EthanAlexander

Thanks for your review! If you don't mind, I'd like contribute my experience: I'd add to the pros list: S-Log view assist "proper audio" (I think this gets overlooked a lot when comparing to mirrorless) Easy to break down/put together (esp. compared to its big brother) Battery life Dual card slots "Clear image" zoom can be used with the zoom rockers. And I'd add to the cons list: Can't adjust jack-shit once you turn on super slomo. And no histogram during slomo- wtf, Sony? No waveform Low res EVF (in addition to being small) Shutter speed changes seem random when going between frame rates/resolutions. It needs the ability to set angle!! Seriously, why no shutter angle option? I think this is worth two bullet points :P Controls for XLR2 get covered by the handle. (Or maybe it's XLR1-can't remember) And, to me, I don't find the footage difficult to grade (maybe because I use S-Log 3 and SGamut3.Cine instead of 2/SGamut?), and I've been exposing +1.5EV and haven't had an issue with noise even in HFR. Curious what lenses you use. Since you were getting marginally better resolution in 4K out, my first thought was maybe you're reaching the resolving limit of the lenses, but the fact that the a6500 is getting better results (with the same lenses, presumably) counters that idea. Great video, btw!! Is that 4K/100?

Have you tried Grindr?

Great work! N00b question: What's with the weird wobble/side-shift? (Especially obvious on the shot at 0:20) Is that the lens? IBIS?

My question wasn't "why is it good?" I was interested in @DBounce 's opinion personally, based on his original post. FWIW I make a living on video. It's not a side gig or something... Hopefully I'm not the one you're calling amateur

Overall I'd say you did a great job and because of the different locations the different looks aren't really a problem. Although the samsung is very obviously more detailed, I think to compensate you can add a little more contrast with a nice S curve and then play with sharpening (basic tool or an unsharp mask). OR you could go the other route and make the samsung footage a little less clear by adding a tiny amount of blur or lifting the blacks. Since you've got the "vintage" vibe going on, I'd probably do it this way. Btw, pretty cool song. Like the guitar/rap combo.

Good point How does raw, log, linear, compressed, uncompressed, etc. have anything to do with shooting anamorphic? It's an aesthetic that has nothing to do with recording format.

I guess I'm just confused why you are wanting to go with the GH5. You said it's because the footage is sharper, more grade-able, and "cinematic"... do these things only matter to you if the size is kept small? Genuinely interested, because to me small only matters for things like gimbals, but even then I don't really consider a 1DX large if I'm honest.

Maybe this misses the point of being lightweight, but why not just speedboost the same lenses you use for the canon?

@tihon84 Something about the edit in that 1DXII video reminded me of this GH3 video that went viral a few years ago. It's a 2 generation old 1080p cam but still looks phenomenal: The colors are WAY different and it's not even 4K... I'm just posting because ultimately the shot selection and editing, grading etc. have way more effect than deciding between a canon and panasonic. Having said that... those canon colors are sexy AF straight out of the camera. Agreed. Kinda the point I'm making with the above vid.

You will hate the a6500. It's not a bad camera or anything like that, but coming from a camera like yours I know you'll find it frustrating to use, due to poor menu design and a lack of external buttons/dials. Plus, it's APS-C so, like you said, you'll need all new lenses. Just shoot 4K and you can crop in in the edit to cover up cuts. No need for two cameras, especially traveling.

Unfortunately, I've been running into more and more clients who think that if I don't shoot 4K they won't get a nice image. One recent example was a client who had been doing the company's youtube videos herself and had a ~$600 camcorder that had "4K" plastered on the side... I didn't bother explain that I could get a better image with 10 bit 4:2:2 etc. for the same reason having a physically larger camera already primes clients to think my work will look good. So I just shot 8 bit 4K on my "large" camera (FS5) and everyone loved it (Thanks Pro Colour!). On the other hand, I've still got plenty of clients who trust me to deliver the best image based on my past work and never complain if something isn't 4K. I love these clients

