Gregormannschaft

They tend to stick to the inner cities. Ugh, another Trump-ism.

Maybe this has been said already, but what happened in England with Brexit and in the States with Trumps election is the need for serious filmmakers to undertake projects that will create empathy between two groups in society who refuse to understand the other. There's a need for compassionate research and an open ear, to understand why people are attracted to Trump's vile statements. I don't believe people are inherently racist, homophobic or xenophobic and nor do I believe all Trump supporters/Brexit'ers are - that stereotype must be destroyed. I was at a party a few weeks ago with a lot of doc filmmakers and I was surprised at how angry they were and how quick they were to label supporters of Trump as, basically, idiots. What doc filmmakers have here is an opportunity to heal and to give voice to a lot of people who feel cut off from the privileged. I just hope we don't go about this in a condescending newsy way.

I'm just proxy-ing everything. The new feature added to 2015.3 (10.4.0) made it a breeze, even with the occasional buggy hiccup. I saw they were also adding a button that would turn off all effects, which should also help with making (and keeping) everything a little more responsive.

Because this is always quite fun, I'll throw my grade into the ring. The footage looks lovely, but I'd need to see WAY more to get excited.

I used a Sennheiser MKE 600 for my last doc, plugged straight into my A7S II and was pretty blown away with how versatile it was. It was my first shotgun mic purchase but feel like I found a great buy, by far the MVP on the whole shoot. Sound was always incredibly clear for walk and talk interviews.

Curious, as I bought the Mk II in April, did you ever use that? Any big improvements?

Those are beastly specs.

It's OK. Nothing special really. Only reason I'd shell out for this is if I wanted a stills camera.

That was one of the most beautiful and enjoyable studio videos I've seen in recent memory, that lens has such an amazing character, and your grade + shots are lovely. Great work, I'm inspired.

Does it? There's moire on those garage doors and the sky has some weird banding going on.

Some people aren't meant to be in front of the camera. I've worked in PR and had a similar experience of spouting nonsensical sentences. Even the easy ones he's speaking in tongues: "It's a...if it's not broke don't fix it kinda...technique"

Cine4 is my go-to option if I need 100% guaranteed clean, punchy footage. SLOG gives an added texture that I really like in my personal work and student/ethnographic/doc film work which places about 0% emphasis on looks.

Cheers @Devon, always nice to be complimented. This was shot on my old A7s, and I think at the time I was playing around with the Kholli profile that was doing the rounds. Ed David often posts it and it's available with a quick search I think. I used Lumetri and a straight SLOG2 Lut from Impulz. The shot you're refering to was shot at 24mm. Highlights were clipped quite a bit in places as others mentioned, I've got the hang of it all now and tend to do that a lot less. I have to say, since getting the A7SII, I've produced much nicer LOG footage in the SLOG 3 & 2 gamma settings with the SLOG 3.cine colour profile. So practice plus leaning how to use FilmConvert and Impulz LUTS is a real help.

These things make me laugh. He's a PR rep, not a technician, or a camera man. He get's his job by being good in front of a camera, friendly and personable - not tech knowledge. That's no excuse, he should know what he's talking about, but this is why he clearly doesn't.

I don't care about the Sony color brigade, so much of what I see here is the same mushy resolution and blown out highlights that made me sell the Mark III in the first place. Say what you want about the colours, but when someone nails SLOG on the A7RII or SII, it looks stunning.

I had the D600 briefly. Video wasn't amazing, but it had something. It was probably punchy, beautiful colours. But the stills were incredible, beat the 5D pretty easily when I look at the print outs I made.

Colours looked lovely. That follow shot at the beginning of the trailer was pulled off really well.

I've found SLOG3 + Impulz LUT is a pretty easy way to get a great image with a few tweaks afterwards. Obviously, there are big minuses with that on the A7SII with the codec. If you live somewhere with bright blue skies, banding's a big issue. I recently switched to SLOG2 + SGamut3.cine and I've got great results. It does veer slightly more towards yellow but that's easy to correct in post. I've found FilmConvert works with that footage really really nicely.

Good effort. Some are more seamless than others and I expect that after a bit of a rest of looking at it you'll see which parts. It's a good skill to learn but I'd keep at it until you feel you can put your own twist on it and then follow that further.

Still using the Sony A7SII, still loving it, although I feel like that line of cameras became real unfashionable at some point last year.

Do you have a pic of this adapter? I think I'm using a similar solution, here's the guy: http://www.thomann.de/de/sennheiser_ka_600.htm?ref=search_rslt_xlr+3.5_312811_19 I did a little reading up and from what I could tell there's no loss of quality using a 3.5mm adapter, XLR is purely for the stability of the connection. Generally if something had a XLR input then the quality would be better because you're most likely getting dedicated audio focused amps. I plug my Sennheiser MK 600 directly into my Sony A7SII with this method and have found the Sony A7SII pre-amps to be REALLY good and I get great output. The only problem is that the 3.5mm jack can be nudged and moved and that creates static. I have to be careful with that, but that's the only problem I've encountered.

I also have to admit, the 24-105mm L lens from Canon has a lovely little window on the lens that tells you where focus is at, like 3m away, or 10m etc. It's not exact but it does help in some situations. Not sure how many other lenses have that.

Yeah, no mixer here, directly into the camera. I don't have massive experience with camera preamps, but the Sony A7s' seem to have really good ones. I'm at half gain on the camera and getting good levels, and from what I can hear, clean audio. If this were a bigger production maybe my tactic wouldn't work, but it's my final MA doc, well ethnographic film really, and I seem to have some of the fancier gear around. I'd certainly be shot down for SLOG 3 and a DSLR at all really, but I'm confident I can get the look I want and am really comfortable using DSLR's for this kind of thing.

Thanks guys, I should clarify as I get school'd on sound. I'm out in the field picking up random interviews with people at a Spurs match day. Groups of people, in crowded pubs, and I'm a 1 man band and then some. For the proper interviews with the film's actual protagonists I'm using the camera mic as a backup/scratch and a wireless lav, but when I'm running around convincing strangers to speak to the camera, I'm using the shotgun mic as I have no time (and actual ability to take off all my equipment and bags) and get them mic'd up...they'll have left by that point. Anyway, always interested when it comes to sound so if there's a better option as a 1 man band scenario happy to hear suggestions. I'm guessing the optimal thing here is to have a lovely sound person with a lovely boom pole, right? I must admit, I do love the MKE 600 so far, in an incredibly loud pub it picked up my interviewee's voice better than my ears did.

Hey folks, slight problem encountered while shooting a doc. I've got Sony A7S2 with a usually lovely sounding Sennheiser MKE 600 shotgun mic on top with the Sennheiser dead cat protecting against wind. I have an XLR > 3.5mm cable linking it to the camera and on some videos there is an awful scratching noise that flicks in and out, check it out: I'm thinking it's got to be the strap rubbing against the 3.5mm jack input, but can't seem to effectively reproduce it and work out how it happens...meaning some shots of the interviews I've done are effectively ruined. Anyone know if a 3.5mm jack that locks down would work better? Or a strap for the A7 series that wouldn't rub against this input? Or...well, has anyone else ever had this problem?