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A7S III colour science is certainly improved and offers a much better starting point for colour grading. Here are some samples matched to ARRI Alexa with minor adjustments, using "CineMatch" sensor matching algorithm, the A7S III sensor profile is still at beta stage.

Sure. RED sued Jinnitech for their JinniMAG saying it was patent infringement (On a patent application filed days after RED sued him!) and several other bogus claims. Turns out the judge threw out all the alleged charges against Jinni and the case was official closed. He goes into detail about the company structure. Shows evidence that two corporate officers are lawyers, who apparently have almost no identity on the internet (their LinkedIn page is now deleted...their website is broken). He shows evidence of him trying to get a minimag replaced and asking for a breakdown of the cost to fix it since they quoted him $1,600 dollars. He presses them on why he is basically told to shove off and that since he threatened them with legal action that they are refusing services to him (apparently illegal). He shows evidence that REDs terms of service violates US UCC law which prohibits unconscionable contracts. He goes into great detail about why they are...anyway the short of it is the terms are service are about as scummy as you can write them. The bomb though is he says he filed suit against RED and the case will be held in December of this year. He then goes on to say that days after the suit was filed against RED.com Inc that RED dissolved that entity, And filed a new business entity in Nevada under RED.com LLC and Jim Jannard is not listed as the corporate officer and in addition they listed the capital of this new company has having $0. Dissolving you’re multimillion dollar company ahead of a potential class action lawsuit says something about how RED is run.

New accessory, attaches via hotshoe, produced by Tilta... 😄

If we equate the R5 to the Dead Parrot sketch from Monty Python, then we're roughly at the " it's pining for the fjords" stage at this point.

Funny how the camera buying internet has gone from "what are the most sick cinematic camera movements?" to "will my camera melt and burn my hands, and shall i buy a self generating ice pack to get 2 mins 8k recording on my year long trip to Africa?" FWIW, the A7SIII looks like the better video tool. I live in Manchester UK. Sunlight doesn't exist. Only rain. (besides today!)

Stormtrooper a7siii?

Some grabs from a futur project, it was very hot outside, nearly 40°C outside for about 3 hours but no problem with the camera !

I think the love that dare not speak its name regarding a genuine hybrid is that we won't get there until we have cameras with internal variable NDs. The fact that in the vast majority of lighting situations you need an amount of ND to make the video exposure and none to do the still exposure in the same light is something that needs to be addressed before we can say we've achieved it. Obviously, I'm aware that some people will leave a level of ND on that would give them a compromise shutter speed of say 1/100th or 1/250th for both so that they could have a bearable speed for stills and a bearable degree of crossing of the 180 degree rule for video but it will only ever be a compromise. From my point of view, particularly with variable NDs, if it doesn't genuinely need to be on for the correct stills exposure then I wouldn't really want the side effects of colour casts if I could help it. Because of this I'd say the only "real" hybrid I've got in my camera collection is the lowly Panasonic FZ2000 because it has an internal 2-6 stop ND filter (as well as "clear") which is operated by a physical selector switch, meaning that even in bright sunlight it can be switched from a "real" stills camera to a "real" video camera instantly. Everything else I've got is a stills camera that can shoot video or a video camera that can shoot stills but not without what I would technically refer to as "some dicking about". Canon kind of maybe sort of offer this with the R cameras with that ND adapter but it does limit you to using EF lenses and does mean that if you wanted no ND you'd have to pop the clear filter in. Sony are the ones who could do it of course but while they are stuck in that A7 form factor they've got no space or inclination to do it.

It really does blow my mind how willing people are to reward Canon with their money even if it means having to use an external recorder, empty card slots, and a dummy battery to get usable results.

I think that just looking to an already graded jpeg export is not going to reveal it. I was talking about my experience grading the files. There are much more color information in shadows and highlights. The guy with his bike in the air was really underexposed and I was able to push it up without looking mushy or like an alien. Scrubbing through those files into the timeline are really close to prores. I really had problems with banding and compression artifacts with the older Sony's. Don't see it on those files. I believe that in the hands of a good colorist it might bee amazing. And also with your tweeks in the color profiles we could achieve much better results.

