BasiliskFilm

Just to confuse things, 35mm film in still cameras runs the film horizontally so the height of the frame is 24mm (allowing for sprocket holes) in movie cameras the film runs vertically so the width of the frame is 24mm, and height scaled proportionately

Not saying it can't be done, though there is no point coming up with a whole new form factor for a slight change in resolution. Sony seems to have made a decision with all the current sensors to optimise for video, and 6K -> 4K downsample seems to give a mighty fine image. Is 6.5K -> 4K going to be any better? The 24MP APS-C sensor is already the same pixel size as the 42 MP FF sensor, i.e. pretty high resolution. My guess is that down the line the 42 MP sensor will be developed into an 8K video sensor. There is a logic behind these numbers, not just picking a high number for the sake of it.

If you have watched Sony's sensor development for any time, you would notice they don't change resolution that often. They establish a sensor form factor and gradually evolve it. The current batch (apart from the 24MP full frame which is a throw back to the A99, Nikon D600 series etc) are optimised for video resolutions. The 42MP is an 8K sensor that gives a cleaner line skip result for 4K. The S35 crop of the 42MP sensor is essentially the same as the APS-C 24MP sensor which can do full 6K readout. And 12MP on the A7S obviously works well for 4K. Anything in between will be a mess for video resolutions (see Canon). The question is whether the 24 MP full frame sensor has reached the end of its potential.

The only thing that might give pause for thought - perhaps the A7III will do all of this (full sensor 6K -> 4K readout) with a full frame 24 MP sensor, with improved AF.

Rolling shutter is at its most obvious when used with a small hand-held camera with very little weight (for natural stabilization), and no in-body stabilization. So I would guess that, visually, at-least, the RS effects will be reduced. Some of the image processing seems speeded up too, but whether that affects the 6K readout from the sensor is not clear.

So apart from the overheating, the lack of 42 mp still files, and possibly a more user-friendly (though bulkier) form factor, the gap between the A6xxx series and A7Rii has narrowed considerably. For manual shooters, a focal reducer can get you the full frame look, and the 6K -> 4K S35 video mode on both bodies is probably very similar. For those who can't afford an A7Rii, or the expensive full frame G lenses that add several thousand onto your investment, this could be an option to get comparable results.

The lesson is - if the Sony model doesn't quite meet your requirements, wait a bit and they may find a way to add the features you want. With Canon, if the model doesn't meet your requirements, you might as well buy it, as you will have to wait 4 years for the next model, and it won't be much better.

It wouldn't be too complicated to put the A6300 sensor in an A7II body surely? For a video/pro APS-C camera it would solve some of the heat issues, and improve the usablity, without having to create a whole new form factor.

A film about a crowdfunding scam original? Has nobody seen the Producers?

I think the Nikon D600 lacks a motor to drive the aperture lever in LiveView, unlike the D800/810. So an unfixable hardware limitation.

It is unusual for Sony to deliberately hobble hardware. More often the complaint is that there are too many features, some of which are not fully tested or ready for a production model.

A nice enough images in certain circumstances, but still looks like there are no reasons to choose it for video over the competition. Buying two A6300s so that you can let them cool down between shots is still cheaper, and better in most measurable ways. The video is more or less a "nice extra" for someone who is committed to Canon kit, and primarily a stills shooter, which I guess for people who are still wedded to cameras with flapping mirrors makes sense

I am sure the earthquake has something to do with the decision process. The A99II and "A9" will probably turn out to be more or less identical, except the "A9" will have a detachable A mount SLT adaptor on an E mount body. Sony can pick up some sales from A mount loyalists, without undermining A7Rii sales, until they can produce enough sensors for the "A9", which I imagine will be a big seller.

Bigger body gives them scope to do a bit more stuff than A7rII, but probably only of interest to A mount lens owners. Does it have a translucent mirror? Possibility of faster AF for sports photographers, and a bit more robustness etc.

You could try that lens on an A6000 with the PhotoDiox adaptor (if you want AF). Should save a few grammes, and shift back a bit to balance, reducing torque.

It seems a pistol grip stabiliser with a DSLR is not the best option at the moment. For 4K there are many more mirrorless options, and for HD, there are some real bargains. Probably better to get a second camera for the Crane, and use your DSLR on a tripod. Sony A5000 with kit lens costs about as much as the lens on its own!

Physics also is affected by how compact the camera is, not just the weight. A heavy object a long way from the centre (like a big front element on a long lens) requires more force to move than if it was nearer the centre. That is why it is difficult to give absolute weight limits.

From the reviews the product seems to be receiving, it seems like it would be certainly worth having an official channel where it would be clear on any import charges and business users could buy with confidence and correct paperwork. Thanks for your reply

Do you know of any plans to have an authorised European distributor?

Pricing probably calculated so that when they sell it as a kit lens with an FS700 etc they can have a really generous discount to make it look like a bargain.

Thanks for that - looks great. Do you have an example of footage shot at the longer end?

Tends to be at the price of image quality - the more pixels you read the longer it takes. Sony reads more pixels than most for a 6k downsample to 4k. Most of the 1080p images are produced by some sort of skipping, so they only read a fraction of the pixels.The NX1 also does a 6k downsample and is a bit more impressive, but the A6300 is not bad for a 6K readout compared with some of the 4K readouts.

Close up shots will be a problem as the stabiliser is compensating for angular movement, not lateral movement. If you keep your camera level but move it up and down by a few mm, then on a close up of a flower a few mm movement will show. In the distance a few mm makes little difference. What would be interesting is if putting a gimbal on a cheap monopod to stabilise it further would give you the effect with a longer lens of using an heavy duty tripod. Needless to say, not having to carry around a heavy duty tripod with a fluid head is quite a cost and weight saving.

I think it pretty much makes it essential that (if you don't use a tripod all the time) you have some serious stabilisation for this camera. Fortunately the Zhiyun crane and the A6300 seem to be made for each other; when otherwise the camera's light weight would make it really shaky, the new gimbal is optimised for cameras this sort of size, and together they are not going to break the bank.

I saw a video of someone comparing use of the canon 6D with the Sony a6300, and the heavier camera was definitely suffering more juddery movement, the lighter one was nice and smooth. Don't know if your NX1 + lens is at the limit of the gimbal capacity, but it is definitely bigger than the Sony. Anyway, balance could be critical with bigger cameras What is the longest focal length (35mm equiv) that anyone has used with this gimbal successfully? Would like to shoot action, but might be difficult to get near enough to the subject to use a wideangle.