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I know people like to poke fun at Canon due to their seemingly underwhelming specs (myself included at times!) but for what its worth, during my 3 months or so with an A7s I found it slow, clunky, unreliable (crashed occasionally) and the battery life was of course terrible. I was always thinking about the camera. During my 6 months or so with a c100, the opposite was definitely true. Theres something to be said for cameras that "just work" and Canon definitely has that figured out. Hoping the a7rII brings an improvement in this area as it looks like a slick camera!

My main concern is colour... I don't care what you say about s-log, luts etc... The colour on the a7s just isn't great. For cool colours, it is nice... For natural or warm colours it is a pain

​1000fps at 1136 x 384 is unheard of for a consumer camera, breaks new ground, 250fps at 1080p is genuinely groundbreaking as well for £1k. That is going to look brilliant.

I just sold the GH4 and upgraded to the C100 Mark II. Aside from not having 4k, Im thrilled with the C100 so far. I won't go on about it here but it's freaking amazing (built in nd, dual slot recording proxies, log profile, 60p, small but high DR files, wifi, xlr,)... ill stop now.

One of the more underrated and nicest 'organic' lenses, especially for crop frame cameras. very sharp, lovely golden flare. this Isco type has a min focus of around 1m. Closer focus can be made by fixing diopters to the front. This lens does not have a front filter thread, so I've found that tightly wrapping a step ring to the front with electrical tape can allow for common diopters to be attached and detached easily by screwing into the step ring's filter thread. Or even better solution is to get a proper front filter clamp from Redstan. As for 'cheap' clamp? - you can find them online, but the Redstan clamps are well worth the money. The others are made from cheap and nasty materials with metal clamp screws that will mark and scratch your Isco every time you tighten. the Redstan clamps use nylon screws that do not damage your lens when clamped. As for suitable taking lens? - on S35 I've used f2 58mm Helios 44 and on Full frame, 85mm Olympus OM f2 or Jupiter-9 85mm f2 gave me the best results by far...very sharp and filmic images, even wide open. On GH4 I'd personally recommend a Helios 44 on speedbooster as taking lens, if you get an older 'zebra' Helios 44 with golden coatings - the flares will match beautifully in your taking and your Isco anamorphot. In short, this lens is great - and well worth saving for proper rear clamp from Redstan and experimenting with vintage lenses to get the nicest look from it IMO.

​Canon is still the best user experience as far as the Cx00 line goes. That's worth alot in my opinion. Image-wise Sony is really doing a great job and on the cutting edge.

So basically this may be the D820 sensor or a modified version as they did for the 36.6 version which means the upcoming high res shooter from nikon will FINALLY join the 4K times if nikon doesn't crippled it on purpose. On the still sides the A7R didn't offer true uncompressed RAW files like the nikon D8XX does. This meant that although it was technically capable of similar quality, many reviewers picked apart sony's imaging pipeline and showed a noticeable advantage to shooting uncompressed raws with the D8XXX models. If sony did not add true uncompressed raw to the A7RII, I suspect the sensor will only shine on a D820 with Nikon's more quality oriented data pipeline, or in a future alpha body from sony. On the high resolution game however, I'm still expecting the next leap to 70+. Both this camera and the 5DS only offer modest gains at best. Clearly sony has demonstrated they own the market in sensor technology so if anybody can, it is them.

​The A7R II price is way out of league for most of people, the 4K APS-C will be priced more reasonable at least that most of us can actually afford it.

​Im thinking after this announcement, they will probably release a fw update with an "extreme" feature update. I also believe they dont need to go FF, but having an adapter (metabones or such) would be totally killer for the NX1. I still dont get why this camera isnt being sold like hot buns, not many people know of it, and a lot of people who have it, seem to be using it as a "point&shoot" with the kit lens, im not sure if the camera was properly marketed or not, but it should be marketed as what it is, a pro-level camera. I was thinking though, does anyone remember the 5Ds and 5Dr ?! Yeah, pretty much dead on arrival...

Hmmm...the RX10 IV can't be good news for fps1000 (kickstarter) which still hasn't shipped yet.

