jgharding

It seems blue-channel clipping makes the A7s go bananas! Spiky LEDs are evidently a pain for it... Perhaps this explains the Sony cool look, blue sensitivity in their sensors?

Looks ace! Me want buy please. I'd love it if Canon did something similar to better match Canon Cxxx footage colours but LOL that will not happen. Here's a writeup with some negative points to make: small buttons, weak battery, he doesn't like the EVF http://www.theverge.com/2014/9/15/6152781/panasonic-lx100-micro-four-thirds-camera-photokina-hands-on It is really small! I don't really care though, it's 4K with OS, gimme!

This is the one I'm most interested in so far. This and the LX100. I wonder, is the FS7 slow & quick mode buffer based or continuous recording? It looks as though it's not buffered: Super Slow Motion continuous recording is possible The PXW-FS7 offers continuous recording at Full HD image quality and a frame rate of up to 180 fps. This makes it possible to attain up to 7.5x Super Slow Motion when played back at 23.98 fps. Furthermore, support for unlimited shooting at Super Slow Motion means no more mistimed shots leading to extra takes. It also lets you pick out footage at exactly the point that you want.

I'd turn to Magic Bullet Looks first, which has a useful set of blur tools such as diffusion, edge blur and tilt shift. Magic Bullet Cosmo is specifically designed to soften skin, but you have to be very subtle because it can look ridiculous when turned up.

No 25p UHD? I don't get why... what a silly commission

Oh it's 720p for high frame rates. It probably resolves a bit less than actual 720 at a guess.

Awesome! It's a shame it didn't get Slog2 as well though!

Well, their whole site is now down... Google cache has it, but site is dead... EDIT: Must've been overloaded by interest... it's back

I find these offers from BMD a little frustrating. Sales/profile are not quite where they want em, so the price is dropped, loads of people order, and the stiock to fill the orders doesn't exist. Then the price is raised. So years after the camera's release you have a whole new group of people on another waiting list with no information about when the orders will be fulfilled. I think it lowers trust a lot in the long run, I don't think it's worth it to get some money in the bank.

^ That looks lovely. What a great camera this is!

Gimme 24/25p with a decent data rate/codec implimentation and I'll buy it anyway. 5 axis is ace!

I use an ordinary 2.8k monitor for working on, but a 1600 x 1050 (approx) JVC DTV series one for grading. It looks sharper than normal 1080 monitors and is colour accurate. In other words, if you can't afford a huge 4k monitor that's colour accurate, use a cheaper 4k or so for edit (or just your current one) and a lower res colour accurate for grading is a budget option... I've never had to work at 4K really so at the moment I wouldn't be future-proofing that much. Of course you may have different needs. Cinema DCP is still 2K, so is most online streaming (well 1080p) so I'll leave that market to mature.

Slog has a slight cast from whatever white balance is there it seems, that's one of the things with compressed log. But then most film stocks have a cast too, I don't see a problem, just different unrealistic colours from all the cameras. I think it looks good and I can make it look how i want happily. I'm not concerned too much about the charts. If someone made a camera that was perfectly real, no-one would use it because it'd look boring. The A7s makes beautiful pictures in video mode! The green particularly is odd and desaturated, looks a little blue to me. But also I'm not fussed, it reminds me of Kodak Ultramax. That cheap film is my favourite 135 stock probably. I say well done to Sony.

regardless, this is Zeiss we're talking about. Why design something so poorly and rely on lossy software fixes? These guys know glass... it's odd

It's a shame the FE system standard zoom lenses are sucky. Look at the horror bokeh here on 24 to 70 f4 http://www.photozone.de/sonyalphaff/867-zeiss2470f4oss?start=2 Also bags of distortion. The 18 to 105 F4 APSC should be ideal, but have obscene distortion: I dunno what the excuse is. They aren't actually designing for very short flange, there's a big gap at the back of the E/FE lenses so they don't need extreme correction at the edges. The quality sucks compares to the old Contax Zeiss but apparently it's the same company. The standard zooms are all overpriced and poor performers either in speed or quality. Very sad...

CY mount: 45.5 mm from sensor F Mount: 46.5 mm from sensor No glass means nowhere near infitiy focus, glass element means loss of quality. I'd rethink the plan TBH...

my favourite film stocks look unnatural... I think the video at the start of this thread has lovely colours!

I like the Alexa/Amira best too! It still enhances certain tones it seems (like teal), but I don't particularly desire 100% accuracy, I just want something pleasant! Sony colours are still very cool, with very blue greens. But then the Canon C series can't really do chroma green too well either...

C100 is the camera that proves you should never buy anything on specs alone. If you design your own profiles you can even do quite heavy grades in AVCHD! And design them you can, with full control over colour matrices, setup level, and tons more. Proper pro stuff... So to dial out the green, start with a C-log profile and try this: Matrix G-B +5 Matrix B-R -5 Matrix G-B -5 WB Red Gain +1 WB Blue Gain +1 Adjust to taste. I don't really use EVF TBH, it seems to be a little funky.

I have it because it's the best 1080p image in a sensible easy-to-use camera body, at a good price. Stick a Ninja 2 on it and it beats C300... I don't need 4K or high speed for most work, so this is the workhorse, and it's beautiful footage to look at and use. It's not perfect, but hey, nothing is.

Canon C100/C300 have real-time peripheral-illumination (vignetting) correction for lenses in camera, but not distortion correction. I've never found it a huge worry though. Video is moving, stills aren't, so it stands out more in stills. I add vignettes often anyway.

Quite right, I didn't really think it through in those terms, more as an investment for a business. But since that isn't the reality for a large portion of purchasers my comment only applies to a small section of that market in retrospect, and was too sweeping, cheers for putting it a better perspective!

Speed booster and APSC most of the time, due to reduced rolling shutter and better 60p mode. I also find focussing full frame for video pretty hard if I'm honest. I've never used a Tamron in anger so I'm a bit suspicious. They could be good though... but L lenses are weather sealed... Does anyone know if Metabones speedbooster effectively breaks weather seal between A7S and Canon L?

Hey Chris! Looks like we're both going the same way cam wise so we can swap tips over cold, frosty, delicious beers. I was considering the 24-70 L f4 IS as a standard lens. The sensitivity of the camera should make up for the loss of a stop, and I find myself wanting f4 DOF a lot of the time anyway. Main thing is IS though, I find it so helpful and it beats warping in post! Thing is i don't know about the optical quality, perhaps someone else here knows? I've seen some positive reviews. If only this camera had six-axis sensor stabilisation too eh?

I'm not sure i understand the comments I've been reading of the A7s being a "different price bracket" to GH4... Cheapest GH4 bodies about £1200 pounds her in UK, cheapest A7S about £1400. That's the definition of the same league! When it comes to grading the footage of both, the A7S gives you so much easier a time from my experience so far, I don't think the 4K internal is really worth it, as the Panasonic loses out on every other useful point. The crop mode in A7S is 2.8k to 1080p Just like the Alexa, it's the closest you'll get to an Alexa for 1400! Dammit everyone, go buy em, show Sony this is what we want. Stick your old cameras on eBay before they're worthless paperweights ;)