RED's license agreement for the camera makes you agree that all of its software is used at your own risk and that they do not guarantee it does anything at all in terms of functionality. If you then try to go after them for any consequential damages for the impact of it not having not done something (i.e. anything from not working or corrupting data on its media) then you will have agreed by accepting the license that the maximum amount of compensation will be $50. The claim is that this puts it in violation of the USA's Universal Commercial Code as this makes the contract "Unconscionable" as it represents "Unequal Bargaining Power" and "Limiting Warranty". The opening of the floodgates for claims against RED for damages over losses sustained by malfunctioning cameras by those contracts being declared null and void would be the implication but that remains to be seen. Similarly there is a clause on the sensor upgrade programme where if RED (and RED alone) determined your camera was not in good condition they could charge you the whole value of the new camera for the upgrade and only give you $1 compensation for your camera. I'm guessing there are a lot more cases involving the $50 one than the $1 one but you never know. The meat of the rest of it was about potential chicanery over morphing corporate structures that might be taken to imply that RED is in preparation for shielding the "new" company from lawsuits that may occur from the previous revelations about the "old" company. Oops, I wish I'd read it before typing mine as it would have saved me some time !

Just downloaded the footage from that James Matthews video. Great footage by the way. The A7s iii is now a contender angainst other low priced cinema cameras. All the information you need to create a good color grading is there. Rich colors, shadow and highlight information. All packed inside a usable codec that is the h264 all-i 10bit. All the problems I had before with sony mirrorles footage are gone. Noise compression, banding, poor colors, artifacts, etc. I aways thought a good codec could turn these Sonys into something else, and here it is. Personaly I really liked the colors.

Considering pre-orders are supposed to open on September 1st, FAF would currently stand for Fucking August Already?!?

Considering a Ninja V would be cheaper than a few CFExpress cards and you get ProRes, this seems like hopeful conclusion to the heating debate. Now I just have to wait and start creating 🙏🏼

Camera, singular. About 10 people worldwide...but their lenses, 10’s of thousands.

Finally the type of test that everyone should be talking about, but nobody bothered doing! Richard Butler: "In just under two hours I shot 164 images, all in CRAW, some as parts of short bursts. I then switched to video mode to capture some 4K HQ footage and was confronted by 04:00 minute limit, despite plenty of card capacity. The overheat warning displayed immediately and, after shooting three sub-10-second clips the camera said it would only shoot for another 02:00 minutes." FUCKING SHIT!

Only two reviewers have really tested the A7S III for reliability problems in direct sunlight. This isn't surprising given Sony's canny knack of avoiding in-depth reviewers like myself, by giving the demo units to Paris Hilton types instead. But still the truth leaks out... The thermal energy from the sun on a hot day is absorbed by the black chassis meaning the heat sink in the camera acts as a conductor two ways, both from the CPU to the body and from the body to the CPU, the latter really hammers recording times and reliability outdoors. Canon said it themselves in the recent Komodo style cine cam patent... Now that very fast processors are in the latest cameras, heat is becoming more difficult to manage. Well, try again Sony and let's see how long their moral high-ground lasts over Canon!

Priest: "If any of you has a reason why these two should not be married, speak now or forever hold your peace." Film maker: "WAIT THIS PEACE OF SHIT IS OVERHEATING!" Bride to groom: "See? I said to you to use a lighter fabric in your clothes"

I’m thinking about getting an R5 and offering a new wedding video service where I start with bride prep. Then I go home and have a proper BBQ.

Yes and no. As I have said before on this issue. Think of two bottles one made of glass and the other an insulated thermos. Pour boiling water into both of them and come back in an hour, the water in the glass will be at room temp but the water in the thermos will still be hot. Now put them both out in the direct warm sun and I will bet you the water in the glass bottle heats up again while the thermos will not be affected. Now if there was a heating source IN both bottles, AND in the sun, the glass would have the heat from the sun AND the heat from within while again, the thermos would only have the internal heat. Think of the Sony as being the glass bottle and the canon as being the thermos. The Canon will never overheat because of external factors but seems it WILL overheat due to internal camera generated build up. The Sony seems good at heat management at least from internal heat and maybe in part BECAUSE it can get out of the camera but that ALSO means it can get in in some cases. That is why I think it is possible that the Tilta thing might actually work BETTER on the Sony but will also hardly be needed on it. Remember too that all those peltier type coolers that are insulated boxes can be reversed to warm food as well as cool it.

