hmcindie

That's why never look at reviews done by people who don't actually use them in the same jobs you do. But seriously, the A7s is pretty good but it does have color issues. I didn't really believe it but now that I have done some grading with the a7s I feel like there are issues. Though I also believe these issues will disappear a lot when the Shogun arrives but that will increase the price of the a7s way up. It will also decrease the usability as the HDMI port is quite rubbish (as it is with all DSLR's) and will most likely break. But Sony being Sony they will probably introduce the a7s II with IBIS and some more issues. All this complaining aside, SLOG2 can look absolutely wonderful. Especially during high brightness situations like bright sunlight. It does give the image a "high-end" feel. Just don't use it all the time. Sometimes it's better to switch to the cinegammas, especially those that are 16-235, like Cinegamma 2. Of course then you will have to match them images but that's the thing we are learning right?

The problem with temporal noise reduction is that it will leave residue (pixels) behind when subjects move. I have never really liked it, you can see a lot of temporal noise reduction on the Sony a7s when you go over 12,800 ISO. Looks great in tripod shots but not when stuff is moving.

Of course it's subjective. Cinematic look is always subjective. Fullframe is seriously more cinematic than m4/3. (Subjectively of course) Cost of full frames lenses is irrelevant, a6000 is not fullframe. M4/3 quality glass is not cheap either.

This is most likely a hoax. I mean, someone just sent a whitepaper to sonyalpharumors and that's it, everyones blogging about it, hoping for clicks. http://image-sensors-world.blogspot.com.es/2014/11/active-pixel-color-sampling-story-goes.html "It looks like someone has taken a machine vision datasheet and modified to make the sensor bigger, with faster frame rate and more DR. Then added some non-sensical numbers."

Yeah, I also thought the original was a parody, that's how it was shown a couple of months ago. A parody of a parody?

I have slightly the same problem with the a7s. Slog2 is actually easier to grade than the cineprofiles. I get worse skintones when using the cine ones. I have no idea why. But don't using s-gamut, it will really make things difficult.

Sorry but prores is not RAW. It's good and great but RAW is RAW. And you haven't seen good videos that have impressed you? Well boohoo, there's always someone crying about "I haven't seen a good video from that cam", from every single camera there is. Wasn't there a guy just here in this forum who claimed "I haven't seen a good video from the FS7, can't be good". There are GREAT little videos about the 5d raw here and there, everywhere. Cameras don't make a good image, the director of photography does. Cameras HELP. You think I can just point the a7s anywhere with it's slog and it will always look great? Usability? Yeah well for documentaries RAW is overkill. For narrative films? It's just too good to be true. I still can't believe the image that the 5d raw puts out. No compression artifacts, extreme amount of color information, Canon color science. Pretty good lowlight (it's no a7s but it can still make excellent images in lowlight because the RAW cleans up extremely well compared to h264). Great to handle (yeah I actually think the 5d format is one of the best DSLR style handlers there is, a7s is a bitch compared. Just the record button placement on the a7s is ... it's just ... bad.) And the FS700 is horrible. It really is. Okey, not horrible but it has serious issues. Without the 240fps capability, I would never use it. It's almost like a gimmick camera. We rent it often because it is one of the cheapest ways to go over 200fps but other than that... FS7 looks to be really improved from it though. Have you looked at the actual image quality coming out of the FS700? It's not ... that good. There can be the typical Sony white outlines over bright objects (same as a7s) and the image compression is quite heavy. A prores recorder like the Odyssey will help but then it's so bulky it's funny. A professional can make the FS700 look good, a pro can make any camera look good. I'm just saying: "One of the best DSLR's for video is right here and it's thanks to Magic Lantern". It's really, really good. It takes a lot of work but once you get it running (and get the necessary pipeline for serious shooting with several fast CF-cards and drives for the material) it really sings.

That's why most people started using DSLR's in the first place. When the 5d came around it was a revelation because people were used to an even shittier image than the XF100. And you know how long people defended those shitty 1/3" professional cameras? A long time, until companies started releasing s35mm cameras.

If it's the same LCD (and I guess it is) as in the Canon XF100 it really is unusable.

We did tests in our company, Alexa RAW (2880x1620) vs RED for a heavy VFX feature film. We chose the Alexa. Way better image, across the board. I thought the difference would be smaller and that the RED would win because of resolution. But it really didn't. And we have lots of tracking shots to do.

