Andrew Reid

I wouldn't call it that smooth, his camera is all a bit all over the place. And the vertical lines of the building are a worst case scenario especially if you're look for the problem and know how to spot it. I still think the A6300 has a lot... But I also think RS is one of the more 'overrated' problems with these cameras. The NX1 has 90% as much, yet not so many complainants about it over the last year really. I've heard more people mention the banding. Yes small improvement.

No looks like a typo in the manual or something. XAVC S 4K 25p has a "Super 35mm" badge next to it in the menus and I see no change in the FOV when using it vs 4K 24p mode. Yeah it does unfortunately. Weird innit?!

Still my favourite is the 5D Mark II especially as it is now so affordable used (£650) Even without the Mosaic AA filter it's a beauty of an image and every bit as good as the 5D Mark III, if not actually even a bit more 'characterful' and less 'clean'! There's no need to even consider anything newer, they're all far worse... although the 70D with dual pixel AF is quite a lot of fun with raw. Problem is, the image isn't nearly as good as the 5D Mark II from all those years ago. 80D won't be getting raw any time soon I don't think. ML probably have moved on a bit to be honest. Canon had their chance to nurture something great... didn't...

Good stuff, let me know how it goes.

But the Panasonic's don't go past ISO 800 without suffering massive colour de-saturation and heavy noise. The A6300 has a lovely fine noise grain and can go to 6400 easy. Tis true! Yes but nothing a little post can't sort out I am enjoying Cine 4 to avoid LOG It seems different this time out... the image processing is new. I like it better. No more limited than any other. I think it's pretty good in Cine4 for both colour and DR so far. Early days though. Not that bad considering the size of the body, just carry some spares. Really? Sigma 18-35mm and 50-100mm F1.8 pretty good no? Ok not native but AF should track and be fast through the official Sigma adapter, so as good as maybe... The Sony Zeiss 24mm F1.8 is my favourite of the native APS-C lenses, it's very good and the FE 55mm F1.8 is nice and it doesn't matter that it is full frame, it works fine on Super 35mm. But if it is APS-C lenses you want there's a crazy amount of EF-S ones and others which will go on the A6300 via the Metabones adapter. Also Sigma do some nice APS-C lenses... and now some notable ones for e-mount with good AF. Using full frame lenses is there it's at though, and Speed Booster. The lovely Sigma 20mm F1.4... it's still beautifully wide on it with or without Speed Booster in fact. Not exactly charming like a Fuji X Pro2, but it feels functional and as long as you don't need to dive into the menus too much, it's fine. Still does the annoying "shooting on NTSC mode" dialogue box when turning it on though, if shooting 24p and 120fps on a PAL camera. Ridiculous. That's mainly an S-Gamut issue actually. In Cine 4 and for stills it might be improved, we'll see.

Don't forget to factor in the price of a monitor though... And a cage... And... And... And...

Sony's quality control recently has been the stuff of toilets.

No but you can pass audio out via HDMI to a monitor with a headphone jack, or go off the on screen audio levels instead. Yeah I see, makes sense!

Yes And it is continuous, not a cache record like on the FS5 PS - why do you want sound for slow-mo?

The rolling shutter is a bit less in it but the idea of 30p and a crop doesn't really appeal to me artistically I think this is a great camera for wide angle Super 35mm. Telephoto not so much because of the rolling shutter. Handholding an 85mm or 135mm, forget it. Sigma 20mm F1.4 on the Speed Booster, now we're talking! It's stunning with this and barely any hint of distortion.

Hitfabryk - Friendly forum etiquette tip... Please don't quote long posts unnecessarily, just reply straight under them, as all this quoting doubles up on itself and makes the page extremely long to scroll through. Yes worth the upgrade from the A6000 definitely, unless you have a compelling reason to go for a different model entirely like the A7S II or NX1. Most people won't, I don't think.

