Gregormannschaft

I think it depends what work you're doing, really. @IronFilmand @zerocool22 conversation was quite interesting. I'm at a point in time where I'm building up my portfolio and network to be working on jobs constantly, and I think investing in a camera like the C200 could be a good idea. Personally I feel you can tell the difference in quality between something like the C200 and a A7SII or a GH5. It's also a differentiator. So many people are 'grinding small businesses' and using GH5s and A7s which means investing in a C200 could certainly help secure some bigger, better paying work from clients who are looking for above average quality. Naturally that also means better lighting, gimbals and sound. And, obviously, experierience comes into it. Just jumping from a Sony A7S to something like this without really getting to the point where you are getting the maximum you can from that kind of camera would be a bad idea. For me though, I feel I'm at a point where moving up to a more dedicated video camera would actually help develop my skills. I also don't really see the negatives with 'grinding small businesses'. I get that it's not as 'professional' as being on a set, as part of a bigger team, but there is an attractive element of it in that you often have a lot of control and often get to have a lot of input into the final tone and look of the video. Obviously, putting 'DoP' as your job title is a bit much, but I don't really buy into this idea that you must be doing narrative work or on a large set to truly be called a professional.

I'm actually selling my rarely used Sony 24-105 after deciding to invest in a C200. If you're in Europe/Germany give me a shout. It's a great lens, but I want to up my game.

The Cine gammas also tend to need a bit of correction work in post as well. Check out Andrew’s latest EOSHD color if you haven’t already, was hugely impressed with what he got from the A7III straight out of camera. SLOG2 with Geoff’s GFILM is also one I’d highly recommend trying out for great colour and a decent amount of DR.

Grow up

I'd also imagine you need a camera with as little rolling shutter as possible. It's a beautiful look.

Didn't realise he'd been banned. Miss his otherworldly charm.

You seem to be picking fights with everyone since that debacle with someone calling you out rudely a few weeks back, that's all. I can't remember this place ever being as nasty as this and it becomes a slog to read through – it's not only you, though.

Jon, maybe take some time out from the forum.

Unless there are performance related benefits to the Ronin S I'm not if an improvement in build quality is really all that exciting. What I'd switch for is better movement, I'd love for them to somehow move it away from the stiff, occasionally robotic movement of most 3-axis gimbals and introduce a little sway. If they manage to do that I'll switch.

Don't. Own it, I love the look. Watched this earlier today and both the director and the DoP appear to be big fans of using diffusion wherever possible.

Stellar stuff as always. Did you use a little more diffusion than usual?

I recently bought the Sony 24-105 f4, even though this looked interesting. The Sony is a really nice lens, very sharp for a 'travel' zoom with surprisingly nice, soft bokeh.

Need a bit of assistance from anyone who's used CC in Premiere at all. I've almost completed a 15min doc, and I've perhaps stupidly decided to make the closed captions within Premiere - I wanted to do both closed and open captions. Only problem is now I want to move a section from the end to the middle, but changing the timing of the captions is a nightmare. I can cut the captions bar and move it around, which works when previewing, but the timing of the captions remains the same so it will be broken when feeding the srt file into Vimeo or Youtube. Is there a solution I'm missing, or is it really this cumbersome?

Cheers @Don Kotlos. Looks like option 1 would be the route to go down for my circumstances, I might try and rent one of those lenses out and have a play around.

Little lensologist advice needed. I've seen a few videos recently (and yet struggle to find those videos again) which feature some lovely smooth zoom ins to people's faces. I love this style and would love to try and replicate it. Any idea what I'd be looking at buying? Would it only be possible with a par-focal cine lens? Let me know if my description is a little too vague. Basically, think wide shot, that quickly zooms into someones face, smoothly and in focus. Re: everything above. @jonpais For what it's worth, you may have to accept the occasional remark on the internet about a grey haired white man living in an Asian country posting videos of teen girls posing for the camera. The situation is so culturally and historically loaded, however unfair or inaccurate that may be for your individual situation. @markr041 You're being immature. There's no need to label Jon 'sick', and I have no clue how anyone would be shocked (SHOCKED) at Jon's video. You're picking a fight and what you have said and directly insinuated is incredibly insulting towards Jon.

Terrific shots in there. How do you find EyeEm? I have a few friends who work there and even their smartphone pics seem to sell.

Hands up to doing this as well, although I've always been happy with my end results. How would one convert to the correct colour space in Premiere or FCPX?

Crazy move to make, feel like I'd be silly not to sell before the average Joe realises just how good the A73 is.

Thinking about selling my A7S2 for this. I'd get around 1700€, which means I'd be spending around 500€ for a whole host of improvements. Are there any major downsides to doing this?

Bloody hell, guys. There's plenty of other posts like these from other organisation with similar offers of work. Up to the individual to weigh up whether they want to do it based on the exposure, experience and their situation. No need to label them old hags.

Entries closed. Is there even a single active female poster on this forum?!

I remember watching this back when it was a fresh staff pick, absolutely love the end scene with the digital slate. Nothing better than a really well made short doc. So much great stuff in here.

I personally think the sharpening went a little too far. But as mercer said, keep experimenting and sharing your results. Personally I'm a fan of footage that's creamy and soft and a little bit dreamy. Colours look very nice, though. I'd love to grab a C200 but it would be the extra costs associated (new editing rig, storage media, gimbal) that would make it all a little too expensive.

Nice. Maybe add a little more sharpening?

I get where you're coming from, and no one can argue against having more DR to play with, zero rolling shutter and beautiful colours...but, to play devil's advocate, no one is going to look at slightly blown out highlights in an otherwise important scene for a doc or ENG piece and say, 'Ah shame, this would have been much more effective with those highlights and more shadow detail'. Nice to have, but not critical.