kidzrevil Posted October 8, 2017 Share Posted October 8, 2017 Alot of dealbreakers in the body for me at least. I had to add a ton of accessories to it including battery and thumb grips to make it worth using. If you can compromise and use the evf the image quality of the Sony is well worth it. True 6k to 4k downscale. The resolution difference between the a6500 and my panasonic is night and day @jase Quote Link to comment Share on other sites More sharing options...
ThomHaig Posted October 8, 2017 Share Posted October 8, 2017 On 06/10/2017 at 10:39 PM, kidzrevil said: @kidzrevil - nice! - looks similar to what I've been using. I agree, the battery grip and eye-cup do tons to make it nicer to work with. I'm curious, what that accessory that looks like a lever coming out of the hotshoe? Don't think I've seen that before. kidzrevil 1 Quote Link to comment Share on other sites More sharing options...
kidzrevil Posted October 8, 2017 Share Posted October 8, 2017 @ThomHaig hey ! Its a thumb grip. I didn’t even know they make those things for cameras but apparently its been a thing since like forever lol it makes the camera more stable because your thumb tends to go over the top of the camera and it can be uncomfortable. The thumb grip definitely helped me eliminate alot of the camera shake. dont forget the cineasy touch mod for the record button its another vital accessory Quote Link to comment Share on other sites More sharing options...
Super Members Mattias Burling Posted October 9, 2017 Super Members Share Posted October 9, 2017 Thumb grips are like lens adapters. You end up with loads of them Quote Link to comment Share on other sites More sharing options...
Rodolfo Fernandes Posted October 9, 2017 Share Posted October 9, 2017 On 01/10/2017 at 7:57 PM, kidzrevil said: sony a6500 pp off ‘Neutral’ creative style metabones speedbooster ultra w/ nikkor auto 50mm f2 and nikkor auto 105mm f2.5 both lenses shot w/ tiffen satin filters graded w/ koji advanced luts This looks really really good! Quote Link to comment Share on other sites More sharing options...
kidzrevil Posted October 9, 2017 Share Posted October 9, 2017 Sony SLOG w/ sgamut3.cine I boosted the color depth to +15 to add more useful data to the 8 bit color space. I made sure to expose my brightest areas up to 95 zebras. I then transcoded the files to 10bit 444 1080p. To my surprise the app I used to downscale the files added true color depth and microcontrast to the image. Fun fact : according to the cineon (which SLOG3 is based on) white papers the difference between 8bit Cineon files and 10bit files are imperceptible when the image is printed to the 6-7 stop dynamic range of our tv’s. Quote Link to comment Share on other sites More sharing options...
kidzrevil Posted October 9, 2017 Share Posted October 9, 2017 Im pretty much going to treat the a6500 as a 1080p 10bit 444 camera from now on. Ever since I've discovered the joys of true down scaling (not the adobe premiere crap) to 10 bit 1080p slog3 became extremely satisfying to use. this software from hdcinematics.com is incredible ! Its down scaling algorithm for transcoding files really adds tremendous value to these 4k files for all of us who deliver in 2k resolution. these images were exposed to the right up to its clipping point at 95 zebras. In some scenes that I was overexposed up to 5 stops ! I recommend you shoot on manual so you can always expose to the right using zebras not the metering system. This gives enough light to the dark shades in the sky that cause banding because of lack of data. Never shoot to preserve highlights with slog3, shoot to brighten shadows as much as possible and pull them down in post ! I used filmconvert (you can use koji advance plugin as well) to pull the exposure down up to 5 stops. I tried the same in lumetri with luts and it created ugly artifacts. This leads me to believe that filmconvert's plugin is changing the white point or something of the expected image and making the appropriate corrections for the printed image. Pulling down the overexposed image shifts the bright parts of the dynamic range that were far away from the noise floor down into its correct 6-7 stop range appropriate for viewing on a monitor. Im amazed at the results, let me know what you think or what you would like to see. Quote Link to comment Share on other sites More sharing options...
Herbert Massey Posted October 9, 2017 Share Posted October 9, 2017 Kidz, You really know how to get the best out of this camera. Your pics of the city just above are really outstanding. I just wish there was some way of getting the color performance at 4K instead of having to goto 1080p to get the 10 bit 4:4:4. kidzrevil 1 Quote Link to comment Share on other sites More sharing options...
kidzrevil Posted October 9, 2017 Share Posted October 9, 2017 19 minutes ago, Herbert Massey said: Kidz, You really know how to get the best out of this camera. Your pics of the city just above are really outstanding. I just wish there was some way of getting the color performance at 4K instead of having to goto 1080p to get the 10 bit 4:4:4. Dude. You and me both ! Im praying the next update (a7000 ?) has 422 10bit 4K. That would be a game changer...for me at least ! Keep in mind the cam is downscaling from a 6k sensor. You can get away with upscaling the footage to 4K after grading Quote Link to comment Share on other sites More sharing options...
