DBounce

I really want to hate this camera, but it looks great, will be rock solid and will record 4k @ 60 fps... Someone save my wallet!!!

It's flexible and good enough to get the job done. Go shoot something!

No so sure about that. I believe it's more to do with motion than color or grain.

Sure, but somehow not so filmic.

Wow, very informative response. I would of course prefer to go with true anamorphics, but I think for the purpose of just having fun with the overall feel of anamorphics this more economical solution might make more sense. Thanks for sharing your knowledge with me.

This is more of a question and an idea. I'm sure this ground had been covered by many here. With the chances of scoring a "cheap" true anamorphic now dashed (slr magic true anamorphics are priced over $6k each), I'm now considering a superwide / ultrawide with in camera correction as an alternative to a "real" anamorphic setup. I'm not wowed by the idea of adapters, so true anamorphic will have to wait. So to the question: Lens flare asside, and talking strictly aspect ratio, that is without amputating heads and feet, can a super or ultrawide essentially get me the wide anamorphic look with the same amount of top and bottom as a real anamorphic lens. I understand that some resolution would be lost, but I like the idea of flying this setup so weight is important. I'm currently thinking of experimenting with the new full frame E-mount Voigtländers (10mm, 12mm, 15mm)... I know that the Sony Alpha series can compensate for distortion in camera with the Playmemories Lens Compensation app; although I'm not certain as to what the limits are. I've only tested it on my 24mm... my current widest lens. There's also the soon to be released Venus 12mm f/2.8, which are said to be distortion free... whatever that means. Just curious as to if these cheaper options might work as a temporary solution.

I think you have this backwards. It's not that sony cameras can look artificial. Quite the opposite... they tend to look too real. I liken it to the difference of watching a movie on set as opposed to watching the finished production in a movie theater. Clearly the behind the scenes view is the more accurate representaction of what really transpired. The fact is you prefer surreal to real.

Alright, I've about had it with all this nonsense, tell you what, I'm going to sitdown this afternoon fire up my engineering workstation and create a brand new stabilizer that will blow this away. That way we can stop this silly thread once and for all. Expect my product on kickstarter... Mark my words, it will work, it will cost less and it will be easy to use. And everyone will want one. This camera stabilization thing is not really that tough of a nut to crack.

Seems like SLR magic will soon make available their new anamorphic lenses. I was pretty excited about these and was looking into ordering one. But after noticing the price, it seems I'll be staying out of anamorphic for a while longer. Just can't really justify it for what is pretty much a hobby for me. http://www.bhphotovideo.com/c/product/1233201-REG/slr_magic_slr_ac50133pl_anmrpht_lns_1_33x_50mm_lns_cs.html

Can't say I've noticed purple spots and banding on mine. I think if you are lighting your scenes or shooting in anything other than extreme low-light the A7Rii will serve you best. If however, you want to turn night into day, the A7Sii is the better option. Me, I like night to look like night... That is, dark... Because it supposed to be night.

Entertaining, loved it. Nice work!

Personally, while I like many things about this camera, there are a few things that will keep if off my list. Why no 10 bit color... Especially since this is the new standard. And the codec sucks... That is it sucks a lot of memory. Frankly, too much. And while in a multi-million dollar production shot on a closed set practicality might not matter, for run and gun gorilla style film making it counts for a lot. And let be honest, at this price point Canon could have done 10 bit and given it 4k 10 bit output. It's not exactly cheap at $6k. The average US household income in 2015 was 53k per year.

Well I'm getting in a Letus35 Helix Jr today. So I'll be happy to give my 2 cents worth once I've had a chance to set it up and shoot some footage. Not sure I would consider it an alternative to something as small as the Osmo, but from my experience with with Osmo so far, I have the feeling that it is a product with great potential that is in serious need of refinement.

There is a case to be made for the dslr form factor, FS7 is a permit camera, whereas the dslr is generally not. Granted, fully rigged it's going to attract lots of attention.

Why not 10 bit color so that it meets the new 4k standard? http://www.4kshooters.net/2014/07/13/4k-ultra-hd-tv-broadcast-standards-move-forward-with-10bit-hevc-up-to-60fps/

I wondered about this also. And there have been serval discussions online. Some say it does, other say it doesn't. What I do know is that when the Video Devices Pix-E7 is connected to the A7Rii hdmi output, it detects the signal as 10 bit, and defaults to the ProRes 422HQ 10 bit for the recording.

I have taken a frame grab from the PIX-E7 and one from the internally recorded XAVCs 4k. Below are the frames. To my eyes the Pix-E7 is noticeably sharper. This also seems much more apparent when playing back from the respective HDMI outputs.

Interesting comparo... A7Rii looks to be better than A7Sii at 3200iso: http://***URL removed***/reviews/image-comparison/fullscreen?attr18=daylight&attr13_0=sony_a7rii&attr13_1=sony_a7sii&attr15_0=raw&attr15_1=raw&attr16_0=3200&attr16_1=3200&attr171_0=off&attr171_1=off&normalization=compare&widget=13&x=-0.7114353680119314&y=-0.5467697883462821

Got in the brand new Video Devices PIX-E7 yesterday. Quick observations, build quality is first rate. Tap to zoom is very handy and works well. When plugged into the A7Rii it defaulted to 422HQ 10bit. The resulting recordings looked very good and the unit was not loud when operating. The PIX-E7 does get warm, but not hot. The display is very nice, pulling focus was quite easy and noise was easy to detect when present. Colors looked good. The monitor allows you to add non-baked in LUTS which is very handy. Peaking and zebras are also nice to have.

There are a few out there: This Philips should work or this LG or perhaps this Seiki?

Yes, many said this BEFORE the overheating problem was solved. But with the ability to now record without fear of forced shutdown things are a little different.

Could you have picked a wider lens?

Who said either one beats the other in video? One does better with slow motion, the other offers FF or APS-C mode. Low light is irrelevant as both are good enough. If slow motion is your thing go with the S, if dual mode flexibility has your fancy go R. Both are great cameras. FYI FF mode looks fine... unless you're a pixel peeper. There's marginal difference. I shoot both. Love the dual modes. But do wish a custom button could be assigned for easy switching.

Anyone?

I never tested it with video, but surely will. From those that have it appears this lens plays nicely with the A7Rii for both stills and video. Here is an extensive list of Canon lenses that have been tested with the adapter. It is well known that the A7S/II does not work well with the Canon lenses. From my own experience I can tell you, using this lens on the A7Rii felt as quick as native glass. The A7ii with the new firmware update should perform similar.