markr041

Among action cameras, the Sony X3000 has the best low-light performance. While it has a similar sized sensor as the rest, it only has 8.3 megapixels, just enough for UHD. The others pack 12 megapixels in the same space. The sensor is 16:9 in shape, as opposed to 4:3, so there are no wasted pixels for video either. The larger pixel size gives it the advantage, beside the sensor being BSI. This was shot in low light using the X3000:

The GH4 has a high bitrate intra option. Most concluded it was worse than the 100 Mbps H264.

Thanks. No color alteration in post at all - this is "Yi color" (there is also a "flat" setting designed for color grading). Only one clip needed WB alteration. Since I was using a gimbal, the horizon was always straight, and the fisheye lens distortion is not very great. In 4K60p there are no options for "view", as the whole sensor is used, so it is "wide."

Well, you saw my X3000 videos above. Now I have the Yi 4K+! And I took advantage of the 4K 60p to shoot a video (with gimbal). I think the main advantage of 60p (at high resolution) is that you can slow down the action and still retain high resolution. This is particularly useful for when you move with the camera, although it also makes subject movement more dramatic. So, here is the 4K30p video shot at 60p:

We are comparing cameras: All 120p FullHD seems to use line skipping, on every camera it is borderline "awful" and is clearly inferior to 4K on the same camera in terms of aliasing. But the 120p FullHD on the A7s ii has less aliasing artifacts than most at that frame rate because it does not downsize. I agree it is a nuisance that there is a crop factor, but there is a benefit. Vlog color is what is bad; whatever fun it evokes. OK, we are all using the term "awful." The GH5 is perfectly fine and has some useful unique features, but let's not get carried away about its DR, low light and AF, which are not the best. They are not awful though.

Sorry, the DR of the A7s ii is greater than that of the GH5. The A7s ii 120p crop gives you the same fov as the GH5, so that can't make it inferior to it! And the crop means no aliasing aftifacts. Vlog colors are awful. Sony colors have a lot of variants, but perhaps you couldn't figure out the menus to find the set you would like :).

Allowed the sun color at this time of day to dominate.

What does this mean: "I am not willing to switch to sth like the A6500 because I went the Sony route twice only to return back to Panasonic." What exactly were you dissatisfied with? The A6500 actually puts out different colors than all previous models. It is compact, mic in, IBIS - has what you need and the best resolution 4K (you can really see the difference).

I still do not see a comparison. In any case, here's an A7s ii slow mo video to "compare."

I like the RX100 IV that I have. But, it has serious deficiencies that remain in the V version - the overheating problem is worse than any Sony camera. I mean you cannot use the camera in high ambient heat settings and take 4K video. The camera will just stop after a few minutes of short clips. that is the true "paralysis." In the same exact settings the A7s ii just does fine. Second, the focus peaking is worthless, giving you no clue as to what is in focus. Forget manual focus (there is no magnify on the IV in 4K either, but I believe at least this was fixed for the V).

Rush hour slowed down, in Sony EOSHD Pro color of course.

OOC, like it is supposed to be (no Slog2)::

Here is what the Samsung Galaxy S8 can do, with no auxiliary equipment:

No. There is a free version of Resolve 14. It is in fact not very "lite," just like 12.5. https://www.blackmagicdesign.com/products/davinciresolve

And in uncontrolled lighting conditions I think it does fine (no LUT):

Really an application of the A7s ii big pixels, but it does use EOSHD Pro Color standard settings:

EOSHD Sony Color (although the real point is the sound):

Really? Thanks for this. I did think that a camera could save my life, but now I know better. Having more creative options, however, is what counts; cameras with limits, like in dynamic range (less so inconsistent AF), stunt those. And here is news for you: maybe you have an unlimited budget for lights, sets, locations etc. for whatever you shoot (if so I doubt you would be here), but most do not, at least of those who participate in this forum (yes, I am guessing at this). I hope you were able to wipe. It is not the use of lights that is a compromise (you misread, sorry), but that the choice of lighting sometimes involves compromises (maybe there are places where certain lights cannot be hung, or there are restrictions on lights but the venue is just perfect for the story), just like the choice of cameras. There are always compromises and trade-offs, unless, of course, you too have an unlimited budget for "film" making. Every grownup understands limits, even those who are not "filmmakers". As a filmmaker, I am surprised you do not seem to understand that using a wide aperture to shoot in order to lower ISO limits your DOF ( try a wide shot at f .9), which limits how you shoot. Another trade-off. It "doesn't take much" to just use a better camera for the situation. You write as if the only "strategy" is to use only one camera, and then you work around it (which is certainly a valid method), but on a real shoot, many types of cameras can be used. Maybe you need to be more than "a tiny bit concerned about craft."

"Either change the scene's location, or use lights. Simple. " Not simple. The whole point is that location trumps equipment - choosing the right location to tell your story is critical, and should not be limited by the camera's shortcomings. Setting up the right lights may also not be possible, but at best it involves time (=money) and compromises.

Low-Light Comparison at 1080 120p slowed: Sony RX100 IV vs. Sony A7s ii 2000 ISO, f2.8 on the Rx100 IV; f4 (Zeiss 24-70mm) on the A7s ii. the Rx100 IV is first. Both EOSHD Sony Color. It's like watching paint dry (there is motion), but we see again why the A7s ii is a low-light monster, especially against a 1-incher, even in crop mode.