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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Sony A7r II - 4K internal want this!!

Where does this put the Canon C300 mk2 in everyone's book then? I would say if Sony is reading any of this they have to feel their aggressive inventive and competitive strategy (seemingly out of the blue) is working.
 
Tarquin Cardona said:
Where does this put the Canon C300 mk2 in everyone's book then? I would say if Sony is reading any of this they have to feel their aggressive inventive and competitive strategy (seemingly out of the blue) is working.
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Whole different animal. The A series targets the 5D / GH4 space . . . not proper doc cameras that have built-in ND's, XLR's and ergonomics
 
Zeb B said:
I have mounts for "E - Everything" . . . why let a body brand dictate your lens choice? So many great FF lenses out there from Nikon, Leica, Canon and Zeiss. Leica 50mm F.95 at ISO 52K . . . puts the Milk in Milky-way :-)
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Exactly. I've owned an NEX7 since it came out and everyone used to make fun of me... until I threw on the PL mount and used Master Primes lol. Love the E Mount system.
 
David Peterson said:
This reminds me of when everybody was falling over themselves for the Sony A7r when it came out!

But then along came the A7s.... I'll just wait :-D

History will repeat itself.
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Yes David, but I would expect the A7s mark 2 to still be along lines of low res stills (12MP I believe) to get high ISO video with response to all complaints from the A7s mark 1 owners. Coming from a still first mentality the A7r II knocks the ball out of the park. At the end of the day my objective is to get the job done everytime without going back to reshoot. I much prefer the 42MP stills and the occassional 4K video when needed (for archival purposes). An A7s would not work for me and likely an A7s II probably wouldnt as well.

Obviously if the job had enough lead time and time for planning and was video centric I would opt for a RED to get the RAW but for the incognito ready to run and gun stills or video at any given moment this looks like the camera of all cameras.
 
Anybody else see the interview withe the Sony product manager where he states the RAW stills from the camera are now true 14 bit as opposed to the 11 bit of the past models? I need to find the article again and link it here. It's a big deal.
 
Matt Ryan said:
Anybody else see the interview withe the Sony product manager where he states the RAW stills from the camera are now true 14 bit as opposed to the 11 bit of the past models? I need to find the article again and link it here. It's a big deal.
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No but I'd be interested in that!
 
Tech-wise Canon got beaten really hard and i can't find enough reasons to stay with them like i had originally planned (getting a 5DsR). And then, always when i hold a Sony A7* in my hands, i miss the quality and ergonomics of the Canon-body. It just feels a lot better...
 
Can anyone chime in on how clean is it at 3200 /6400 ISO for HD/ 4K video? And the rolling shutter is much better than A7S correct? Sony should put an anamorphic mode on it as I can imagine you can get some pretty amazing anamorphic images with this camera if you can shoot at T4 and above all the time without a gennie and lots of lights.

Still loving the DR and colours on my Dragon to be honest - though it's lowlight capabilities, not so much. I think camera sensors are really designed to do one thing or the other and not both. However that seems to slowly be changing maybe with cams like this A7R11?

Craig Lees
ED UK
3dstories.co.uk
 
Matt Ryan said:
You can adapt the Sony E Mount to just about any lens mount ever made. PL, Panavision, Canon, Nikon, Mamiya, Hasselblad, etc. It really is a great system.
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Can't wait ... I have a bunch Contax lenses that have have been "Leitaxed" with Canon mounts, some Zeiss lenses with Canon mounts, and an assortment of Nikon F and G lenses. Can you adapt the Sony E Mount to electronically control Nikon G lenses? My hunch is that you can't. I'd bet that the G Mount adapter is probably a "dumb" mount with some sort of mechanical iris control.
 
Samir Patel said:
Don't think a Nikon adapter with control exists but it might be coming:

http://www.sonyalpharumors.com/new-nikon-f-to-sony-e-mount-electronic-adapter-coming-soon/
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Interesting. I am very tempted to get the new Sony and the Ursa Mini. Different uses ... different reasons .... but a whole heck of a lot of options for not a lot of money. At then of the day, I really think we have to thank Jim and RED for being where we are today in terms of cameras and choices: 4K ... 5K ... 6K ... 8K (soon). If we waited for the likes of Sony, Panasonic, et al., ... we would still be waiting. Hell, I remember what Sony "bent-me-over" for to buy my first Betacam rig. How times and technology have changed.
 
Matt Ryan said:
Anybody else see the interview withe the Sony product manager where he states the RAW stills from the camera are now true 14 bit as opposed to the 11 bit of the past models? I need to find the article again and link it here. It's a big deal.
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From what I've read is that the processing of the sensor is indeed 14bit but it still uses the lossy 11+7bit delta compression for it's raw (and on the website it says that it uses ARW2.3).

I can't seem to find the website, but it was from someone who went to the presentation and that he talked to one of the lead guys at camera about this problem and the guy acknowledge that some professional were telling them they wanted a true lossless raw, but wouldn't say anything further (if they are or not working on a solution).
 
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Still no word on how EV-2 to EV+17 (or whatever) translates into useable stops? I actually kind of liked the A7s's approach -- bigger pixels, still full-frame, and absolutely dripping in High ISO swagu. That's basically what I'm waiting for, to be honest -- hoping that the A7sII is the same step forward, just night vision style.
 
Mike P. said:
Still no word on how EV-2 to EV+17 (or whatever) translates into useable stops? I actually kind of liked the A7s's approach -- bigger pixels, still full-frame, and absolutely dripping in High ISO swagu. That's basically what I'm waiting for, to be honest -- hoping that the A7sII is the same step forward, just night vision style.
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I will say that the A7s noise is completely tame, color neutral and post workable - not the chroma oatmeal of some other cameras. To me dynamic range is dictated by S/N ratio . . . the stops start getting counted when they are usable out of the shadows.
 
I'd buy an A7s Mk2 if they only thing they changed was global shutter or a much faster rolling shutter.
 
Interview with Kimio Maki (Senior General Manager, Digital imaging Business Group, Sony Corporation)

http://www.imaging-resource.com/news/2015/06/16/sony-qa-the-must-have-sensor-tech-of-the-future

"Sony RAW is compressed, not uncompressed. But if we're getting a lot of requests for it, we should make such a kind of no-compression raw."

"And so we recognize the customer's requirement, and actually we are working on it."

Q: "Would you be able to provide uncompressed raw as a firmware update, or would it require new hardware?"

A: "Right, yes. So... not hardware."
 
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