Andrew Reid

The rolling shutter is a bit less in it but the idea of 30p and a crop doesn't really appeal to me artistically I think this is a great camera for wide angle Super 35mm. Telephoto not so much because of the rolling shutter. Handholding an 85mm or 135mm, forget it. Sigma 20mm F1.4 on the Speed Booster, now we're talking! It's stunning with this and barely any hint of distortion.

Hitfabryk - Friendly forum etiquette tip... Please don't quote long posts unnecessarily, just reply straight under them, as all this quoting doubles up on itself and makes the page extremely long to scroll through. Yes worth the upgrade from the A6000 definitely, unless you have a compelling reason to go for a different model entirely like the A7S II or NX1. Most people won't, I don't think.

S-LOG 2 with Stills colour mode seems to avoid the worst of the white balance problems S-Gamut introduces. Weird reds in sunlight, that sort of stuff. S-LOG 2 is of course good for LUTs, better than any other profile, so if you want to make use of your custom looks in post shoot S-LOG 2. S-LOG 3 is a joke and to be avoided due to the banding in skies, etc. S-LOG 2 however does sacrifice tonality and colour for more dynamic range. The Creative Styles are all a bit naff and will toss your highlights onto the fire, very very bad for dynamic range. Vivid however has lovely contrast, colour and a punch to it, with no effort in post. The Picture Profiles are a weird mess of old video profiles from Sony's boffins, a lot of them hopefully fired by now because they did a terrible job. ITU 709 for example looks like a Canon C300 that somebody threw up on. It's so far away from Arri, Fuji or Canon that it is quite laughable. Once you realise there is only one good Picture Profile aside from S-LOG 2 and that is Cine 4, matters improve a bundle. Cine 4 preserves the most highlight detail of any of the non LOG styles or profiles on the Sony cameras. I dial up the saturation and lower the black levels to improve colour and tonality, gives it a nice saturated Canon-like feel direct off the card and it doesn't then need so much fuss in post. I really like the results and dynamic range is very close to S-LOG 2 once the latter is graded and normal contrast introduced back to the image. I would usually prefer to shoot with Cine 4 as it avoids the weird colour and compression issues that so many people seem to have with S-LOG 2 occasionally.

Absolutely, we all owe you one for the early A6300 coverage and you guys went out of your way to deliver... Yes very unfair of me to make it sound like I was lumping people together. If I had judged everyone the same I would have had to include myself in that as I have been to Sony press events for cameras organised in Berlin. I went to one for the a7R II for instance. They served us free champagne. I drank it. Went home. Wrote that the full frame 4K image looked like a dog had done a crap. I think this is really important in the industry. The PR company hasn't been in touch since. Sony however... have. I think they prefer honest feedback above the relationship bridge building bullshit any-day. Personally I think their influence is becoming pervasive and it is rare to see someone come back from one of these events and raise an issue with the camera in public. When you and Chris came back from Miami though you did a balanced video on it and the information was extremely useful for everyone thinking of buying the camera or not. In the end people can tell if we are being balanced and they can tell when a site like DPReview is going down the drain with advertorial. Hopefully also a site which still refuses to carry advertising (like mine) still means something. I'm not sure it does any more. Anyway, from the bottom of my heart be sure that I did not mean to lump your superb efforts in with the real intended target of my barbed comments, which were aimed at a minority online and not the good guys like you. I mean that. Also, it's great to see you on the forum, hope you stick around, despite my occasional rants Cine 4 is looking superb on the A6300. None of the colour issues of the Creative Styles or the vast majority of the other Picture Profiles (ITU 709 particularly horrid) I've graded it lightly with Fujiflm Velvia in Film Convert's a7s profile for Cine4. I am astounded by the image quality of this camera for $1000... Take a look at that detail close up in 100% view if you download the frame grab below... it is FLAWLESS. Whatever 6K to 4K scaling method they have on the new processor... it works. I prefer this image to my FS5.

