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  1. There is always some science behind the art. Just because you make art doesn't mean you aren't using science. I agree with you that the term "color science" gets abused but that doesn't mean that when used precisely it isn't accurate.
  2. ​I doubt they'd highlight it because it would draw attention to the deficiency in their existing camera lineup. Still no one can be certain until people can get their hands on actual RAW files.
  3. I agree that a true global shutter this isn't. However, it could be down to F5 territory (5ms I believe?) in S35 mode. I'm very curious to see what the IQ is like with the full 135 sensor. Sony says it used in sensor binning which (in theory) is better than line skipping. Could have some aliasing but shouldn't have much moire. Personally I'd rather see a 24mp camera with a true global shutter, full 6k readout down sampled to 4k, and faster FPS/focusing but this is quite the camera.
  4. I'm skeptical of these images. If they are from the A7RmkII I suspect there's some kind of pixel shift happening and not a full-blown ~60mp sensor. Could be wrong. While it seems most likely to me that Sony will follow Canon and make a high-res camera that doesn't do video as well, Sony has the added complication that by moving to mirrorless they NEED to do at least 1080P video very well because the camera relies on it to focus and to feed an image to the viewfinder. Personally I hope for a new 24MP sensor that is a scaled up version of the Pregius line of industrial sensors made by Sony. The pixel pitch is right and the Pregius meets or exceeds IMX124 while adding a global shutter and much higher frame rate. 6k video in FF mode down-scaled to 4K in camera. (approx.)UHD in APS-C crop. Full HD at S16mm. Plus a silent shutter mode that would work with my strobes. Keep it close to the A7 size and THAT would be a camera worth my upgrade dollars. I don't print large enough to justify 36+ megapixels but while I love the A7S I find myself still reaching for the A7 when I know I'll be shooting at low ISOs (for stills anyway).
  5. Andrew, if you're so concerned about the size of adapted lenses why not shoot with the native glass? I *know* the internet tells you Sony's lenses suck but even the (admittedly expensive) unloved FE2470 is pretty comparable to the MORE expensive Canon 24-70mm f4. Sony made the mistake of releasing some poor quality, consumer focused lenses with the NEX cameras which got more traction with the enthusiast crowd. This birthed the "Sony can't make lenses" meme. Now, Sony's tried the opposite tactic with the FE lineup. The primes are top rate. The zooms are not bad but despite objective measurements and testing showing them on par with top flight Canon/Nikon lenses the internet won't let go of the Sony-lens-meme. Sure if you've got canon glass, use it! I find it a bit ironic that Yoshi used a Canon 35mm f1.4 but stopped it down to f3.2. Using the FE35mm at f3.2 would have given better results in a much more compact setup. [END RANT] Do I wish Sony had enabled onboard 4K recording? Yes, but not as much as I wished they included an external 10-bit option. There's no good way (even with Slog2) to get 15 stops of dynamic range into an 8-bit pipe. Still quality 12 stop 1080p footage with no binning/skipping in a compact camera seems very promising. As a side note, it would be great if Sony enabled a 1:1 pixel crop like the GH2. That would give us FF, ~S35mm, and 16mm shooting modes. Of course there would be more noise in 1:1 mode but I bet it would still be pretty clean up to ISO 3200.
  6. I spoke with the guys at Metabones last year and they assured me that a speed booster with MF lenses is possible and they are looking into it. You got vignetting because of the adapter.
  7. I'm pretty sure (based on the diameter and mount style) the SLR shaped camera shown at NAB was actually FZ mount and NOT A-mount. The A-mount rumors came later—and I think there's a good chance we'll see a A99 lineup that mirrors the A7 lineup but with much faster AF and FPS. So an A99S with 12MP that shoots 4K internally. Regardless, the FZ mount is a bit of hybrid between PL & E-mount. Similar registration distance but with a positive lock. It is designed for adapters as there are very, very few native FZ lenses.
  8. Not necessarily. U3 SD cards are rated to handle 240mbps and there are SD cards that will do a lot more. The BMPCC uses a much higher bit rate than that shooting raw—although only a few cards can handle it. EDIT: Knowing Sony this is just wishful thinking. If there's an excuse to require a proprietary memory card they'll take it! Consumer codec but we'll require a pro level card. Sigh.
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