The Wedding Business has some real amateurs working it. Buy a new R5 and plan to use it as an A camera for a Wedding and now he worries. Seriously, some people shouldn't do video Professionally if they behave like this. The reply is stupid too. Even if you love the R5, to suggest shooting with it when so much evidence exists to suggest its limitations for such work. Its one thing to work through those limitations yourself, another thing to advise others to do the same.

Tilta's options: :- )

I'm getting a liquid nitrogen cooling jacket !

Oh man, that's just butter! And, with the worst lens .

Bride : Did you have any prior warning that it might be prone to overheating and not being able to record for more than a few minutes ? Film maker : Absolutely not, no. The Internet:

It is "massively unprofessional" going to any gig without more than a couple of camera units at least... ;- )

He better hope it doesn’t shit the bed...wow. “ma’m I didn’t get your vows. My...camera overheated. It was so strange...haha haha.”

They're black so they don't show up in reflections or cause color casts on set. Same reason I always wear black/gray on set.

Again thanks for the input. I love the 4k but again rigging it out for outdoor use paired with hiking is brutal. I could run without a Vmount but the battery is horrid as you know. I picked up the HDMI, expansion port, rosette mount from Shijans. I was planning on using my FD speed booster with micro and 17,24,35,50 with it. It would be nice to have a remote for other lens down the road. Storage as well is a big thing for me. Some personal projects taking up ungodly amounts of room on the 4K. Lastly I am going to use the micro in a custom underwater housing I a building. For the time being I will use a Outex housing with a Laiwa 7.5mm. Some examples of photography that I am aiming for with the micro. Untitled by Dave Fason, on Flickr BelizeLow-135 by Dave Fason, on Flickr -Dave

If you don't mind a bit of DIY, you can knock together an effective remote yourself for £20. Its four channels so you could control Aperture/ISO/WB/Focus with it for example.

It’s possible but I find the timeline extremely suspicious. I find the change of officers somewhat suspect. I find the zip code they registered this new company in suspicious (it’s basically a haven) for what goes on in Las Vegas. I find Jims answer in the discovery video when being questioned under oath by lawyers extremely unsatisfying in regards to this patent they tried to use to sue JinniTech. Any RED owners should read the terms of service and take note. I find the claims, made by Jim in 2006, where he claimed that REDCODE Needed proprietary firmware to store REDCODE on special hardware (later to be proven NOT to be proprietary and available for sale from parts manufactures, hence the JinniMags) highly suspect. Not to mention now that are using CFast cards for Komodo. It reeks of a class action lawsuit. I’m glad JinniTech is not going to be bullied.

I am a stranger to the Sony system (last cameras were Fujis, Nikon Z6 and Pana S1), but not to the "colour war" as we can't watch YouTube or browse forum without being drowned into it. Anyway, I like to remember that the last season of "A Skier's Journey" serie was shot years ago on an A7S ii. I believe the makers are really talented story tellers and know what to do with an image. The serie was highly praised and, honestly, concerning, colours, hm... As I am contemplating the new A7S iii for these type of content (+ real time northern lights), this is just a remembering...

The R5 as a video camera as it is now is still not feasible for all video creators. But then is there a camera other than the A7S3 that's 'perfect'? Sony used to overheat and still has (imho) greeny yellow colour science and didn't have a flip screen. Panasonic S1H and their G5 range has shocking autofocus performance etc. Canon has poor dynamic range and would leave out features etc. Does any camera tick every box. No camera is perfect, all have some issue that you have to work around. What's the workaround for 12mp stills on the A7S3? I would need to get the A73 or A7R4, a £2k workaround.

