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Sensors do have a colour signature actually, it's not all just down to interpretation of the bayer data in software. The hardware makes a difference. CCD sensors vs CMOS for instance... The quality of micro lens, signal to noise ratio and the analogue to digital conversion onboard the sensor all impact colour.

You referring to color science or bit depth? From what I've seen the nx has great color science.

Hi guys! Long time since I last posted here! OK, Last month Burbuja Films and I presented Midnight Sun, a documentary about the prolific music scene in Finland, Norway and Sweden. Let's try to embed the trailer right here: I filmed the thing last summer during a two month hitch-hiking trip in these countries. Alone. For the journey, bands day to day and interviews I used the RX100 mk2, and for the music videos the BMPCC with c-mount primes. I also had a zoom h1 for audio. I was forced to use this tiny cameras as I was travelling with just one bag, but I also realised that sometimes the smaller the better, specially in this kind of docus where I needed the people to feel comfortable and act natural in front of the camera. I just wanted to let you guys know that EOSHD was a huge source of inspiration it terms of which gear to choose for the job. I'm really happy with the performance of these two tiny cameras -they never let me down in the two months of production and we think the result is fantastic, considering the low-budget-ish nature of our project. Now, the documentary is touring in festivals all over the world and we hope people enjoy watching it. Thanks for helping me! Javi.

​You really like to use opinion as fact, don't you.... #Fact 99% of the top end film industry still uses s35. Perhaps more. A few people like Nolan experiment here and there, but that hardly shows a seismic shift towards large sensor.

Hello everyone! I'm a french film school student (however we don't practice often it's just mainly theoretical courses and film analysis) and we had recently to create a short fiction (we were to do around 7 shots). We had the plan with my teammate to explore an old abandoned coal washing facility and decided to make something with it, so here it is! Sound is important so play it loud Now some explanation. I don't have a lot of money, and our school doesn't have any gear to loan, so we made it a 0$ budget short ahah (well the only thing we paid for was the gas mask). For the prep we had only a few days, so we thought of a story, and we only did the storyboard for the first half of the short (until he enters the factory), as we didn't know what it looked like inside, and we had to improvise on set. It was really run'n'gunning as we only had 9h on location, and some shots are quite rushed... I shot it with a sony a6000 in AVCHD, with for the most part in exterior the sony 18-105G F4, then in interior the Sony 35mm F1.8 OSS and a Leica Summicron 90mm F2 (pre-asph, which I found in my dad's old camera gear). For the lighting setup we used an outdoor LED floodlight (which is what the actor is holding inside the factory) and a 200*160 5in1 reflector to bounce some light back. I edited everything and made the soundtrack on Sony Vegas, then graded everything on DaVinci Resolve Lite. I'm kinda in a love-hate relationship with it haha, during the edit and post-prod there was some moment I just wanted to delete everything, and I was noticing every little mistake or imperfections, but considering the time limitation, budget the result is fairly ok, and initial feedback was good so I wanted to share it more with people working in this field! I'd love any advice or feedback from you!

​Mine is on its way to me with FedEx now! Hopefully before the end of the week.

I can see you love fulI frame, but is not S35 the defacto standard in film? And the Samsung sensor size is aps-c/s35. Also the Samsung is 6k down-sampled to 4k. The new model is rumored to have better DR, and 60fps 4k. With the h.265 HEVC this should be feasible. I would not be too sure that no one will cross shop the Samsung and the Sony.

​and in aps-c crop it may be worse than the aps-c nx1 also BSI (we will see the comparisons i am sure) as there will less information before compression (downsampling 5k vs 6.5k) and after compression (100Mbits/s vs 160Mbits equivalent in h264)

​Honestly with the Sony A7s you can use an F/4 lens and basically accomplish 90% of the shots you need. I would not hesitate to sell the Rokinon lenses and buy the Canon 24-105mm F/4 which you can find new for around $600-$700 and will be an all in one lens. My setup would be Canon 24-105mm and a Canon 50mm 1.8 http://www.amazon.com/Canon-24-105mm-White-Accessory-Cameras/dp/B00KGFYMK8/ref=sr_1_2?ie=UTF8&qid=1434235593&sr=8-2&keywords=Canon+24-105mm http://www.amazon.com/Canon-50mm-1-8-STM-Lens/dp/B00X8MRBCW/ref=sr_1_1?s=electronics&ie=UTF8&qid=1434235670&sr=1-1&keywords=Canon+50mm+1.8 With those two lenses you can shoot basically anything narrative or commercially.......

