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Holy fucking shit. 42MP, 5 Axis IS, Internal 4K. I'm going to sell all my gear and buy this MONSTER.

Annoyingly despite being 100% happy with the a7r and a7s combo, This is very exciting. I'm going to avoid any more sony marketing otherwise this might replace both cameras.

A lot of sample video's here: ​https://www.youtube.com/playlist?list=PLL06nPE7_lzMwCmNsXjTJ3T6y8Vh-AmNC It definitely is not 1080p at those speeds. Maybe it's saved as 1080p but looks upscaled. Still, looks better than Nikon 1 at those crazy speeds.

​Because, traditionally, making a movie requires several different focal lengths ranging from wide to long. Shooting without a wide angle option can be both creatively stifling, as well as impractical if you find yourself in a confined space. Secondly, at least to me, something magical happens when you put on a wide-angle anamorphic lens, particularly around the 35-40mm range. Look at Wes Anderson's use of the 40mm Panavision C-series. Or the wide-angle 'Scope work in the films of John Carpenter or Brian DePalma. It's a look that you can't replicate with a spherical lens. A wide-angle spherical lens has a completely different geometry. On a spherical lens, lines recede into the distance and the edges are stretched out. On an anamorphic lens, the foreground bulges forward and the background wraps around as if it's being projected on a globe. This shot from The Royal Tenenbaums is a great example. Even though it's a wide angle lens (40mm), and the subjects are arranged in depth from front to back, they appear stacked as if it's on a telephoto lens. It's like multiple portraiture. It's an effect that can only be had in anamorphic.

http://www.samsungimaging.com/file/download?fileIdx=3147&file=customer/data/remotestudio/win/SRS_v1.0.0_setup.exe other downloads: https://samsungnx.herokuapp.com/software

A7RII http://***URL removed***/articles/8917769536/sony-alpha-a7r-ii-has-42-4mp-on-full-frame-bsi-cmos-sensor RX100 IV http://***URL removed***/articles/7826270294/sony-cyber-shot-dsc-rx100-iv-shoots-4k-uses-a-stacked-sensor RX10 II http://***URL removed***/articles/0995267996/sony-announces-rx10-ii

Great news, Pilotfly already updates the H1 by an H1+ version with dual IMU 32 bit board. First footage here: PILOTFLY H1+ test footage on Invert mode Someone hase more info? I asked 3 times the last days on FB but they never replied (price and avail)

"S-Log2 Gamma setting: This proprietary Sony setting featured in professional camcorders creates a 1300% wider dynamic range for smooth gradation with reduced whiteout and blackout. Use color grading in post-production to make the most of low-noise images and super-rich detail to express footage in various ways. ISO 800 or higher is available when S-Log2 Gamma is selected" There is some plastering for the DR at least

​1000fps at 1136 x 384 is unheard of for a consumer camera, breaks new ground, 250fps at 1080p is genuinely groundbreaking as well for £1k. That is going to look brilliant.

​No, I'm sure it will be decent, or even quite good, but won't be close to the same level as A7s.

It would be so much easier to be a painter or a writer. You don't have to have equipment. You don't have to do all the things. You're not at the mercy of gear. You're not here and you're not there. It's a terrible pain to be a filmmaker, because you not only have the creative problems, but you have financial problems that they don't have. You have technical problems that they don't have. You have machines that are breaking down in a way that paintbrushes don't break down. It's just a terrible thing to be a filmmaker. And if you are a filmmaker, it's because there is something in the sheer medium that seems to be able to make some sort of statement that you particularly want to make, and which no other medium to you seems capable of making in the same way. Not my words, but I do like them. As much as I go on about it's only about what you do with the equipment, not what equipment you have, filmmakers are tethered to the technology. It's the blessing/curse. If you're curious about from where and whom the above sentiment comes from: https://www.youtube.com/watch?v=sH8FvTjESvU

About the high framerates of the smaller cameras: yeah, it is upscaled. Full specs of the 3 cameras are already up in Sony's website. From the RX10 II page, in the HFR section: http://www.sony.net/Products/di/en-us/products/ht7k/specifications.html?contentsTop=1 "<Sensor Readout Number of effective pixels>Quality Priority:240fps/250fps (1,824x1,026),　480fps/500fps (1,676x566),　960fps/1000fps (1,136x384)/Shoot Time Priority: 240fps/250fps (1,676x566), 480fps/500fps (1,136x384), 960fps/1000fps (800x270)"

​You aren't listening. The press release implies that is the case, but does not confirm it. That is the point I'm making. It only says the full frame mode uses the entire width of the sensor. It doesn't say what it does or doesn't do beyond that. If I say "there are 2 cars on the race track, the BMW uses its 4 wheels to grip to the road as it speeds round the corner, the Mercedes uses it's V8 engine to deliver explosive power". That doesn't mean that the Mercedes doesn't have 4 wheels does it? Although it does imply it. As it happens I do think you're right. Its just a point of logical exactitude that I'm making.

I love my Panasonic GH4, but I could see an a7Sii + a7Rii in my future without my GH4. Sony is killing it right now.

I wonder how the low light performance would be with a 42MP sensor...

​Better low-light, high frame rates in 4k, ANY log options. Looks like the A7Rii still has that awful record button placement. Still, can't wait to see more images from it.

All Sony needs now is a better lens lineup, improved battery life, and a good flash system and they'll decimate the competition. Though if your primarily video/portrait/landscape work, this cam is the end-all of image quality.

