Sony a6300 4k

[Nikkor]

Why is the european price so high? Its almost 50% higher than the US price in my country (1000 dollars = 24.000 czech cronws and 1250 euros is 34.000 czech crowns, thats a huge difference).

Yep, 1000$ = 891€, 40% price increase. This will probably change very fast.

[TheRenaissanceMan]

The 18-105mm f4 sounds interesting. Would be a new way of working as it has the zoom rocker over a zoom twist.

The Sony 24-70mm f/2.8 would be too costly for me. Would it not also crop to 36 to 105? I do have a Nikon 24-70 that I could use via an adapter but thought it might be better to get native lenses to maximise the use of the body.

 

The Sony Zeiss 16-70 f/4 is an amazing piece of glass too. Great range, nice Zeissy rendering, OSS. Used it once on an A6000 shoot and loved the results.

[Damphousse]

It's getting even harder to hang on to a camera for longer than 5 seconds before something else comes out

$500 BMPCC still going strong.  No 10 bit Prores nor raw camera out in the price range to compete.  I like this Sony camera but there are things the BMPCC can do that this camera simply can't.

Panasonic are forever playing catch up on specs as they can't compete on a level playing field with the smaller sensor.

GH5 should start the transition to Super 35mm.

Otherwise it will have to be seriously impressive to lure us away from Sony (raw, ProRes, 10bit, 120fps 4K) or to maintain any kind of uniqueness.

As I predicted.  Stills camera sales are falling because stills cameras have kind of plateaued.  They all take good enough pictures and it just boils down to which system you want to buy into.  As video plateaus it is going to shake out.  Perhaps Samsung and Panny won't be in the camera biz long.

[dsp_418]

11 hours ago, Ebrahim Saadawi said:

I am not in contact with Sony as I am with Canon. The colour rendition and the 3 points are things I WANT it to have not things it HAS.

I have no idea about the A6300. 

 

Since you're project is using already Nikon SLRs, I am pretty sure they'll be at first absolutely hateful to Sony cameras in SLOG (fs5/a7s/7r/a6300/rx10ii) and be disappointed compered how their Nikon files looked absolutely gorgeous straight off the card. That's the only ''thing'' with Sony. They'll find amazingly new eye-opening sharpness and cropping resolution in 4K with these Sonys, that coupled with how they'll find an EVF working in video mode, tilty screens, zebras, peaking, magn. while recording, all out-weigh the Nikon advantage.

They'll be happy during shooting, just make sure you make your client understand how Sony files look and be there in the grading process. With care and a subtle eye you can get them to look very similar to nikon images thy're used too, just effort/experience in the grading process. If grading experience time is not vailable, use a normal Sony PP or better shoot on the Nikos with Standard profile (gorgeous). A new sony is better than a nikon for video in everyway except for pretty colours. If Nikon/Canon would sebd off their colour engine to Sony and receive those high DR Sony chips we'd have two killer cameras from Canon and Sony.

 

Tips to get a Canon/Nikon look-ish for Sony's (it CAN be done!)

1- Add a simple S curve to get the contrast needed (De-Log it)

2- S-Log2 and Sony cameras are always, always shifted towards green/yellow on the colour wheel, while Nikon cameras are biased to the opposite direction, and Canon even more to red/orange. Skin looks better red/pink and healthier, just better than green/yellow. 

Solution: apply a colour wheel/color curve or whatever your NLE offers and shift the it away from green/yellow  (preferably just affect mid-tones not a global shift) = Sony images come to life (faces in particular) and approx.replicates what Caon/nikon processor does in-camera colour science.

Now i have a Base Cannikon-ish image, that I can farther grade due to a7s low noise and good codec. 

-I can add some NR for prettier skin if I/client wants

 

Most Sony samples on the web aren't ''graded'' for a look, they just add contrast and a punch of saturation o S-Log flat images, which is flat nd almost B&W for you to COLOUR IT WITH YOUR CRAYONS THE WAY YOU WANT. Want an Instagram hippy look? be my guest:

Want a super contrasty thick look? 

