TheRenaissanceMan

Internal 4K is at the bottom of my A7S II wish list, under IBIS, SLog 3, SGamut3.cine, 10-bit HDMI out, professional Look Profiles (like Rec709 type A) as picture profile options, smoother AF, the elimination of lossy RAW compression for stills, and less rolling shutter.

Totally get your drift, but others don't. Some people out there think a low light camera means you don't need lighting, which is a very bizarre way of thinking when shooting. (Excluding the spontaneous and some documentary stuff). 
There are many "tests" on Vimeo where opinions are based on cameras where substantial lighting hasn't been used. How can a cameras image quality be tested when it hasn't been given the ingredients it needs? (Excluding low light tests). The A7S for example, creates by far it's best image under decent lighting at a low ISO. 
I've historically made loads of my projects with very little money to nothing. Lighting never gets thrown aside. Last year I made a zombie music video in a complete blacked out lunatic asylum. I lit the entire thing with just 2 small LED lights and a reflector. Sure, I had the Sony FS700 (decent low light) but if I didn't bother moulding the light then the video would of been a waste of time. 
A lot of us camera nerds are so obsessed with cameras that we spent all our money on cameras and not the juice that feeds the image. Low light is a fantastic feature to get more information and clean images - but knowing how to mould that light, in whichever form or source with decent composition is the key to amazing images. It's what sets you apart. (And your ideas of course!)
So when this brings me back to the URSA Mini and what it's intended for,  it seems perfectly fine. I'll always have some form of light kit, even if it's a bit of foil on a piece of cardboard and a little torch to shine on it.  

​
If low light is such an issue for low budget production - shouldn't more people actually consider buying a decent set of lights before upgrading to yet another camera body? Lights last for over a decade, camera body 2-3 years. I don't find low light much of an issue as I'm covered on all bases. Something a lot of the camera nerdy community forget is that lighting is No.1 for creating images (in aspects of tools). 

​I think it's handy - not 'huge'. 
I've shot a lot of night stuff on Alexa, even while owning an A7s. It's super handy to have a little camera that has superb ISO performance and allows you to steal shots or whatever. Yes, it's freedom etc etc.
But I've never lit a night shoot, then had my crew mount a lens on an Alexa and looked at it and thought 'man, I wish I was shooting this on my A7s' nor have I ever thought 'I reckon if I didn't light this and just used my A7s at 12500 ISO, it would look equally as good'.
I love my A7s. But if someone said to me 'would you rather shoot A7s and never be allowed to use lights, or shoot with something else and use as many lights as you want' I am going to pick lights, every time. Put your time and effort (and money) into lighting your scenes - or pushing your Producers to get you some lights. It will make a much bigger difference to the way your images look.

​Besides 12 bit RAW and 10-bit prores with 13 stops of dynamic range, better rolling shutter, and WAY nicer color?

​Production monitors didn't use Plasma because you can't get smaller than 42", can't display larger than an 8-bit color space, and must use dithering to produce proper tonal variations. Many plasma panel image tests have shown models that are almost 100% Rec709 accurate, so I'm not sure where you're coming from here.

I'm incredibly excited for the dawn of affordable OLED, even if they don't render motion as well as plasma. Perfect viewing angles, perfect uniformity, perfect blacks, excellent color accuracy.
 
 
 

​Besides 12 bit RAW and 10-bit prores with 13 stops of dynamic range, better rolling shutter, and WAY nicer color?

​Besides 12 bit RAW and 10-bit prores with 13 stops of dynamic range, better rolling shutter, and WAY nicer color?

​I agree that at the end of the day, the image is the most important thing, but arguing that ergonomics and shooting logistics don't matter is completely asinine.
 

​Besides 12 bit RAW and 10-bit prores with 13 stops of dynamic range, better rolling shutter, and WAY nicer color?

Like all the other full frame, 4k cams for under $2500?

​Besides 12 bit RAW and 10-bit prores with 13 stops of dynamic range, better rolling shutter, and WAY nicer color?

They look good to me! My only gripe is that his shirt is going supernova around the Simpson logo.

I love when companies make bare bones cameras. Most of us already own monitors, external batteries, etc. It's nice just to plug-n-play a new sensor in a box.

