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If Sony only had 64 couolrs would 58 of them be different shades of green/yellow?

Sony release a high end stills camera with some video capability but astonishingly it's not a video orientated camera with some stills capability added on......................

Oh I wish we did. If you need to fight over the camera settings to find something that works sometimes, then you know you don't have reliable AF

Richard, what do you think you're doing trying to bring rationality into a discussion that's basically turned into 'I'm more of a professional than you' contest.

Agreed. Here's why I think some perspective is needed in all this... To get 10 bit you need to pay: $1000 - Black Magic $2000 - Panasonic $4700 - Sony $10,000 - Canon (The C200 doesn't count - having to record raw at 800Mbps just to get a nice 10 bit codec is just unrealistic for too many people. Even still, that's $7500! Same with hacking a 5D) And to get full frame 4K: Sony - $2300 Nikon - $3300 Canon - $5700 BM - Nope Panasonic - Nope. Oh, and they don't even offer S35 4K unless you pay $7350. Not trying to bash any company, I just find it amazing that because one company offered 10 bit on a M43 sensor camera that it's now expected on every camera, regardless of sensor size or price. Don't get me wrong - I'd love a 10 bit mirrorless Sony as a B Cam to my FS5, but I wish this kind of enthusiasm were directed toward demanding higher quality color filters, EVFs, audio preamps, exposure guides, etc., all of which are important for getting a shot whereas an 8-bit C100 can nail the same shot as a 10-bit GH5 4/5 times. Every company is introducing firsts or offering way more in certain areas (canon is DPAF, Olympus with insane IBIS, Panasonic with 10 bit in mirrorless, Sony with Full frame mirrorless)... So I think @mercer is just saying that it's unrealistic to expect every other company to immediately follow suit and include the same features regardless of cost. At least, that's how I feel.

Gave it a try over the weekend. Works surprisingly well. 4K 24fps shutter 1/50 NX1 50-200 OIS III AF:

The *only* viable option? I have shot hundreds of hours of documentary video on the A7RII and even *it* works very well. We also use the GH5 and do two-camera interviews with it and the A7RII. The GH5 is excellent but in the real world each has pros and cons. Interestingly both A7RII and GH5 share a feature the A7SII (and probably A7SIII) don't have: ability to shoot in a crop mode that gives 1.5x on the A7R series and 1.4x on the GH5. That is really handy because it's like a flawless tele-converter without changing lenses. From actual hands-on field documentary work, the biggest A7RII issues are not the 8-bit 100 mbps codec or lacking 4k/60. It is things like this: - Inability to rapidly switch between Super35 and full frame mode - Slow boot up to fully operational status - Intermittently laggy control input - Cumbersome menu system with limited customization - Poor button ergonomics and poor tactile feedback - Poor battery life (although the battery grip on the A7RII fixes much of that) - No 1080p/120 - Focus peaking could be better For stills the biggest issue is incredibly slow writing rate to the SD card and almost non-existent multi-tasking during those long periods. Most or all of these are addressed in the A7RIII. So I don't see the GH5 as "the only viable option", even though my doc team uses one. I would much rather have Eye AF in video mode than a 10-bit codec. These are the differences between real world use vs comparing specs. If you want to see informed, experienced commentary about the A7RIII and video, check out Max Yuryev's latest commentary. This is the difference between someone who owns and uses both GH5 and A7RII vs someone who looks at specs:

I know what unreliable AF is.... its Focus hunting and being off focus even after selecting what to focus on. So, I'm assuming its the opposite of that....

You beat me by just a few seconds... LOL

It shows the difference when you shoot 8-bit log then push the the colors hard in post. Of course 8-bit will degrade faster if it was captured in a flat profile. The question is how would the comparison look if the 8-bit side was *not* captured flat, then both sides were graded as best possible. It would likely look different but the 8-bit side would not have artifacts and banding. The 10-bit side might have more dynamic range due to the flat acquisition. But in that case it would be two different "looks", not one side with significant artifacts and one without.