People are saying the 1080p 120fps looks soft. Doesn't look to bad to me... Also colour in the Vivid profile is very "Fuji-like" S-LOG may give you dynamic range, but if you want the most effortless out of camera colour just set it to Vivid. In 120fps with centre-spot AF and enough light to feed the phase-detect pixels it rocks... locks on superbly to what is in the centre of the frame, no hunting. Dim the light and contrast detect AF kicks in and it's still a bit poo. Rolling shutter is the biggest issue I have had so far with the 4K 24p. It's the most I've ever had. Locked down shots no issue but this definitely isn't a tool for violent handheld camera work. However in the 1080p modes especially 120fps the rolling shutter issues almost disappear... And 30fps is a BIT better...but crops.

I used the Sony 16-105 F4 and it wasn't exactly working well with that either... recognises people, but then slips to the background occasionally if you're not in optimal lighting or the background is more detailed and brighter than the subject. It doesn't seem as bullet proof as the 1D X Mark II's dual pixel AF. I am sure it is just a case of learning to work within the limitations of it.... sometimes it's amazing and a BIG improvement on before.

AF in stills mode with Canon lenses on Metabones adapter is mindblowingly fast in good light. Can't seem to get them to track an object in video mode though. The Sony lenses track but rather unreliably in low light. So mixed bag with AF but I am loving the image so far.... seems better than expected... mainly due to NR and codec improvements? The rolling shutter is pretty severe though, like NX1.

Just shot a few tests with the A6300 in 4K. Sony have completely changed their noise reduction and the way the codec handles noise... Behold... A fine noise grain in video mode!! This is really nice to see. Shot at ISO 6400 by the way. One thing I have noticed with the copper sensors (X Pro 2, NX1, A6300) is that they really hold onto colour and dynamic range well at high ISOs. More coming soon.

Hey Jordan No way! It kills me to have a misunderstanding like this I am an avid follower of your videos at The Camera Store, I absolutely love then I featured your video on the blog purely out of love for what you do and to draw attention to it. I'd have a hard time passing that off as my own!! Berlin might be cold but it's not that cold!! I do not have a stunning beard. I do not have Chris's strange accent either The PR comment wasn't aimed at you guys *At all* I get involved with the manufacturers and try to build a relationship, I go to the events organised by PR companies to try out the cameras early when I can fit it in, nothing wrong with this and all reviewers do it. I didn't realise you and Chris just got back from a Sony press event so it was a really stupidly badly timed comment on my part. No one can deny there's generally a subversive whitewashing going on due to so much PR in the consumer electronics world but YOUR reviews are NOT like that... I like to think we remain balanced about negatives and unbiased and thinking of our content rather than our relationship with the manufacturers and this is totally what sites like ours do... We shoot from the gut and we are outspoken. I can't tell you how sorry I am for this misunderstanding it is terrible... I'm up for a chat on the phone if it helps solve any issues Sorry - Andrew

I think you're being too harsh really. Running a 6K sensor fast enough to reduce rolling shutter takes a large heat sink and an FS5 or even FS7 size body. I don't expect them to do that in a tiny tiny mirrorless camera for $1k, why do you? You've gotta understand what it is trying to do here... read out 2160 lines of 6K in 34ms with no fan and pretty much nothing in the way of heat sink apart from the poorly heat conducting composite shell of the body itself. By all means take a Canon that line skips through 1080 lines of 2K, pixel binning as it goes... in exchange for a bit less rolling shutter (20ms-ish instead of 30ms-ish) Doesn't seem like much of a deal to me. Plus rolling shutter you can fix in post. Moire you cannot. No touch screen and questionable button placement, fair enough... it should have been better in these areas. I am going out to buy mine now in Berlin and will report back later. If the X-T2 gets 4K then it also gets less or virtually no moire by default, as 4K is almost always a full pixel readout aside from when the megapixel count is ridiculously high like in full frame mode on the A7R II (42MP).