Hi,
I recently bought the Samsung NX1. Mainly due to this website, so many thanks for that! This camera is a major upgrade for me. I had a bridgecamera of Sony which I really liked (DSC-HX100v). Having the NX1 now, I am really happy about my choice. I can make beautiful photos, but also beautiful movies during my holidays. 
I have made a short movie with standard settings, just with the purpose of getting to know the NX1. It's made in The Netherlands, Hoek van holland:
Now I should play more with different settings. I think I should adjust the contrast. Please let me know your first opinion of the movie :-)
Peter

​Production monitors didn't use Plasma because you can't get smaller than 42", can't display larger than an 8-bit color space, and must use dithering to produce proper tonal variations. Many plasma panel image tests have shown models that are almost 100% Rec709 accurate, so I'm not sure where you're coming from here.

I'm incredibly excited for the dawn of affordable OLED, even if they don't render motion as well as plasma. Perfect viewing angles, perfect uniformity, perfect blacks, excellent color accuracy.
 
 
 

Am i the only one who wishes they still made plasma?

According to Art Adams (and confirmed by my own observations), the secret to Canon's skintones is that they push red slightly toward orange. Since most blemishes are redder than the surrounding skin, it makes them blend in and provides an overall creaminess that's not color accurate but is aesthetically pleasing. They also push green tones slightly toward blue to compensate for and contrast with the abundance of orange.

@Nick: As a Windows user I have no idea what FCPX does or doesn't  
 

​Not trying to turn this into an FCPX conversion thread, but FCPX has been doing this flawlessly for a while now. 
Still, very cool that Resolve is implementing a lot of these high level features. More competition in the market is good for us users.

​Your problem? Your problem is being a major prick. That's what your problem is. You're going to define my entire life, my entire career, from the random shit I've uploaded to my Vimeo channel - something I haven't even used in over a year? You think someone's Vimeo channel is the be all and end all of what makes them a "professional"? Are you that friggin' daft?
Who the f**k are you to condescend me? To tell me I have "no idea what I'm taking about"? To call me "kid"? To tell me that I might "learn something"? To say the small amount of work I have shared is "NOTHING"? Huh? Who the f**k are you to cut me down and burn me like that? You arrogant prick.
99% of the work I do for major artists can't even be shared on Vimeo. I'm under contract, you daft f**k. I don't own the footage. I can't share it, no matter how good it looks and how bad I want to show it off.
Whatever. F**k it. You just keep doing your thing, J.F.R. Keep being a major, hypocritical wanker. Keep condescending and character-assassinating others based on a handful of words and Vimeo uploads. Nothing but another friggin' keyboard warrior.

​Yeah, how dare we have opinions!

Bunch of slackers and amateurs...

I love NAB, been more than a few times, but maybe it's my age and where I am in life, but the more stuff I see the more I'm starting to believe that the tech has maxed out for me.  So I ask myself, when any semi-affluent middle-school kid has access to comparable IQ that I have, what's the point of chasing the best IQ?
12 stops of DR vs. 14 stops of DR.  This color science vs. that color science.  If not applied to a good story and a foundation of compelling shots, using the best isn't really much of an advantge.  Love great new capabilities.  It's exciting, but rarely do I leverage it in any similar exciting storytelling way. 
For far too long I've focused on playing with the cool toys in the sandbox.  Ultimately, I'm thinking I would have been better off learning how to build a superior sandcastle.
All one has to do is wander around Vimeo to see a bunch of decent looking IQ and lousy filmmaking.  
And god forbid you're on a film festival selection committee.  So much stuff looks great these days, you're forced to sit through feeble storytelling until you realize the narrative isn;t going to say anything remotely interesting, is just a bunch of hoary tropes, and the story doesn't come close to matching the imaging.
Dang near everybody has great IQ devices...and if they don't they will soon...even if they're not actively searching it out to acquire it.  It will come with their phone, watch, eyeglasses, pocket drone, or whatever.
For me it's time to ignore the camera and go back to the concentrating on ideas and story.  That skill is truly where any advantage in this career will allow advancement.

Agree with the guys above.... If EOSHD wants to become a better editorial, Andrew really needs to step out of the mindset of "It doesn't suit me, so it is a bad camera/bad decision".
This camera will sell well. Very well.

JazzBox,  current MFT lenses really aren't suitable for eng style shooting reliably. The decent ones have no servo and are limited in their range.  
Original eng cameras had the B4 mount and interchangeable lenses (and most still do)  but usually only one lens is bought or carried with each camera.  You rarely see eng crews changing lenses in the field.  The lens on this camera has a great range and due to its design,  they have been able to include 5axis stabilisation which you don't get in traditional b4 lenses.  
This is obviously not the camera for you but believe me it will find plenty of customers.  Eng crews just want something that works,  reliably,  ergonomically and with minimal fuss.  Being able to attach a 25 1.4 prime is really not a priority for them.  For you,  it might be,  so choose the camera that allows it.