Geoff CB

Nothing is going to match the Ursa Mini 4.6K unless you step up to the FS7. I think at that point you would rather have another URSA. Also, the 2.5K does NOT match the URSA, even in RAW let alone ProRes mode, and the handling is an absolute joke. Keep pushing the FS5 if you can. You can probably get it close. I made this for my A7R 2 to get close to "Film" mode on URSA, see if it works for you maybe on th FS5? GFILM Black Level: 0 Gamma: Slog2 Black Gamma - Range: Middle - Level: 0 Knee: Manual (It blows my mind this is left on Auto by default, it controls how the highlights behave) - point: 77.5% - slope: +3 Color Mode: Pro Saturation: +3 Color Phase: -4 Color Depth: (Wish they would let this be adjusted for highlights/midtones/blacks independently) - R: +4 - G: -3 - B: +3 - C: +2 - M: -2 - Y: +2 Detail: -7 - Mode: Manual - V/H Balance: 0 - B&W Balance: Type5 - Limit: 3 - Crispening: 3 - Hi-Light Detail: 0 Make sure to overexpose by at least a stop when using this.

Detail =\ Moire. The NX1 sensor is unparelled in detail and color. Its DR and RS are it's main weaknesses.

I can't imagine them suddenly removing the feature for this Camera when it's been that way for all the others in this lineup.

Looks like better RS at least judging from the bullfighting scenes.

All they need is faster readout 4K and no overheating. That's it. The RS on the current camera destroys it for me.

What. That would be interesting to see!

This. Personally, I'm collecting sets of old manual focus primes and adapting them. But if you need AF or zooms this is obviously not an option. If you can rig them, an old Nikon 28-70 and 80-200 can create some gorgeous images.

Agreed, also seems like RS is not very good here, Lots of scewing vertical lines.

I've been trying to give the A7r II a look similar to "Film" on the blackmagic Ursa Mini 4.6K that leans a little bit more towards green (Ursa is a little magenta) The need arose when I have had to shoot with the two camera side by side and inter cut them. Plus I wanted to get that great look in camera, S-log is too flat to shoot with by eye and breaks apart when trying to grade it, this gives a little more leeway for me and looks good out of camera. I'm away on vacation and will start a thread on it when I get back with more samples. Sony GFILM Black Level: 0 Gamma: Slog2 Black Gamma - Range: Middle - Level: 0 Knee: Manual (It blows my mind this is left on Auto by default, it controls how the highlights behave) - point: 77.5% - slope: +3 Color Mode: Pro Saturation: +3 Color Phase: -4 Color Depth: (Wish they would let this be adjusted for highlights/midtones/blacks independently) - R: +4 - G: -3 - B: +3 - C: +2 - M: -2 - Y: +2 Detail: -7 - Mode: Manual - V/H Balance: 0 - B&W Balance: Type5 - Limit: 3 - Crispening: 3 - Hi-Light Detail: 0 Recommendations: Always shoot 1 to 2 stop over what the camera tells you is proper exposure. Like S-log, the more light you can give it without clipping the highlights the better. With that said, I do not recommend clipping. If you clip the sky you will get a very poor image. In essence, expose properly Do not shoot auto white balance in this mode, set it manually, using auto WB will throw off color and give poor results.

As someone who uses a A7r 2 and used to own a Nikon D750: the A7r 2 is a far better stills and video camera. The FF 1080p is great and gives you a great bitrate and leeway in post. I love the Full Frame 4K on it, great look and low rolling shutter, and working at a theater typically downscale it to 1080p for final delivery. I almost never use the Cropped 4K mode. Sure it has better detail and low light, but the Rolling shutter on it is horrendous.

Love it, plenty of detail and I love the grainy slightly soft image I get in Full Frame 4K mdoe. I think I've found the problem with the color for me, the Magenta's are heavy in the shadows, so I've just slightly adjusted that in premiere using my slightly modified S-Log in camera and have been hitting the look I want every time.

Voightlander 28mm

A7r II + SLR Magic Anamorphot + Tokina 28-70

Wow. Incredible work, love the focus on the faces there.

Premiere: In the project window Right click the piece of footage ( you can highlight multiple pieces of footage at once) -> Modify -> Interpret Footage Here you can adjust aspect ratio/framerate without altering the footage.

Don Hertzfeldt is probably my favorite animation director currently, his film World of Tomorrow was my favorite film of last year. I saw "The Animation Show" in theaters when I was younger, during "Rejected" in the theater was the first time I laughed until I couldn't breath. Cannot wait to see what the guy does next. On the topic of animation, I always say WALL-E is an underrated masterpiece.

Holy.... I never thought I would be considering a M4/3 camera. But this literally ticks ALL the boxes for me except the sensor size. Edit: If this comes in under $1500 I'm buying it.

Seriously, this is all I want. It's in Nikon and Canon bodies so there is no legal reason not to do it.

My MAIN regret in switching to sony is their god awful menu system. I do not understand how they cannot hire one goddamn usability engineer to fix this. But at least this seems a tiny bit better with grouping. Hope they offer it as an update to the a7r2

If I could mount my Nikon lenses on this, I would dump my A7r2. Worth it for the bigger battery alone.

Can anyone confirm that the 10-bit 4:2:2 is in 4K mode? Or is it just 1080p like the FS5?

Expect: IBIS, LOG profile with ability to monitor with Rec709 LUT in camera. Anamorphic monitering of some kind. Maybe: 6K in 24 fps only. Want: 10-bit 4:2:2 in camera, better DR and rolling shutter. In my dreams: Super 35 size sensor that crops when using panasonic glass.

Given my love for the Tokina 28-70 (Angenieux design) This lens is a dream, would shoot an entire film on just this.

He screwed up and shot in FF mode. They even acknowledge it at the end of the video. They should have re-shot it.

If I don't need to grade much I use the same settings, they are great. If I do need to grade, I use a Custom Version of S-log.