Django

i dunno on paper A6500 seems impressive.. the specs are pretty killer.. indeed like a mini APS-C A7R2. But in practice still that god awful class-leading rolling shutter, overheating and average at best ergonomics. Camera is now ridiculously expensive (1700€ in EU?!) for what feels like a patch-up work on a ill-suited consumer type body. IMO Sony should just can the A6xxx series and rework the whole camera from the ground-up.. But of course that wouldn't allow the 8 month refresh rate..

yea you're probably right although i don't think dual pixel negates the possibility of using manual glass for various reasons. regardless that footage is definitely among the nicest i've seen from this cam.. very impressive 4K performance and the grade isn't over done.

- Camera : Canon 1Dx mkII 4k 50p - Lenses : Canon 24, 35, 50, 100 - Editing/Grading : Premiere Pro/Davinci Resolve I'm going to assume those are Canon cine lens.. and if so that's approx $20,000 in lens.. Also 1Dx II doesn't have CLog

if anyone is wondering what Flog is looking like: crossing fingers Fuji brings this soon internally, love the film emulations but rely on flat a lot for work..

you also have the 23mm 1.4? nice. expensive but a lot nicer for sure. can't help but notice in the 23mm f2 test video you linked a lot of shake & jello, which i've also noticed in my test footage at the camera store. lack of IBIS & stabilised lens is really the only thing holding me back at this point (and internal Flog) even though my pro work is always mono/tripod or gimbal assisted.. but these small cams scream handheld and it seems impossible to get decent footage out of them without some kind of stabilisation (hence IBIS upgrade on 6500)

good advice.. i agree an assistant is a blessing, i hate doing these gigs solo.. weddings are gruesome. most important is to be quick on your feet. bodies aren't really that important, i've shot with all kinds (D750, A7S2, 5D3, C100..) but your lens selection, gimbal/monopod setup, audio etc.. is as if not more critical even then body choice..

EOSHD SONY ON: EOSHD SONY OFF: ...seriously good job Andrew.. will order soon for a shoot where we'll be adding an A7S2 for night shots to a Canon setup.. hopefully will be easier to match footage thanks to this!!

nice price but those are refurbs, probably grey market too.. no doubt a D760 is in the works but i wouldn't take some random ebay seller doing refurbs as any indication towards an imminent replacement..

Yeah it looks like the XT2 could do with a nice kaizen update for video.. I think what's impressed me the most aside from the tack sharp 4k image was how good the XT2 nails white balance. The camera store i tested it at has the worse artificial lighting, i don't think a single camera i've tested there has had good results regarding that... except for this XT2.. purest whites SOOC! speaking of which found this video illustrating just that: "The room is very low lit and with greenish/yellowish lights. Using the Custom White Balance in the X-T2 nailed the Color Temp. perfectly." I shoot mainly indoors with often harsh ceiling lights so this camera could be a saviour. very close to pulling trigger now.

FWIW i've always been a bit skeptical of the hype surrounding Fuji X cams.. being a die hard FF DSLR still shooter.. but after playing around with an XT2 today and shooting some 4K footage i'm really impressed! The OOC footage is quite amazing as far as detail, colors etc.. flat out beat D500, 5D4 & A6300 4K imo.. this camera is now on the top of my list for 4K mirrorless. Question to users: does XT-2 have Zebras? if not how is the exposure metering? no histogram either right? @Inazuma that 10,000 ISO night test looks pretty impressive, i wonder how it compares with A7S at similar ISO. Btw, if I get the XT2 it would be with the 23mm F2 WR.. if you have any video footage yet with that combo I'd love to see!

finally had a chance to play with this camera and i'm absolutely stunned by the 4K quality.. definitely the best i've seen out of APS-C.. the film simulations are really great too, just a little extra grading and you're good to go. a shame no internal Log though (any idea if Fuji is planning on getting it internal in a future update?). Very very impressed overall though and seriously considering this for my 4K needs and travel cam.

D750 is incredible and can be found second hand for good price. I had to sell mine for a 5D3 after i got the C100 (couldn't afford dual lens system) but aside from ML Raw, the D750 flat out beat the 5D3 in just about everything. Best stills camera out there also. The sensor is amazing, resolves like crazy. I miss mine

I'd just like to add you don't have to be a gourmet chef to be a food critique or a pro athlete to commentate sports. I fully trust Andrews expertise in the subject. Nevertheless this is his blog and these are just his subjective views. Everybody is free to agree / disagree with him but I think that's what most people have always liked about this place. It feels genuine no matter how harsh the critique. Most other places always have this safe tone that feels somewhat "sponsored". I think what caught a lot of people off-guard and perhaps even got some folks heated is the sudden "switch" back to Canon. It's true that up until recently Andrew had pretty harsh views on Canon and was kind of becoming a Sony guy.. which really only reflected what many videographers were feeling and shifting towards. But now with the 1DX2/5D4 Canon are back in the game and it is Sony who at the moment seems to be catching flack as they are taking baby steps in their mirrorless line-up and still need to address a number of issues (battery life, ergonomics, AF..).. so it's just the way the industry grows shifting back & forth..

