jax_rox

Yeah, but better bit depth and colour info is always going to better/give you a key easier. Doesn't mean it can't be done. If that's being used, sure. That wasn't specified though.

That's a long bow to draw, man. He said 'my batteries are running out'. There are so many variables like type of battery (i.e. OEM or third party), usage, and expectation that can quite easily make that a user error. The batteries on the A7 series already drain quicker than a Canon. That's just how it is - they're significantly smaller batteries, so they can fit into a significantly smaller body. That's not necessarily a flaw of the design, just a ramification of it. Who can say whether he's talking about a battery draining quicker than a Canon, or literally draining within 5 minutes. Without further clarification, it's impossible to say. Or maybe it's that he hasn't selected the setting in the menu that automatically switches EVF/LCD depending on if you put your eye to it or now. Perhaps he's not holding it correctly. C'mon man, there are so many potential solutions that are significantly more likely than 'the camera is a dud.' If it was a Canon cam, everyone would say 'definitely user error' but Sony's just trendy to bash at the moment. Which, whatever. Each to their own. I'd say a big portion of all the shooters I've spoken to love their Sony's. But again, each to their own.

So, you didn't charge your batteries, or didn't bring enough batteries... i.e. user error Difficult to tell whether this is user error or not, but I've not had an issue with this on the A7(x) series. This is not an issue exclusive to Sony, and is the reason I don't use USB on any cameras. My Canon's USB simply stopped working, or would only work 1 in 25 times that I would try it. I haven't tried the Sony USB much, only because to me it seems pointless when a card reader is like $20. Like what? What is an ISO problem that is a camera manufacturer's fault? If you're talking the doors that cover the connections then I kinda agree, but I wouldn't say they're significantly worse than any other manufacturer really. Due to flimsy plastics? Or the USB not working all the time? Mirrorless in general is different to work with than a mirrored DSLR. Overall, I think the Sony cameras perform almost as well, if not just as well, depending on what it is you're shooting. My biggest annoyance with Sonys are the boot-up times, which is quite quick 80% of the time, but the 20%of the time that it takes up to a minute to figure itself out is really annoying. Also the AF on the original A7s series is a bit meh. I'm not saying there aren't issues, but there are issues with any camera, and if you're changing entire systems (not just brands and ecosystems, but different products - MILC vs DSLR), you're more likely to encounter more issues as there are things that just don't quite work the same way. The Canon quirks are things you've become accustomed to, and learned to work around so much that you forget they were even issues. Each camera has its own quirks and issues, but I think you'd find that more often than not the issues people tend to complain about are brought on more through user error than through any fault of the manufacturer.

I will say this - with a GH4 or similar, you have less room for error. 10-bit 422/444 or raw footage will give you a key quicker and easier. Given absolutely perfect conditions, then a GH4 would be okay. Realistically thought, you'll still have an easier time with the higher bitrate and better colour info. In non-perfect conditions, I've shot compressed 8-bit 4:2:0 A7s vs 10-bit 4:2:2 from my F3, and the F3 was one click to get it pretty damn close. The A7s took more work to get it where I wanted it to be. Guess it depends how perfect your key needs to be, and how much extra work you want to create for yourself. GH4 might be cheaper, but in the long run if it takes you longer to get an acceptable key - even by half an hour each time - is it really worth the small cost savings now? Alternately, if you're getting paid a set fee for the project, wouldn't you rather do less work to get the same result?

I had to replace my battery door, the rubber hand grip, and the eyepiece on my 550D, but overall it was pretty solid. Haven't had any issues with my A7s really. At the end of the day these are consumer cameras - and even high-end cameras have problems (overheating REDs anyone?). You need to sort out bad experiences vs units sold to get a better picture of whether a camera holds up or not.

The BMPC will be by far the best option, assuming you want to spend as little time as possible pulling a key. GH4 is doable, as is almost any camera, but it's going to be significantly easier and significantly less time consuming on a BMPC, especially if you're shooting raw. Even 10-bit ProRes will be significantly easier, and therefore reduce your post time greatly. I would never recommend using an 8-bit 4:2:0 camera to key, especially when there's a better option available.

There are so many things that just wouldn't work very well, or at all with a video camera. Long exposures, short exposures, flash triggering... Flashes at all - video lights are inferior to an external flash.

On most major film sets, they still employ stills photographers. The reason is not because they can't be bothered grabbing stills from the footage.

I don't know that I'm a big fan of the Sony anodized bodies - certainly they're easier to scratch. Overall though, I haven't had particular reliability issues. My A7s does the slow boot thing from time to time, which is annoying, but it's fine really. Haven't had any major problems.