Picked up the Sigma 18-35/1.8. I don't know why it took me so long to get this modern classic lens. I always knew I would love it. Ive always viewed it as a Tri-Sumilux for APS-C.

Great Jon... You = yourself; one of my fav cam/glass critics (if not simply 'the one') over here ; ) That HDR/HLG label over 8-bit doesn't make any sense...

all of them. hahahaha. everything you have!

Fritz, I never said I hated it. I think it’s a great camera and if I was a wealthier man I would probably own one. But when Panasonic becomes the only manufacturer to introduce 10bit into a consumer camera, one must ask... WHY? I think it’s pretty self evident. Either way it’s good for the consumer but it’s also unrealistic and unfair to hold Sony, Canon, Nikon, Olympus and Fuji to the same standards when Panasonic is the oddball. As far as likes and dislikes of the 5D3 or the GH5 or whatever... who cares what some random guy on the internet thinks? I chose the 5D3 over the GH5 because I wanted a different aesthetic... you chose the GH5 over whatever your second choice was for the same reasons. I’m not mad at you. Everybody has different tastes.

You do not dissapoint in your never ending ways of seeing a negative in Panasonic? Or just the GH5s?....so instead of Panasonic being the first to deliver 10bit 4:2:2 internal recording in a hybrid 2000 camera, you turn this into a must develope feature by Panasonic to make up for their failure in Vlog with the GH4....I glanced at a thread on the 5DM3 and ML once....a video clip in which the banding and rolling shutter was so bad as to be unusable IMO....as I have no interest in the camera, I saw no reason to comment on it....do you want a GH5 or do you just want to hate it?

In retrospect, this announcement is kind of surprising.... what ever happened to the a7 mark3? Thats the camera without the R or the S.

I think the A7R3 looks pretty damn sweet.. it takes the best features of A9, fixes all of A7R2's shortcomings and even adds stuff on top (HDR, 5.5 stop IS, pixel shift, usb-c). Very promising for A7S3 which will probably be out next..

Hi Probably a stupid question, but is it possible to get EOSHD Pro Colors in raw? I like what I'm getting in jpegs and I know that all tweaks are lost in raw. I managed to get pretty close to deep warmth profile look by tweaking primaries in ACR, but it's not too consistent between images. So I'm curious if it's possible, and if there are any plans to make EOSHD ACR profiles or LR develop presets? Thanks

I think a lot more has been made of replacing glass because of the higher resolution sensor than needs to be. The D500 has the same pixel density as the D850, but I don't hear the same arguments. In general, a higher resolution sensor will make any glass look sharper. You can see that by looking at DXOmark tests. Higher quality glass will just look even better.

12. Adding a completely irrelevant comment that adds zero calories. eg. Question about a specific camera issue being answered by "I have never used that camera and don't know anything about your problem but you could try buying a different camera". The trick is to find a post that you *can* help with and post *there*.

Great review! Thanks

Or just a more general rule: INCLUDE MAXIMUM CONTEXT! As there are many many threads which would benefit from more information: specific budget, overall budget, what country, what do you do already, medium/long term goals, etc

The A7r3 like the A7r2 is a very good / class leading stills orientated camera with added video capability. I bought mine solely for it's stills ability and only later started to use it as a video camera. If I was starting from the position of wanting a camera for primarily video use I don't think the MK2 or the 3 would make the list. As said previously the only way to properly exploit the full potential of the sensor is to use an external recorder which is not always practical - been there, done that, bought a GH5.....

Cameras do not kill - People do! I hope more than one camera can exist, I hate mono-tony.

Sony already killed the C100 (& C300!) years ago. With their FS5 & a7S mk1/mk2 releases.

Olympus releases some f/1.2 range overview videos: I get if you're not into talk about 'feathered bokeh' or making babies pose a certain way... in which case here's something for everyone, I always love interviews with Kazuto Yamaki and this is a more recent one:

So I think its safe to say the A7S III should have an expected announcement at or around NAB 2018. Let's hope we see some innovation/leap forward on that one over the standard spec bump. EDIT: Just took a second more in-depth look at the A7R III and it is not that bad. I guess I am just bitter lol.

