Chris Gibbs

This is an age-old still photographers debate and worthy of a Phd thesis..........

Agreed, that's not far from the X-Pan format, shooting a normal lens on an X-Pan gave you a lovely immersive aesthetic, without that surreal wide angle detachment you get with smaller formats!

I suppose you could set-up the movie-mode to be in Program (auto everything) for those situations where you are trying for that camcorder functionality and utilize the stills modes where you want different levels of control. Or would you be better shooting movies in Programed stills mode OR that or the green AUTO (idiot) mode where you want camcorder functionality (point & shoot)? This stuff gets confusing, and just as I figure something out I forget what it was...............(:-)

Good attempt at writing-up something that makes little practicle sense (now we know why Sony omitted a proper manual). :) 1. Snagging stills whilst rolling video *like you can on the 5D3* is brilliant, Sony needs to address this omission on the A7's. 2. From a stills perspective (I'm a stills guy) I advise everyone to think and shoot in 16:9 mode, very few shoot to print anymore. 3. The fact that you can set a snappy profile for stills and a flat one for video is what makes all the difference working with the A7S over the R. 4. Never set a flat stills profile on the A7S (for stills) if you are a RAW shooter, it'll just mess-up your EVF for focusing!!!! There are a ton more, but Andrew did a great job on something no one else has to date!

Sensible question to which the only sensible answer could be - you don't get anything for nothing in optical design.

Now, your Sea Bass video is hilarious, she's very cute too! :D ~Chris

Thanks, I know little about video protocol but had settled on that through trial & error. Have you come up with a decent custom profile that keeps us away from 3200 ISO, that just doesn't work for me as I'm shooting 75/25 stills and video? Cheers, Chris

You'd have to rent them each, perform some real-word tests and see which meets your minimum requirement. You get what you pay for with glass but the FE 1.8/55 IMO is actually quite a bargain. DXO is akin to a "job interview for a lens" a lenses character is only revealed when stressed under different/challenging shooting conditions. Just like a persons character is! And by magic, this just appeared over on TOP: How To Get the Best Performance from Your Camera Lens, Parts I and II (TOP Classic)

Wow, interesting thanks! I'd gotten into this with a few video guys previously, there's a little disconnect with some of them reference lensing/reality. When we get into this whole "wide-angle equivalence issue" things get a little convoluted. A 24 is a tough lens to make without all the nasties, CA, distortions, vignetting etc. Try making a 24-70 perform the same, that's even tougher, add OSS it gets worse and then try making it smaller and your going to have to compromise somewhere. So yes, it makes perfect sense for Sony to work a little magic behind the shutter curtain.......... Now take all the above, substitute a 12-35, add in a third party lens adaptor (speed booster) and see how you'd stand comparing/correcting that moving image, that's ten times tougher. Don't even get me started on these f/.85 CCD TV camera optics..........(:-) All things being equal, maybe that Sony FE 4/24-70 OSS is a pretty good compromise for a video shooter on the A7S, especially one who wants to shoot with as little pissing around as possible in post? What I can tell you, the FE 4/24-70 OSS is a good little lens for stills on the A7S, and we're taking about assessing it at 12MP without corrections applied, with corrections applied and its very nice! Chris

Those huge distortions are hugely exaggerated if you ask me. I'm a stills guy, I don't shoot charts or architecture, often times I actually prefer the uncorrected RAW to what LR thinks it should look like. It's kinda nice how a 24 pulls the image center when you want that effect. I was asked about the "auto-correct" feature for video, I ran a few "real world" tests and it looked like it was correcting for distortion and vignetting on the 24mm end. If I wanted huge distortions (from a stills guys perspective) I'd go have a play with those speed boosters. (:-) EDIT: You know they must correct internally, remember when Sony offered the firmware upgrade for the A7R and said it was for the FE 4/70-200, they made a big deal out of that fact. This was one of my reasons for not wanting to play around with all these off-brand lenses on the A7 cameras, its often a PITA to correct for that stuff in LR or PS. How on earth are you video guys doing it for motion? Even Resolve "looks" basic compared to a high end stills editor where correction is concerned?

The math (kit requirements) on both systems is interesting, but I think its being spun by both sides in favor of one or another. For years with the 5D2 video shooters complained and asked for better audio, i.e. XLR's, now we have TWO choices. Just factor in the basic professional kit with one lens: 1. Camera body 2. 24-70 field of view 3. XLR audio adaptor 4. Shotgun mic 5. Batteries to run it all 6. External recorder with built-in monitor Forget all the other bits & pieces, you'd need them for whatever. But get that kit I've mentioned in your hand rolling video and recording quality XLR sound and note the cost.

The FE 2.8/35 is an excellent lens, no surprises, it just performs superbly. Take a look at the FE 4/24-70 if you're using the A7S for video & stills, it really is very good on that body, the OSS is superb for video and it's small and compact. The zoom is as good at f/8 as the prime on the A7S if sharpness is part of your criteria. On the A7S the FE 4/24-70 really is worth a look at, it performs better on that sensor. Both the FE 2.8/35 & FE 1.8/55 are top flight optics for stills on the A7S & A7R. I shoot a great deal on the A7R and use both primes exclusively but on the A7S I'll reach for the FE 4/24-70 for the OSS. Chris

The native glass for the A7 series is "FE", think F for full frame. The "E" series is APSC. Many overlook the FE glass, but we in the photographic (stills) world will attest to its quality, the FE35 & FE55 are just as good as any glass we've had access to from Canon or Nikon. In fact, neither Canon or Nikon offer a lens that approaches the level headed (read: no nasties) quality of the FE55. On a side note, I'd imagine that, for you video guys, a lens like the FE55 that performs almost flawlessly wide-open is a better option than one like the 50L that isn't as well mannered. Chris

Andrew Reid Wrote: >If you try shooting video in stills mode and silent mode is enabled, you can’t select S-LOG or the other pro video picture profiles unless you enable the mechanical shutter, which is deeply odd< I'm finding some interesting "quirks" (bug features?) like this too. However, one feature that's very interesting (from photographers perspective) is having the creative style (stills) active when in stills mode and when selecting movie mode your now activating the video picture profile, that's very useful for maintaining a snappy EVF for faster paced stills work, especially if you've selected SLOG as your default PP. In the A7R, when set-up for video you're always looking at this flat lifeless EVF, even when in stills mode. All these "features" are explained in depth on pages 446, 675 and 893 of the A7S user manual............that we're waiting for Sony to write!!!!! :blink:

Dynamic Range – Sony A7S vs. the others