Mark Romero 2

Thanks for the reply, and yes, a genuine question on my part. Didn't realize that PP was prone to this issue (but I don't use it so I am ignorant of a lot of things about PP). Thanks for sharing your workflow when delivering. I know quite a few people complain about the h.264 encoding in resolve. Didn't know that h.265 is chock full of artifacts, too. Hmmm.... looks like I am going to install ffmpeg soon. Seems so strange that the best way is to send it to an intermediate codec and then a final, but I guess that is the way it has to be.

As most of you are aware by now, i am pretty much the king of stupid questions. I am sure that many on this forum will attest to the fact that the stupidity of my questions knows no bounds. So I have to ask as to why you would be transcoding your h.264 files to ProRes in the first place. I am sure you probably have a good reason to do so. Just, it escapes me at this time.

I don't have an RX100 nor an a7 III, but autofocus works well when shooting in slog 2 on my a6500. I often shoot in bad lighting and the only time I have noticed it glitch out is when I am temporarily panning across something like a solid color wall, and it usually just loses focus momentarily. Otherwise, it seems to be fine. I have probably shot between about 500 to700 short (under 20 seconds long) clips in Slog 2 and I think I have only noticed it twice struggling in the conditions I mentioned above.

https://neilvn.com/tangents/full-frame-vs-crop-sensor-cameras-comparison-depth-of-field/

Well... yes, if you are interested only in exposure. it ain't the same if you are comparing depth of field at equivalent focal lengths. Also, if it means using the same ISO value among different sensors, then sensor performance is generally going to be better on the larger sensor.

Personally, more interested in HDR / HLG / Rec 2020 4K than I am interested in anything 8K. And to be honest, anything 8K is going to require the wider color gamut most likely anyway.

When doing slow motion in Resolve, you are going to want to go in to your project settings (the gear in the lower left) and look for the retming settings. make sure it is set to optical flow and I would select the better quality. Then when exporting, make sure that you are exporting at a high enough bitrate that you won't get artifacting. I often shoot 4K footage at 30p and slow it down to a 24p timeline for just a minor slow motion effect." It looked fine on the timeline, but when I was rendering it to youtube, I had the bitrate too low and it made it look quite weird. Goat's eye has some tutorials that are very thorough and easy to understand, although they are a little dated since they were created for resolve 12 and 12.5. However, still very relevant. I would suggest looking at Avery Peck's tutorial on using LOG footage with Resolve color Management if you regularly work with LOG footage (or RAW footage for that matter). The new Resolve Color Management in Resolve 15 has some fairly sophisticated tools in it so you aren't just just dropping random lLUTs on to your footage and hoping for the best.

I thought you were going to pull a Charlton Heston with your a7s: "Pry it from my cold, dead hands!" Maybe @Andrew Reid can start working on a NEW camera profile called a7SHD where we can give new Fuji, Nikon and Canon cameras those lovely green skin tones from the original a7S???

Well... there are some black friday sales going around for courses on things like Resolve and other NLE / Grading software. So yeah, skills kind of ARE on sale.

Indeed.

A more realistic option might be a discount on their lenses, which it appears are not inexpensive... particularly stabilized, fast lenses.

OK, I'll bite... What are the reasons people are dismissive of wolfcrow? He seems to me to know what he is talking about and has had (apparently) enough time with several different camera models to present opinions backed up by experience. Maybe I am missing something that is obvious to everyone else? (Wouldn't be the firs time...)

Yeah, isn't there someone really famous from Slovenia who is living in the USA now??? Let me see... I think I remember who it might be... Oh yeah, I remember now: Anže Kopitar

Sadly, I think you might be right about that.

I am the original poster of this thread and still using the same a6500, same Sony 10-18 lens, and same original Crane gimbal as when I started this thread. I haven't really compared turning IBIS off and leaving it on to see if it makes a difference. Maybe over the next few weeks as business slows down I will have more time to do so. I have found that panning a lot slower, and also shooting at 30fps but putting it on a 24fps timeline, helps out quite a bit with overall smoothness. Of course, I do videos of architecture, so it is not like I have to worry about audio problems or anything like that when conforming 30fps down to 24fps. There were suggestions to use a slightly slower shutter speed than half the FPS rate. So use 1/50th instead of 1/60th shooting at 30fps. I have done that - mostly to deal with low light scenarios - and it does seem to work a bit. But then, what's the point in shooting in 4K if everything is kind of blurry???

The 24-70 f/4 also looks significantly warmer to me as well (unless there was a change to the lighting).

Of course the GH5S has great colors... it uses a sensor made by Sony Seriously, though, did not know that the GH5S has even better colors.

@austinchimp Thanks for sharing your experience and your impressions.

I am wondering / hoping this might be a bit of hyperbole. Maybe you can elaborate on this a bit yes, I have been impressed with what I have seen of the colors coming from the X-T3 (in particular using the eterna profile). But it seems to me that the colors coming from the Panasonic are pretty good as well. Is it really that much of a time-saver to get pleasing results from the X-T3 compared to the GH5? For instance, in 4K 60p is the 10-bit 4:2:0 of the X-T3 better than the 8-bit 4:2:2 out of the GH5??? Thanks in advance for any elaboration you can provide.

The mp4 codec of the c200 looks pretty darn good in this comparison video:

Good on ya. Wish I had done that. If that were possible, I would have NO working cameras left (instead of the six I have lying around, if you include my drones and my Olympus 3030 zoom that I have been too lazy to take down to the electronics recycling center).

Yeah, I had a photo shoot of a condo for sale in Tiburon, which overlooks the north part of the San Francisco Bay. It would normally be a two-million-dollar view (literally), but there was so much smoke in the air, the view of the Bay was ruined. Around here it literally looks like a scene from Blade Runner 2049. About three months back we had another large set of fires, and we just had the one-year anniversary of the Sonoma County fires that destroyed large parts of the city of Santa Rosa.

Umm...

Wow! I am surprised to hear that. I use my a6500 HARD and have never had a problem with it. On the other hand, I know Sony lenses have a bad reputation for quality control from batch to batch (or from lens to lens), so I guess I shouldn't be surprised about that.

True! I would also suggest that shooting at 30fps and putting the footage on a 24fps timeline also helps with gimbal / fake slider / fake jib shots in general (my a6500 has pretty nasty 1080p so I am often reluctant to shoot it at 60fps).