nathanleebush

So basically Huawei is the leader in 5g but without american components that tech just can't be used. How is this not a good thing for the americans? 5g is the future of tech. I don't think the short-term loss for these chip makers matters compared to the advantages of being no 1 in 5g. And if you think the americans aren't playing fair then the same can be said about the chinese. Just consider how they got to this point. 

Vimeo sucks a big one, always has. For the base upgrade of $84 a year, you get a whopping 5GB a week. Someone has to break it to them that YouTube has been offering unlimited uploads since...forever, and was like 2-3 years ahead of Vimeo in offering basic things like 4K, again, always free. Vimeo video search is beyond terrible, with very limited filter options. And they do all the most annoying tricks where, rather than add value to premium options, they strip away very basic functionality from the free product, like having to wait in an arbitrarily long queue to get to see your uploaded video, and only 500MB per week, a pathetic sum. Vimeo has the best encoding, but for everything else it's a total scam.

Terrible.. When I was in the UK a few times over the last decade, it always felt like 1984. I'm am always shooting street photography everywhere I go, and it's the only place I've ever been stopped and questioned by the cops, and not once, but many times. Sad to see Europe following suit. 
Liberal governments are always trying to regulate the shit out of everything. Just leave us alone!

Terrible.. When I was in the UK a few times over the last decade, it always felt like 1984. I'm am always shooting street photography everywhere I go, and it's the only place I've ever been stopped and questioned by the cops, and not once, but many times. Sad to see Europe following suit. 
Liberal governments are always trying to regulate the shit out of everything. Just leave us alone!

Loosing 'rights' every day,
Under cultural attack every day,
Being told I'm guilty of the worlds 'problems' every day,
Forced to paying taxes to fund all this propaganda,
Such is my life as a white male in our place of origin, Europe.
We're at the most technological amazing time, why do we let this get messed up?

Vimeo sucks a big one, always has. For the base upgrade of $84 a year, you get a whopping 5GB a week. Someone has to break it to them that YouTube has been offering unlimited uploads since...forever, and was like 2-3 years ahead of Vimeo in offering basic things like 4K, again, always free. Vimeo video search is beyond terrible, with very limited filter options. And they do all the most annoying tricks where, rather than add value to premium options, they strip away very basic functionality from the free product, like having to wait in an arbitrarily long queue to get to see your uploaded video, and only 500MB per week, a pathetic sum. Vimeo has the best encoding, but for everything else it's a total scam.

One of the realities of being a EOSHD reader is the occasional Andrew Reid temper tantrums and flame wars. As something of a self-righteously indignant flame war enthusiast myself, I recognize his reaction. Still, it seems like ultimately Brawley is right, BM is sharing this cameras with working pros, not enthusiasts. I don't know where Andrew makes his money to buy all these cameras, but pretty sure it's not shooting ads or features. No offense, I enjoy his videos and his color work and his idiosyncratic taste, but he's not exactly the industry perspective, which is apparently what BM is seeking. 

One of the realities of being a EOSHD reader is the occasional Andrew Reid temper tantrums and flame wars. As something of a self-righteously indignant flame war enthusiast myself, I recognize his reaction. Still, it seems like ultimately Brawley is right, BM is sharing this cameras with working pros, not enthusiasts. I don't know where Andrew makes his money to buy all these cameras, but pretty sure it's not shooting ads or features. No offense, I enjoy his videos and his color work and his idiosyncratic taste, but he's not exactly the industry perspective, which is apparently what BM is seeking. 

The left have become a bunch of whiny, pearl-clutching Victorians. They've gone completely off the deep end with the offense culture and all the divisive race-baiting and reverse sexism/racism. Hillary was the last time I vote with them. Glad we still have a few brave people like Kanye and von Trier who truly don't give a fuck, but they are few and far between. 

The left have become a bunch of whiny, pearl-clutching Victorians. They've gone completely off the deep end with the offense culture and all the divisive race-baiting and reverse sexism/racism. Hillary was the last time I vote with them. Glad we still have a few brave people like Kanye and von Trier who truly don't give a fuck, but they are few and far between. 

The left have become a bunch of whiny, pearl-clutching Victorians. They've gone completely off the deep end with the offense culture and all the divisive race-baiting and reverse sexism/racism. Hillary was the last time I vote with them. Glad we still have a few brave people like Kanye and von Trier who truly don't give a fuck, but they are few and far between. 

The left have become a bunch of whiny, pearl-clutching Victorians. They've gone completely off the deep end with the offense culture and all the divisive race-baiting and reverse sexism/racism. Hillary was the last time I vote with them. Glad we still have a few brave people like Kanye and von Trier who truly don't give a fuck, but they are few and far between. 

The left have become a bunch of whiny, pearl-clutching Victorians. They've gone completely off the deep end with the offense culture and all the divisive race-baiting and reverse sexism/racism. Hillary was the last time I vote with them. Glad we still have a few brave people like Kanye and von Trier who truly don't give a fuck, but they are few and far between. 

