Phil A

Also keep in mind that there's two different warranties in Germany. I'm not lawyer so that's my basic knowledge and might be a bit off: The first is the voluntary one (Garantie) that is usually given by the manufacturer, e.g. all that register your camera and get extra guarantee mambo jambo. The second is the legally given warranty (Gewährleistung) that is between you and the vendor and for 2 years. For the first 6 months the vendor has to prove that the problem (or its cause) didn't exist when he sold you the equipment, after that you have to prove that it already existed when you received the goods, which is borderline impossible.

Bringing this thread up again. I'm considering more super short form stuff for social media, even for Instagram story. We've used the Zhiyun Smooth Q quite a bit on a trip recently and it's so nice to have your crappy iPhone footage well stabilized. It's a lot more compact than a bigger stabilizer with a MILC so we had some cases where we actually preferred it over using a Crane with a Sony. Next step now would be to have that stuff actually look good. I have my basic workflow for the look I'm going for in Davinci Resolve, dialed in on my desktop system, as a power grade, so I can also use that on my laptop for quick turnaround by just smacking it on and then doing some fine adjustments, e.g. if I slightly botched exposure or white balance. But I wondered now: is there an app for iOS that lets you slap on a *.cube LUT on footage? I'd love to transfer stuff (that I plan to properly edit later on) to my iPhone or iPad, put a lut on it and post it to social media / snapchat / instagram story or just show it to people. You could even do mini-edits with iMovie maybe. It's obviously not something for narrative or long form documentaries but I think it would be viable for interactive travel documentary, vlogging, etc. Tagging @kidzrevil , you seemed to be quite active in that direction. What's your current workflow?

It's probably the H.264 compression that maxes out your system. I transcode everything because my system also doesn't do well with H.264.

Sorry for the late reply, I was on a business trip and didn't want to post from my phone. I think a big advantage of the A7s II / A6300 / A6500 over the older cameras is S-Gamut3.Cine for shooting in S-Log2/3, it's not as easy to botch the colors (which are a bitch to get back in the 8bit material) as in the older S-Gamut which seems to be super sensitive to the ISO/WhiteBalance. Another reason as I understand S-Log2/S-Gamut often looks so bad is because people try to "bend" it back to Rec709 by incorrectly adjusting saturation and contrast instead of using a technical lut for the transformation. I like things that just look good, I'm perfectly fine with stylistic grades. So, some stuff I subjectively think looks quite great is a combination of the actual color with the cinematographic choices of the shooter, lenses used, etc and I realize that other people maybe think it looks bad. But here we go, in general I think people who nicely show what the Sonys can do are: @Naive Studio https://vimeo.com/naivestudio Pono Grace https://vimeo.com/ponograce (but I'm not even sure, I think he still shoots with the A7s) Ricardo Fasoli https://vimeo.com/riccardofasoli Tu Nguyen https://vimeo.com/tunguyenwedding Guess I'm a bit torn to that stylized wedding look haha (will never voluntarily shoot a wedding in my life, not video nor photography) Like discussed so much, I think the good results are because of the whole package and not because of the camera and in the end it doesn't matter what you shoot with as long as it enables you to create what you envisioned and doesn't fight you doing it. I'm convinced I'd love what these people shoot as much if it was on a GH5, 5D IV or BMCC. I'm also seeing a lot of A7sII, GH5 and BMPCC footage that does nothing for me.

Also looks shorter, I think that would be a huge advantage.

I think it is funny though. People used to complain so much that Sony releases camera successors too quickly and that the used market price depreciates at crazy speeds. Now the A7s II came out a bit over 18 months ago, prices are really stable (in Switzerland release price was around 3499 Chf and it still costs 3199 Chf. Used it's around 2800) and we aren't happy either. Even the old A7s still sells here for 1699 which I wouldn't exactly call cheap. I really hoped an updated A7s III would have gotten announced. But alas, let's use what we have.

Resurrecting the dead. Kinefinity is showing a Terra 5k "engineering model" at NAB. https://www.facebook.com/groups/kinefinity/ Also deja vu regarding the ProRes licensing state, on their Facebook page they have announced an active e-mount (did Sony really license that to them!?).

Did someone try how the Panasonic 25mm f/1.4 performs?

Happens always if recording mode is set to XAVC-S 4k. Result is that the screen is basically invisible to me when using it outdoors (in anything but clouded weather) on a gimbal where you can't use the EVF and that is sometimes a deal breaker for me. Easily my biggest gripe with the A7 and A6x00 series. Of course you can work around that, but it means either flying blind by feeling or adding a field monitor (= more weight, more batteries to charge & carry, etc.)

I didn't realize shooting in UHD is the wrong shooting mode.

I'd already be happy if they'd fix usability quirks and slightly update the camera, even if it was a paid firmware update. No dimming of screens, updated color science, video shooting with shutter button, improved auto white balancing / custom white balance in video mode, etc. After all in all the comparisons with the new Panasonic GH5, most people perceive the usability and reliability of Sony as their weakness, not really the image quality.