S-LOG 2 with Stills colour mode seems to avoid the worst of the white balance problems S-Gamut introduces. Weird reds in sunlight, that sort of stuff. S-LOG 2 is of course good for LUTs, better than any other profile, so if you want to make use of your custom looks in post shoot S-LOG 2. S-LOG 3 is a joke and to be avoided due to the banding in skies, etc. S-LOG 2 however does sacrifice tonality and colour for more dynamic range. The Creative Styles are all a bit naff and will toss your highlights onto the fire, very very bad for dynamic range. Vivid however has lovely contrast, colour and a punch to it, with no effort in post. The Picture Profiles are a weird mess of old video profiles from Sony's boffins, a lot of them hopefully fired by now because they did a terrible job. ITU 709 for example looks like a Canon C300 that somebody threw up on. It's so far away from Arri, Fuji or Canon that it is quite laughable. Once you realise there is only one good Picture Profile aside from S-LOG 2 and that is Cine 4, matters improve a bundle. Cine 4 preserves the most highlight detail of any of the non LOG styles or profiles on the Sony cameras. I dial up the saturation and lower the black levels to improve colour and tonality, gives it a nice saturated Canon-like feel direct off the card and it doesn't then need so much fuss in post. I really like the results and dynamic range is very close to S-LOG 2 once the latter is graded and normal contrast introduced back to the image. I would usually prefer to shoot with Cine 4 as it avoids the weird colour and compression issues that so many people seem to have with S-LOG 2 occasionally.

Absolutely, we all owe you one for the early A6300 coverage and you guys went out of your way to deliver... Yes very unfair of me to make it sound like I was lumping people together. If I had judged everyone the same I would have had to include myself in that as I have been to Sony press events for cameras organised in Berlin. I went to one for the a7R II for instance. They served us free champagne. I drank it. Went home. Wrote that the full frame 4K image looked like a dog had done a crap. I think this is really important in the industry. The PR company hasn't been in touch since. Sony however... have. I think they prefer honest feedback above the relationship bridge building bullshit any-day. Personally I think their influence is becoming pervasive and it is rare to see someone come back from one of these events and raise an issue with the camera in public. When you and Chris came back from Miami though you did a balanced video on it and the information was extremely useful for everyone thinking of buying the camera or not. In the end people can tell if we are being balanced and they can tell when a site like DPReview is going down the drain with advertorial. Hopefully also a site which still refuses to carry advertising (like mine) still means something. I'm not sure it does any more. Anyway, from the bottom of my heart be sure that I did not mean to lump your superb efforts in with the real intended target of my barbed comments, which were aimed at a minority online and not the good guys like you. I mean that. Also, it's great to see you on the forum, hope you stick around, despite my occasional rants Cine 4 is looking superb on the A6300. None of the colour issues of the Creative Styles or the vast majority of the other Picture Profiles (ITU 709 particularly horrid) I've graded it lightly with Fujiflm Velvia in Film Convert's a7s profile for Cine4. I am astounded by the image quality of this camera for $1000... Take a look at that detail close up in 100% view if you download the frame grab below... it is FLAWLESS. Whatever 6K to 4K scaling method they have on the new processor... it works. I prefer this image to my FS5.

People are saying the 1080p 120fps looks soft. Doesn't look to bad to me... Also colour in the Vivid profile is very "Fuji-like" S-LOG may give you dynamic range, but if you want the most effortless out of camera colour just set it to Vivid. In 120fps with centre-spot AF and enough light to feed the phase-detect pixels it rocks... locks on superbly to what is in the centre of the frame, no hunting. Dim the light and contrast detect AF kicks in and it's still a bit poo. Rolling shutter is the biggest issue I have had so far with the 4K 24p. It's the most I've ever had. Locked down shots no issue but this definitely isn't a tool for violent handheld camera work. However in the 1080p modes especially 120fps the rolling shutter issues almost disappear... And 30fps is a BIT better...but crops.

I used the Sony 16-105 F4 and it wasn't exactly working well with that either... recognises people, but then slips to the background occasionally if you're not in optimal lighting or the background is more detailed and brighter than the subject. It doesn't seem as bullet proof as the 1D X Mark II's dual pixel AF. I am sure it is just a case of learning to work within the limitations of it.... sometimes it's amazing and a BIG improvement on before.