You're missing the hype train. The colors still suck at Sony. Canon looks nice but now they add mindblowing features no one can use for any practical reasons but they add it to market to us crabs in a barrel while knowing these features can't harm their now slightly higher tier cameras which have settings people can actually use today for work. The cynicism from these companies would be laughable only if their customers weren't so gullible.

I love the specs on them and the fact they were able to keep it cool in such a small body should really make Canon take notice; I guess I just love the Canon ecosystem so much that I keep hoping something will make them get their act together. In the meantime my current setup works well enough for me that I don't foresee myself buying anything new anytime soon. It is ironic though, the Sigma has better specs than even the rumored Canon Komodo form factor it really speaks volumes to just how restrictive Canon really is. I agree with you, if they implemented 4K60 even with a crop that would make it more attractive....the fixed back screen does suck though, I love my GH5's screen.

These workarounds don't work for all modes. What about 4k 120p? Can't do that currently with an external recorder and even if you could, you've now lost compactness which makes it difficult or impossible to use in the field for wildlife videography. It defeats the purpose of the camera for how I would use it. Even if you primarily shoot stills, the damn camera heats up and makes it nearly unusable when you do want to take video. I fail to understand why anyone would use these workarounds for a camera with bad engineering design. Why promote this garbage? Why spend thousands of dollars on a camera that works half-assed at best and requires you to spend another thousand to use it for some of it's video modes but not all? If you want to stop Canon from making shit cameras stop buying them.

First off who resurrected this zombie thread? Anyway, like gt3rs says, 4:2:2 H.265 is not supported at least not yet in the NVIDIA GPUs as you can see from the following chart. I do hope it is something that can be fixed with a driver update and not some sort of HW shortcoming. I have a Core i9 14 core CPU and an RTX 2080 Ti and my system still had problems editing R5 4:2:2 footage. I was able to get smooth playback initially but it stuttered a bit between clips and after applying two layers of color grading in Davinci Resolve it was unuseable. https://developer.nvidia.com/video-encode-decode-gpu-support-matrix

Ah but all 10 of us are trotting around in the bright sunshine shooting internal RAW without oven mitts, ice cubes, fans, thermometers and stopwatches. So, swings and roundabouts 😉

I think it will depend on the profit margins for those products. If they keep reusing sensors and tech across bodies and manage to keep the margins high enough they could be profitable given enough volume. Canon and Nikon's strategy has typically been to flood the market with 'starter' cameras (Rebel series) then if the customer started getting serious about photography get them to move up to a more professional line (7D, 5D, 1D). The problem is the world is moving past photography and into video and as it does, neither Canon or Nikon adjusted as fast as Sony did. Sony saw a gap in their lineup and went for it. And apparently it is working for them....at least for now. This is why I say Sony is Canon's biggest problem. Also, even though people downplayed the news that Sony inked a deal with AP News, I think it is a big deal because it shows Sony is very aggressive and finding new ways to move upmarket vs trying to sell in volume at the retailers to buyers who would prefer their smartphones whereas it seems like Canon and Nikon are trying to survive by continuing to do more of the same. https://sonymirrorlesspro.com/sonys-camera-division-is-profitable/#:~:text=Sony%27s%202018%20fiscal%20year%20(2018FY,loss%20due%20to%20currency%20conversion.

Um, it was just proven yesterday that you can record 4 hours continuous of 4K HQ to an external recorder like the Ninja V, with no card inserted and with a dummy battery. And then apparently, its a quicker cool down (i.e 5min) and then u can record again. Check out "NoLife" channel on YT. That's plenty of record time for most if not everyone. So it seems recording high res video internally has overheating issues only.

If their camera division is not successful they will - just like with their laptops. Their is an argument to be made that the old camera companies will stay in the game longer out of a sense of Japanese obligation but you can see even olympus relented. http://www.koreaninvestors.com/?p=9564 Meanwhile samsung is narrowing the gap to sony in cmos market share. And samsung continues expanding imaging as well: https://petapixel.com/2020/06/01/samsung-is-ramping-up-image-sensor-production-again/ Samsung had the best sensors in the nx1 but bailed because they saw the writing on the wall. I wouldn't bet against them here.

