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Hi Guys. So I bought an A7RII for consideration to replace my NX1. I am a still shooter by training, but moving more and more to video. Thought the A7RII, which is obviously a very capable Still shooter, may handle my video well enough...but I am not so sure after testing. Here are my results shot side by side with the NX1. Sony all shot in SLog2 some FF and some super 35. The Sony is far behind the NX1 in resolution, huge in FF and still significant in S35. Also in SLog2 it has a fairly distinct noise pattern. Images attached from full res 4K grabs. 1/ is Sony FF, 2,3/ are S35 and 4/ is FF I was expecting some differences, but not as much as I did is S35 mode where the Sony is still showing a significantly less ability to resolve at the NX1 levels. Can post FF 4K grabs of each if anyone is interested. Lenses were 16-50 F2 and Canon 24-70 F4 L series. In FF, I don't think the Sony is much better than my 5DIII was with Magic Lantern, certainly not any real world advantage to shoot at 4K?

Na sorry, take that bulshit back to DVX user, this is 2015. Full frame means 36mm wide. Get over it.

The Nx1 is an incredible piece of tech, an incredible camera (I keep telling this to everyone), its the most underated piece of gear in ages. I did think the a7rII would come close to it though, surprised to see its so far behind, this just confirms my opinion, the NX1 is the best 4k (and video) camera around up until the tens of thousands in price, and even then, it compares quite close. Great test btw !

Nice Job! I was reading a portrait photographer's book, back from film days, http://blog.kitfphoto.com/Zeltsman/chapter-12.html and his method was to get a basic fill-light going and then key from there, knowing he has a minimally exposed negative. I've been leaning that way myself. Anyway, those lights are PERFECT for that. You can either bounce them off cheap foam-core or put some tracing paper in front. Another design to look at is where you put the lights in a silver box and then curve a white surface above. The old way they used to make studio soft lights. Can't find an image easily on the Internet at moment. Either way, use some single light LEDs as Key and hairlights and you're good to go! And a tip for my U.S. brethren, after the November elections there is tons of foam-core thrown out by candidates, etc. The backsides are usually white and usable. So hit those dumpsters!

So, 1 one of these: http://www.amazon.com/LimoStudio-Lighting-Fluroescent-Barndoor-AGG976/dp/B00C7XVFIY/ref=cm_cr_pr_product_top?ie=UTF8 and 2 of these: http://www.bhphotovideo.com/c/product/258267-REG/Kino_Flo_55C_K55_True_Match_Compact_Lamp.html = Smallish portable Kino for around $100?

Has nobody else seen what I saw in that article?: "The camera quickly shifts from 35mm full frame to 35mm cine at the push of a button. Full frame is HD; Super 35 goes up to 4K." So it isn't really a full frame video/cinema camera (and neither would a theoretical Panasonic version). It's native 4k at 1.5 crop which is good, but there are other options for super 35. For example, the current GH4 with a speed booster. Reading that fact makes this camera less exiting, but - on the positive side - something I can forget about.

Imo the lx100 and nx500 are equally suitable or unsuitable as a primary camera since none of them have a mic input. The lx100 migt have the upperhand since its a bigger sensor(in 4k), has an evf and a sweet lens. I recently sold my G7 but its a good option for your needs. Its in very close competition with the NX1. I would personally pick the NX1 but the G7 is a good camera.

I highly doubt Panasonic would change the GHx line. They have invested a lot in building a proper lens line. Moreover the m4/3 its all about the size. Have you seen the size and the weight of the zoom FF lenses? Small body + large lens = instability + fatigue. It is more probable to attack the high end video market with a 4K FF sensor. Put it in the varicam 35 body and price it higher.

Yes - I totally agree. This modification shaves a foot off minimum focus distance, which is very nice but not earth shattering. Only worth doing if you can't afford a Tokina, and if your kowa is not a pristine copy and could do with a disassembly for fungus removal/ cleaning and re-lube anyway (like my example). I kind of don't want to encourage people to hack apart perfectly good lenses, unless the potential gain is worth the potential loss. These lenses in particular are beautiful and should be preserved as is. Fortunately I'm keeping my other Kowa B&H pristine (in its bag/box/caps) - I paid 60 quid for last year Yes - It's normal for a Kowa B&H to go off the min focus scale...to around what would be the 4 foot mark. (i measured my 'factory' Kowa to be 3' 8" minimum focus distance) -The shortening of the brass tabs allow that 'retraction' travel to increase slightly to give 2' 8" minimum focus distance. Add a Tokina +0.4 into that mix and min focus is exactly 2 feet.

This all looks awesome, but i'm happy to stay as it is - its seems to be less hassle to bung a diopter on the front. However, I do have a question: My Kowa for B&H turns beyond the 5ft mark by a little less than the distance between the 6 & 5ft markings, is this normal? I've never really questioned this & you can focus lower than 5ft, just above 4ft. I've had the lens for over 4yrs now & it was in mint condition when i bought it (got the box, the lens caps, but no leather bag). I was just wondering if anyone elses does this or is mine just a freak of nature.

I liked the image but hated the body. I broke a brand new model within a few hours.

Isnt it called "A7sii" ?

