Davey

Would love that lens some day.

I remember visiting this debate on and off for two years, knowing that I was coming into money and building up a list of possible lens 'musts' under different systems. Up until the time of the a7sii coming out it was a7s or GH4 and more recently, GH5 or a7sii. Having to wait another year for the GH5 saved me the headaches of having to choose between Olly or Panny lenses. The 12-35 v 12-40 was the biggest headache of the lot - saw every video going and visited every forum going. Flip flopped a thousand times. The micro jitters got fixed for some and not for others (same with the 35-100) so I always edged towards the Olly. But then I would eventually know that IBIS was becoming pretty much standard and it is better to have dual IS than any other solution. I understand the dilemma but if I was forced to buy one or the other today (for a stabilised Panny body) I would choose the 12-35. Then again...

Cheers for that.

If that doesn't win Staff Pick for the year then there is something wrong.

That's what I'll be trying today with the kids outdoors. They'll be wearing bright colours because I want to see how the saturation elsewhere behaves alongside accurate skin tones.

I'll have to watch this when at my computer - won't load on my phone.

I see your point.

Email Andrew or wait until he catches up with these posts.

Scroll down the PDF of the ORIGINAL - I have them on my original but they are not listed on the UPDATE version.

Definitely keeping mine, though I have in recent times past considered moving systems altogether due to the colour headaches. I didn't think it possible to get punchy colours without the associated plasticity when upping saturation in post. Really looking forward to a bit of sunshine, which is allegedly arriving on Saturday. Already got a variety of different coloured clothing for the kids to wear as I begin to look at sunlit skin tones out in the park and woods.

Some of the lighting conditions were difficult because of the occasional mix of harsh white floodlight style LED lamps above some of the workers (which would have needed to be warmed up) and the warm lights everywhere else. I found myself seeing colour everywhere (as opposed to composition or anything else) because the view through the EVF wasn't the usual slightly flat, greyish Cine 4 settings that I have been using to date (Matt Johnson) - the view was as I saw with my own eyes and no dominating yellows. Aside from shooting RAW photos, this is the first time since buying my camera earlier in the year that I have been excited to use it and I am itching to get out and about in the daytime now - though it will be greyer than Berlin for the next few days due to the Geminids showing up tonight. It is always cloudy and wet when I want to shoot a meteor shower.

My first effort with Pro Color using the A7S ii and Zeiss 55mm f1.8 - despite errors with exposure on my part, I decided not to touch what came out of the camera when editing. I am delighted with the outcome and will move on to testing under different lighting conditions over the next week or so.

An irreverent review:

Easier said than done! I have tried all corners of the room and even stepped inside a cupboard with a tungsten light source, but nothing has shifted my WB from 5500K when using Custom 1, 2 or 3. The only thing I can do is manually shift the WB whenever I shoot in varying conditions using the C.Temp./Filter option. I just need to remember to do this and it only takes a moment as I have C2 customisable button (WB adjustments) next to C1 customisable button (movie record), so no biggie. Off to the German market tonight to test this first setting out, so will post a result or two sometime tomorrow.

Have an overkill Benro S4 for a7sii but still the most sturdiest and fluid tripod I have owned, even at max height of 6'2".

OP - put this on your fridge and keep it there before somebody talks you into buying a Red Weapon 8K for b-roll or some other ridiculous thing.

You have a serious point. All the reviews of this camera on YouTube have been videocentric, to boot.

If your work is anything to go by you should get your money back on both a 1DX MK2 and a car in no time. You have a fantastic portfolio.

GH5 plus good lighting.

I think it is the sound effect that you have used in your last effort, which technically is not music. Having seen the video I don't think that it is likely that a music company have laid claim to visuals unless they own the rights to any of the images on display. Going on to sell ANYTHING that contains content belonging to somebody else would require a commercial license and not just a bog standard royalty free license. I can put stuff from Premiumbeat on monetised YouTube videos but would need to buy an additional license if I was selling that same video on any other platform or in any other form (DVDs etc). I have noticed that every one of your descriptions links to a site that goes on to commercially license the video. I would cut your losses and record your own sound effects. PS: Massive companies like UMG would not hesitate to request (demand) what has since been removed in any lawsuit and lay a counter claim of deformation. You could end up bankrupt.

With an attitude like yours you are already miles ahead of many an online expert (particularly YouTube). The amount of critical people who do so from a position under a bridge far outweighs those who actually want to help - when you go and look for their work, it simply doesn't exist or is abysmal. On the other hand there are people who cannot even take constructive criticism and think that everybody is out to get them. They then go onto your channel and go on a dislike rampage lol. Then you have the fanboys, which is a whole different level of nastiness. Once the flow of a finished project becomes foremost in your mind when you actually begin to shoot, everything will merge into one and become an absolute joy. You will be anticipating shots before they happen and have an idea of your cuts, music and the whole story before you even get to the venue. After a while you will have a base template for every genre of shooting you can think of, affording you time to be more adventurous once you have all the bare bones on your memory card.

Definitely using the PDF settings as they are written for night shots - no more flesh eating zombies. Will be going down the German Market before Christmas and there is a heap of orange and yellow lighting, as well as hundreds of people. Wouldn't have known where to start, otherwise, but that night video is miles ahead of anything I have shot at night thus far both in terms of keeping blues and retaining decent skin tones. Was wondering that myself.

I have the a7s2 and the a7s, hoping that it wasn't an FS5 or something similar. I was going to pull the trigger (not that it would break the bank) when first viewing Andrew's video but got distracted by the pitchforks and burning torches. That fourth image - Pro Colour at 6600K and colour phase 0 - looks like it came straight out of the same Canon camera as the first image. Out of every test that has been posted, yours is the most informative.

I was hoping that that would be the case. Buying tonight

Agree with above critiques. There is enough material certainly for a one minute edit. Short, sharp cuts will reflect the intensity one would associate with your subject matter - and look for matching shots for the purpose of occasional invisible wipes (see Brandon Li or Watchtower of Turkey for examples of this). Audio enhancements through sound effects - not overdone - will also make the world of difference.