That's the point of LOG/RAW. COLOUR IT. PLAY. TWEAK. and leaving it as is, is bad. We end up with YT video tests that look like this

While with simplist grading it could look like this

So an open letter to Sony users: Colour your S-log footage do't just correct it. You're hurting he brand name more than it deserves (it deserves a little blame forr this colour science/shifts) 

Nd If you want a fast pretty image GET A FREAKING NIKON OR CANON DSLR! (D5500/D750/D810/5DIII/7DII) are all HD vido cameras with gorgeous colours 

 

Good point,

although the examples you posted after cc are still off to me if we would be after a Canon look.

How about this?

 

 

Personally I don't like Canon either whereas I love Nikon.

 

 

 

[BrorSvensson]

20 minutes ago, dsp_418 said:

 

Good point,

although the examples you posted after cc are still off to me if we would be after a Canon look.

How about this?

 

 

Personally I don't like Canon either whereas I love Nikon.

 

 

 

i dont have a slog capable camera but i do shoot with and a7r with portrait -3-3-3 and recently i've been putting the white balance shift one step down to magenta and the colours are looking better than ever.

[tugela]

Some never learn that lack of detail is not resolution. Its just how it is.

38 minutes ago, dsp_418 said:

 

Good point,

although the examples you posted after cc are still off to me if we would be after a Canon look.

How about this?

 

 

Personally I don't like Canon either whereas I love Nikon.

 

 

 

Your greens are now brown though. So the color is wrong.

[amanieux]

58% smaller and 33% cheaper than a nx1 with 16% less resolution and 37% lower bit rate, seems like a nice compromise let's hope there will be less bugs than nx1

[Mattias Burling]

"So the color is wrong."
Unless you are friends with the guy and know what he is using the video for its total BS. There is no wrong, never was, never will. And that's a fact.

In Sweden a brand new NX1 costs less than the predicted price of the a6300.

[hmcindie]

3 hours ago, dsp_418 said:

 

Good point,

although the examples you posted after cc are still off to me if we would be after a Canon look.

How about this?

Ewww. Guys, all of those examples look horrible.

[Swiss]

I'm thinking about switching from my bmpcc to the a6300 for 4k, slow mo and low light. I have a question about adapters. If i use my sigma 18-35 nikon mount and my sigma 10-20 nikon mout with a speedbooster nikon to sony e like this one for example http://www.ebay.com/itm/Focal-Reducer-Speed-Booster-Adapter-Nikon-F-mount-G-AF-S-lens-to-Sony-NEX-A6000-/151657409349?hash=item234f7c6b45:g:XMQAAOSw-jhT~tOR Will it vignette on wide side with both of my lenses ? Thanks

[hmcindie]

14 hours ago, tugela said:

You can only get moire if the slats are being resolved. 

So you are basically saying that the Nex-5 has more resolution than the XC10. That's so wrong it's funny.

 

[Nikkor]

I have no idea about the XC10, but the moire from the Nex-5 and all the other lineskipping cameras, is so strong because of lineskipping not resolution. It happens when something is in focus and this something has "fine" highcontrast things. The problem with lineskipping is that the gap between pixels is so large that almost anything will give moire. The lowpass filter of the camera is useless in this scenario because it blurs between adyacent pixels, so it has no effect on pixels that are separated 2 lines from each other.

Then there is moire in sensors that read per pixel, the likeness of encounter moire will depend on the pixel size and the strongness of the lowpass filter. In a stills camera with very high megapixel count, like d800 onwards, this filter isn't that usefull because only the very finest details can give moire and most of it goes unnoticed, but the lack of the filter gives an overall better sharpness, so they removed it.

But in video it's totally different, you don't wan't any moire at all because with moving pictures, moire becomes very evident.

I suppose the XC10 does a per pixel readout, so since it's thought as a videocamera and has a very small sensor with lots of DOF, it has probably a very strong lowpass filter so you loose a lot of finesharpness, but the image will always look "good".

In fact, this is not your classic moire (which can also happen and happens) but aliasing artifacts from the bayer sensor, ((Blue,Green); (Green,Red)), a very bright source that hits the Red part, but isn't there anymore in the others which should show dark pixels, will still affect these. Since the other pixels get little light, the interpolation of the adyacent red will make things Pinkish (in case of the blue pixel),etc...