I'm a fan of Canon skintones and especially it's auto WB which i find superior to the competition. I actually switched over from Nikon for this. Andrew makes some valid points most of which I agree.. however to be fair to Sony, the comparison is an odd one since.. he compares Standard Sony profile to his custom Vivid profile.. which is rather intense! If one wanted to make a valid comparison about Canon colors vs Sony.. one really should have compared BOTH standard profiles (like TCS did in their Jpeg shootout). An interesting comparison would have also been Sony S-Log vs EOSHD C-Log. For what it's worth I do own and sometimes use Andrews film looks (for stills never video) but they do totally alter the infamous Canon color science.. so again odd conclusion, although I get the point for him personally it's just a more favorable custom look then what Sony may offer SOOC.. Anyways no doubt 1DX2 is a beast of camera (and it should be at that price!) but I still find the A7SII is still damn desirable for it's class-leading low light abilities, FF zero crop 4K, IBIS, EVF, Slog..etc

I'm sorry but this information is incorrect. The A7SII is absolutely full frame in 1080p. It's also imo superior to mark 1 in S-Log as it allows much lower base ISO. I think you might be confusing with A7RII which has a non full-readout S35 mode in 1080p.

..really how so exactly? both use same sensor and XAVC-S? in my experience the A7SII 1080p is pretty awesome IQ wise when exposed right. As for 5D3 Raw vs C100, I've recently shot with both on multi-cam project. The C100 is actually sharper (as it's a downscaled 4K sensor) so in many shots we favoured it, especially for small punch-in edits.. 5D3 Raw has this filmic quality though.. makes other cams feel "video-ish" so sharpness isn't necessarily everything. But when you compare the file sizes and workflow, it's quite amazing what the C100 provides via it's 24mbps codec! (even though i am going to add an atomos as i hate AVCHD container format).

LoL.. I don't have any "serious problems" and I've used FCPX for more then a few minutes. However pro editor I am not. I hire people for paid projects. I guess I shouldn't expect any seasoned FCPX users to understand my gripes with it (which aren't limited to the single row mag time line). My experience is every software has it's pros/cons, and some people may gel with one or the other depending on workflow preferences. Some of the statements I'm reading here sound very biased borderline fanboyish so I won't further expand much.. All i can say is it so happens all the pros I hire are using Premiere, and they are independent so I don't think the rental argument holds up (premiere for single users is a lot more expensive then FCPX - this is a clear disadvantage of CC). They do use After FX, but I think the main thing is sticking to what you're confortable with and perhaps that it's become the industry standard (from indeed FCP7/Avid a decade ago). I think FCPX "lost" the pro market when it was introduced because of the iMovie look. Logic on the audio side also lost a lot of pros when Apple took over from Emagic and streamlined it with GarageBand. They've done major efforts since with updates catching up missing pro features but the harm is done.. But anyways use whatever you want.. The "debate" is kinda silly indeed.

ok i got the file.. so should i just format my SD and re-install the appropriate folder? will i lose anything from latest nightly build?

Funny.. this is exactly the biggest gripe i have with FCPX.. the linear magnetic time line. I much prefer independent video tracks especially for non-narrative stuff (i.e. music videos / edgy commercials). I guess it depends how your brain works. I know I also hate linear sequencing on audio software. Personal preference I guess. Ironically the big feature in this FCP update is independent audio tracks. I just wish they opened up that option to video tracks. As it is I'm seriously considering switching to Premiere for this alone.. Maybe my skills are to blame though to be honest (only been editing for few months) but I just can't seem to achieve the super fast jump cuts and other clip intensive effects that the guys i hire seem to effortlessly do inside Premiere..

I'm far from a power user but have been contemplating switching from FCPX to PP CC.. can't stand the single video row of FCPX, also it has a ton of useless iMovie consumer type features i feel. All the pro editors I work with use Premiere too which i guess is a factor.. they proxy everything and it scrubs fine even on old 2012 macbook (with SSD upgrade) but I'll admit everybody dogging it as a slow, clunky, dodgy NLE kinda has me worried.. oh and of course the CC subscription plan is such a PITA..

this is pretty insane.. 3 minutes of raw 3K on the 5D3.. OMG .. so how can i try this on my 5D3? or is it still in beta for advanced users?

sounds like this is just about making raw more stable, compatible with slower cards & eventually higher fps.. which is great.. but i dunno where y'all got 2.5K/5DIV etc excited about?

dear god i forgot about that.. a crop..on a crop.. D500 is a total no-go for me.. i do really like the pro body though (unlike D750). i really hope the next Nikon FF body will do 4K without crop. again seems only Sony is doing it currently..

may be a "small minor mental readjustment" to you but it certainly isn't for me. I don't like my 35mm 1.4 becoming a 52mm.. that means quite a few steps back which isn't always possible in confine spots or certain run & gun situations. And i like working with primes, certainly wouldn't ditch my Nikkor glass for a Tokina zoom.. What I do like is punching in using the FX/DX modes, and this will be even more useful on FF 4K resolution..

Reading the actual DPreview interview.. I feel OP may have focused on the negative. The last bit being: 'I think that line between movie photographer and stills photographers has gone. The client wants to you to shoot the both of them at the same time to reduce the costs.' Kitaoka then expanded on the demands they're hearing from customers: 'First of all, quality of the movie is a basic demand so we have to answer that, second frame rate, then lens quality and autofocus, also, [the challenges of] movie AF and still AF totally different.' 'Movie autofocus needs to be smooth, sometimes fast, sometimes slower, depends on the situation. Movie shooters want to [be able to] choose high speed autofocus or natural speed autofocus.' 'Actually we equip the autofocus system fit for the movie but a lot of people [are finding it difficult to use] autofocus between still photo and movie. But we keep trying to [provide the] best movie autofocus in [our] DSLRs and across every single category.’ https://***URL removed***/interviews/6091205488/nikon-interview-photokina-2016 Sounds to me like next generation bodies will have much improved video AF enhancement, +60 FPS, 4K possibly 10-bit / 422 / better codec (IQ seems to come first).. I see this as Nikon is listening and will provide very interesting video solutions on their upcoming DSLRs..