mercer

@Kisaha I just don't understand the case you're resting. Nobody ever said that the iPhone 7 is better than any camera. Obviously for the same or less money you can get a camera that will give you better results. The point of the post is that most people have a phone on them and when you're freed of gear, you can use a phone to capture the heart of the subject and in most cases nobody will notice the difference that it wasn't shot with a better camera.

I'm probably wrong, I'm not questioning the man's integrity, just sharing my experiences with both cameras... I didn't do a side by side, but with the GX85 there are times when I still have to concentrate on keeping it steady, I didn't have to do it with the A6500. I only used a 28mm with the a6500, so maybe that made the difference. As Jon wrote, I wouldn't walk with either of them, but you can do some side shifting and panning with both. You can go a little faster with the GX85, due to it's better rolling shutter.

Damn autocorrect... equivalent.

I have both the GX85 and the A6500 and I find them to be equivocal.

Yeah, that is a nice image... the 4K CLog is just the right mix of soft and sharp... was that shot at The Bluebird?

Thanks, I wish that were a real job. I'm not really short on ideas, I just lack the skills and money to make them... I guess that's why I write more than I film. You do a good job of showing off your friends' and girlfriend's good qualities... part of that is knowing them and partly because you have a really good eye.

Yeah, that is great! It adds that little touch that makes the piece feel like an old postcard of a memory or dream... if that makes sense? Really nice work!!! Btw, is that curly haired blonde your girlfriend? Your work inspires me to stop messing around with stupid camera tests and go film finished pieces. If only I had friends... LOL.

Yeah nice lens. I read Mattias singing Olympus lens's praises but I'm not sure I ever saw anything from any of their lenses. One note that could be a cool effect... maybe take the audio of you and your friends laughing and talking and place it over the entire track, not as in sync audio but as a low background track. If you mix it with the sound of rustling leaves, the pedaling bikes and wind... almost as an echo... it may add a little more of a nostalgic memory feeling to the piece. I don't think it's necessary but it could be nice.

I wish I could have liked it twice!!! Really nice work. There is a hauntingly, romantic feel to the entire piece. The music works great, nice edit, good color. I believe this is just a hobby for you, but you should think about doing some music videos. You have a really good eye. Also, I loved that you only added the voices when your friends were standing around looking at the map. Was this with the Sigma 18-35mm? All handheld, or did you use a slider in some shots?

Yeah the battery life is a little disappointing but aftermarket batteries are so cheap and they charge pretty fast, so it's not the end of the world. Obviously the menus are a tad convoluted but it seems Sony is at least starting to organize them a little better. The IBIS really is great and the IQ is just phenomenal. I've only had about an hours of use with mine, but it fixed everything I couldn't take with the a6300. Do you shoot slog2 or 3?

Yeah these look fantastic. Great job.

The fact that he exposed +1 stop on the subject's face and the window wasn't completely blown out is a testament to both camera's DR. If he exposed for the sky, the subject would be a shadowed, noisy mess.

@Gregormannschaft yes the Sigma 30mm 1.4 is a native e mount lens. From what I've read and seen, the AF is a touch slower than the Sony lenses but more than fast enough for a smooth rack focus. It also has nice separation with that 3D pop. Thanks, for a first go at SLog3 and coloring SLog, it could have turned out worse. By keeping the minimum and maximum ISO at the same ISO number, there shouldn't be too much of a change anyway. I stopped using zebras a while ago because the pattern distracts my composition and I found you can get some major exposure differences by relying on zebras... so I started using the in camera meter. With this little trick, I found it easier to hold the +1.7 stop... because the meter blinks at you when you are not at it. However, I think the shot of the outhouse has different Auto ISO values... 800 and 1600.

Do you have any before or after screengrabs, I'd love to see your results with it. I'm working on a short film that basically takes place entirely in the woods, a sparse pine forest, so I definitely need some DR. I'm going for a soft look similar to this... minus the snow... I asked the filmmaker what profile he used, but he hasn't replied yet. The 35mm Flektogon is an amazing lens. I had one a while back but I needed some cash and sold it. It must look great with SLog/GFilm.

I've only used Auto ISO one othe other time with my D5500 when I borrowed a Sigma 17-50mm for the day. I was shooting in Shutter Priority mode but the D5500 decided to change the ISO values moreso than the aperture, so I turned it off and shot manual. So this is all new to me. Honestly I don't remember you linking me to an SLog2 profile... Do you still have the link? I'd love to give it a go. I've always loved Minolta lenses with Sony cameras, but I am going to pick up that Sigma 30mm 1.4 lens and give the Touch PDAF a go. Yeah I was actually fairly impressed with SLog3, on tighter shots. With some of my other clips, I threw on an Impulz LUT, adjusted the curves a touch and that was it and the clips looked pretty good. But the project I am working on now requires a lot of wide shots and I can't risk the banding. My interest in Sony again started by coming across some videos from the FS5... man did I drool over that Raw image... even the in camera 10 bit 1080p looks amazing. I want to test SLog2 a little more, SLog/G-Film and probably EOS Pro... but most likely I will keep it simple with Cine 2.