Also the Nikon D5500 does great looking 60p

So far they've only managed a picture of Darren Aronofksy Too bad

Blackmagic micro cinema in good light would be sharpest and best dynamic range In low light A7S

Going to get mine on Thursday now, Sony had a delivery technical issue so they are coming in a few days late here. Looking forward to it. I do wish Sony would change their menus, ergonomics, skintones, colour, LOG profile, jello, banding, macroblocking, edge tearing, etc. quite a long list isn't it? You can be assured my coverage won't be a PR smoothie unlike ALL OTHER SITES SEEMINGLY IN EXISTENCE. Can I just say that Sony have some SUPERB PR people.

That was a little gem dude, loved it. Watched it finally behind the GEMA Wall of Berlin (VPN - Tunnel Bear, highly recommended, I use it for Amazon prime as well) I enjoyed it in a pulpy comic way which I think was the intention, the characters look great, love the choices made in shooting this. The edit is a pacy one, keeps the energy level up but I would have done something else with the pace I think, maybe give it an evolving shape from start to finish. Loved the idea, but the placements of the cassettes and some of the props is a bit too 'clean', I'd have liked to have seen more dirt and mud on them. Loved the seagull shock-horror mouth open towards the end, best seagull acting i have seen for a while Camera did well, looked almost too clean and crisp for the grubby seaside location and retro angle you had on it. What lenses?

GEMA is a total joke!

Sadly Canon are keeping the 1D C in the range which explains why the 1D X Mark II must be gimped even at $6k to be without one of the most important features, C-LOG, something the $2k XC10 piece of shit even has. At the BVE show in London I was at, Canon had the 1D C on the stand next to the 1D X Mark II, so clearly don't intend to phase it out any time soon.

Rolling shutter not much of a concern especially in 60p, but haven't tortured it yet. Will be interesting to see how it compares to the NX1's 1080/60p/120p which has hardly any skew. Viewfinder refresh is 85fps so not much of an issue in there either. For stills, the AF is more impressive than the A7S and high ISOs perfectly usable up to 12,800. Some of the film simulation modes even benefit from higher ISOs especially the black and white ones which tend to like 2000-3200. So it's a good low light camera.... Not quite full frame good, but good nevertheless. Going to get the 35mm F2.0 WR for it as that has more modern AF, snappy and silent like the 18-55mm F2.8-4, I believe. 35mm F1.4 is a bit rough. Oh and the screen is a thing of beauty... 1.6m dot, beautifully sharp, seems similar to the panel Nikon have used on the D5 and D500

Actually a mechanical shutter has everything to do with it. When we say the sensor has a rolling shutter, don't confuse this with a rolling readout. It is actually doing a rolling exposure. And unless you have a global shutter sensor (the NX1 does not), then any electronic shutter is a rolling one. Period. Whenever you use that instead of the mechanical shutter you will have to expose the sensor row by row and it will take a length of time determined by the speed of the sensor, to do this.... In the NX1's case 30ms to read out 24MP in 16:9, a bit longer to read out the full 28MP in 3:2. The top of the sensor will be exposed 30ms earlier than the bottom and you will get the RS skew. The mechanical shutter allows the entire sensor to be exposed at the same time, then the readout is done by passing each row through an A/D. No, the discarding of pixels is done on the sensor and it only sends a subset of them out to the image processor to display on the EVF and LCD. The NX1 only switches to a full pixel readout when you hit movie standby or start recording 4K. Then the image is scaled on the image processor (in a more advanced way probably using bilinear or bicubic filtering) from 6K to 4K and there's also a more heavily scaled version for the LCD. Processing overhead... not necessarily. There are many things which can cause a delay with an EVF, slow panel refresh rate, contrast detect AF changing the sensor mode briefly, interruptions to the image pipeline caused by design. It's too simplistic to say it is a 'processing overhead' and without diving into the specifics in the case of the NX1 you're just guessing really. What does that have to do with video or live-view? Nothing. It's an in-camera post processing aspect and off topic.