The extra time spent pulling hair in every project grading the s-gamut could definitely be put to better use elsewhere. That's why recently I canceled the A7S II order for a Samsung NX1 (order placed already). For 1/3 the price, it's a much more capable machine (skin tone, battery, build). The major trade off being dynamic range. I'm fine with not having IBIS for 1/3 the price; I was already planning on a Nebula 4200lite, even if I had gotten an A7S II. But I am still rooting for Sony. Like Samsung, on a greater scale, they are kicking a lot of asses. I do hope Sony pulls through with future models. There's no excuse for getting the basics wrong (like poor battery life) on a $3000 dslr-sized camera from a company with such tremendous goals (like their possible 21-stop sensor.)

The short answer is yes -- significantly more stabilized than lens-based OSS alone. Here is a good explanation on how the two technologies interoperate: http://briansmith.com/sony-a7ii-hands-on-review/

I put a MIR 1B 37mm on my GH4 and the B&L showed some artifacts in the corners towards one end of the focus throw, I think that's a little barrel reflection and not vignetting, probably caused by the non-black part of the inside barrel (see picture above). I'll try it with a longer lens when I get a chance to see if the artifacts persist. My second B&L arrived today, other than a little dust the glass seems in great shape. Cumbersome lenses, but a quality 2x for under 100 bucks it's not a bad in my book. Jim, what approach are you taking for rehousing? Are you re-purposing old lens parts? Custom-machining a new solution? What materials are you planning to work with? Sorry to pester you, I'm just really psyched to see what you come up with and - if I can - follow your lead. Cheers, |. . | .|

Yeah the M9 is lovely, a classic brought up to date. The new ones, like the T and SL just make me picture a very very rich German marketing executive on holiday. They seem to be going the same way as Mercedes dashboards... lots of electronic touch screen shit. The underlying tech - EVF especially looks very good. Roll on Panasonic AG - GH200 with more manual control and a proper full frame video mode!!

Thanks Liam... I will make sure to watch this video. And you are spot on, I am not doing a lot of post production, just slightly correct or boost colors if needed. I though of having an external recorder and after toying with an external monitor (that I no longer use) It is actually utterly unpractical in my case. The added weight of the monitor increase risk of shaky videos when shooting outdoor, on a single spot I can move my camera as much as 30 to 50 times in a single hour, ppl will immediately spot you with a recorder... Now, a Recorder without a screen that unload files on an external SSD and that rely on the basic info of the Camera while keeping 10bit output I would really consider it, but as they are and being alone with my backpack surrounded by tourists or in the middle of nowhere alone is a bit tough. Well so far all points to keeping my GH4, get a speedbooster and wait for the GH5... I will try to rent a A7SII and play with it for a day or two to see, but it does not seems that this kind of camera is made for me...

Of course Leica are known for an "X factor", but that was back when someone else made the film and you could change it every roll. now the "film" is fixed, albeit still made by someone else: it's sensor and associated hardware and firmware. It will become obsolete, while an M1 can still be used with any film. that alone makes it hard to justify the prices.

Also, unless you have the money or making that kind of money I would say the Sony FS7 (around 10K with everything) is definitely not a personal camera and structured more towards a working professional with clients. The most I would go is the Sony Fs700 around $5k as I know you could easily make money back doing corporate jobs and commercials, it's an excellent slow-motion camera as well that many clients use for music videos.

full size hdmi! huge body, i love the styling and size. I wonder if the sensor glass is thinner so it works well with their premium M mount lenses via adaptor?

Leica SL has a log curve mode for video. It has also more features than A7S II (24mpx, 11fps, 10 bit output, weather sealing, 120fps without crop, ...)

Yeah. Most online sites have either serious trolling, or serious bullying, or are overly moderated by some old school idiots.

You can add some -1/8 magenta gels to help with the green tint.

The coal mines were part of the reason in the US we have worker's rights. One evil doesn't justify the other - all I'm saying is to ask people not to support companies that abuse their workers.

I'm guessing Blackmagic grew faster than expected and wasn't prepared. They're still a relatively small company (compared to the giants). They'll either have to stay the course and be more accurate with a Q4 camera release schedule, or grow bigger and meet those early release dates.

You havent played in while I guess.

ND filters are a necessary PITA. To have it included in the camera makes you life easier, camera makers should make our live easier!

Personally I thnk no internal ND's was a mistake especially since they advertised as being a run and gun camera. I think they like to think of themselves as making cinema cameras, shich they do, but forget their main market is more of the DSLR crowd that would prefere to not use a mattebox and to keep something like the Mini, mini. Regardless that was there decision and that is fine but that was not really my point. The answer given as to why they didn't add it was total BS.

No NDs is such a bummer... the F5 has the best ND design I've yet seen

I would be very surprised if it did. The brain is much more clever than that. You can switch back and forth as you choose. It's like knowing both how to ride a bike and roller skate. We are capable of more skills than one.

In case someone else has the same problem, this is what happened: the Speedbooster was delivered with the screw that holds the rear lens element in place completely loose. At some point the element was cleaned with a cloth and moved, thus making infinity focus impossible. I have readjusted and locked the screw down and all seems to be well. I'm sure you will understand that I'm not at all happy...