PannySVHS

Hallo, I just figured, that Auto Focus might not work well for adapted EF lenses on the FS7 and FS700. Only on A7RII with its Phase detection. Would that be the same for the non speedbooster version? Wouldnt make sense then to work with EF lenses on the two cameras, if auto focus is wanted for documentary filming? So are there good autofocus solutions for FS7/700 other than native lenses? Wouldnt make sense then to buy the Canon L 24 105 F4 for autofocus purposes? cheersInsert other media

Hallo Mattias, that are hells of deals! What stores are selling G7s for $420 or used ones for $300? I will buy a G7 there, no sense in waiting!

In Max´ video A6300 has obviously higher resolution than G7, also details in the shadows instead of mud. Regarding the shadow detail it looks like a codec issue of the G7 with noise reduction dialed up too much in the profile.

Now this is starting to become some real fun tradition!:) 1. D5300 2. G7 3. FS5 4. winner:) Exposure is longer on the second camera.

Hey Jase, looking good. Now the high resolution is really visible even when watching it in 720p. LX100 and GM1 from your other videos hold their own though, with beautiful color. The Tiffen Ultra is the filter or the plugin?

Like I said, Andy, you most definately got me sold, twice now:) Cheers and Good night!

Great, thanks a lot guys! That´s great news. Thats exactely what I needed to know, no cameras after 2012 or paid update needed for real 10bit! Thanks again guys!

Wow, fantastic! Thank you for this great hint! It´s really getting tempting to buy one. Now just wondering about the 10bit 4:2:2 for models before March 2012 without the update and sofore without SLOG and 4:4:4:)

Hey, thank you for your answer. I have read that before. But even on the older F3s, I was told, it would have 10bit 4:2:2 over SDI without an update, just not the 4:4:4 and SLOG. But I am having a hard time to believe that, since I haven´t found any info to support that claim. So I am still a little bit in the dark:)

Wow, Andy, you and Bushman Films got me sold on the G6. Now I gotta get a G7 and part with my old first love:)

Hey Rich, also thinking about getting a F3 for our school. I was told it´s ready for 10bit 4:2:2 over SDI, right away out of the box. Is that true? I only know about the paid for update for 899USD for SLOG and 4:4:4. Also, is it possible to put another mount other than PL on the FZ mount, like EF or Nikon? cheers, Marty

Hallo fellow citizens of the Reid States, this time your expertize is really needed and even more appreciated than ever before. I can see, over hundred people have been reading my plead for wisdom. But no answers have been found yet. Yet. Please fullfill my desire and longing for enlightement:) All you ambassadors of the Great Cameras I would once more admire you articulate and unique insight into this question. cheers

Lookin great! So you traded your LX100 in for the Sony? Quiet a decision:)

Hey Mattias, thanks for the hint! Now waiting for some sweet Swedish deals on the Panasonic G7.:)

Oh, so can we look forward to see some footage from you very soon?:) At what length did you shoot?

Hallo Andy, this is a great post to go along the angieux/tokina one. Such a great source of knowledge! Thank you very much. Just one question, test were done with the internal codec, right? So how does the HDMI to Assasin compare to the internal footage, is ist noisier due to lack of any noise reduction? cheers and thanks!

Hey Matthias, would it be possible to link to these kind of offers? Seems like you always get these awesome cameras for awesome prices:) cheers

Sony A6000 I reckon then:)

Hallo! I talked to somebody about the Sony F3 and was told it delivers 10bit over SDI out of the box right away. I´ve been under the impression a paid update from Sony is needed to get 10bit 4:4:4 and SLOG2, for 899 USD. So is it true that 10bit over SDI is already available without the update or is it necessary to buy the update to get real 10bit? Would that out of the box 10bit option be 4:2:2 then vs the paid update with 444 and SLOG? cheers

Hallo Jase, I put my 50cents on the GX7. Nice clean HD and natural colors, GX7 mojo. Always wanted to get one but went for a G6 instead.

Hey Merc! One thing I recognized, I had to be pretty careful with the color sliders on the Cine D file. Also, light in this scene seems challenging to pull something magical out of this file. We nerds love to talk about thick colors when it comes to the technical side of the digital pipeline. I think thick light would be just as much appreciated. These dull winter days don´t often provide that at them moment. I think one can immediately recognize the magic glow of light by eye. Not talking about magic hour but the very different beasts of light depending on time of the year, day, haze, dust, sandstorm:), region, whatsoever...:)

Hey Mercer! thanks for the material. Went for a quick one on the Cine D in PS. So maybe the layers would work the same in Premiere. Did color balance, gradation curve, exposure and alpha with the blue channel as softlight layer on top. I would say light in this particular scene didnt really provide that much magical nuances to pull out of the file. Looks like shot on natural profile. So why not just film in natural anyway:)

Did some quick color balance of the original ooc shot in PS. Worked very well. Maybe in Davinci next time I won´t go all that crazy on the color wheels, exposures and layer mode but rather put some simple gentle touches on the color sliders. Still a little off but enough for now:) You really nailed the gloomy mood of the day. I am kinda amazed that a little color balance would get so much out of this H264 file. Learned so much today. Thanks a lot! Now I can go crazy on the screenshot with the channel mixer in PS:) cheers and good night:)

Hey mercer, thanks:) Was going for a more stylized look. Day to night wouldnt hurt to put up some night like lights for sculpting the scene. Other than that low exposure and done:) Scene was shot with a Canon FD 50mm 1.4. Hey, that is a very nice approach. I was falling into the redish and hazy contrast too much:) Wanted to promote the idea that the GH4 would be indeed a very liable decision, showing what a G6 under extreme conditions is capable of. Maybe thatfore my "intense" grade:) Did you pull the grade off the ungraded or the graded shot? Hey, with Cinegain, you (and me as well:) we got some nice looking filmic gestalt out off that G6! So one more proof that G6 and GH4 more so are pretty gradeable. Bluish hue from branches could be eliminated in Davinci by combining a Hue vs Hue via colorpicker and a mask for protecting the rest of the scene.

Thank you for your comment and help! Yeah, have been thinking it was a 650W.:) Do you have a recommendation for a power supply? HD h264 and 200mbit Prores proof. Also for a reliable monitoring software? @cantsin Thank you for putting things into the right perspective. Thank you very much! Gonna get another power supply!