Wow, just watched. Scummy as fuck. Thanks for reminding me to never buy anything from RED.COM Inc...or shall I say RED.COM LLC now.

Imagine they release a firmware fix that removes their media alert limits. It will be the first official admission that they used cripple hammer. Its embarrassing either way.

A comment on Hugh's YouTube video explains why the testing needs to be more thorough. Most of the reviews were put out in a hurry and don't tell the whole story on the A7S III thermal limitations. Hugh: I am an Electrical Engineer of 30+ years designing electronics for the automotive world which must maintain operation (NO shutdown) to 85C (185F) and without permanent damage over 100C (212F). The trunk of any car in Phoenix, Houston, or Florida (where I live) will easily exceed 140F for 6 months of the year. I contacted Dan and expressed my concerns with some test errors he made, his interpretations regarding heating/damaging of electronics in general, plus other variables reviewers continue to miss. It looks like you are trying to make some honest assessments here but there are a multitude of variables here that you (and others) are still missing. I don’t think Dan took my suggestions well so I will try you. As you noted, and I pointed out to Dan, internal heat generation (radiation) is outbound as well as thermal absorption (inbound). There are actually THREE thermal tests that must be made to determine if the camera is a net “source” or a “sink”; (1) standard room temp of 23C (73F), (2) outdoor/hi-temp under “sun-load”, but also CRITICAL is (3) which is simply outdoor/hi-temp in the shade! This shade reference is CRITICAL since this test will tell you if the thermal failure is absorption (inbound) vs. radiation (outbound) induced. You MUST do this third test or you cannot make ANY conclusions on thermal propagation of the camera. No reviewer is understanding this point since they are not Engineers. I get that but then they extrapolate conclusions which are simply wrong – some favoring Sony and Canon and some against both brands. Until you have a FLIR type camera showing thermal mapping of the body (AND the body/lens SYSTEM), you really don’t have any idea where the heat source/problem area is located. It is simply assumed to be worst on the back side since this is what Photographers look at all the time. It may be on the bottom or on the sides – no one knows until you look for it at least with some JK type thermocouples.

Seems fishy to me.

With download ready R3D files

his heating times have now been proven to be off. I wouldn't put too much faith in the dr results with these kinds of tests either as they are crude. and don't account for a lot of variables I think he was too kind to these cameras which should have been pilloried, but i understand that he does not want to break relationships. He likely got the cameras early cause of the glowing reviews of the c300 and c500.

Well then, he's certainly not gone away has he ? There is some pretty interesting stuff in there.

KnightsFan is exactly right. it would be like ford patenting a car that is 4 feet or greater in length with a attached roof. Cars existed before the model T but didn’t have a roof. Is a roof not obvious enough to grant ford an patent to a car, which is a highly complex piece of equipment, because they slapped on an obvious, preexisting, roof on it and made it longer than 4 feet? A roof is obvious. The length of said object is obvious. The size of RAW images is obvious. RED didn’t invent bigger images. They didn’t make an invention related to the CMOS sensor. They simply bought exclusive rights to a sensor off the shelf. Slapped on JPEG2000 wavelet compression on RAW images (existed before) and submitted a patent for it. Compressed TIFFs existed before RED “invented” RAW compression. They used them to “demo” their REDCODE. The video shows they didn’t put in 12 months of research. They took pre-existing technologies, with pre-existing ideas and then claimed they were novel. The premise behind REDS patent is that their incredibly novel idea was to capture 2K+ RAW images on a camera and compress the RAW images ON THE CAMERA inline and store it (instead of having a computer do it) Fucking ground breaking! The patent is entirely without merit.

Even without VLOG, I'm loving this camera and floored by the colors and dynamic range. Here are a couple screengrabs from a shoot I was on yesterday, using the HLG profile. I'm very, very excited to get my hands on the log upgrade. I think this is the first time I've ever had a video camera where I'm actually choosing the DR I want scene-to-scene at my discretion, rather than being forced to deal with limitations of the camera. There's plenty of room in the shadows and highlight roll-off is silky smooth. Color me impressed.