scotchtape

It depends on what shots you are trying to achieve... Can you do steadicam without a steadicam? Of course if you are just doing static / panning / shoulder rig shots you don't need it. I just mounted the ride videomicro on top of g7 and it worked OK but very unbalanced (on a shoot two days ago, unplanned). I did not have to move very much so it was OK. I don't know if you can balance it properly - I had to do it spur of the moment due to client last minute request. "Does it get in the way ?" Kind of. You can do certain positions but for normal use it's OK - you probably can't do inverted or move the tilt too much.

If you want the best the there is no choice but to pay for the best! Full frame RAW from Sony/Nikon... I can't even look at mft files but I do landscape/Astro which is the worst for sensor demands. For portraits you don't need maximum DR. Good luck!

Bro. Panny 7-14mm f4 can be had for under $500. Sony 10-18mm f4 is around $600. It does have oss though and takes screw on filters. Panny 12-35mm f2.8 can be had for $500 Sony: no f2.8 standard apsc lens. But you can buy the FE GM 24-70mm for $1,800 Panny 35-100mm can be had for $600 Sony: no equivalent but you can use the new 70-200mm f2.8 for $2,600... The only other "comparable" lenses are the sony 18-105mm f4 for $500 which is a stop slower and the Zeiss one (forgot specs) that is closer to $1,000. Panny Trinity is under $2k USD used on eBay if you scrounge for deals - for f2.8 zooms! Small and lightweight. Admittedly the 35-100 stabilizer is shit for video but the IQ is fine. Sony lineup has nothing close and you have to use the heavy and crazy expensive full frame lenses for f2.8... Currently the 10-18 24-70 and 70-200 would be just under $5k... And heavy and large. $3k vs $5k. Is that a "fair" comparison? Maybe not, but we have no choice since Sony has no comparable lenses! Sony is boatloads more expensive. Whether it's worth it or not is up to you. The GM 70-200 f2.8 looks pretty sweet since I think they said it was parfocal. The 24-70 I'm disappointed has no built in oss. I really like the 5 axis dual is on the 18-105 a6500 combo. Haven't really been overly impressed with ibis and adapted lenses. No way Sony is cheaper! When have they ever been cheaper?! It's Sony!

Lens selection is way worse on e mount right now. No apsc f2.8 standard zooms. And the FE standards that just got released are really expensive. What lenses are you shooting weddings with? I don't consider af-c useable with adapted lenses - the focus motors aren't built for whatever is currently happening and sound like the lens will kill the AF motor. So native is the only way to get video AF without worrying about that.

I don't like way a6500 has implemented movie mode right now. Histogram on separate screen. No af-s, tap to focus only on af-c and slower - no focus confirmation. Screen zoom in movie mode is horrible and blurry compared to photo mode, and is 4x max instead of 10x or more. Color science is still weird in mixed lighting run and gun (all cameras have problems though). Image quality is good but you need more time to set each shot up. I don't know if they are planning on fixing any of these issues. I was really excited for this camera but I am looking forward to getting gh5 later on. I still plan on using my a6500 for shoots when I am not constrained by time though. The ergos and menu are sad. For example center lock on AF - you hit a button - it takes you to screen where you select on or off. Wtf why isn't this just a toggle button - 1 click becomes 3 for no reason... Maybe I should sell it imagine that - keeping $500 Panasonic g7 and selling a6500 even though I think files from a6500 are better

You can type into Google "zhiyun crane 18-35mm"

