ntblowz

I might get R6 instead, the Sony yellow is still there on A7SIII, and R6's quality is way sharper than A7SIII in 4K, much better IBIS.
 
at 25600 ISO R6 still as clean as A7SIII and sharper.. you barely can read the text on A7sIII but R6 is really clear

I wouldn't worry about the specs of other cameras, the S1H is a known reliable workhorse ,the R5 seems like an unreliable show pony that I can't see anyone using on a serious video production, the A7s3 looks more solid but we're yet to see what the time restrictions with heat management mean for shooting times...
As mentioned above the 4k60p on the R5 is bad, better to have a high quality crop than a sub standard full frame image. 
And yes the RAW update will take this camera above the other 2 for cheaper more efficient and reliable RAW if that's your thing.
4k 120p is not something I would use very often I'm already cringing at the amount of unmotivated slow mo that is going to be filling up Youtube - but if it's really important then let's see what the quality of the Sony is.
All the S1H is really lacking over the other 2 is good AF imho

XAVC S/XAVC S-I is H.264, XAVC-HS is X.265, XAVC-HS is limited to 200Mbit, XAVC-S-I up to 600Mbit, XAVC-S up to 100Mbit, really weird that Sony stick to 100Mbit on both 420 8bit and 422 10bit.

yeah, that is in h.264, h.265 is 4:2:0, same for Fuji and Zcam.

or buy an ipad pro!
 
 

So 30min before overheating in 4k120p and 1.1 crop. Should we sue Sony? Lol. 
 
Joke appart I like that the 4K60p is good to go without overheating and that it’s full pixel readout and doesn’t need crazy expensive memory cards. 
However 12mpx for stills is not enough for me, so I would have to keep my A7III. Not as good as having everything in one with the Canon. Not to mention poor IBIS.
Yet if the Canon cannot record a min of video after you shoot 30 pics.... 
So what I am gonna do is I’ll keep my R5 order, test it in my real world usage and if it’s unusable I’ll return it and if it ends up being fine I’ll happily keep it. It’s perfect cause it’s summer now. If I can shoot pictures and small 20 seconds 4K120p clips for 3H straight outside then it’s a go. If not then I guess it’s gonna be another 5 years before I get my dream camera lol. 

B&H accidentally leaked the video, look like 4k 120p is 422 10bit internal?
 

Nokishita just tweeted out a link to an unlistied Youtube B&H review of the a7s3 that froze about 10-minutes after I started watching. The video is now private. I'm cancelling the R5 order and selling my EOS R to stick with Sony. This will be my video workhorse.
A summary:
A few flavors of XAVC including all-I and Long GOP in 4k and HD.
You pick the level of compression, then the resolution, then framerate - from what I remember every bitrate option can record all resolutions and framerates.
The tester couldn't get it to overheat at 4k60p after over an hour of recording outside in the sun.
Same color science as the FX9 and Venice.
The goofy colored new menus SAR had are real, full touchscreen navigation.
All framerates are 10-bit 4:2:2 internal including 120fps, though the max 600mbps needs V90 cards.
Full AF with all framerates, a more Canon-like touchscreen for AF.
The AF points in that leaked doc are correct 700+ PDAF and another 400+ CDAF.
External 16-bit raw is real, though they don't know how its actually gonna be recorded.
No pans but he said rolling shutter is pretty much eliminated.
IBIS is the reported 5.5 stops, looks like the same Sony IBIS.
Has the ZV1 digital stabilization and the FX9 metadata stabilization - this is what he was talking about when the video froze.
He didn't get to the EVF
Looking forward to the announcement.
Chris
 
 

B&H accidentally leaked the video, look like 4k 120p is 422 10bit internal?
 

Some more overheating times and tests with comparison of video shooting modes: 
Curiously does not test the standard 4k mode of the r5 against the a7riv. But all the other modes compare favorably for low light and detail. 

And footnotes. 