This is an issue with Panasonic’s Log profile and the only reason the GH5 got 10bit video. VLog with the GH4 was a nightmare but to compete with Sony, and even Canon to some extent, Panasonic needed a Log profile, so they used tech from their cinema division in the GH5. Unfortunately, now every videographer in the world, despite their discipline or skill level, believes if they don’t get 10bit color, they’re getting ripped off. Panasonic jumped the gun by one or two product cycles and that is good for GH5 owners, but the other manufacturers shouldn’t be held liable for Panasonic’s inability to get a Log profile that worked within an 8bit space. And at this point, for the money, if I wanted more than 8bit color, I’d go with a BM camera for the better codec and DR or a 5D3 with ML Raw for 14bit and a good color science... which is one of the reasons I did. And I’d definitely choose higher DR 8bit over 10bit. And the only reason I mention it is because there is this misconception that Panasonic gave the consumer 10bit color out of the kindness of their heart because they care about videographers and low budget indie filmmakers, yet Canon and Sony are heartless corporations that only care about their bottom line... they all only care about their bottom line and a Log profile was needed in the GH series to help theirs.

I filmed two weeks during our summer holiday, so there are a few more scenery films to follow ;-) enjoy! Samsung NX1 + Voigtländer Ultron 40mm f2.0 + Bolex 16/32/1.5x + Hardcore DNA

Who the f#@ can afford a Lecia SL?? That should not be included in this list, you're just bragging now!

I really, seriously, for the life of me, don't get it. Canon maybe...Sony crippling their cameras? I can't see any real world difference between 10bit and 8bit in an 8bit space. I've tried. Please don't get angry with me, but for me 10bit is a sham. I don't look at the camera makers as giving me a better image, I look at them as marketing hokum. Whatever banding 10bit may eliminate in a clear blue sky is smoothed over by the time the image reaches the viewer, in the real world. The achilles heal of these cameras, vs cinema cameras, is highlight roll-off. So the question to me, is what would you rather have, HDR or a 10bit CODEC? Banding in a sky, shadows gone noisey -- I can deal with that. A face with a white blotch on it, no. It's horrible! For me, it's F-this camera time 10bit doesn't fix it because 10bit has nothing to do with dynamic range. Sure, you can shoot in S-LOG, but now you're sacrificing color detail. HDR, seems to me, might solve that problem. So why should Sony put out 10bit over HDR? It seems to me HDR is the real INNOVATION here (probably a type of dual ISO). If it works well, it can make a big real-world difference. Yet, I believe it will also be marketing hokum! It's probably what they call 10bit now Still, we need to see what the camera will do.

For me the A7rIII is everything that I wished from an A7rII upgrade. These are just the improvements on the video side: Amazing AF from A9 Sgammut3.cine better low light performance lower rolling shutter EVF from A9 Better ergonomics At least double the battery life S35/FF switch with a button! Bright LCD during 4K recording USB3.1 tranfers Dual SD card Improved FF quality Improved IBIS Proxy recording! Personally I don't think there is any competition for Sony right now.

true that, but to me anamorphic is not about convenience, it is about the look:)

The biggest difference between these cameras and cinema cameras is battery life and storage. So now the A7R will last twice as long? It will have a USB port that can transfer 4K video as fast as a card reader? It has dual recording slots, FTP over wireless, proxy recording? 10fps silent mode shooting. If this camera camera out a few years ago the title of the post would be "Sony just killed the Canon C100"

This thing shits all over the D850 and will probably beat it at video. Where is all the hate coming from? GH5 is competing with the a7S line, but it cannot hold a photo candle to the a7R line. Leica is a niche product with a price to match. I guess you are all about the color science and even that is said to be improved on the a7RIII, so wait and see, this thing is impressive:

I spoke with someone from Zhiyun last night and they mentioned that they are making a follow focus attachment and it will be coming out soon. I also have a Crane 2 coming in today so let me know if you have anything you want me to check out. I will be reviewing it in the next week.