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Can't say I am noticing any moire so far with mine.   Review soon.

To read part 1 of my Sony A7S review click here A long time has passed since part 1 of this review but I've been spending a lot of time with the A7S. I am really under the skin of this camera. That's a good sign because somewhere along the way, the A7S became my main filmmaking tool. Perhaps surprisingly for me, a huge Panasonic GH series advocate on EOSHD over the years, I have been using the Sony A7S more often. The GH4 still has many advantages the A7S doesn't have, like longer battery run-times, a better screen, quicker boot time and of course an internal 4K codec though. Read the full article here

No, it's just that they found a way (they gained access to it) to tell the HDMI chip to output 4:4:4, but the processing engine (expeed) that feeds the hdmi chip is still doing whatever it was doing before.

their first attempt was a disaster. I doubt they'll have many people willing to fork out such worryingly high prices for another hopeless lump.

Does anyone know how to get hold of Sony's division responsible for the firmware? We need a 4:3 video option as well :)

You guys crack me up. This was shot on a Canon C300 (version 1) :D You'll get the same exact look from the C100 Mk2

@Andrew: Regarding S-log and mechanical shutter I've just read at Imaging Resource that the A7S switches to 12 bit raw (stills) when using electronic shutter, while it is 14 bits with mechanical shutter. Apparently that's a common thing to do, to achieve faster readout when using electronic shutter. Since you have to enable mechanical shutter, the sensor is forced to work in 14 bit. Sounds like this means the A7S uses the 14 bit raw data to make the S-log2 image. Of course the resulting file is still 8 bit, but coming from a 14 bit source.

I haven't had the A6000 for that long, so I still haven't made up my mind about it. I'm keeping both cameras for now. On the one hand, my pixel peeper eyes tell me that the G6 (in fact, I'd say all M43 cameras, including Olympus) have a more detailed image. I like the native lenses for M43 too (the Panny 20 1.7 in particular). But there's just something about APSC that I'm really drawn to. I'm not really sure I can pin it down to any one characteristic, such as dynamic range or depth of field (not a very helpful comment I know). The A6000 is certainly better in low light than the G6 (although as others have pointed out the GX7/ GM1 etc generation of Lumix cameras are much improved on this front). I've not had to use Neat Video noise reduction on my A6000 shots yet, whereas it was fairly routine on the G6. The A6000 image is not quite as detailed as a G6, but it's still very good. It isn't quite a mirrorless D5200/5300 but it's not too far off. I like how full frame lenses look on APSC, and I like being able to attach them without a speedbooster (and M-mount lenses of course can't be used with a focal reducer). Regarding moire, so far with the A6000, I've discarded one shot out of 180 because of moire. The shot in question had proper strobing zebras on the roof of a temple, but I could see the moire in the EVF as I was shooting it, so it wasn't exactly an unexpected shock (the situation is much better than the NEX 6). The G6 has really tiny amounts of moire here and there (according to Andrew even 1-to-1 4K on the GH4 has moire "traces"). It is something that you need to be more aware of on the A6000 but generally I don't consider it a problem. The Sonys are catching up with Panasonic in terms of handling and user interface too. It's nice to see the A6000 inheriting features from the A7 series (such as being able to do a focus punch-in whilst recording, something Andrew was praising in part 2 of his A7S review), and the zebras (although as Andrew said in the A7S review, the zebras can be unpredictable at times. I haven't worked out the relation between the zebras and the Sony's tendency to record into the superwhites). I would call the G6 the best "rebel cam" at the moment (ie inexpensive but very fully featured, mic port etc), particularly if you get a deal on it. Mine was 24000 yen ($240) second hand body only. (I'm definitely an advocate of "spend less on the body than on the lens". Spend less than on the focal reducer if you can!) The A6000 is, for my needs, a great compromise camera. I know that doesn't sound like a ringing endorsement, but sometimes you need a compromise! (ie almost D5300 quality, but with mirrorless convenience, very good video, but excellent stills too etc). I'm very happy with it so far. Best APSC mirrorless at the moment. Not at all a side-by-side comparison, but on this G6 video there's one or two similar-ish shots to the A6000 video above:

Giants in 7

That was intended as a friendly pun for sure, but the comment does actually have a point, anyway. The EOSHD name may have felt cool back in the day, but it, along with any name linked to a single brand and model, becomes a branding ballast rather than a branding asset at some point. Here's a recent example from the photography blogging world. Surely you have heard of an Aussie bloke called Matt Granger? He was and still is a photographer and a YouTuber with a relatively large following. In YouTube and in social media he was known as That Nikon Guy. Surely that felt cool at the time, but before long his appearances online had more and more to do with all but Nikon gear. A personal brand tied to an industry brand is always a big risk, and it's bound to become a burden at some point. Like it did in his case. So even though Matt had branded himself as That Nikon Guy, he took the risk of changing his well known but increasingly obsolete online brand and changed it to something more generic yet unique, his own name. The risk paid off, as he did it soon enough and quickly enough, and apparently his online success didn't take any significant hit. Looks like he's doing even better these days, with a new and snappier Get Your Gear Out slogan, and being his own brand rather than being tied to any camera brand. The point of this (somewhat OT) story is not to promote Mr. Granger, I don't even subscribe to his YouTube channel, but just as a relevant example. Perhaps a similar move might be a good idea for EOSHD, too. After all, a new domain will only cost around $30 and then $10 per year, and your online community wouldn't disappear because of a new, more appropriate name. It would work even better in the long run, bringing you more new readers who now may be put off or distracted by the Canon (dSLR)-related brand name, at least in the initial search results. Just saying. -_- The world is changing, life is a stage and the players in the play keep changing through time. Even big names exit the stage at some point, giving room for new names. To be or not to be? That is the question. Would we be better off trying to block the door to the stage, or would we be better off seeing daylight through that open door? :P

It's among the best animorphics. Only the Ultrastar-type lenses are sharper, and they can't go as wide FOV-wise.

For the record, I sold my C100 and 5D3 and went with an A7s and A7r. Way happier with the results for stills and video. I'll have a review on my site next week that I'll share here

  There will be coverage of the Shogun when it is out. It isn't released yet.

One little detail seemed to be missing, or at least discussed quite briefly, namely the shooting with the Shogun part. So will there be a part 3 at some point, or perhaps an epilogue for this one?

Let's see how far Nikon have taken video since the D90 shall we!     In contrast to Canon who have only fixed moire on one model, and taken high quality video off DSLRs altogether, to put it on Cinema EOS cameras.