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Andrew mentions it... When every hipster in the world has awesome image IQ and steady shots, what will you be doing that makes your work more impressive than that trust fund kid standing in the same spots as you? Creating interesting stories is what's gonna matter. Tell a better story. Be a better editor. Those skills are your future currency.

As said elsewhere, they should partner with samsung, rebrand the nx1 as nikon, and they would sell millions (and be praised as the best apsc in the world). While nx1 sells poorly because it's a samsung.

Here's another test. Thanks for humoring me. As always any tips are greatly appreciated!!!

Regraded to match cameras better: The A7S II was sharpened in post (Sharpen filter @ 64) and color/brightness was matched a little better to the C300 II. There's still more detail in the C300 II, though that's to be expected at 4x the data rate and initial compression methods (410 Mbps ALL-I vs. 100Mbps IPB). The Sony 24-240 is a decently sharp lens, and the only lens I have on hand that can autofocus in fullframe 4K (the Sony 18-200 is crop mode only). We have two Canon 24-105 F4L's, however the Sony can't autofocus it and it's not a super sharp lens. Sony has really improved the color on the A7S II vs. the A7S. The red/magenta around my eyes is from some kind of allergy after our air-conditioning was worked on in my day-job's office (dust/chemicals or both). The C300 II's color is excellent, and the extra detail and low rolling shutter will come in handy. Built-in 24-bit pro audio is also helpful for fast shooting (A7S II has an add-on for XLR+Phantom power, might take a look at it, though we'll probably use wireless lavs with the A7S II location shoots). The C300 II's autofocus is on another level- a truly groundbreaking new feature: the killer app for this camera. This level of autofocus will be standard someday (and even better). For now, no one else has it. Why compare these two cameras? I work with cameras in my day job (artificial intelligence camera systems), and comparisons are always fun and can be helpful in understanding quality. We can confidently use the A7S II as a B-cam and cut between the two cameras without having to spend too much time in post matching them. With only evenings and weekends to shoot, we're looking to speed up production and these two cameras will allow us to shoot and edit fast.

From my point of view, the NX1 is a terrible design because the deep "canyon" in which the sensor is located prevents development of a Speed Booster for it. However, with a little re-sculpting of the mechanical area near the sensor . . . . . .

if i werea betting man I would bet against the Nebular 4200 working as advertised.

Sorry Andrew, didn't want to confuse you, i didn't use LA7200 with rangefinder, i just mentioned it as an example, in s35 at 5k it doesn't vignette, as well as Kowa 16h or ISCO ultra star, from 50mm and up; and putting rangefinder on kowa 16H creates strong vignette, without rangefinder kowa, or blue star , or ultra star don't vignette, but this is in 16;9, switching to 2x anamorphic mode fixes this vignette, but as i said i don't like that mode and prefer 3,5:1, but well; shot some test tonight, 'human feces' will be the next test, but i like this glass. a bit too heavy, i would accept hard plastic framing, cuz for anamorphic setup it is a lens+adapter+rangefinder, gets heavy and bulky, i know, i know, real anamorphics are huge and heavy, just thinking out loud; So, dear Andrew, are any of new SLR Magic anamorphic lenses cover 5 or 6k, because if they do that would be awesome. thanks!

What separates the colour science of photography companies like Canon, Nikon and Fuji from the approach taken by electronic engineering firms Sony, Samsung and Panasonic? EOSHD has a theory. Read the full post

In case anyone is interested, I thought I'd share this Kickstarter project: https://www.kickstarter.com/projects/2044759634/hercules-the-worlds-smallest-camera-motion-control?ref=email

A very simple and quick test. Details in the YouTube description.

He has won several Oscars but imo this is cooler BTW, Greta Garbo is also getting one.

Looks good. There's absolutely nothing wrong with crushing blacks in certain spots. Especially in dark areas that you don't need to see detail, like under a leaf.

Looks great, has a nice stylized feel.

At least it's not worse. Thanks for looking!!!

I like that one best so far

Did you see the footage? It looks terrible. E-M1 has better quality than this. Or even my note 5 really. Maybe with the X5R it will be great. But from what I see I would rather wait for the E-M1II.

IMO a lot of the color issues we see with Sony footage is due to indiscriminate and improper use of log. Folks seem to use log like it's a badge of honor, for every single situation and as a substitute for proper lighting, and as we know log and 8 bit is not a happy combination. A good way to assess and compare say an a7sII color would be to shoot without log, and I think it will also behave well in post shot that way.

Image doesn't look as good as the newer GoPros with Protune to my eyes. And with the cheaper standalone gimbals at least you can upgrade the GoPro easily as new models come out.

But it says 'kronor', not 'honor'? Jokes aside. That is pretty cool. I'll try to pull one out of an ATM in Stockholm later this month.

It has the same problem that all the other one-handed gimbals have: too much bounce. Curious to see footage from the Nebula 4200 which (they claim) solves that problem.