No, I totally thought I read 5D... I guess since ML lives on the SD in the other slot there's no size limitation to the CF cards

I doubt that Yedlin would disagree with you. I certainly don't. All else equal, bring on the pixels! In his words he made the video because "I’ve seen multiple situations where filmmakers or studio decision makers are shown something that’s meant to be a comparison and they are being shown this not by a technology expert from their own company but by a vendor who stands to gain by whatever decision is made based on the demo they are giving. That’s not really a fair comparison situation. So these decisions are not only being made with entrenched presuppositions about what makes an image look the way it does, but these false comparisons that are only nominally scientific and actually more of a marketing manipulation."

His overall point wasn't "pixels don't matter," it was that people place way too much attention on K count than on all the other aspects that make up an image. You have to admit, the difference in the 4K master when downscaled from 6K and upscaled from 2K was not very different at all! Noticeable? Yes. But would the 2K master really get in the way of great story telling? Hell no! That last statement of yours ("the truth is 4K is still better than 2K) is kinda the whole reason he put this video together: "We shot with cameras that range from 3K to 11K, and the highest actual resolving power is in the middle of that range at 6K. The 3K camera is better than some of the 6Ks, and one of the 6Ks is better than the 11K. You just can’t tell what you’re going to get based on counting Ks."

I've been using two 256GB 1066x Komputerbay cards for three years no problems at all. Just test the speeds when you get your order and return if it doesn't match as advertised.

It makes sense that your monitor would look blue on settings with low Kelvin: The lower the number the more blue and the higher the number the more orange the scene will appear. Monitors are commonly white balanced around 6500K, so it makes sense that 3600 and 4300 (and even 5600) would make it appear blue. A better test would be simply to see if colors look correct outside, during the day at 5600K and at night at 3600.

Lol yup. I basically use "Ripon" at 50-80% strength and that's the only one, but it was worth it for that. I bought the Impulz luts but haven't used them in a while. They introduce so much color noise on 8 bit footage they're not worth it. It'd be interesting to try them on some slog3 10 bit from the FS5, though.

If you haven't heard, Sony released firmware V4 for the FS5 today: 1. Support for High Dynamic Range (HDR) by shooting in Hybrid Log-Gamma** (HLG) standard 2. Support for continuous 120fps High Frame Rate (HFR) recording in 1080p with CBKZ-FS5HFR (sold separately) 3. Option to change the minimum ISO sensitivity number to ISO 2000 from ISO 3200 when recording S-Log2/S-Log3 I've searched for the CBKZ-FS5HFR upgrade, but all I could find was that it's $500 for 50mbps 120p?? That's insanity. I'm hoping this is wrong and someone has better info than what I found. If interested, here's a link to

Nothing worse than having to hide your boom pole. I say flaunt it as long as there are no children around.

I'm guessing that the profile level, keyframe distance, reference frames, etc. aren't matching what the camera records in. I use a program called "videoSpec" on my mac that tells me all this, so use that to figure out exactly the settings to export from compressor (by dropping in a file you shot on the camera), and it should work fine. Just make sure to put it in the right place on the sd card.

This is a handy reference for ProRes questions: https://images.apple.com/final-cut-pro/docs/Apple_ProRes_White_Paper.pdf

I'm just basing this on all the reading I did yesterday clicking on all the links that were posted and going down that rabbit hole. It will be interesting to see if you can come up with a definitive guide. I don't know your time/resources situation but it'd be pretty cool if you set up real life scenes and compared actual footage and let us know your scientific findings.

I'm pretty sure both these claims are false. 1) Log actually means in most cases that more values are being assigned to the middle tones rather than reserving 75% of the information for the brightest two stops like with a linear curve. 2) Log does not add noise, it just increases the appearance of noise (due to raised shadows).

Great find. I owned an a6500 for like 3 weeks but never used it for a paid gig. I'll see if I have any footage I can dig up.

Since banding is mostly due to color subsampling rather than 8 bit, I'd say yes, but it's worth testing. Can't you just take a sample you shot and remove the chroma to test?