AF in stills mode with Canon lenses on Metabones adapter is mindblowingly fast in good light. Can't seem to get them to track an object in video mode though. The Sony lenses track but rather unreliably in low light. So mixed bag with AF but I am loving the image so far.... seems better than expected... mainly due to NR and codec improvements? The rolling shutter is pretty severe though, like NX1.

Just shot a few tests with the A6300 in 4K. Sony have completely changed their noise reduction and the way the codec handles noise... Behold... A fine noise grain in video mode!! This is really nice to see. Shot at ISO 6400 by the way. One thing I have noticed with the copper sensors (X Pro 2, NX1, A6300) is that they really hold onto colour and dynamic range well at high ISOs. More coming soon.

Hey Jordan No way! It kills me to have a misunderstanding like this I am an avid follower of your videos at The Camera Store, I absolutely love then I featured your video on the blog purely out of love for what you do and to draw attention to it. I'd have a hard time passing that off as my own!! Berlin might be cold but it's not that cold!! I do not have a stunning beard. I do not have Chris's strange accent either The PR comment wasn't aimed at you guys *At all* I get involved with the manufacturers and try to build a relationship, I go to the events organised by PR companies to try out the cameras early when I can fit it in, nothing wrong with this and all reviewers do it. I didn't realise you and Chris just got back from a Sony press event so it was a really stupidly badly timed comment on my part. No one can deny there's generally a subversive whitewashing going on due to so much PR in the consumer electronics world but YOUR reviews are NOT like that... I like to think we remain balanced about negatives and unbiased and thinking of our content rather than our relationship with the manufacturers and this is totally what sites like ours do... We shoot from the gut and we are outspoken. I can't tell you how sorry I am for this misunderstanding it is terrible... I'm up for a chat on the phone if it helps solve any issues Sorry - Andrew

I think you're being too harsh really. Running a 6K sensor fast enough to reduce rolling shutter takes a large heat sink and an FS5 or even FS7 size body. I don't expect them to do that in a tiny tiny mirrorless camera for $1k, why do you? You've gotta understand what it is trying to do here... read out 2160 lines of 6K in 34ms with no fan and pretty much nothing in the way of heat sink apart from the poorly heat conducting composite shell of the body itself. By all means take a Canon that line skips through 1080 lines of 2K, pixel binning as it goes... in exchange for a bit less rolling shutter (20ms-ish instead of 30ms-ish) Doesn't seem like much of a deal to me. Plus rolling shutter you can fix in post. Moire you cannot. No touch screen and questionable button placement, fair enough... it should have been better in these areas. I am going out to buy mine now in Berlin and will report back later. If the X-T2 gets 4K then it also gets less or virtually no moire by default, as 4K is almost always a full pixel readout aside from when the megapixel count is ridiculously high like in full frame mode on the A7R II (42MP).

Also the Nikon D5500 does great looking 60p

So far they've only managed a picture of Darren Aronofksy Too bad

Blackmagic micro cinema in good light would be sharpest and best dynamic range In low light A7S

Going to get mine on Thursday now, Sony had a delivery technical issue so they are coming in a few days late here. Looking forward to it. I do wish Sony would change their menus, ergonomics, skintones, colour, LOG profile, jello, banding, macroblocking, edge tearing, etc. quite a long list isn't it? You can be assured my coverage won't be a PR smoothie unlike ALL OTHER SITES SEEMINGLY IN EXISTENCE. Can I just say that Sony have some SUPERB PR people.

That was a little gem dude, loved it. Watched it finally behind the GEMA Wall of Berlin (VPN - Tunnel Bear, highly recommended, I use it for Amazon prime as well) I enjoyed it in a pulpy comic way which I think was the intention, the characters look great, love the choices made in shooting this. The edit is a pacy one, keeps the energy level up but I would have done something else with the pace I think, maybe give it an evolving shape from start to finish. Loved the idea, but the placements of the cassettes and some of the props is a bit too 'clean', I'd have liked to have seen more dirt and mud on them. Loved the seagull shock-horror mouth open towards the end, best seagull acting i have seen for a while Camera did well, looked almost too clean and crisp for the grubby seaside location and retro angle you had on it. What lenses?

GEMA is a total joke!