Mark Romero 2

My limited input is basically just a recap of wolfcrow's hour-long video on slog 2 exposure (which is well worth watching): In a nutshell, use spot metering and expose whatever you consider important at 40 IRE or above, and set your zebras to 70 IRE for your skin tones (for Caucasian folks). He cautioned against the generic "expose two stops over" or the generic "expose to the right" because you might have inconsistent skin tones (and he was assuming that is what most filmmakers would care about), and with inconsistent skin tones one would have to do more work to match skin tones from scene to scene. That kind of makes sense to me. Say you have a shot with someone with darker skin and a not overly bright sky, and you just expose two stops over (or you expose to the right using multi-segment metering). Then your next shot features a lighter-skinned actor and a bright sky, and again you decide to expose to the right. The overall exposure is lower than the scene with the darker skinned actor and the dark sky, and the skin tones will be off. He mentioned that slog 2 was designed to have a filmic look when handling highlights / over exposure Anyway, I have watched it like three times and that seems to be the main gist of it. The info also seems to jibe with the information from the article by Allister Chapman that you linked to here: http://www.xdcam-user.com/2017/09/why-is-exposing-log-brightly-beneficial/

Thanks. When you factor in the one-stop difference in DOF (between the a6500 and the a7 III) and the two stop difference in DOF (between the GH5s and the a7 III) I guess there isn't going to be a whole lot separating them once you adjust the ISO to obtain equal DOF (as @don kotlos pointed out). Totally Off Topic: Just spent an incredibly frustrating hour at our local garden center trying to shoot some BROLL and couldn't see a thing on the back of the LCD of my a6500. Trying to use it on my gimbal and inverted. Ugghh... Definitely need to get an hdmi monitor.

@Snowbro Video looks nice. Do you live in The City or up in Marin by chance???

@Don Kotlos Thank you!!!

Thanks. What I want to know is - real world - how does the dynamic range compare to a7 III and a6500 when shooting about ISO 1600 to 6400???

Oooppsss... my bad... Thanks for the link.

Pretty sure I am going to get an a7 III. Just wondering what the dynamic range of a GH5S is like though at higher ISOs (1600 to 6400) before I pull the trigger on the Sony. Low light and dynamic range are probably just about equal in terms of my needs. Bonus Question: Is the 1080p of the GH5S as good as that of the GH5? Thanks in advance.

I'm guessing this is going to be a big seller considering there are already 101 pages of discussion on EOSHD...

It does. Would the intended audience (fans of The Damned) notice the difference if this was shot on an Arri or a Red or an Ursa instead of GH5? Probably not.

True. Cops are always confusing boom poles for a pack of mentos...

Just wanted to say awesome video and thanks for posting. Band sounds good. Always nice to have a Captain Sensible sighting. Really feel that those who are noticing the "look" of the camera instead of the the overall video are kind of missing the forest for the trees.

We plan for the beer. If any footage ends up actually being captured, that is just a bonus.

Beer

What are the focal length of your lenses??? If they are full frame lenses, then MAYBE getting a full frame camera would be better??? Although i guess a speed booster would also work. I have heard people say that the Fuji is more "nikon-like" in terms of ergonomics / ui. I think it is supposed to have a very good EVF as well so if you are use to optical view finder then maybe fuji viewfinder might be nicer for you??? a7 III would PROBABLY have the best IBIS, but am not 100% sure on that. However, at least for stills, it would have the best "fake IBIS", meaning you could underexpose by more stops and push more than the other two cameras. Also a7 III has best dynamic range for stills. Doesn't GH5s have false color and vectorscope and a few other video features that make life easier? Isn't the LCD screen supposed to be real nice??? Isn't there a 400mbs codec on the GH5s in 10-bit???

Thanks. I am guessing I won't have much need to shoot in HLG / HDR then, but if I do, will try to remember to shoot in rec 2020 gamut.

@Don Kotlos @Luke Mason Just to confirm, you are both saying there is no advantage (in terms of DR) then in shooting HLG in Rec 2020, applying a LUT that converts it to REC 709, and then delivering in standard definition, correct??? Or am I misunderstanding your explanations???

Someone has to keep us on the straight and narrow... otherwise no telling what kinds of trouble we would get ourselves into. (slowly pushes zoom h1 under bed with foot so it is out of sight / out of mind...)

In the US, we have verifly, which is $10 for one hour of liability coverage up to a million US. In theory, this will cover those who fly as a "hobby" or those who fly professionally. Maybe there is some sort of similar service in the UK???

Does shooting in HLG increase the dynamic range when your footage is going to be output to Rec 709? Is there a real world benefit when it will be displayed on youtube? This would be shot with a Sony a7 III. In trying to justify upgrading from the a6500 to the a7 III and part of the appeal is the ability to shoot in HLG. Unfortunately, I still don't know whether shooting in HLG would give any benefit over shooting in S LOG or one of the Sony cinegammas if it is all going to be delivered as a rec 709 file primarily viewed on youtube. Is outputting as Rec. 2020 and then uploading to youtube just a disaster waiting to happen? (Especially since I don't have an HLG monitor to grade my footage in the first place.) Any insights are appreciated. Thanks in advance.

Same here in the US of A. When I got my drone pilots license* the test is US $150 in the states, and quite frankly, even if I wasn't interested in flying legal, studying for the test is really helpful. I shoot real estate (both photos and video) and it is - in my opinion essential. Very happy I got it. If getting your drone license in the UK isn't too expensive, I would highly suggest looking into it. *Technically the term here in the States is Unmanned Small Aircraft System Airman Certificate

Phantom 4 Professional.

Thanks so much!!! You are awesome, Dave!!! Majority of my work is stills and I know it has some advantages in terms of stills as well (mainly, for my purpose, the 1/250th flash sync speed and the EVF in the middle of the body, since I am left eye dominant). Also, for my work, using a crop-sensor lens and having ONLY 18MP stills instead of the 24MP of the a6500 is actually a good thing for me. Thanks again.

Thank you. I apologize for taking this thread off topic, but I gotta ask... Is the LCD of a7R III better than that of the a6500? NO dimming in 4K? Better colors? Better 1080p? Thanks in advance.

So I can throw my Sony 10-18 crop sensor lens on to the a7R III and be good to go??? And would that give me any real world benefit over my a6500 with 10-18???

@Young @DaveAltizer Do we know if there is a much of a difference for dynamic range between the a7 III and the a7R III? And isn't it the a7R III that is better in crop mode instead of FF mode? or am I confused about this...