And so Panasonic are the only ones who actually take the initiative of designing a body that isn't gimped by heat. Someone needs to speak to the execs at Sony and tell them that it's ok if the body on this camera is slightly large (with internal nd). The use case for stills is minimal. They should have made it bigger. Let's wait and see what these record times really are under a hot sun, rather than ideal conditions. . 

The article is way too detailed and sheds a lot of new info not rumoured anywhere such as the new XAVC-SI & HS codecs, 16-bit ProRes RAW via HDMI 2.1, new AF system.. and thermal cutoff times.
So what is there to gather? A7S3 WILL OVERHEAT. Just less than R5.
4K60p FF no crop =  1 hour
4K120p crop = 30mn
Now let’s wait and see how that translates into real world use.
Battle ain’t over IMO.

Nokishita leaked a press sheet:
At the heart of the new Alpha is a 12 megapixel full-frame sensor that has been improved compared to the Alpha 7S II. Sony is now opting for a construction with back exposure (BSI), with which more light can be captured and which enables better results with low light shots. The maximum sensitivity is still ISO 409.600 (expandable down to up to ISO 40). The sensor is supported by the new BIONZ-XR processor, which is said to have eight times as much computing power as the previous image processor. Sony is also breaking new ground in operation: For the first time in the Alpha 7 series, a fully moveable monitor (3.0 inches, 1.44 million points) was installed, which now also allows touch operation of the menus. The structure of the menus has also been completely revised; among other things, only the relevant entries are available in photo and video mode for better clarity. The OLED viewfinder achieves a record resolution of 9.44 million points and a magnification of 0.9x. Even glasses wearers have the entire picture in view, the size of the picture can also be reduced.
4K with 120p
One focus of the camera is video recording. Unlike Canon with the EOS R5, Sony does not use 8K for video, but continues to use 4K, which is said to achieve the best results so far with an alpha camera. The sensor’s 12 MP resolution enables a full-pixel readout without pixel binning and without crop up to 4K / 60p. In this setting, the recording limit should be one hour without overheating – the EOS R5 only manages 30 minutes at 4K / 60p. The video recording of the Alpha 7S III in 4K / 120p mode is limited to this length
The monitor can be swiveled, and the handle and controls have become larger, as with other cameras of the third Alpha generation.
With Full HD, the Alpha 7S III even records at up to 240p. For time-lapse recordings, lower frame rates up to 1p can also be selected in S&Q mode. It is recorded internally with a color subsampling of 4: 2: 2 and a color depth of 10 bits. New codecs are available: XAVC-S-I records single images (All-I) with a data rate of up to 500 Mbits / s, XAVC-HS reduces the amount of data in image group compression to 200 Mbit / s thanks to H.265 compression. With HDMI 2.1, the camera can even output 4K / 60p as 16-bit raw files (ProRes Raw) to an Atomos recorder. Of course there is also a logarithmic gamma profile available (S-Log 2/3), which should enable a dynamic range of over 15 f-stops; the sensitivity starts here at ISO 640 (extended: ISO 160). According to Sony, the rolling shutter effect has been significantly minimized. The Alpha 7S III is equipped with a 5-axis image stabilizer in the housing, which, measured according to the CIPA standard, achieves an effectiveness of 5.5 f-stops; In video mode, digital stabilization (active mode) is also used, which also uses a gyro sensor. The information from this gyro sensor can also be stored in the metadata of the videos so that it can be used in post-processing for digital stabilization.
Fast autofocus and 10 frames/s
The hybrid autofocus covers 92% of the image sensor and uses 759 phase detection points and 425 with contrast AF. In addition to human, the AF algorithms now also recognize animal eyes – according to Sony, also at a greater distance than before. The AF sensitivity goes down to -6 EV series, the camera shoots at up to 10 frames / s. The mechanical shutter is designed for 1/8000 s.

Sony is using two memory card drives in the Alpha 7S III for the first time, which can use both SD cards (UHS-II) and the new CFexpress type A cards. They are smaller than Type B cards and faster than SD cards. For most video modes, SD cards of video classes V60 and V90 are sufficient; CFexpress is only required in S&Q mode with 4: 2: 2 color subsampling and 10 bit color depth. The series mode also benefits from the faster cards; 1000 uncompressed raws in a row should be possible here. Sony plans to launch two CFexpress Type A cards on the market in September, which have a write speed of 700 MB / s and a read speed of 800 MB / s: The 80 GB version is said to be 230 euros, the 160 GB version 440 Cost euros and supplies electricity for 600 photos or 95 minutes of video.