A7RII http://***URL removed***/articles/8917769536/sony-alpha-a7r-ii-has-42-4mp-on-full-frame-bsi-cmos-sensor RX100 IV http://***URL removed***/articles/7826270294/sony-cyber-shot-dsc-rx100-iv-shoots-4k-uses-a-stacked-sensor RX10 II http://***URL removed***/articles/0995267996/sony-announces-rx10-ii

Sold two months ago my 5D MKIII this is my next camera. Canon bye bye

I guess you forgot to learn to read while you were so busy being a colour genius. I said you can (generally) match the colours, but it is more hassle. Time is money. Matching 8 bit to 14 bit raw is also not 100% possible (Go Pro to Alexa skintones! hahahahaha). Maybe you know more than the rest of the industry though, perhaps you have the same plugins they have on CSI miami?... good for you. If Sony colours are for you, I fully recommend this camera. If you go back to my original post I said "My only concern" ... I don;t hugely like the Sony colours.... Sensors are not equal.... It is personal preference.

I think Canon is done. They could produce a killer camera in this space, but choose not to. As a former Canon owner I would love to see them actually do something game changing. But I like many have come to realise Canon have rested on their laurels for too long. Innovation is something they have forgotten how to do... At least at this level of the market.

Awesome work Sony. I can hardly wait to see the A7SII. Strangely this is awesome news for GH4 owners as: 1) Panasonic is always pushing the limits in this market also. 2) They've been dragging their feet on releasing VLOG. This announcement is probably just the kind of thing that will spur their product development and engineering people to finally push VLOG into a public firmware release. If they've been wondering whether they should wait until the GH5, it's time to stop waiting. As far as I can tell this puts Sony and Panasonic into the lead with Samsung behind them and Canon and Nikon getting their asses kicked. The A7R/A7SII and the GH5 (and Ursa Mini) will officially be the end of Canon in the race. Sad to see once great Nikon becoming completely irrelevant. Things I'd like to see in the GH5 would be: 1. Micro 4/3 mount 2. Dual format S35 and Micro 4/3 sensor 3. Global shutter at 24p 4. Improved low light and some sort of raw video It will be interesting to see what's next. The price gap between prosumer mirrorless and pro motion picture cameras is getting very narrow. Currently I used a GH4 for personal projects and I'm pretty happy. If I need a serious boost in performance for pro projects I'll just cough up another $2000 or rent an Ursa Mini and a Zeiss or Rokinon Cine lens set. Laissez les bons temps rouler! eris

i Doubt that a new codec will come. But i do expect slog3 from the fs7 to be there

​Yes, real ND filter.

​This, if a person gets only one prime lens it should be that!

​I was a colourist for 4 years. If you think the Sony colour is as good as any other camera, great... But it is your opinion, not a fact. I know some of the best colourists in London and they all generally dislike Sony... Yes, you might be able to match, more or less, footage from an F55 with an Alexa... But you will spend more time doing it. Their colour science is not their strong point.

​ 100% False , do a search on some images I've posted. If you understand how to color correct / grade you can push the S-LOG image anywhere you want. Learn the tools before posting false information. Canon DSLR have their color profiles baked in, you can achieve the same exact look with the A7s if you learn to read scopes......

Sandro, this 120 fps bug should be fixed in latest firmware. Also (with Samsung lenses) it stays in MF mode after recording video.

All very exciting news, but I'm more anxious to hear about the A7S II and GH5.

The new Sony offerings sound great. But I have to admit, I'm a little more excited to see what the new NX1 and A7sii will offer. On the other hand, it's possible that this new a7rii will have all the low light performance that is needed in practical filming. Between Sony and Samsung the old guard's days are numbered. And hats off to Sony for getting the memo... if my smartphone can do internal 4k, my camera should also. Indeed, no camera sold today should be absent this essential feature. Soon I will be in the market for new gear, looks like I'll have a lot to choose from.

Ebrahim is right. But well, who would be unhappy with 43mp, FF, 399AF points, nice small body, internal 4K clean in S35, ... It's a hell of a camera for people who need one camera to do it all. And what did canon ? releasing a 5DS with 5DIII body and 5 years old tech ? seriously ? I mean do you guys realize this ? If someone gets a 5DS now I dont understand.

OK, I don't quite get the excitement here and on other forums. Isn't NX1 at $1,500 already doing much of what a7RII is doing at $3,200? Yes, a7RII has stuff like log and higher MP stills, but then only NX1 has 120fps 1080p. I take it the jubilation is over FF vs Super 35? Doesn't quite seem worth the over 2x price difference, especially for video. I'm sure there's more, can't wait to see hands-on reviews.

This made me rethink if I should get the NX1 or not, but the price is out of my range, I could get it for 2k, but 3,2k is way too steep, so for now and the next few years, im sticking with the NX1 which is still one of the best choices for video for the price. I just would have loved the FF for stills.