Does anyone know if the IBIS on the a6500 works with non native sony lenses like it does on the A7s II, where you can manually dial in your focal length? That will be the decisive issue for me in buying it because I have a lot of old manual lenses. 
Really wish Sony would put an ND 6 or 9 in that RX100 V. With Log mode starting at 1600 ISO, ND 3 still means you're shooting at F13 in daylight and still clipping highlights. I've rarely found myself in a situation with my Mark IV where the ND3 was useful. 

This footage looks terrible. Sooo video-y.

This footage looks terrible. Sooo video-y.

And lose any weight advantage :/
Hilarious that almost a year after they announced at NAB pre production units are starting to filter into the world. After the first few releases I was hoping BM would pull it together with its release schedule, but it's been more of the same. Delays, delays, delays. Weird strategy: get everyone all hyped and then make them wait just long enough that they've forgotten about it completely and are hyped about something else. Then release it. 

Sony's been remarkable in this regard. Their stills camera division was a distant third for a decade. They just kept chip chip chipping away, adding more features than the competition, iterating and modifying their designs radically until they found a way into the future (mirrorless). People who were paying attention switched a few years ago with the NEX-7 era. Now I see a huge sea change happening with a majority of filmmakers I know switching and lots of photographers taking Sony seriously as well. Nice to see the hard work and patient approach pay off.
Their consistency approach is smart, too. They built an array of product categories and packed each with category leading features, so you can confidently move between the levels. I can use my A7s, RX100 IV on most standard shoots, and rent the FS5/FS7 when I need something more capable, knowing I can shoot S Log on all and have a color matched solution. The idea of adding pro codecs on the RX100 IV especially, was genius. I've picked up B Roll for major shoots when I'm just walking around and pull it out of my pocket. to grab something in 4K S Log. 

Sony's been remarkable in this regard. Their stills camera division was a distant third for a decade. They just kept chip chip chipping away, adding more features than the competition, iterating and modifying their designs radically until they found a way into the future (mirrorless). People who were paying attention switched a few years ago with the NEX-7 era. Now I see a huge sea change happening with a majority of filmmakers I know switching and lots of photographers taking Sony seriously as well. Nice to see the hard work and patient approach pay off.
Their consistency approach is smart, too. They built an array of product categories and packed each with category leading features, so you can confidently move between the levels. I can use my A7s, RX100 IV on most standard shoots, and rent the FS5/FS7 when I need something more capable, knowing I can shoot S Log on all and have a color matched solution. The idea of adding pro codecs on the RX100 IV especially, was genius. I've picked up B Roll for major shoots when I'm just walking around and pull it out of my pocket. to grab something in 4K S Log. 

Funny, when I had the 7D I always had to tweak the colors. Same happened with 5D files. I find Canon's colors so unnatural, in fact I find them too saturated and too contrasty.
I enjoy Sony's color much better.

I agree. I always overcompensate (in post) magentas on my Sony cams, stills and video, Log or no Log.
I've always personally felt that Canon has nice color science, but not accurate, especially in stills. Sony sensors, especially on Nikon cameras, produce color more accurate to what my eye sees, but not as flattering or punchy. I prefer to have accurate but less sexy color, and then work it in post, but I can see how sexy color out of camera is appealing. I think that explains especially the predominance of Canon on the studio photography side (when not using medium format). I've noticed Fashion and commercial photographers in NYC prefer the 'Canon look,' despite the files being significantly less flexible. I've only once seen a Nikon in a studio environment, and Sony never. But I think it's also inertia, as pro photographers have invested in the system and glass and know how to work with it.

I agree. I always overcompensate (in post) magentas on my Sony cams, stills and video, Log or no Log.
I've always personally felt that Canon has nice color science, but not accurate, especially in stills. Sony sensors, especially on Nikon cameras, produce color more accurate to what my eye sees, but not as flattering or punchy. I prefer to have accurate but less sexy color, and then work it in post, but I can see how sexy color out of camera is appealing. I think that explains especially the predominance of Canon on the studio photography side (when not using medium format). I've noticed Fashion and commercial photographers in NYC prefer the 'Canon look,' despite the files being significantly less flexible. I've only once seen a Nikon in a studio environment, and Sony never. But I think it's also inertia, as pro photographers have invested in the system and glass and know how to work with it.

The overheating is a very real issue. I've been renting an a7r ii from an assistant for interview work and having to take breaks to let the camera cool down is very unprofesh. 

Just tried the settings reset and camera 'initialise' option and it didn't solve the problem.
Well... it made it go away due to auto exposure and auto ISO but as soon as enabled 4K XAVC-S and manual exposure it was back with vengeance.
You might be able to under expose to avoid it on a weak LED light but try doing that with the sun, impossible.
A7R II has no such issue, this is purely an A7S II thing. Very disappointing!

Hello All,  New to the forum!  I have been shooting with my A7S II for over a week now and do not have any of the issues you are??  I even took my camera outside immediately after reading this and was not able to reproduce any of the issues.....  There may be a bug or bad batch of cameras....