​DPreview says 4K at XAVC S format, so must be internal!

WOW WOW WOW, this will slaughter the competition; BSI FF sensor 5 Axis Stabilization 4K Higher ISO Higher MP Better focus tracking Higher DR I'd assume

​Poor everyone.. Panasonic, Samsung, Nikon, whatever... If it doesn't have some major faults this truly is the perfect hybrid for photography/video and miles ahead of everything else. $3200 is damn cheap for what you get. It even does phase detection AF with (some) third party lenses, 399 phase detection points on sensor...

Shame the A7000 is AWOL....

What's nice about that yashinon, is that it looks pretty good right out of the box. If you need a quick turnaround time, that is a nice lens to have. The color and contrast are well balanced.

Hi, guys. Ulises Rodriguez Pomba from NX1 Group on FB created a public document to research and complete by anyone about features and request for NX1: https://docs.google.com/document/d/1pwCklH7KMPvGlOWiy9RjGKUKaQnD7gJ-hiW7xotVJ6o/edit On this FB group there is one guy who is very close to people who develop NX1... so Samsung engineers will probably check that (I hope so)

It arrived to 11 punds!

Yeah, we know. It got spammed on the forum a few months back... I believe the posts got removed. By the looks of it you're giving it another go... It's not like you're making it obvious or anything...

Haven't had that much time to use it yet. And haven't used it for a serious gig yet. But. Basically it's my Favorite camera of all time.

Hi! I just have a few pointers that maybe will make your decision a little easier. Concerning the heads: Big difference between Manfrotto 500 and 502 Heads is Pan and Tilt variable drag control that 502 has which makes a huge difference when you need both slow and fast movements. The 500 has fixed Tlt and Pan drag, you have to try it if it works for you. It could be to loose for your gh4 and lens combination. I recommend to go somewhere and try it first. The 502 on the other hand can be adjusted to be completely loose or very stiff but still fluid. The 502 is much bigger and heavier and has controls on the oposite side, which many people hate, maybe you will hate it too, because of that I also recommend to try it first. But in your case, I presume that you will be using a tele lens, so with that in mind I would reccomend the 502 because a small movement on the head is a big movement in the video on the tele end. Concerning the tripod: What you want is a small light tripod that extends a lot, and that's a problem becasue that kind of tripod needs to have a lot of stages (leg extensions) and with every additional leg extension adds to overall instability of the tripod. Also, having a lot of leg extensions is a real hassle, I mean real pain in the ars especially if you have to move quickly to another location and can't move with extended tripod. Another thing, concerning the tripod (foto tripod legs) with many stages and a video head like 502 with Pan drag adjusted to be stiff, there will be a big problem regarding the tripod's Torsional Rigidity ( just google "Tripod Torsional Rigidity" ). When you pan the head in one side, the legs will twist in that direction and when you stop the movement and let go of the handle, the legs will twist again to return to their normal state and you will have a big backlash in your video. Just something you have to bear in mind. I have seen several times people blaiming video heads for the backlash, but actually the legs were to blame. Professional video tripod with a center or a floor spreader minimises that backlash. Also if you are going to buy that small photo tripod to mount a video head on it, I recommend adding a ball adapter (half bowl) because adjusting for the horizon with the legs only is a huge hassle and time consuming. There are several on the market, cheaper ones like sunwayfoto dhy-66i (new revision) are quite good. ( http://foto-tip.pl/en/sunwayfoto-dyh-66i-leveling-base.html ) A light, small, good quality and afordable price tripod is very hard to find, though I have recently bought a Triopo foto legs tripod for 85€ and quality is very good so try to see if something from their range suite you like: Triopo GE-3232X8C ( http://foto-tip.pl/en/statyw-triopo-ge-3232x8c.html ) this is just an example, you can browse to see what other tripods they have, and maybe in your case, depends where you are from, you can probably find them cheaper somewhere else. Triopo is ok for the price, 24 months waranty in the EU and many web shops have it. I would also recommend max 3 stages for a video tripod legs, but you need it to bee quite small when not in use and quite long when extended, and that complicates things. Hope this helps a bit. Cheers

I started with a really cheap but increible funtional, light and transportable, Mantona Scout (1,6Kg / 69€) and later I added a Manfrotto MVH502AH video head (1,6Kg / 170€). I´m talking for a Blackmagic Pocket. Now I´m looking for a second one to use two cams, they are photo tripod without head: -Induro AT014 (1,1 Kg) = 105€ -Benro A2580F (1,9 Kg) = 146€ The 500 is too expensive (380€ amazon) for me but weigh it´s OK 3,1Kg and it´s a video tripod. I discard the 502AM for the price (540€ amazon) For my uses (nature and live events), mobily and price is a must, I prefer a photo tripod + video Head.

​Yeah, that's pretty much what she had to say about it. And I also find it fascinating that even as the ability to afford one's "brush" gets cheaper and cheaper, it's always going to be a relevant part of the process. It's an art form that's more demanding of the craftwork than other mediums, I think. The simple nature of it being (mostly) collaborative produces an energy and momentum not seen in many other types of solitary art. --One of the reasons I find the collaborative are of dance and live music so captivating as well.

I think maxotics will be happiest of all.

Someone crashed the DJI Inspire 1 on yesterdays shoot. My response wasn't "Is it broken?", it was "Did you get the shot?" Honestly, my gear gets bashed to bits, literally. My gear is secondary to my vision, and I'll brutalise the gear to accomplish the best vision possible.