Yes, it does. If you set different values for minimum and maximum, then you can use +/- exposure compensation to hold at your specified stop... obviously the camera is adjusting ISO. Or you can keep the same value at minimum and maximum, adjust +/- exposure compensation and use the meter to gauge your exposure more precisely because your designated stop will blink until you adjust accordingly. But when it stops blinking, it seems to hold steadier at that stop than it would without using Auto ISO... so I'm unsure if the meter is just reacting differently with auto ISO on or if it is performing very minute, micro ISO adjustments to keep you there... even though you set the minimum and maximum to the same value.

I guess I am not explaining myself clear enough. By using auto ISO and exposure compensation in this manner, with manual lenses, you can basically turn the camera's meter into a zebra-like exposure tool that will blink until you set either your aperture or ND filter to the proper setting based on your chosen +/- exposure stop.

Yeah, when you say it like that it doesn't sound all that impressive. And maybe this is just my ignorance but I was surprised you can set the minimum and maximum ISO to the same value but still use exposure compensation with a manual lens to tame the touchy meter or micro adjust the ISO.

And wrapped the ends of the antenna with aluminum foil.

I tested my a6500 today for the first time. I'm pretty sure I will be using Cine 2 most of the time, but I was curious about SLog3, even after hearing all the horror stories of using it with an 8-bit codec. After reading up on it, I was aware that SLog should be exposed by + 1-2 stops with a lot of folks saying 1 2/3 stops is the sweet spot, especially since the meter will not register anything over 2 stops. So I attached my trusty Minolta 28mm and my strap and headed out with a couple freshly charged batteries and a fader nd filter. Well, I learned quickly how difficult shooting Slog is on the a6500 in the bright midday sun. Between the darkened 4K screen and flat, muted profile, the LCD is nearly impossible to see. But the real tricky part was holding the + 1 2/3 stop. I was shooting in an area filled with pockets of bright sun and sky and curtains of shadows. With the camera's meter set to multi, I found that even the slightest move to the left or right and the meter would erratically jump between + 1 stop all the way to the blinking + 2 stops. It did the same with the spot meter. Also with even the slightest of adjustments to the ND filter and the exposure would jump +/- a stop. And this is where I stumbled upon this little trick. I'm sure a lot of you may be aware of it, but some may not... I went into the menu and check that I was at 800 ISO and noticed an Auto ISO option with a right arrow to modify settings. Curiously I chose it and surprisingly it allowed me to choose both 800 ISO for the minimum and maximum ISO. Ok... I'll bite. I then quickly noticed that the camera wanted to keep me at +/- 0 on the meter, so curiously I pressed the exposure compensation button and even though I was using a manual lens from the 1980s, the camera let me compensate exposure to + 1.7 stops, I still had to ride my aperture and/or ND filter, but now the meter would blink as soon as I wasn't at + 1.7 stops and it also seemed to accept the micro adjustments to the filter and/or aperture more smoothly. This simple little trick made exposing SLog a lot more easier for me. So after shooting a couple dozen clips, I can see why SLog3 is not recommended with an 8 bit codec, especially when I found the black veil of banding death on any shot that showed a good bit of blue sky in it, but I did manage to get a few good shots and I find the 5-axis IBIS to be as good, if not better, than the Panasonic variant on the GX85. And as long as you don't move too quickly, the RS is pretty much tamed by the IS. Here are a few shots at my first attempts with the a6500 and SLog3. I just quickly ran it through the FilmConvert standalone app before chopping a little off the front and back of the shot. One shot I left a little wiggle at the beginning of the take to show how the RS reacts to a quick movement with the IS on. Sorry for the poor color correction/grade... and boring rack focuses...

Hmm, that is so very odd. Why would Panasonic list it on their spec sheet and also list a footnote that they are only available in Creative Movie Mode? Strange. Thanks for taking the time to look.

Nice images and color!!! Sorry, but according to Panasonic's specs, the CineLike profiles are available in creative movie mode... do you shoot video from a photo mode? Also it seems the 5-axis hybrid IBIS is not available in 4K, but your shots seemed pretty steady... were they handheld? If so, the OIS is great. Anyway thanks for sharing! It could be the pocket cam I've been looking for.

Yup most are fast lenses and a lot have declicked apertures. Most of those were shot with the G7, except the last one which was with the BMMCC.

@kidzrevil everybody has different needs and different standards... I applaud your standards, but the one point that hurts your argument is that I think your XC10 work is your best looking footage to date. I'm sure part of it is the high bitrate 4K that comes out of the XC10, but even still... you owned the poop outta that camera.

A Kern Switar 25mm f/1.4 should work on micro 4/3rds. Over at personal view there are threads upon threads about c-mount lenses.