Or house it to Komodo casing and rename it to Komodo LF 

Taking stills and shooting in pixel-binned 4K shouldn’t brick the camera.
However it apparently does heat it up enough that the 8K/HQ modes can’t operate after some point.
This behavior seems odd and perhaps a pre-production issue. Which is why I suggested there is perhaps a slim chance Canon fixes that particular issue in firmware.
Not trying to defend Canon, if they aren’t able to fix that then it’s going to be a deal breaker for many, including myself.

Or house it to Komodo casing and rename it to Komodo LF 

This the first time I heard about the 33fps, is that 33fps slowdown to 24? 

John Brawley has said they are still tweaking the IR filter and it will be a different one on the final camera release
From.dvxuser.com
IR filtering is still being tweaked. My comments wouldn’t mean much because I had a prototype camera that had a different IR filter than what will ship so that’s a bit difficult to draw conclusions from.

I used all internal ND’s on my shoot. There was also a calibration difference with my camera that wasn’t picked up till recently. Most of the RAW files are shot at the default WB of 5600K +10, which is the “standard” BMD daylight default.

BUT

When you start to go into he RAW tab you’ll find it’s really about -500K to -1000K (Less warm) and -5 to -10 tint (less magenta)

I didn’t change these on my initial clips, but I have on these ones...

https://vimeo.com/440479199

Which also by the way show the 8K and 4K modes 🙂

This guy has a better image that shows 4k 10-bit internal at 100fps
 

A new tweet by canon rumors, who I find the most reliable of all rumor sites, says that Canon is open to adding BRAW to their R series cameras.
This would be the biggest company to add BRAW to their cameras other than blackmagic themselves. It doesn’t matter if you care about these Canon cameras or not, every single person should be rooting for this to happen, because if Canon adds it, it forces the hand for Sony, Panasonic, Fuji, etc to add it as well. And when that happens, we all win. BRAW is our only choice for some sort of compressed RAW, because of REDs patent ruining the party. BRAW in more cameras means cheaper media, easier editing, color grading, etc. So, make some noise so canon knows we want this or whomever your favorite brand is. Sites like this one have pushed brands to be better and right now, they are listening and we need to continue to be loud. BRAW should be in every single camera that takes video seriously. 

Interesting to see X-T4 last even shorter on the same sun than R5 do, but in the shade it can record few min longer.
No one can touch Panasonic on those torture test!
 
 

Interesting to see X-T4 last even shorter on the same sun than R5 do, but in the shade it can record few min longer.
No one can touch Panasonic on those torture test!
 
 

1.) I’m a full-time photojournalist. I do have encounters with AP PJs out in the field. If they are churning and burning, they probably won’t shoot log as they upload and send their video to other press agencies. They in turn do not have the luxury of color correcting before air. 
If they are shooting an investigative piece or something long term where they have time and crew to put it together, yes they may shoot LOG. Business is deadline driven, "Make slot, not art".  SLOG introduces an unnecessary workflow when your slamming video together. Not enough time to render and transcode that.

One trick (not a great one) is to do the grading and all on a 4k timeline, with RAW at half res and then switch to full res and 8k timeline, save, close Reslove and restart just for render. The challenge is to know what grade you can apply or not.  On my test was LUT on one node, GGL on another and the last one mid tone detail and color boost. Sharpening was set on the camera raw tab. So really basic stuff only.
Restarting resolve with proxy to quarter and only open the deliver tab and render seems to help. Also I did un check the use GPU for scopes.

Titan RTX seems the way to go but quite expensive. A bit cheaper there is the Quadro P5000 with 16 GB but not sure it make sense. Or if you find a Radeon VII with 16 GB perf should be similar to the 2080ti but more RAM