I think some footage is nice but it shows that people have just unrealistic expectations towards what advantage 10bit color depth brings. The final image is still a mix of color depth, codec bit rate, camera color science, sensor dynamic range and then the color grading. That mix, especially the last step, results in garbage for most of us amateurs/enthusiasts, even if we'd shoot RED or ARRI. Most comparisons between Sony and the GH5 I've seen so far said that the Sony has the better subjective image quality, low light, dynamic range and auto focus while the GH5 is just overall the way better camera to use. Guess we'll still have to wait some more for the perfect camera... like, forever.

So far these have the colors I liked the most out of the videos I've seen (maybe forgotten some). Feature set of the GH5 is just really, really impressive. Curious how Sony will answer eventually but it's a solid offer and imho gets more criticism than it should.

Fuji is kinda annoying me a lot. It's the camera I want for photography, I love the usability. Actually thanks to their colors, I could also easily live with 8bit (no need to bend the colors if they are that amazing. The GH5 shows that for most people 10bit won't help if you're not really skilled at grading) but with no stabilized primes and the declaration against IBIS, I just don't see them as an upgrade path. I don't want to be always stuck with gimbal & tripod requirements, I want to be able to at least do nice, stabilized static shots.

How well will the A9 nail focus: here's a link with a vid but I would wait for independent comparisons http://www.sonyalpharumors.com/canon-1dxii-versus-sony-a9/ A9 doesn't overheat when shooting stills: 100% agreed. If that would happen, I think they'd seriously threaten their opportunities to extend into the professional market in the future in that area. It would still be fine for professional portrait, landscape, etc. photographers but those probably would prefer the A7r II anyway. Dust and moisture resistance: There are no "with all manufacturer warranty commitment implications". If your 1Dx II breaks because it got wet you will still rely on Canon's good will to replace it. No manufacturer guarantees that the camera will survive getting wet or dusty, they just say there's a higher chance it will, they are typically not giving IP ratings for their cameras that are industrially defined points of "weather resistance". And about the 12 vs 14bit raw files. I don't think someone shooting a sport event will care, they're not going to photoshop the files until the color breaks like some landscape guys.

Can we finally stop discussing how the A9 disappoints us for video? That's like me complaining that my Z4 doesn't fit furniture in the trunk. They just didn't make this camera "for us", this time we're the wrong target group. If I was still only into photography, I'd be salivating over it!

But that's a general problem. Looking for footage to judge a camera is a nightmare. Subjectively 90% is: BMPCC -> log footage with barely any contrast / saturation added X-T2 -> photographers with sharpness & contrast cranked up shooting jittery handheld Sony A7 -> massively raised blacks everything GH5 -> Slooooow mooootiooooon brooooooooo *slow mo running intensifies* ... also, M31 LUT with 100% opacity starts to haunt my nightmares

The 1080p in 10bit 4:2:2 at 200 Mbps All-I (up to 60fps) update comes next week, that should be pretty nice for many applications where 4k isn't needed.

So turns out most of the stuff from the firmware update rumor (crop factor reduction, 3k mode, slowmo, etc.) was a hoax.

https://www.usa.canon.com/internet/portal/us/home/explore/see-legendary/canon-log You can buy C-Log for the 5D IV now but have to send in the camera and pay 99$. No crop factor reduction, the rumors were a hoax. EDIT: Nevermind, Hanriverprod started a new thread for it while I was searching up this old one.

Price in Germany, 5300 €... like the A7 series wasn't already getting silly for people who don't use them for work. Looking forward what a A7 III and/or A7s III will bring. But currently I think I might actually go for a GH5 instead, even though it's a completely different system. I hate changing systems, but you have to decide for a camera you will actually shoot something with and not what "might get released in 6 months time".

But what lenses then? 10-24, 55-200, 18-55, 23/1.4 and 56/1.2 would mean 16-35/4, 70-300, 28-70, 35/1.4 (or 35/2.8) and 85/1.8 which are all bigger and more expensive than the Fuji counterparts.

That's in 30p just like on the A6300/A6500. 24/25p is full width according to the specs. Not happening. It's UHD up to 30p 100Mbit/s and FullHD up to 120p in 100Mbit/s.

But not with a 35mm format sensor. But then I didn't think that UHD was "not sharp/detailed" enough so far, I feel it's less crucial regarding "real" resolution than compared with FullHD. I'm curious for rolling shutter performance, after all the new sensor and processor seem to be quite high performing.

Agreed, it's nice. If it has A6x00 level AF-C in video, holds up to at least ISO 12800, the slightly improved color science of the A6500... that would be a damn nice camera. I mean there's tons of great material made with the A7s II / A7r II and 10bit isn't the holy grail many make it out to be. But probably still too expensive for what it offers if one's focus is video (basically like buying an 1Dx II to use it just for video).