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Still don't understand why they don't just make an optional combined battery grip and fan system for video use. For a start, moving the batteries out of the main body and into the grip would alleviate some of the internal heat. An exhaust system could then be incorporated into the connecting stork of the battery grip that opens up an aperture in the battery chamber of the camera with fans in the grip taking care of cooling. That would maintain the weather sealing and satisfy stills shooters who don't want to pay for any extra video oriented features that they will rarely use, particularly ones that add bulk and noise. And of course, anyone who is using this camera for video is going to need all the battery power they can so its a win win for them. Of course, when I say I don't understand why Sony don't do this, I mean from the customer's perspective but from their own point of view I think its pretty obvious why they don't.

I’m looking forward to all the ‘Why I Switched’ videos on YouTube when the thing gets launched.

Not completely. 8k HDMI output is 8bit only. Full frame 4k is pixel binned at all frame rates.

Still basically only Panny that’s doing real open gate full frame video, don’t understand why nobody else will put those modes in their flagships. Here’s hoping they get their act together whenever the S2H rolls around and it has actual autofocus though.

I don't think so, Canon is already working on the R1; this is in the 1DXIII price territory so its not a direct competitor to the R5, the A7SIII is more of a competitor to the R5. The R1 will be Canon's answer to this camera both in price and functionality. I thought the exact same thing...except the MFT part. Panasonic is dependent on Sony for their sensors, so if they are able to use this sensor in a next gen S1H (and change their AF system).......oh never mind who am I kidding, Panasonic will never change their AF system; but anyway if they were to make a S1H II with this sensor that would be interesting...but probably at least $5500

This topic contains two very distinct and completely separate topics that people are mashing together - one is filming in 24p and the other is getting smooth playback of 24p through the whole image pipeline. One is an aesthetic choice and the other is a technical configuration issue. Most computers aren't setup for a 24fps refresh rate, and so when you play back a video it will be doing its own horrible things to it. That's on top of all the other horrible things that amateurs do to the frame rates already. It's very easy to see what is going on with your playback - set your smartphone to its super-slow-motion mode and then play a video and film your screen with your phone. Import the footage from your phone and then count the frames that each frame of video is displayed on your computer. There's a reason that Resolve is designed to work with BMs hardware interface cards - it means that Resolve can run your reference monitor at the right settings without the OS getting in the way and doing horrible things to the colour, bit-depth and frame rate. Until anyone has confirmed with a high-speed camera that their display is actually showing 24p (or any other frame rate) with an equal amount of time per frame then they can't speak with any credibility about the aesthetics of that frame-rate.

I'm a hybrid shooter but I'm not going anywhere near it either and not just because it is Sony. You could literally get a great stills camera AND a great video focused camera for the price of this one. I think this camera is literally targeted at the hybrid sports shooter if such a thing exists. I'm with you, I think the quest for the perfect hybrid camera might be overrated and dedicated video cameras are more realistic. Personally I'm starting to give up on the idea of a hybrid camera. I keep thinking that a hybrid camera would make my life easier on a hybrid shoot (less gear to carry) but then when I'm on a shoot there's so many differences between the photography portion of the shoot and the video portion (lighting / audio / camera settings / movement / etc) that I feel like I will always need two camera bodies. Even when it comes to the body, for photography I need a remote flash trigger attached and a battery grip with a vertical shutter release button so that I can shoot portraits, for video I need an audio module attached and can't use a battery grip because of the camera cage.

As a run and gun shooter that's 50/50 stills/video I'd get the a1 over the others without hesitation. Maybe the c70 and a R5 for photos, definitely not the Komodo. But I'm sticking with the a7sIII for video work and a7III for photos and a video backup, its a beast and I prefer the sIII flippy screen over the a1's. If I want more mp with photos I can just get a used a7rIV at about $2k and still have 2 bodies to cover everything. My a7sIII is my second photo body for now. Cheers Chris

Well as we have seen, even a small copper heat sink change in the R5 pushes past A7SIII overheating performance. We have heat pipe technology... Maybe someday when I'm not afraid of bricking my camera and CFExpress is super cheap I'll do a DYI heatsink upgrade like @Matt Perks did and shoot 8K RAW 24 hour livestreams.