Since the d750 is outselling the A7-line they are probably not in any hurry.

US$4999 for the X5R with 4K RAW

true, and after working extensively with the original A7s, Red raw and now the Canon 1DC I can confirm that they all need skilful tweaking straight out of the camera. The difference for me has been that with Canon and Red files the first hour or so of grading is correcting the colour (removing weird casts, exposure, getting skin in the right area, making it look natural) and then I can go onto working the general look and feel. Where as with Sony - in any colour profile you choose - the first stage of 'fixing' the image so that it looks natural never really ends. I find it very hard to ever reach a point of having a natural look I'm satisfied with, and then any additional change I make to the image tends to knock all my previous work out of whack. With the Canon files, once I've got it to a natural, neutral point, further creative grading seems to go much smoother and doesn't stray out of a natural getting image as much. What I'm basically saying is that in my workflow Sony A7s footage requires me to constantly wrestle with the image to stop people looking like aliens or zombies, whereas in Canon footage I can push and pull the image much further while people tend to remain looking like people. As a working pro those hours saved and reduced stress is hard to put a value on. as an idiot, I greatly appreciate this!

Don't love the small gimbal gopro footage I've seen. This could be better for IQ than that easily, but the style is a little weird to me. I was excited when I heard the specs mft 4k raw consumer camera before, picturing a raw gh4, but THIS becomes difficult to use as an actual camera.. not sure about it. I'm sure people will have some fun with it though

What is the difference between this and a cheap gimbal and a GoPro Hero 4? About the same price... OSMO is more visibly attractive, but the HERO 4 is a mature product and you can remove the HERO 4 from the gimbal and use it in other applications. I dont see the reason that this product is getting so much play. Now if they released the MFT version at this price, I could completely understand the excitement over that.

Cineon to Film Contrast 1 is from http://www.vision-color.com/impulz/ I think

Maybe. All I know is that if I asign a guy at work to do a video and he asks to use an A7sii instead of a C100 but needs 3h extra in post. Well, I think we all know what I will say. And time isnt the whole issue either. If he gets sick and someone else needs to finish it with him being the only one thats familiar with S-log.

Then Sony is doomed.

To answer the question in the article: No, not really. Canon's color space is just more idiot-proof than Sony's.

I think most “better colour science” is depend on personal preferences ，which some people see unnatural as natural

A test I ran a while ago : https://www.youtube.com/watch?v=2COkbUi82zM Almost only skies ^^. Youtube compression doesn't help, as well as the LUTs I applied. But there is still some banding and a little macro blocking on the graded file (before youtube compression). Hope that helps...

Hang on a second. I just realized you're comparing them using a Canon 24-70 f2.8 (presumably the mk2) on the C300mk2 to a Sony FE 24-240 f/3.5-6.3??? That doesn't seem like a fair competition at all. The auto-focus and the colors would be greatly effected by the differences in the glass for sure.

Thank everyone for your comments. I agree with Jonesy on this being anreal issues. I've also contacted a few other shooters I know in LA and showed this video around. The general consensus is that something is definitely wrong with the camera. A few of them have the A7S markI and tell me they've seen nothing like this on their cameras so back to B&H the camera goes. I'll make sure to do a follow up test with the new camera once I have it and post the results here. Thanks again.

Unfortunately, there's not a lot of good, adaptable, APS-C-specific glass out there. Your best option is just to get good full frame glass and smile knowing that you don't have to worry about vignetting or corner performance. If you just want solid lenses without breaking the bank, I'd look at Minolta Rokkors and Contax Zeiss. Here's a couple links to get you started. http://www.reduser.net/forum/showthread.php?92246-Minolta-Rokkor-Survival-Guide http://www.reduser.net/forum/showthread.php?92044-Contax-Zeiss-Survival-Guide The Zeiss look very clean and "honest", whereas the Rokkors have a warmer, more "vintage cinema" look. Look at some samples and see what you like.

Funny, when I had the 7D I always had to tweak the colors. Same happened with 5D files. I find Canon's colors so unnatural, in fact I find them too saturated and too contrasty. I enjoy Sony's color much better.

I agree. I always overcompensate (in post) magentas on my Sony cams, stills and video, Log or no Log. I've always personally felt that Canon has nice color science, but not accurate, especially in stills. Sony sensors, especially on Nikon cameras, produce color more accurate to what my eye sees, but not as flattering or punchy. I prefer to have accurate but less sexy color, and then work it in post, but I can see how sexy color out of camera is appealing. I think that explains especially the predominance of Canon on the studio photography side (when not using medium format). I've noticed Fashion and commercial photographers in NYC prefer the 'Canon look,' despite the files being significantly less flexible. I've only once seen a Nikon in a studio environment, and Sony never. But I think it's also inertia, as pro photographers have invested in the system and glass and know how to work with it.

