Shirozina

8 bit is not the cause of banding - it's the high compression 4.2.0 internal codec. 8 bit HDMI out to an ext recorder won't band unless you really abuse it ( and that's the only way I use S-LOG on my Sony's). 8 bit (RGB)Tiffs generated from RAW stills are very hard to produce banding in unless you do very aggressive tonal changes but output a highly compressed jpeg from the same RAW and it can have banding even without touching it. Also with a video camera we are not talking RGB but YCbCr which should be better than RGB in this regard as most of the data is in the Luma channel but due to the massive compression found on internal codec's it bands oh so easily.

I'm seeing this as well. Even with sharpness down to -5 the sharpening artefacts are pretty obvious and it's starting to become the 'fly in the ointment'of this otherwise very good camera......

Agree but only when combined with a codec that doesn't suck the life out of the image. Biggest gain with the GH5 is the 4.2.2 / 150mbps vs Sony's 4.2.0 / 100mbps

Sony release a high end stills camera with some video capability but astonishingly it's not a video orientated camera with some stills capability added on......................

The A7r3 like the A7r2 is a very good / class leading stills orientated camera with added video capability. I bought mine solely for it's stills ability and only later started to use it as a video camera. If I was starting from the position of wanting a camera for primarily video use I don't think the MK2 or the 3 would make the list. As said previously the only way to properly exploit the full potential of the sensor is to use an external recorder which is not always practical - been there, done that, bought a GH5.....

The HDMI output to an external recorder from the Sony is way better than the internal codec as you can confidently use S-LOG and not have problems with banding even though it's 'only' 8bit. With a claimed better processor it's puzzling that they haven't given the MK3 a better internal codec along the lines of 150mbs 4.2.2

Canon RAW has mediocre DR.......

So by the same logic 15 stops of DR (claimed) and 14bit image data is a sham and marketing hokum for the stills photographer?

Not enough of an upgrade over the MK2 for stills and without 10bit and / or a better internal codec for Video it's not going to replace my GH5 for Video. I somehow doubt that the A7s3 will address these issues so for me it's a win , win as far as my budget is concerned. I very much doubt that given the very minor changes to the video specs of this new model.

Don't agree - at the very least it's a combination of the 2.

It's because they do audience surveys and they have found at at higher volumes the audience is likley to like a film more than if the same film was played at lower volumes. Same reason they put a pointless fight scene in at the end as the producers know it will increase their revenue. Films are first and foremost commercial investments and the producers know what ingredients in a film will give investors the best return on their money. Once you get this concept it's pretty easy to dissect the average 'blockbuster' down into it's constituent revenue earning parts. With all due respect to the director he probably had very limited control over the final edit.

I 'upgraded' from a shogun to a PIX-E but If I needed an external recorder again I'd get the inferno as it has a much brighter screen so it's usable outside and it can also do 60fps. Likely VideoDevices will upgrade the PIX-E's with a high NIT screen and 60fps at some point....

You are gaining 4.2.2 colour and a much better codec which won't show compression artefacts (which people wrongly assume is an 8bit problem) This will allow you to shoot S-Log and not have smooth tones like skies fall apart (banding) when you apply a LUT / grade it later like it does with the internal codec. It's a clumsy solution though......

Yes they can. You may think it's the wrong approach but if you were a Sony shareholder and the board proposed a move that would reduce profits you may think differently....

Arguably the GH4's 10 bit external was not any better as the Sony 8bit external.

Apart from the fact that the A7s still has significant advantages in 2 important areas - sensor size and low light / high ISO performance. An A7sIII with an internal UHD 4.2.2 10bit codec may just be the 'giant killer' that everyone wants but which Sony thinks will kill sales of their higher end cameras and therefore not be commercially acceptable.

Must be connected to 4.2.2 vs 4.2.0 rather than 8 vs 10 bit. Been banging on about this for ages though - nothing wrong with 8bit as long as it's not compressed to hell and has better than 4.2.0 colour. 8bit HDMI out from my Sony A7s/r2 is virtually unbreakable while the internal codec falls apart just looking at it. Still the 'voices' all demanded 10bit above everything else and that's what they got.......

I just bought the 21mm Zeiss and paid for it by selling my A7s and 28mm Zeiss - thanks for the great advice!

Keep your delusions in check - 'full frame' is just another format and not a new standard.

So I'm shooting an interior - how can I increase the subject distance without knocking down walls?

F11 on my MF digital back still has quite a shallow DOF compared to my smaller sensor cameras and means I have to shoot with high ISO or only in bright light - any advice on how I can resolve this now and in the future ?

Not sure what is the best mirrorless camera but this is easily the best thread title I have ever seen.

A video 'style' but not a standard. Shallow DOF has lots of drawbacks as a film making device.

But when you hear the quality of the recording with top notch mic's you will wish you hadn't as you will want one.......

If I had to pick one lens for life I'd get another life.