 

[hmcindie]

32 minutes ago, araucaria said:

I have no idea about the XC10, but the moire from the Nex-5 and all the other lineskipping cameras, is so strong because of lineskipping not resolution.

Lineskipping affects resolution. Nex 5 shooting at 25p resolves more detail than a Nex 5 shooting 50p. The more resolution you resolve = less amount aliasing/moire. Problem happens when there is more detail in the scene than the resolution the camera resolves.

That's why most camera manufacturers are taking out the AA filters. When you have over 30 megapixels you can do that and you won't create that much more aliasing. You do that with 2mp cameras and the aliasing will be severe.

[Nikkor]

7 minutes ago, hmcindie said:

Lineskipping affects resolution. Nex 5 shooting at 25p resolves more detail than a Nex 5 shooting 50p. The more resolution you resolve = less amount aliasing/moire. Problem happens when there is more detail in the scene than the resolution the camera resolves.

That's why most camera manufacturers are taking out the AA filters. When you have over 30 megapixels you can do that and you won't create that much more aliasing. You do that with 2mp cameras and the aliasing will be severe.

Thanks for the info!

[sanveer]

23 hours ago, The Chris said:

The a6000 doesn't have a touchscreen, there's nothing missing, just Sony's usual segmenting. Touchscreen is for amateurs, EVF, more controls and hot shoe is for enthusiasts. It sucks they don't see the value of a touchscreen for something as simple as moving the focus point while shooting - especially with the awesome tracking abilities of the PADF. I would love one on my A7rII.

I'm getting the a6300 to replace my a5100, I will miss the touchscreen.

I am surprised companies equate the touchscreen with lower end products. Also, Canon has the speed control om focus on it's autofocus cameras. I wish touch screens also has the focus speed controls. They could effectively help smaller Indie Crews focus far more easily and perceptively. 

[Snowfun]

All this raises a dilemma... Blackmagic Pocket (£696 in UK) or wait for this...

I have a BMCC (too big for holiday travel), A6000 (used mainly for stills), rx1004 and A7s/shogun (used only for aurora filming).

I do enjoy "fiddling" (any other term would be to overstate my competence)  with the Blackmagic image so the Pocket is still number 1 but it's tempting to replace the A6000 with the A6300...

Pocket is possibly over-priced now? (It's ridiculous to say that, I know).

Pocket 2 @ NAB? (but delivery "in May" not soon enough...)

I head to Oslo for a long-weekend in March (wonderful light) and want something pocketable. So either I use the rx1004 (and ? buy the A6300 later) or get a Pocket now. Thoughts?

Tim

[dsp_418]

9 hours ago, tugela said:

Some never learn that lack of detail is not resolution. Its just how it is.

Your greens are now brown though. So the color is wrong.

I did a quick cc focusing on the skin tone, so yes foliage color is off.

7 hours ago, hmcindie said:

Ewww. Guys, all of those examples look horrible.

Well, an appreciation type of statement doesn't help much.

Why don't you tell us what is wrong and how to get a better color rendition?

[Nikkor]

22 hours ago, Ebrahim Saadawi said:

 

While with simplist grading it could look like this

So an open letter to Sony users: Colour your S-log footage do't just correct it. You're hurting he brand name more than it deserves (it deserves a little blame forr this colour science/shifts) 

Nd If you want a fast pretty image GET A FREAKING NIKON OR CANON DSLR! (D5500/D750/D810/5DIII/7DII) are all HD vido cameras with gorgeous colours 

And this is how it probably looked, underexposed face, noise and mess from slog 8bit encode in shadows = color problems (very evident all around the chin.

[Oliver Daniel]

My faith is restored in Slog on the A7SII, so it's great the A6300 has this function too and isn't crippled. 

This sounds like a very cool camera to compliment the higher end models. 

I've attached a location shot I did in Whitby, UK at the Abbey. 

Shot on A7SII, Slog2 (modified profile), Sigma 18-35mm (at 35mm). 

 

[The Chris]

6 hours ago, sanveer said:

I am surprised companies equate the touchscreen with lower end products. Also, Canon has the speed control om focus on it's autofocus cameras. I wish touch screens also has the focus speed controls. They could effectively help smaller Indie Crews focus far more easily and perceptively. 

Agreed, but Sony doesn't seem to see it that way.