Having been making the same journey myself over the last few years here's what you'll probably learn: - Color correction / grading is "horrible" in video compared to shooting RAW photos (which is almost cheating and that's fine by me). If you're used to using lightroom and RAW photos, you'll be in for a unwanted surprise in most NLEs. It's important to get it as close to "right" as possible in camera due to the bit rates and color depth limitations in video files (one photo vs 24fps). Although I am getting better, I really wish they would just put the Lightroom tools into Premiere already (you don't even want to experience Premiere before the Lumetri color correction tools). This is the perspective of someone who started photography in the last 10 years and not shooting video from the 80s. You can shoot the D750 with an almost black photo and pull something useable out of it! Not so with video. - Most 1080p files are pretty soft out of camera and don't get that much better with sharpening - and it's really easy to get a weird digital sharpening look. When uploaded to youtube anything played back in 1080p will lose its sharpness anyways due to youtube compression. A lot of content you see looks fine on mobile or played back in a little window, but when you blow it up it gets kinda mushy and blocky, especially compared to photos! This is kinda why people went gaga over the DSLR shallow DOF look - when you have a shallow DOF I think your eyes think the subject is more "sharp" compared to the "blurry" background, and so you don't really notice the overall crap technical sharpness many cameras produce in 1080. - "Getting into video" is like "getting into photography" in the sense that there are so many styles! So you will get all sorts of different viewpoints. Some people only shoot narrative and they don't understand you can't bring a full lighting kit to your run and gun event you are getting paid a few hundred to cover. Some people never bothered to learn about lighting and don't think it's important even the whole "photography is light thing" is actually a thing. But if you are just getting into it, it's helpful to pick a genre and learn how to do it well. - Software wise, obviously there are a few big popular packages. I think learning one of them is very beneficial if you are wanting to do paid work at all. Mostly I hear about Premiere, FCP and Resolve. I have tried getting into resolve but... dang man why can't you just drag and drop a file in there?! WTF! - Using the Kendy Ty example (check out his stuff) - he shot his stuff on the T2i! Looks amazing because he worked his gear, subject, and setting very well. Maximized his cameras strength of shallow DOF to "hide" the crappy sharpness of the T2i. A lot of people will say "see, the camera doesn't matter, look what Kendy can do with the T2i". Well if that was true everyone would use the $200 T2i to shoot everything with. Different cameras have different strengths and weaknesses, really depends on what you want to produce. Good luck!

To be fair even with DSLR I always just use Sony np-f batteries externally with them. A6300 just needs extra work to maintain it's cool from what I've read - external everything and stick a cooling pad behind the monitor! Of course if you are working on a hot set then all bets are off. I agree that it is annoying, but for all of us low budgeters just think of all the low budget things we do to make things work... I should test and shoot more before saying anything but I'm not finding the skin tones from a6500 to be horrendous at all if you tweak the color settings and grade with luts.

For narrative probably a6300 unless it is an action film the the RS would kill it. I recently got the g7 and a6500. For my run and gun I am using the lowly g7. It is delivering some impressive results to me despite less DR. I am using it over a6500 because for most of my real estate stuff I do not need af-c and use the manual mode which has touch to focus af-s that is blazing fast. A6500 doesn't have this! Only full MF and af-c which doesn't work with adapted lenses (af- motor constantly engaged even if nothing is changing... Sure way to burn something out!) That being said, for low light urban the slog2 is great and I'm liking the images so far. I also think with more work the color from Sony can be shaped better. The g7 is useable as well though! Cost wise the g7 is just too good of a deal to pass up if you already have m43 lenses. The 4k downscaled to 1080p is very competitive for $500! Pixel peeping it will lose to a6500 but if you are watching a clip on YouTube you'd be hard pressed to tell the difference unless in extreme shots.

I don't know about you but I need all the help I can get when walking! On the other hand I worked with a camera man that had the steadiest shoulder in the world it was unbelievable... No stabilization and it looked smooth. All depends on user. I will forever need gimbal if I want to do walking shots!

I like the tips keep them coming, still no answer about the right way to convert log to rec709 though!

So I've just started trying out log footage on my A6500. My google-fu has failed me. IS there a standard / official set of Sony slog2 LUTs? HOW do you create a LUT - is there a "proper" way to do this, or at least a common way? For question 2 - I've downloaded https://generator.iwltbap.com/ and watched those videos - they make sense to me but is there something specific I'm supposed to do to convert the log besides just messing around with the curves in photoshop / lightroom? Or is everyone just messing around until they find something that looks "good"... I've seen lots of links to LUTs people have created, but "how" did they create them - just changing some curves by eye and then creating a LUT based on that, or is there something more scientific. Can you basically use the standard lumetri tools in PP to achieve what a LUT does for log footage, or do you need to use the LUT to fix the footage... Getting confused because if the log footage is "flattened" where are the proper tools to "unflatten"...

I love mine. I love it except for the sharpness which is only slightly better than the mushy canon stuff. You can get away with it for online stuff but if you need to cut it into 4K or motion graphic footage it just doesn't do it for me... which is why I just got some mirrorless for video work.

Get whatever speaks to you more. You have to make the camera work for you and shoot around it's limitations. Or get both

What is the consensus on the high ISO NR setting - has anyone adjusted this or turned it off?