Depends what you need from your photos. There's differences in resolutions, dimensions, quality etc. Not to mention it's significantly easier to grab your SLR/ILC and take a few shots than it is to have to build/rig an FS7 and have to shoot video all the time if all you want is photos. Each to their own. You also may want to shoot high shutter speed so as to get rid of potential motion blur, which may not be the look you're after for a video. My general feeling is - what are you doing more? What is more important? Photos or video? Personally, I think nothing beats a proper SLR/ILC for taking photos. Quick, easy, light fast AF etc. etc. etc. I'd rather invest in an SLR/ILC and also a video camera that uses the same lens mount.

No, it's not like that. It's like saying you can't expect a $3,000 2016 model Ford to perform like a top of the line 2010 model Ferrari. My point is Sony already rivals, and in some cases beats Arri, depending who you're talking to. The F65 is a very different camera to the Alexa, of course. But $3,000 cameras, despite being expensive to some, are still built to a price point. Let's not forget the F3, lauded by many as the 'mini Alexa' - a camera that also happened to hit the market in 2010, and also cost ~$16k - cheap! If Sony could and/or wanted to, they could put that sort of sensor into a $3,000 camera. But they won't. They'd rather you spend $10k+ on an FS7, F5, F55, F65 etc. The fact that the Alexa still sells at the price point that it does is the reason you can't get an Alexa image in a $3,000 body. If Arri brought something new out, and decided to offload Alexas for $5k, you can bet your bottom dollar that other companies would be selling their Alexa-matching sensors for $3k. Take a look at the VaricamLT. It has dual-ISO, and an amazing picture, all for ~$20-30k. It can even come with an EF mount. Cheap! I'm just saying - the reason you can't get an image that rivals an Alexa for $3k is not because no-one can figure it out, or are not allowed to...

Don't have footage right at the moment (my HDD just died on me ), but I'll tell you this. THe a7sII (and original) do give a great image. For 4k, they're your only option with the F3 tapping out at HD. But man, that F3 footage... 10-bit 4:4:4, and even 4:2:2... The a7sII doesn't match it IMO, especially in the grade. The a7sII has a lot of other things going for it, and still gives you a great image.

Why should they have to? Why should a consumer camera have to match a $50k+ high-end cinema camera? I would argue that the F55 matches, and the F65 beats the Alexa in many areas - of course both have differing looks to the Alexa. I just don't really understand the comment. Of course a $3,000 camera doesn't 'match' the Alexa.

I'm not sure where I said that 'demand' must mean thousands of people asking for something. A big enough name asking is big enough demand.

The DXL that's on the floor at Cinegear is using a RED sensor, RED OLPF, RED Colour science and RED software. This will obviously(assumedly?) change, but in its current alpha state, it's essentially the innards of a RED in a very nice Panavision body. The new body looks great, and is significantly more ergo than any other RED that's ever been made (unless you count the Xenomorph, but even then it's probably more ergo than that). Lens mount - there are plenty of PanArris, PanREDs, and PanSony's sitting in Panavision offices around the world. I agree with you that sensor and codec don't make a camera. But they contribute a lot to the way the image reacts. I also think this looks like a great camera. But will the image be significantly better or different to a RED Weapon? Be interesting to see how the image compares between a DXL and a PanRed. Again, I'm talking image - obviously the DXL is designed for high-end studio work. The double menu screens is an amazing idea Personally, I think there's some pretty damn great offerings at the high-end of cameras at the moment. We're spoiled for choice, even at the lower end. Wonder if this camera will have Panalog?

They didn't really choose the codec so much as they chose to use the sensor, electronics and software of a RED weapon, so part of that is .r3d You also get ProRes, and a million video outs to go to whatever recorder you please, so it's not like you don't have a choice..

Hence why I said 'if there's demand'. There are even some PL mount Panny cams floating around because there was enough demand. Panavision is a great company (though, apparently, not overly profitable ) and it is certainly to their benefit that they can manufacture whatever they want/need. I'm just saying, the major of cameras Panavision rent out are PV mount. As I say, if there's demand for it, they'll make it (which is exactly what the rep told you according to your post), but the push and idea will be to use PV lenses. And why wouldn't you? Light Iron are a great company. And I don't mean to suggest that their collaboration is a small thing thing. But, at the end of the day it's essentially a Panavised Red. And raw is raw. I imagine if you took Weapon raw footage to Light Iron, they could get you something that looks identical to what you would get out of an MDXL, assuming we're not getting Light Iron designed AD and OLPF. If we are, that's different, and I'm hoping that that is exactly what we're getting. Even then, I'd be very surprised if you couldn't get a Weapon to intercut seamlessly with it (might just take a lot more work - again, no small thing). I'm thinking of the Genesis vs the F35, F900 vs HD900F, Millenium DXL vs Weapon.. I assume the MDXL will have the Panavision 'magic', but at its core it's a Weapon. I was under the impression Panavision sold Dynamax off a few years ago, which is a shame. ... As is every rental house. Not to mention that there will almost certainly be significantly more RED Weapons in the wild than DXLs (considering you can actually buy them). The advantage of cameras that can be bought is the owner/operators who are happy to rent out at a cheap price to a friend, or to make a bit extra, or because the camera's sitting there whilst they're not working. If the demand for the DXL is anything like I imagine it will be, it's possible there won't be DXLs sitting around to make deals on. But there might be.