The Canon's are going nowhere anytime soon. Some of the stuff you hear about Canon on this forum is far from reality. I wrapped a shoot yesterday as part of a big team of camera operators, all of which were hired for a project for a big major football team and their sponsor. We prepped all the gear - and there were 5 C300's, 6 5D Mk. III's and a ton of EF lenses. (there were also 20 GoPro's). I setup a bunch of C300's but was tasked to operate a 5D Mk. III. Every single camera operator knew exactly what to do with these cameras, no questions asked. A few of us brought our own cameras as backups. The A7S and RX10 II popped up, but nobody would use them because they were like some kind of foreign objects. When I said to someone I could operate the Sony's, one of the camera assistants looked at me like I was insane. Because of the Canon's, the process was smooth and reliable as everyone knew the brand and know they work well. Canon have a major presence in big commercial work. People who say they are "toast" because of Sony's spec sheet monster products don't know what they are talking about. Canon know this, and if they didn't, we'd be seeing 4k and 120fps in all their DSLR's very, very soon. (won't happen). In credit to Sony - there was an FS7 on set capturing behind the scenes footage. It was the most talked about gadget on set. They've done a great job of that camera.

Yeah, although I get Andrew's point, it doesn't look right at all.

ISO 400 is the worst. Shoot 800 or 1600 and expose a bit to the right. It looks a little noisy in the shadows ungraded, but it's corrected by adding a LUT. I've found that the Varicam LUT is not good at all. The 2 best are Impulz Cineon to Film Contrast 1, and FilmConvert V Log profiles. I'm not opposed to that but what are you looking forward to with GH5 that's improved over GH4? Only thing that I see them adding as a bonus is 4K 60p, and HD 120fps. No way they'll add 10 bit 4:2:2 in camera. The camera that I hope Panasonic makes is the FS7/Cx00 competitor.

Nice test. The skin texture is just flat out better on the C300.

That C300 autofocus sure is something, pretty incredible results. Otherwise skin tones looks really nice on the Sony, slightly more magenta in the skin.

I love this type of post, and the Internet / camera forums in general. We go from arguing over how great a camera is going to be, to unboxing videos and camera lust / jealousy, to the inevitable honeymoon is over phase so quickly. So in lieu of shooting something reliable and proven, we put loupes on our Sony bodies, worry about overheating, worry if the Metabones adapter is going to not work, drag around ND filters and step up rings, external mics, remember to overexpose 2 stops in log mode so we can squeeze 1/5 of a stop of extra dynamic range just to spend hours later grading footage of our....cats. All while trying to avoid banding skies, black hole suns (Soundgarden anyone?) and instead of actually ENJOYING shooting a nice crisp 1080p signal (like my FS700) and worrying more about content - before we hit record we're trying to remember what our "knee" setting was for test shot #1047. Hey, I'm one of you too. Having gotten a proper ND filter / good built-in audio / slow motion FS700 the past few days I've just been shooting everything. Mostly not even slowmo stuff - and (oh the horror) not $5000 adapted Cooke glass - I even tried the 18-55 Sony kit lens - which smoothly autofocuses and face tracks my subjects. I locked the iris, set the ISO gain limit and just hit record. Looking now for cool low angled shots, framing, keeping my subjects (my family) the focus and not the settings. More "keeper" footage in 3 days non stop shooting than 4 months with the 1dc. But, I am one of you - always on the quest for the best. But at some point we are going to have to remember there is *no* perfect camera, nor will there ever be. DSLR's will probably never have true built-in ND, XLR inputs (save the GH4 and the clunky poorly-powered YAGH), smooth AF in video mode and colors right out of the camera (and dynamic range) that we all like. Camcorders will never be small, take exception stills, nor have the stealth factor. I walked around Halloween with the FS and at least 3 people asked me if I was with the news. At the baseball games with the 1d + 300 2.8 they asked if I was with Sports Illustrated. Sigh. /ramble off.

Andrew - you have any adapter issues with the A7rII and Canon lenses? I'm trying to decide which adapter to get to mate with the EF 16-35/4 and a few primes. If I can get full functionality without paying the Metabones tax, I'll go that route. Otherwise Commlite, Fotodiox or one of the others is where I'm going. Saw the sunspots mentioned on Dpreview as well - some have it and some don't. Odd.

I don't think many GH4 users have external recorders - I know the reason I initially bought the camera was so that I wouldn't have to buy a recorder. Most of the chatter on this forum seemed to be critical of noise, banding, etc with V Log internal, and while that hasn't scared me away from buying it, it certainly hasn't put me in a rush to spend the money.

It's funny everyone hates small sensors with a huge crop factor, like 3x or something But everyone loves high megapixels so they can get that beautiful 3x crop small sensor look from their full frame cameras in Photoshop

It's basically like this

I believe that it is a recognition of your unique voice. My unbanned virtual self screams conformity.