Not sure if I'm doing it wrong, but I tried to get blue/green clipping using various profiles - set my tv to a blue background (http://wallpapercave.com/wp/Hvtxo6m.jpg) - got green clipping even using Eoshd profile and a bunch of other profiles I've been messing around with and reading about. I flipped through various color modes and found that the sgamut3.cine kept the blues blue. I also stuck a flashlight on the ground with a blue gel, but all profiles showed it pretty much bluish or cyan. So I guess it really depends on the lighting source. WB at 3600K. As I increased K to 5600 or more, tv green turns into cyan or blue. So I guess the blue clipping is really affected by the source, color profile, and wb settings, but sgamut3.cine seems to keep it "bluer" for longer, but presumably would turn eventually turn green depending on your settings. But then in sgamut3.cine, it feels like it has a slightly more greenish cast to skin tones (ironically) and you can't adjust color depth... I was only going by the back of the screen, not sure what actual recorded material would look like

I have D750 x2 for my timelapses and stills. I love this camera so much for stills, especially wide field astrophotography, the readout noise is terrific. For long exposure night photography it's better than the sony cams, at least it has been since it's release. Compare readout noise: http://www.brendandaveyphotography.com/?page_id=726 I have to say though, the 1080p is quite disappointing from sharpness standpoint which is why I have moved to mirrorless for 4K downscale 1080p. I have done a wedding or two and while the closeups are great, the wider shots aren't the best. Of course depending on your clients, they may be happy with T2i quality so...

Update: I sent Rose more info. TLDR: If I put the gimbal on tripod for around 30s (or standing on a base on the ground) the horizontal drift in lock mode will be stopped/reduced and then I can hand hold it - no standby mode needed. However if the camera is tilted up >~40deg(guesstimate) it will start drifting unless you use 30s standby mode (which might not even work). But if you return to level (0deg tilt), it will start drifting again. So to do a locked shot I have to start gimbal on tripod, go into lock mode, wait for 30s until drifting stops, then use it in locked mode. Not sure how long this stops the drifting for (but at least enough time for a 30s shot). Has anyone connected their gimbal to the computer? Is the Z axis showing 1 for acceleration? My x and y show zero (0) but Z is 1 unless I tilt up, then Y becomes 1... Very inconvenient for lock mode Is this happening with anyone elses? Turn on your gimbal then go directly into lock mode, see if it drifts... thanks... >>> I have done more testing and found the behavior to be inconsistent: - If I turn on gimbal, and then use standby 30s calibration but place gimbal on ground (handle sideways on ground), it will still drift. - If I use 30s standby on tripod, it helps a lot (until I tilt up using joystick). - If I am handholding and start gimbal, then go directly into lock mode it will drift. - If I then put gimbal on tripod it will settle down and not drift! - If I tilt up over ~40deg, it will start drifting again. - Even if I put it on tripod it will drift, or if handheld. - If I return to normal 0deg tilt, it will still be drifting. - I change to follow mode, start handheld, change back to tripod and lock mode, drifting stops. - If tilted up over 40deg gimbal will drift, standby 30s mode helps to prevent drift, but if you tilt down, it will start drifting again. I love this gimbal but this issue is makes it not as quick when outdoors, and you have to carry small base for crane and reset frequently if you want to use locking mode. I need locking mode for some of my work. Maybe software fix? When connected to computer, why is one axis showing 1 acceleration, is this normal? For example X and Y are 0, then Z is 1. If I tilt up, X~0, Y~1, Z~0 Video:

Discovered that my crane has a problem in pan axis. It won't lock position, but mode 1 and 3 are fine (pan follow and follow modes). In the app, in mode 1 I can see the pan axis drifting in degrees, even though physical position is still. In mode 2, the axis in the app stays stable, but the physical position drifts to the left. I tried the 30s standby initialization AND the calibration steps several times, still not working. I connected to the Windows app, it shows Z acceleration of 1, but X and Y are zero when I hold it still. Looks like a sensor problem, I've just emailed the support email on the website, we will see what happens...

Yes but OP said he can afford A7s... A7s II is $1K more.