It doesn't group 11 into one though. It discards them. That's what binning means. They go in the trash. Fastest way to do it. NX1's live-view is a low power mode designed for fast refresh rates at 640x480 just for composition on the EVF and LCD. Only on a few cameras in video mode there is summing and averaging of groups of pixels into one. Not sure which ones do it, usually the ones that do cleaner 1080p like the Nikon D750 and 5D Mark II. I also think it helped explain why the GH2 had less moire and more detail than a 5D Mark II at the time which line skipped and didn't sum or average pixels together in an advanced way like the GH2. Because the noise isn't diluted by taking ALL pixels and doing a clever downscaling. Noise is amplified because of the pixel binning. Whole pixels become a spec of noise, rather than an average of a group of pixels where the signal would counterbalance the noise.

Funnily enough they discontinued Canon FD lenses in the 80's and they are still easy to get on eBay in 2016 so I wouldn't worry about anything NX1 related becoming 'unobtainable' any time soon, if anything it will just get cheaper, which is nice. The NX1 is by far the most pleasant to shoot with ergonomically. Feel in the hand is great. My hand and the A7S II have never got on very well. It doesn't quite feel as bad as clutching a bag of nails but it does feel like clutching a soulless badly designed camera body with fiddly badly placed buttons, for sure. NX1 fits like a glove and your hand wraps most comfortably around the most important controls. I even prefer it to a Canon 5D body and that says a lot. A6300 is cute, small, but still just as soulless and fiddly ergonomically as the A7S II. As for the image we'll have to wait and see... I am going to do a comparison with the NX1. I think for the money it is great. Unless you need the in-body stabilisation and headphone jack of the A7S II, then the A6300 will serve you just fine especially with Speed Booster and it can do 12,800 pretty comfortably from what I have seen of the early footage. I rarely go higher than that. NX1 meanwhile will give you better colour straight off the card, no fuss to grade, better ergonomics, top panel LCD, weather sealing and sharper 120fps... Super clean ISO 800. ISO 1600 ok. ISO 3200 starts to get bad. Your call

Here's the Velvia preset, which I absolutely love... First shot, crappy light but it has that 'x' factor Sony is nearly always missing, all without any effort at all in post... Look at the smooth tonality and balanced colour... By the way, here's what Velvia looked like without the 16-235 correction in Premiere... different to the JPEGs and on the camera screen, it had crushed blacks. However the codec has kept them! They snap right out when you correct for the dumb Quicktime RGB range clipping. Next shot a much more challenging one for dynamic range. Look how much you can get out of it with the most simple quick grade possible - just Fast Color Corrector in Premiere and zero else, not even a RGB curve change... First ungraded, 0-255 straight off card: Second graded, 16-235 fast colour corrector Oh and very important this...... in doing this correction to extend dynamic range notice how colour doesn't go 'weird' like with S-LOG Cheers for that vid Kaylee, fun to watch.... You can see how detailed the image is pretty well from that. I dial sharpness down -4 to take the edge of it and bring the blacks up a bit in post. Nice fast lens helps too, and Speed Booster. It is a really cinematic image with these adjustments.

Superb as long as you use the Fast Color Corrector in Premiere to remap 0-255 RGB luma range to 16-235 Playback the files in VLC or Quicktime and you get clipped highlights and crushed blacks. No idea why this is still a problem in 2016, maybe Fujifilm should talk to some Apple guys. Yeah, absolutely. It is just like having a Leica M rangefinder that happens to shoot better video than a Leica M rangefinder for 1/4th the price, with an EVF AND AN OVF, can't argue with that The X Pro 1 I also liked but ended up selling it at the time, lens range was rather limited back in 2012 and it was a dog slow camera. That was the biggest issue... the dreadful AF and even dreadful manual focus too. The X Pro 2 is mega fast and snappy, they nailed it. Also, viewfinder and body just seem higher quality this time round. Bit heavier, but amazingly built. Only weak points are the battery life and it is such a sharp 1080p image that when you do get moire, it is pretty noticeable moire. 1 out of every 10 shot has it, but depends on the subject. Not the kind of camera to shoot a lot of infinity focus shots of buildings with, but for actors it's rarely an issue... brief occurrence on clothing, that's about it. What is amazing is that although it is clearly a moire affected camera, it is wonderfully detailed for 1080p. I'd put the moire at a similar level as the 5D Mark 2 RAW without AA filter and Blackmagic Pocket Cinema Camera. It's not the worst but it does happen.