​No One who is considering buying a Sony will buy a Samsung camera...... Honestly how do you even put the two in the same class Sony A7s is a professional tool being used already in productions around the world with excellent dynamic range, asa and most importantly full frame. NO non FF camera will ever be a substitute. Same like the Samaung will NEVER cut into the Mark III sales, it just doesn't happen. 4k is great, but Canon is still the #1 seller and they don't even have that in any of their consumer/prosumer cameras. Samsung needs to work on dynamic range and asa which is more important than simply resolution a GoPro shoots 4k at 30fps and while the resolution is very helpful it's simply used for another aspect of filming. Personally I think the Samsung camera didn't even sell and might be discontinued, specs aren't everything..... Samsung NX1 has sold poorly, has received price cuts and it's basically selling for $1300 and no one wants one.......... ​ Blackmagic is a very intelligent company that worked on their dynamic range/color science / compression before just wanted higher resolution and frame rate. Blackmagic is the future, the only problem I see is still not very good asa, but other than that it's ticks A LOT of boxes. I plan on buying an Ursa Mini or Sony Fs7 sometime in the near future, but the Micro Camera is definitely an amazing tool at an Amazing price coming to everyone just like the Pocket Camera was. My serious drawback was I need 60fps, luckily the new Micro Camera will give us that. Sensor crop ,1080p and Low Light Performance though is still a reason why 5D Mark III and Sony A7s will still sell though......

​Sensors don't have colors, but the internal image processing sure as hell does. Actually, the Bayer filter array also has physical colors associated with it and not everyone is using the same colors. Still, it'd be one thing if we were all grading 12/14 bit raw output off the camera sensor but we're not talking about that. We're talking about video recording in 8 bit 4:2:0, which means the camera's color interpretation is heavily baked in. You can't just hand wave away the intrinsic color settings of a camera because of color grading. Color grade those blue clipped highlights, why don't you? On the flip side, often times these cameras have surprising settings that produce great colors. Andrew's done a great job of documenting these in the past, for example the 'Sunset' trick. It remains to be seen whether the color science has been changed or improved in this new camera.

Well if you need telephoto then the LX100 can be eliminated. If you don't need telephoto and you are looking for a cheap all in one solution the LX100 looks hard to beat. Isn't it about half the price as the RX10 ii? Maybe wait a while untill more RX10 info and samples come out.

I think you should swap the NX500 for the Panasonic G7 on your list. The NX500 crop factor is a deal breaker. The choice between interchangeable lens and fixed lens you have to make yourself.

I think the 3 cams have a "video look". The only question for me is: how good the Slog2 will work on the RX10 II? Low light performer maybe the LX100 thanks to the f1.7 lens. We need more downloadable videos of the RX10 II.

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.

Hello all, I'm a happy owner of an A7S and I'm quite pleased with it's video quality when you know how to use the beast (maybe except poor battery life but well there are solutions). This is a great announcement but the thing that bugs me a lot is the Sont FE Lens lineup !!! Very restraint choice, lenses around 1000$ that have distortion and CA (corrected by the body but that's not good for a lens of this price). I'm also doing photography and it's quite unpleasant with the A7S, because, there's hardly any AF lens except the reduced and expensive Sony Lineup ! If you do event, you just NEED a fast zoom like a 24-70 2.8, I don't understand why they don't pull one out, or faster zooms, or cheaper primes. Sony please hear my prayers (yeah you have metabones, but with metabones, no decent AF ...)

​I agree, I was just expressing the point in the most extreme way possible for, um, comedy effect. I think they could do a killer 4k APSC cam tomorrow, but they'll sit on it for a few months so that they don't cannibalize A7RII sales. I think we'll see the A7SII before we get the 4K APSC cam.