To be honest, I think this is already depreciate per se straight out of the box... : D

Yes, the 30 fps is LOSSY compression not LOSSLESS. That is the compressed RAW that all Sonys did until now (A1 is the first with LOSSLESS compressed RAW).

Well then... GFX100S highlights are : Weighs 900g, so 500g lighter than GFX100 in a 30% smaller camera body Shutter and IBIS re-designed from GFX100 6 Stops of IBIS Faster AF, speed of 0.18s with PD working at -5.5EV, improved face detection is now 50% faster New film simulation called "Nostalgic Neg" $6499 and available next month Not seen the full spec sheet but video looks to have been left untouched from GFX100 but that remains to be confirmed.

Hi All, I'd like to announce the release of the HLG Normalized OFX Plugin. This OFX Plugin has been specifically developed to normalize scene referred Hybrid Log Gamma (HLG) content (as shot on a camera) across various NLE and VFX applications (including DaVinci Resolve Free & Studio, Assimilate Scratch, Natron, Fusion Studio, etc.). The Plugin supports normalization of the following HLG variants: HLG BT.2100 specification HLG BT.2408 recommendation Sony HLG1 Sony HLG2 Sony HLG3 Whether it's HLG content that's been shot on a Panasonic Lumix camera, a Sony, or something else, the HLG Normalized Plugin will accurately normalize and transform the footage to your requirements! This could be ACES, Rec.709 or even DaVinci Wide Gamut. The plugin is supported in Windows 10, Linux and MacOS 10.13+ (with native support for Apple Silicon) and is also enhanced with CPU Multi-threading support as well as CUDA, OpenCL and Metal GPU acceleration. The Plugin is now available from the online store: https://xtremestuff.net/store/hlg-normalized-ofx-plugin/ For further info and clarify around recording with Hybrid Log Gamma and correct exposures, please refer to my write-up: https://xtremestuff.net/recording-editing-with-hybrid-log-gamma-part-1/ Further viewing: YouTube Tutorial on using the HLG Normalized Plugin inside DaVinci Resolve: Regards, Asim

I won't, this is not a mass market product.

So I can get 30 min 8k raw with the latest firmware on my R5 with crappy heat dissipation and Sony is giving you 30 min with superior heat management, less resolution, 420 and only 400Mbps. The R5 bitrate is 2600mpbs & 1300 for HEVC, so that lowering the bitrate option should help significantly with the record times. Really puts in perspective how versatile the R5 is, even though they blew the initial execution. Glad the Canon pushed the envelope and Sony answered. Looking forward to see what the new firmware bring...

Z Cam is doing that, with their Z Cam E2-M4 for only US$1.5K, the E2-S6 etc BMD isn't shabby either with the value they offer us with the P4K etc

For me it takes the edge of of reality. It’s a visual pretense that tells you what you’re watching is a bit of a conceit. There’s some real psychological power in that. Assumptions and biases are made by the viewer. These are good things depending on what narrative you’d like to present. As for YT’ers. They’ll often mess up the shutter speed regardless of the frame rate, so I wouldn’t base any decisions about one’s video settings from random content creators.

Shoot what you're happy with. If I listened to every opinion on YouTube or forum, I'd be a confused mess. I've had suggestions even here to shoot 1080p, and 8K and 4K and 6K and then there's the thoughts on 8 bit vs 10 bit vs 12 bit and 60fps and 24fps and 25fps and 30fps. You can find a YouTube video suggesting each and everyone if you look. Its like upscaling 1080p to 4K, what's the point, when you can shoot 4K. If you want the motion blur of 24p, film it. If not, film something else. I'll use motion blur to correct where I couldn't use the right shutter speed. I won't use it to pretend I'm shooting something I wasn't, unless a client asks me to.