"S-Log2 Gamma setting: This proprietary Sony setting featured in professional camcorders creates a 1300% wider dynamic range for smooth gradation with reduced whiteout and blackout. Use color grading in post-production to make the most of low-noise images and super-rich detail to express footage in various ways. ISO 800 or higher is available when S-Log2 Gamma is selected" There is some plastering for the DR at least

Will buy RX10ii for slo mo.

​No. Less megapixels. A multi aspect sensor like the gh2 with DCI 4k native at the widest setting. Global shutter, better dynamic range. 10 bit internal. There's pleanty of room for improvement.

Having fullframe 4K with moire + pixel perfect S35 4K is nice imo. Use full sensor 4K for shallow DOF shots, moire isn't an issue anyway. S35 for detail/landscape shots. Even in S35 mode you could put a speed booster on it and have pixel binned fullframe 4K...

​Better low-light, high frame rates in 4k, ANY log options. Looks like the A7Rii still has that awful record button placement. Still, can't wait to see more images from it.

The Canon is great, to bad it can't be used on the NX because of the electronic focus. Otherwise it would have been my main pick. I used it on my FS100 with an electronic adapter and the BMCC Ef with great results.

Plenty. I have a super sharp $10 Yashica 50mm f1.9. Works great on the NX1. Here is a 4K sample. Also the Zeiss 50mm and Tokina 24mm in this goes on the NX and cost less than $20. This would also work. Bought it twice, both times for less than $15.

Hi! I just have a few pointers that maybe will make your decision a little easier. Concerning the heads: Big difference between Manfrotto 500 and 502 Heads is Pan and Tilt variable drag control that 502 has which makes a huge difference when you need both slow and fast movements. The 500 has fixed Tlt and Pan drag, you have to try it if it works for you. It could be to loose for your gh4 and lens combination. I recommend to go somewhere and try it first. The 502 on the other hand can be adjusted to be completely loose or very stiff but still fluid. The 502 is much bigger and heavier and has controls on the oposite side, which many people hate, maybe you will hate it too, because of that I also recommend to try it first. But in your case, I presume that you will be using a tele lens, so with that in mind I would reccomend the 502 because a small movement on the head is a big movement in the video on the tele end. Concerning the tripod: What you want is a small light tripod that extends a lot, and that's a problem becasue that kind of tripod needs to have a lot of stages (leg extensions) and with every additional leg extension adds to overall instability of the tripod. Also, having a lot of leg extensions is a real hassle, I mean real pain in the ars especially if you have to move quickly to another location and can't move with extended tripod. Another thing, concerning the tripod (foto tripod legs) with many stages and a video head like 502 with Pan drag adjusted to be stiff, there will be a big problem regarding the tripod's Torsional Rigidity ( just google "Tripod Torsional Rigidity" ). When you pan the head in one side, the legs will twist in that direction and when you stop the movement and let go of the handle, the legs will twist again to return to their normal state and you will have a big backlash in your video. Just something you have to bear in mind. I have seen several times people blaiming video heads for the backlash, but actually the legs were to blame. Professional video tripod with a center or a floor spreader minimises that backlash. Also if you are going to buy that small photo tripod to mount a video head on it, I recommend adding a ball adapter (half bowl) because adjusting for the horizon with the legs only is a huge hassle and time consuming. There are several on the market, cheaper ones like sunwayfoto dhy-66i (new revision) are quite good. ( http://foto-tip.pl/en/sunwayfoto-dyh-66i-leveling-base.html ) A light, small, good quality and afordable price tripod is very hard to find, though I have recently bought a Triopo foto legs tripod for 85€ and quality is very good so try to see if something from their range suite you like: Triopo GE-3232X8C ( http://foto-tip.pl/en/statyw-triopo-ge-3232x8c.html ) this is just an example, you can browse to see what other tripods they have, and maybe in your case, depends where you are from, you can probably find them cheaper somewhere else. Triopo is ok for the price, 24 months waranty in the EU and many web shops have it. I would also recommend max 3 stages for a video tripod legs, but you need it to bee quite small when not in use and quite long when extended, and that complicates things. Hope this helps a bit. Cheers

What we need is a more efficient implementation of IPB: one that switches to ALL-I when then encoder can't hit performance targets for IPB (large motion vectors, etc.). This would allow ALL-I spiking to well over 200Mbps (up to the limit of the hardware write speed). Manually switching between ALL-I and IPB shouldn't be required: computers are supposed to make things easier