So I really didn't think I'd end up keeping this camera, especially as it is 1799 euros body only(!!) for just 1080p and no articulated screen. BUT this camera is a lesson to all the others... 1. May seem like a small thing to start but it has the BEST menus I have ever used, end of story. Properly organised. Not too long. Snappy to navigate. It is amazing how many other cameras get this wrong, even Canon which have too many sub-sections / tabs. Then there's a nice big MY menu at the end of the new Fujifilm main menu so you barely have to dig into the other tabs at all. It is such a nice improvement on the previous Fuji cameras. During a shoot the menus can make or break a camera. Ask any FS7 owner 2. COLOUR and CODEC and DETAIL - it excels at each. The images have an electricity to them, super alive. On most cameras, even with H.265 on the NX1, the codec always pays lipservice to the blacks. Whenever you bring them up they are a mess of banding, compression, blocking. The X Pro 2 codec handles like the D750, super clean in the shadows and LOTS of detail. You can bring so much out of the blacks even when they are crushed in-camera when using Velvia - which by the way, is giving me the most satisfying out of camera non-graded non-fussed with colour yet. 3. SMOOTH editing, and 60p for slow mo. With 4K i have come to miss my render-less timeline, snappy editing and 60p with small file sizes. The only 4K 60p DSLR is $6k and 800Mbit. Hmm - no thank you. 4. SOUL. It has as much soul as a Leica but is far cheaper and with a much more versatile feature set and viewfinder. The EVF is super sharp and you don't even have to magnify focus half the time, just go off the EVF or the back screen. Both are superb. To shoot with it is a pleasure. The water sealed body, the build quality, the twin memory card slots, the reassuringly photographic clunk of the mechanical shutter, which by the way is much quieter than a DSLR but no less beefy, the retro good looks - SUPERB looking camera body - it all adds up to something you just want to pick up over anything else. Makes the GH4 and NX1 feel like boring utility tools. 5. It is FAST and the LENSES are lovely. AF and general speed of operation is a big improvement from the X Pro 1. Then there's the lenses 35mm F2.0 WR, small and affordable. 56mm F1.2, creamy like a Noctilux. I also love the 18-55mm F2.8-4 zoom, it is small and well above average for an APS-C zoom of this kind, 35mm F1.4 is slower to focus and has no OIS but it is a lovely piece of glass, 23mm F1.4 also a stunner. OK, I wish it had zero moire, I wish it had 4K and I'd love an articulated screen. And yes... This is designed purely as a purist photographer's Leica-style rangefinder, what the hell am I doing shooting video with it? Because it FEELS so good to do so and it LOOKS so nice when I playback the results afterwards. Two things that are so important - the feel of holding the damn thing and the feel you get from the colour and details afterwards. Vibrant and alive, the whole experience. Sony, Canon, Panasonic experience dull by comparison. They really need to take a hint from Fujifilm.

A7S II is contrast based AF, the A7R II is phase and contrast hybrid. Phase detect active with Canon lenses with the Metabones adapter on the latter, it can be very fast. Lack of native NX lenses, hmm... not really! S 16-50mm F2.0-2.8 OIS? S 50-150mm F2.8 OIS? 85mm F1.4? (It beats my Zeiss wide open) 30mm F2.0? Lovely cheap pancake 45mm F2.0? Again very cheap, light, fast and sharp! Those are the best ones... not a bad line up and covers 16-150 all at fast apertures. AF is best on the S premium zooms What else would you need? Plus you can adapt Nikon, Sony Alpha and a ton of other lenses to it with adapters.