Herbert Massey Posted October 10, 2017 Share Posted October 10, 2017 I hope the GH5 pressures them to offer 4:2:2 10 bit. I made a promise to myself that I'd never buy another 8bit video camera after my NX1. kidzrevil 1 Quote Link to comment Share on other sites More sharing options...
tonysss Posted October 10, 2017 Share Posted October 10, 2017 22 hours ago, kidzrevil said: Im amazed at the results, let me know what you think or what you would like to see. For me eyes there is too much contrast and dark, information in the shadows is lost. Color is great. Quote Link to comment Share on other sites More sharing options...
kidzrevil Posted October 10, 2017 Share Posted October 10, 2017 16 minutes ago, tonysss said: For me eyes there is too much contrast and dark, information in the shadows is lost. Color is great. There is no information in the shadows that are lost. Check your waveform. Also feel free to play with the jpg for yourself being that its a log profile thats not clipped on either end all the luma and chroma information are still in thebfiles. Quote Link to comment Share on other sites More sharing options...
tonysss Posted October 10, 2017 Share Posted October 10, 2017 the whole spell is 16-235 , (press whole dynamic range sensor to luminance levels 16-235) full range 0-255 will not play almost none consumer device. But, colors is amazing... Quote Link to comment Share on other sites More sharing options...
kidzrevil Posted October 10, 2017 Share Posted October 10, 2017 @tonysss huh ? Quote Link to comment Share on other sites More sharing options...
kidzrevil Posted October 18, 2017 Share Posted October 18, 2017 I tested SLOG2 with sgamut3.cine and I also tested SLOG3 with SGAMUT3.cine First I dowscaled this to 1080p 444 10bit. I use Dali's mustache to do the transcoding as I recently figured out premiere is not truly converting the files to 10 bit on downscaling. Premiere has the worst down scaling method Dali's mustache outputs a true 10 bit file. each with a dramatic boost of the in camera saturation and color corrected in post to look neutral. Im happy to say that the color's never clipped while recording. This is a testament to Sony's huge color gamut. Should we shoot everything in SLOG ? hell no. Not unless you have lots of time on your hands. I shoot for hire so I need to get the footage to clients as soon as possible and SLOG definitely slow's your workflow. Can you get great results ? Absolutely. You can get great results with any profile and better results with a profile that matches the dynamic range of the scene. I am currently testing Cinegamma 3 with the stills profile and it is amazing. A much better look than shooting in SLOG. I will also be testing cine 1 cinema to see how it matches with other cameras using a filmconvert workflow. The takeaway from my test is SLOG2 has the best tonality while SLOG3 has the best dynamic range for good signal to noise ratio when grading. With SLOG2 you usually have to push the image up when grading if you shoot to retain highlights but SLOG3 lets you pull the image down with better signal to noise ratio. I WILL ONLY USE SLOG IF IM A B-CAMERA ON A SHOOT WITH HIGH END CAMERAS THAT SHOOT LOG. CINEGAMMAS WORK BETTER FOR MY WORKFLOW AND I GET THE SAME RESULTS WITH BETTER COLOR FIDELITY Do not try to over tweak your log settings mixing a 8bit color space *cough* Pro color *cough* with a curve designed for 10bit & 14-16 stops of dynamic range. The color gamut directly correlates with the shape of the curve. Touching the color phase options will fix one thing and break another because Sony's color science is VERY complicated (but great on a technical level). I highly reccommend filmconvert for correcting and converting the image to rec709 before you apply LUT's etc. to the image. Filmconvert did a good job of remapping the color space without the dramatic shifts in color and color errors Quote Link to comment Share on other sites More sharing options...
markr041 Posted October 18, 2017 Share Posted October 18, 2017 When not challenged by very high DR, I prefer Standard. But, what do I know? Thomas Hill, UncleBobsPhotography, kidzrevil and 1 other 4 Quote Link to comment Share on other sites More sharing options...
kidzrevil Posted October 18, 2017 Share Posted October 18, 2017 smart move. Its a more effective use of the 0-255 range @markr041 honestly pp off will be the best option for many. Not many of us are great at color correction or grading so shooting LOG is overrated unless you know how to harness it. Standard is more than sufficient 29 minutes ago, markr041 said: When not challenged by very high DR, I prefer Standard. But, what do I know? these colors look better than anything I can produce in LOG mode. Honestly. Quote Link to comment Share on other sites More sharing options...
Thomas Hill Posted October 19, 2017 Share Posted October 19, 2017 2 hours ago, markr041 said: When not challenged by very high DR, I prefer Standard. But, what do I know? Beautiful! Is this Standard SOOC? I really dig the colors/look of this one. Is it standard, too? You and Kidz have me seriously thinking about a 6500. kidzrevil 1 Quote Link to comment Share on other sites More sharing options...
kidzrevil Posted October 19, 2017 Share Posted October 19, 2017 On 10/10/2017 at 10:58 AM, Herbert Massey said: I hope the GH5 pressures them to offer 4:2:2 10 bit. I made a promise to myself that I'd never buy another 8bit video camera after my NX1. an a7000 or something with 4:2:2 10 bit would be a game changer. Im already amazed at the fact that I get a full frame look out of this when using the speedbooster ! I wish they make an official battery grip for this thing too 4 hours ago, Thomas Hill said: Beautiful! Is this Standard SOOC? I really dig the colors/look of this one. Is it standard, too? You and Kidz have me seriously thinking about a 6500. yeah @markr041 footage is amazing. The colors look so good Quote Link to comment Share on other sites More sharing options...
markr041 Posted October 19, 2017 Share Posted October 19, 2017 The colors in both videos are Standard, sooc. Only exposure, contrast altered in post. Thomas Hill 1 Quote Link to comment Share on other sites More sharing options...
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