Few things to note. They did not blast demo units to YouTube people. This is incredible. For someone that has invested in Sony glass over the years it is great to have a versatile hybrid camera by Sony. I am looking forward to seeing more over the coming months. This is the first Sony video that I've been impressed by the look. Same color as the FX series with Cinetone. I like it!

While I think some of the FD L lenses are at ridiculous prices (24 1.4 especially) I till think it I a lovely lens and I wish I had kept my 50 1.2 L and that my 85 1.2 L did not have the dissolving bearing issue. The 85 L can be had for (sort of) reasonable prices (be careful about the bearing problem). I think most older lenses now should be looked at individually because you do not know how hard their "lives" have been or if they were even good copies to begin with. Shot from my FD 24 1.4 L at 1.4 on my old A7s.

Yeah all you do is planning and researching, haven't see you post anything about the stuff you buying or using, it's mostly stuff from YouTube. This year I m definitely geared more to livestreaming so will get some gears toward it. (I tried the atem mini and l1 switcher, might tempted for the iso) , tried mars 400s and 300 pro and might get 400 pro cause you can use usb-c to ethernet input so max 5 camera!

Maybe a step for Sony to be the first to eliminate the mechanical shutter in their cameras. I can see them taking it out of their next A7S camera and replacing it with their eND + IBIS technology.

Daniel Autenrieth posted this on the Anamorphic Shooter group. https://www.facebook.com/photo?fbid=10158722284170792&set=gm.4014224048589203

I hadn't seen it yet, just now... delicious! Thanks for sharing, mate @Matins 2 :- )

This is a very good and scharp scope with perfect ovals across the frame. Would benefit from a single focus solution like Rapido FVD16A. You need a front thread adapter then, like this: https://rafcamera.com/adapter-72mm-to-m75x0-75m For support, have a look at the great 3d print designs from Lucas Pfaff. https://cults3d.com/en/3d-model/tool/grabhole-qr-adapter-sal https://cults3d.com/en/3d-model/tool/70mm-clamp-with-beam-support-for-anamorphic-projection-lenses

Sharp and Anamorphic usually don't go well together 🙂 If you're looking for a sharp, single focus, compact anamorphic lens, you may try the Aivascope 1.5x. For 16 and 16mm, I'm not sure if I have ever seen an Iscomorphot 16 2x before. All I've seen are labelled as Iscormorphot MC 16mm 2X just like the one you bought.

Ι just can't justify leaving my NX kit to die. I have 2 NX1 and 1 NX500 and 1 NX3000 with multiple NX lenses, adapters, flash units (Metz/Samsung), extra batteries, chargers, almost everything. It is not the best overal anymore, but still is No1 for me in: A) ergonomics B) menu system and touch interface C) battery life (I still use the original batteries!) D) there are at least 3-4-5 ways to do things, even an Fn button on lenses, touch screen, top dials, small screen at top, excellent screen and viewfinder, amazing wheels, just everything E) never heats up! in the worst conditions, tested by me, in boats in the summer, in mid0-day weddings in tiny sun scorched islands, in 150min shows F) the 16-50 2-2.8f zoom is still a unique selling point, I never bothered with the Sigma 18-35mm because of this lens (for almost the whole range of the Sigma is just 0.2-0.4f difference, AND stabilized, and probably better focusing) I even shoot multicam setups. For every 8bit project, or photo session, I am just covered. and they are so beautiful to hold, if anyone has hold one, just knows what I mean.. I will move eventually, but until now nothing has moved me to the point of invest 10-15.000euros to make a similar setup. RF probably will be, I have EF glass too, but I am waiting to see how it will unfold. Even the tiny NX500 is the camera I have used the most in my life, my everyday cam, B or C cam in different professional setups, the one I use now that I work as an assistant director, always in my main NX1 bag as a backup (or B cam), just so small and beatufil and (Sony do you hear?!) 2 wheels!

I have three! One cost 290 euros body only. Bit battered though

Sony's on fire. Love how they're putting random hot trash out on the curb while nobody can get a PS5.