta MD version, which goes for like $80 these days (compared to $300-400 for the Leica R version). I use it alongside my Leica R primes with no problem whatsoever.

Avenger and Kupo are both good bets; in fact, I've heard rumblings that some Avenger products are rebranded Kupo gear. Can't say for sure though. If you can get reasonable shipping from any seller for either, I'd recommend going that route. And @tupp, generally you are correct. In this instance, I'd say the Kupo combo stand is lighter duty than any junior I've ever used. Great for its price, but not as sturdy as a good junior imo. Ymmv

No complaints with the SLR Magic VND.

First of all, I'm in love with the sound grip jokes. Keep em coming; movie set memes has had me in stitches since the whole thing started. Second of all, I'd second the Kupo Master Combo HD stand. B&H has them for $155 with free shipping right now, which is hard to beat. Or if you're looking for something even studier, you could go for a used Matthews beefy baby. B&H regularly has used copies for ~$170. Just no built in combo head, if that's what you're after.

What about the large portion of video shooters that never use AF? Seems like more of a hobbyist hangup than something that'd hold back a working pro.

In my experience, egg crates are a real pain that way: Everyone overcharges like nuts for them. The one for my Rifa ex55 retails on its own for almost $200, on top of the price for the fixture itself. Craziness.

Egg crate is an extremely common industry term for such grids. Many are called by that exact name by their manufacturers.

I have very few complaints with my Aputure FineHD VS-2. Excellent monitor for the price.

Lol! Clearly, you haven't shopped for many lights. Aputure are dirt cheap compared to Kinos, HMIs, plasma, and most comparable LEDs.

Can you pin down exactly what they mean by "hard light look"? Do they mean gritty with lots of contrast? High key? If it's what I'm thinking of, you could cover all the windows except one, then use that as a hot edge and gel a softer source (1/2 CTB should be fine) from the opposite side as your key. Or vice versa, depending how the ratios work out. Then some negative fill on the down side of the face. Should give you something like this. I would avoid undiffused redheads/blondes. They tend to have hot spots and an uneven spread, and are therefore not controllable enough to use directly on talent IMO. Better off using a fresnel with Hollywood Frost or a couple sheets of Opal.

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