What's your budget like? That is always the problem I feel like technology is progressing so quickly there is no "safe bet" for run and gun stuff. So much new tech is coming out it's crazy! But if you are doing mostly narrative work and have time to control your shots, then Canon mount lenses are a no brainer since you can adapt a lot of lenses to that mount, and that mount is the very popular for adapting to mirrorless as well. The "problem" for you is that you will need new lenses no matter what camera you get if it's not mft - $$$. Lots of people like the A7s but sometimes struggle with the color. Also you need external rec for 4K. If you do a lot of close ups and shallow DOF then you can make 1080p work for you (remember those Kendy Ty threads...) but any wide shot and the lack of definition really shows. Just really depends on your style and what kind of look you are going for. Some people love the old film look, but that's really not my thing. Check out the sample vids of all the cameras mentioned... XT-2, G85, A6500, all in 4K downscaled. They're really impressive compared to just a few years ago. Next couple of years are sure to be even better! I'm trying the Sony A6500 route because I feel like eventually they're going to get their act together and solve the horribad RS and heat issues, improve the touchscreen and AF modes during video and then it'll be unstoppable (4K mode). It's like version 0.9 right now but can still deliver great images, just need to work around some issues. For narrative work, the AF stuff is less necessary if you are doing manual focus, but its so convenient. Plus, Sigma's MC-11 shows that eventually someone will get video AF to work with all lenses. Maybe I made the wrong choice, who knows... But, I'm just some rando on the internet who hasn't made much $$$ from video either and doesn't do narrative, haha. XT-2 is really good too, and next version will be even better, but you will have to wait for someone to make really good adapters for other mount lenses. Good luck! I'm sure you'll be able to make your next camera work for you whatever it is.

Great job, I'm impressed! Considering that you shot that on a GH2 I would say you have the skills to make any camera work. From what I've seen, the 1080 from sony A6xxx series has been the "worst" out of its peers in terms of sharpness, from YT comparisons to the video tool on dpreview. The dpr tool doesn't have the GH2 but it does have the GH3 and even that camera is better than the 1080 from the A6300. To be honest none of the small 1080 cams look that great, but if you are for sure sticking to 1080 (why...when 4K downscale looks so good!) then why not consider the Canon C100? Decent 1080 and lowlight capabilities with the FF look. Plus it was on sale for like under $2K recently. You really can't go wrong with that one. Pair that with Tamron VC lenses and you should be set!

Wow. Some awesome shots in there. I wish RAW workflow wasn't such a pain in the ass!

http://www.eoshd.com/2016/11/now-available-eoshd-pro-color-for-sony-cameras-including-a7s-ii-a7r-ii-and-a6300/ Compatible cameras: Sony A7S II / A7R II Sony A7S / A7 II Sony A6300 / A6500 Sony A99 II RX100 IV / V RX10 II / III Sony FS5 FS7 missing for a reason... because it doesn't support it.

@pilsburypie and @Rest|Less Someone actually came by with a G7 that I couldn't get to balance on the crane. Now I understand the problem. Even if you flip the crane baseplate the otherway, it might not solve the problem because the weight of the plate is heavily unbalanced. If the lens is too light then you cannot find a balance point in either direction of the plate. If that is the case you will need to add a quick release plate that can slide. Any arca swiss should be fine, lots of options on eBay... Just get a longer plate and you should be good to go. @Rest|Less - the clamp of course will accept the screw with the 3/8 adapter that usually ships with the clamp. Like this plate: http://www.ebay.com/itm/PU-120-Quick-Release-Plate-for-Benro-B1-J1-Arca-Swiss-Tripod-Ball-Head-120mm-GBN-/152222735957?hash=item23712e9e55:g:UWEAAOSwV0RXv7B9 And this clamp http://www.ebay.com/itm/QR-50-Quick-Release-Clamp-Plate-For-Arca-SWISS-Manfrotto-Gitzo-Tripod-Ball-Head-/302043703982?hash=item4653352aae:g:upkAAOSw6n5XsoIq That's like $10 USD Most of us have a whole bunch of these floating around (I assume). In the meantime if you don't have those items, you can try the following: 1) tape some weight to the front of the lens 2) if you have a flat piece of metal or something lying around you can make a plate that puts some weight in front of the camera (sandwiched between the camera and the plate, put a 1/4 inch hole through it to secure, add some weight to the front). 3) try using the 1/4-20 connection on the front of the crane base plate (where they show the lens support being added) - screw in a longer bolt and attach some weight to the end (like a few washers, tape them in place, or if the bold is threaded the entire way just secure them with a nut). 3 would probably be the easiest if you live near a hardware store, quick and cheap. I have uploaded an image as an example, but you would tape the washers or other weight you are adding. Normally the plate will flop backwards, but you will see that even adding just one bolt and a few washers tips it forward. Should be easy enough to balance the camera then. Hopefully it will not be in the shot, otherwise just adjust closer, and/or tape the weights flat instead of through the bolt. You might also want add a nut to the bolt and/or tape it because it will just screw through the attachment point if it moves.