5dmarkIII RAW is still THE BEST THING out there. I don't care what the a7s apologists say, it's nowhere near the 5d raw power. It's better than the C300. It's Alexa lite. And a better DSLR will not be coming soon, from any manufacturer.

I don't get that either. Why are you even buying cameras if you don't really need them? I mean shopping can be quite fun! I had fun when I bought the a7s and played around with it a bit. But that fun goes away in like a couple of weeks and then it's time to make something. I had way less fun when I bought the Canon 7d four years ago but damn I learned a lot using that bastard for years. People who just skip and wait and skip and wait, will also skip learning and doing. And that's way more fun than buying a great camera.

Shot this with the Sony a7s in quite lowlight. Fullframe mode, no aps-c. Just for YOU guys!

Nodes are wayyy better for complex compositing, that's why Fusion is used for a lot of compositing work instead of AE. Though timeline/layer based can do motion design better I think as you can more easily create complex timelines where Fusion might falter. I would switch away from Adobe except there is really no substitute yet for the Premiere / AE workflow and it's gotten even better in the newest release which lets me render&replace with a single click. Only problem is that the new UI looks like horseshit, especially with After Effects, hope they fix those blue keyframes and horrible comp icons. I can't make sense of anything anymore.

That actually doesn't look like it's real 48 fps. It looks interpolated 60fps (like what modern televisions do with their smooth motion). It's also not an official link so I call: FAKE! for example the shot where the statue falls has interpolation artifacts heavily.

We did this inverse fight scene from end to beginning for a local band. Managed to trash a building a bit which is always cool. Couple of 5d raw shots in between the FS700 avchd.

What the eff? Largest sensor ever on a pocket camera (that you could stuff in your jeans) and now it's tiny? Do you know what the word tiny means? If that's tiny then what are regular pocketcam sensors? Invisible?

That COD trailer is like 99% CGI. Personally... I really like that Hardcore trailer and concept. It just has a really nice gritty vibe and personally I enjoy practical effects way more than full on CGI. A whole film from POV? What the heck, give at a shot! Show those negative nannys that it can be done! Will they succeed? Probably not but hey, challenges are made to be overcome and I think these guys have to potential to do this way better than a large Hollywood system.

But no. A7s has been measured to be about 15-20ms (depending on measurer) in aps-c mode, that's pretty much the standard on any CMOS camera that is s35. http://***URL not allowed***/rolling-shutter-sony-a7s-vs-arri-amira-canon-c300-5d-mark-iii-1dc-panasonic-gh4/ Samuel H's measurements: http://www.dvxuser.com/V6/showthread.php?303559-Measuring-rolling-shutter-put-a-number-on-this-issue! I've used a bunch of CMOS cameras and none of them really have that much faster than 15ms rolling shutter. I also wouldn't call 100mm a normal slide look, usually slides are done wide angle instead of semi-telephoto. Actually, I don't even remember a slide that needs global shutter that much, usually it's handheld that gets most damaged by rolling shutter, not slides. I'm trying to figure out your shot, apparently your slide was very fast and it had buildings that were slanted. That's just an odd slide if you ask me.

You do know that you can't just count the dots told by manufacturers right? They usually count R+G+B pixels separately and some of them have "white leds" that also are counted separately. Also listing just bitrate specs can be quite misleading as the RX10 (updated) and the RX100 have considerable amount of macroblocking on fast moving scenes.

How fast are you going? I mean APSC mode on the a7s is pretty much on par (or even faster) than other CMOS cameras anyway. So comparing it to one of the few global shutter cameras (F55) is quite wrong. If A7s is unusable to you in APSC mode then so is every CMOS camera except ones with global shutter (F55).

Never shot anamorphically? I mean those are way more artsy than spherical lenses and the look is also closer to fullframe.

Silent shutter is awesome! Tough I think the bodies are almost too light as without stabilized lenses the image jitters like crazy.

? I don't really get what your saying here. Deakins didn't say anything about the quality of the C300 and isn't it the EOSHD motto to not talk about artistic stuff? You now hate Canon so much that even someone praising a film that was shot on a Canon camera will draw your ire. Like one person talked positive about a film and it's now the worst thing ever. You talk about how the A7s is so close to 5d raw that it's not worth the trouble in post but don't see how that analogy also works for the C300 / Alexa with RAW. Alexa with raw is even harder in post than 5d with raw.

If someone wants to see the a7s in motion, here you go. We just did a little fight scene with the A7s as stunt training. It got pretty dark here and the lowlight ability gets very useful.