Panavision don't sell cameras, so there's no real need or point to adapt to different lens mounts, unless there's a large number of DPs requesting it. And really, despite the rhetoric about the colour science and panavising, it's essentially a Weapon in a Panavision body (albeit, hopefully, with a custom OLPF), so if you want a different lens mount, you'd be served just as well by renting a weapon - and it'll probably be cheaper to rent as well! Huh? This camera is 4.5 kgs. The Alexa is 6kg, the URSA is 7.4kg. No-one (to my knowledge) has complained about the weight of an URSA Mini, just the 'original' URSA. And, to be honest, rightly so. It's heavier than an Alexa and less ergonomic (and the Alexa isn't super ergonomic). I like that this camera is significantly easier to throw on your shoulder than a RED. The body design is not insignificant, especially if you're on the kind of productions that would be able to afford such a camera

The F5 and F55 are both very popular cameras, and there are plenty of examples of F5 footage out there... F5 has a different look to the F3. F5 gives you 2k and 4k and a whole bunch of other features. Personally, I would go for an F5 over an F3 if I had the cash and/or believed I would be able to pay the camera back within 12 months, but the point is that an F5 is $15k+, whilst an F3 is ~$3k used

I might also ask: What's your A-cam? What are you looking for in a second camera? An F3 is no good if you're looking for something small to put on a cheap gimbal. An A7s will be less than ideal if you need something for pulling a key..

I can't see why you couldn't have your audio guy set you up with a feed just like any other camera. Most of the time, this comes in the form of a wireless pack that plugs into the camera, which assumedly would be sending line level. No reason why you couldn't get/make an adapter to put line level into the Mini from the 1/8" wireless pack.

I own both and they both have pretty great images. Image-wise, the colours are not dissimilar. Personally, if I'm looking for something quick, 'more run-n-gunney' the A7s is generally my go-to. It's smaller, lighter, gets onto a gimbal significantly easier, and the XAVC-S is super malleable, despite the fact that it's 8-bit. It also is easier to use - my biggest gripe with Sony professional cameras is their menu systems. The F5/55 is improved in that regard, but the F3 sucks for having to dive into menus to do simple things. A7s will give you much better high ISO performance, thought the F3 performs pretty well in low-light as well. The F3's internal codec is nice, but it really shines when you pair it with a recorder. Once you do, you'll be very happy, especially in Slog2. The images you can get out of the F3 are amazing. If I'm not using a recorder, or don't want the extra weight, or annoyance - the benefits of the F3 over an A7s are diminished IMO. I own the XLR adapter for the A7s, so XLRs isn't really a plus for the F3 for me. The F3 does have internal ND, which is really nice. A7s is full frame, which is also really nice. I have a Shogun Flame which I use to get 10-bit 4:2:2 out of the F3, or 4k out of the A7s. It's a pretty neat setup. Keep in mind that you can get away with using a cheap tripod with a small DSLR, but a cheap tripod will struggle to hold something like an F3 with a decent lens on it. I've shot commercials for television and cinema, and all sorts of other projects with both of them, and with decent lenses on them, they can both give you pretty incredible images. I don't think you'd be disappointed with either camera.

You can sync dual system audio using Genlock timecode and/or with a slate. I don't know how you'd monitor your internal audio either, unless maybe you use an external monitor or recorder with a headphone jack. Realistically, unmonitorable line-level audio is little more than a good cue/scratch track.

I'm not sure where you got the idea that it shares a sensor with the F5/55/FS7. The sensor may be similar/based on that of the FS700, but it is not the same one. That being said, the sensor on it is still pretty nice. As I said before, with a recorder the image is great. Without one, I don't like the camera at all. Overall, the camera is a bit plastic-ey, and feels somewhat 'cheap.' If you rig it up and use a recorder, it's great. But that also means you need to factor those things into your price (though some FS700s are selling with rigs). I tend to see FS700 rigs for around $4k. So, I guess you need to weigh up as to whether it's a worthwhile investment over something like an FS5, URSA mini, C100... Depends on your needs. Keeping in mind it's an E-mount, so if native EF is important to you, it may not be your best option. Depends what you're after.

LTO's the best option for long-term archival. Otherwise HDDs, particularly in a RAID setup. Or I guess you could be old-fashioned and create HDCAM tape masters