exomonkeyman

First of all a adapter with no glass will not effect image quality so the E mount version of the sammy is not less sharp than the canon mount.
I'd push you to buy the nikon mount samyang 85mm becuase nikon mount is the most adaptable and can be  used on most cameras.
"Iv'e seen that some lenses have a lower scores because of there mount (nikon,sony,canon) is this because when a lens is adapted from EF to E or the other way around, it get's reduced sharpness because it simply works better on EF fit."
That is because the different mounts have difference sensors, lets say canon has a 50mp sensor and sony a 36mp sensor. The lens will score higher on the canon because you can see more detail.
 

Indeed!
But hey, Sony didn't notice their reds were pink in S-LOG, so I don't expect them to listen to me on menu shortcuts

That's how S-Gamut is supposed to work. It's a storage format, not meant to be graded by amateur colorists without R709/P3 LUTs. 


Every A7S video shot in S-LOG/S-Gamut I've seen that's been handled by a professional colorist has looked great, which tells me it's inexperience and lack of knowledge, not a weakness of the hardware. If you want something easier to grade with a simple curve or two, perhaps you should try the Pro or Cinema gamuts. Pro's given me great results in the two A7S shoots I've worked on.

Sony seem to have reserved it for now as a selling point of the A7S II.
Maybe 6 months later there will be a small chance.
But enough people ask for it, it will happen... Like uncompressed raw stills did.
There's a solid logic for Sony to add it in...
On a shoot with FS7, A7S II both set to S-LOG 3... An A7R II on Super 35mm duties set to S-LOG 2 doesn't make much sense does it!?

Last I checked, you can't even get remote (WiFI) VIDEO viewing of the video image through the PlayMemory apps, like you can using Panasonic cameras.  The Panasonic implementation is amazing.  You can set focus on your smartphone when in video/photo mode.  
I haven't look at the SONY API lately, but my guess is that any video LUT application is not going to happen.  Unlike Panasonic, SONY puts the app on many kinds of cameras, from action cams, camcorders to their mirrorless.  So you have a lowest-common denominator thing going where they only provide API calls that work across all cameras.  Also, video seems to be the lowest priority in the API functions.
Here's their list
https://developer.sony.com/develop/cameras/device-support/
 

+1 for the LUT loader app.
No excuse for Sony not to add View Assist in firmware update to A7R II by the way for our $3k it is a disgrace something as basic as that is missing!!

The 24-240 works pretty well on the A7S II, I think the zoom has loosened up a bit after using it. Image quality is very good, though as you noted close focus isn't great. The 18-200 (non EF/crop) works pretty well if you are OK shooting in crop mode. For run & gun, the 24-240 works pretty well.

"Go to HDMI Settings on the last menu group and once you select that you'll see HDMI Info Display. Turn that off. That will put the video on your monitor without the info, but the LCD will still work and it will have all the info on it." 
From:
http://www.eoshd.com/comments/topic/7219-a7s-simultaneous-monitorevf-with-hdmi-how-to/
Monitors usually come with an HDMI out that you can propagate the signal to another monitor. If not, then a splitter should do the job. 

Sam, you can use EF-S lenses on EF mounts (doesn't require a special EF-S mount). The projected image just isn't intended to cover fullframe sensors.
This is a note on the Metabones site: 'Vignetting at corners may occur for certain EF-S lenses because they are designed to cover a 1.6x crop image circle but Sony NEX has a 1.5x crop sensor'.

Exomonkeyman - do't listen to any of the bullshit coming from the wedding photographer.
 
Those lenses are fine, and usable at t 1.5. Don't buy a zoom, working with primes makes you a better DOP.
 
I have shot a bunch of stuff on the samyang lenses, paid stuff, shortfilms, documentaries - they are very good value, with focus gears, smooth aperture control and an ok built quality.
 
Check this out my friend studying cinematography shot on those lenses and a black magic cinema camera:
 
 

​Honestly with the Sony A7s you can use an F/4 lens and basically accomplish 90% of the shots you need. I would not hesitate to sell the Rokinon lenses and buy the Canon 24-105mm F/4 which you can find new for around $600-$700 and will be an all in one lens.
 
My setup would be Canon 24-105mm and a Canon 50mm 1.8
http://www.amazon.com/Canon-24-105mm-White-Accessory-Cameras/dp/B00KGFYMK8/ref=sr_1_2?ie=UTF8&qid=1434235593&sr=8-2&keywords=Canon+24-105mm
 
http://www.amazon.com/Canon-50mm-1-8-STM-Lens/dp/B00X8MRBCW/ref=sr_1_1?s=electronics&ie=UTF8&qid=1434235670&sr=1-1&keywords=Canon+50mm+1.8
 
With those two lenses you can shoot basically anything narrative or commercially.......
 
 
 

Hey guys thanks "paulraymaekers,Julian,Ebrahim Saadawi,Mattias Burling" so much this helps massively!
and btw "j.f.r." Really off topic and you sound a little rude just throwing facts about how bad the lenses are i bought. as an indie filmmaker i don't have or really wanna spend $700+ on lenses when being honest at a certain point in my style of filmmaking it comes down to how much i can push the image in DR and the range in the camera than the lens. (also i'm using the 35mm t1.5)
For a canon 60D in video mode (it takes very blury video) i think this is pretty good (:
http://cl.ly/image/2W42340g373p
Thx for help guys!

Hey guys thanks "paulraymaekers,Julian,Ebrahim Saadawi,Mattias Burling" so much this helps massively!
and btw "j.f.r." Really off topic and you sound a little rude just throwing facts about how bad the lenses are i bought. as an indie filmmaker i don't have or really wanna spend $700+ on lenses when being honest at a certain point in my style of filmmaking it comes down to how much i can push the image in DR and the range in the camera than the lens. (also i'm using the 35mm t1.5)
For a canon 60D in video mode (it takes very blury video) i think this is pretty good (:
http://cl.ly/image/2W42340g373p
Thx for help guys!

I don't think this is general for Samyang/rokinon: I have always had the impression that the lens outresolves the sensor on the A7S. I use an 85mm​ T1.5, and when shooting stills with it on A7S, they are sharp up to pixel level
so for HD film it just works perfect?

Where did he or anyone else claim it to be sharp and who said anything about shooting at T1.5?
Just trying to see the point of your post. 

Sony A7S = E mount
Canon = EF mount
Your question is about using Canon EF lenses on the Sony A7S, right?
The focal length does not change. Sharpness and chromatic aberration won't make any difference: unless you use electronic Canon lenses on your Canon camera with automatic lens profile corrections (active on jpg files you shoot with the camera, maybe in video too, not sure about that).
Anyway, your manual video primes should work the same on the A7S as they did on the 60D. The biggest difference is the crop factor of course. The A7S is fullframe, so your 24mm will give you a much bigger field of view. On the A7S it is actually 24mm, instead of 38mm (equivalent) on the 60D (24 x1,6x cropfactor).

Take it by rec.709 you are using a standard Canon profile like Portrait or something on your 60D.
Well S-LOG is LOG so a different league. It flattens the full dynamic range of the sensor and packs it into the codec. It grades WAY better than the 60D or indeed any of the Canon or Sony rec.709 profiles because simply put, there's more to work with in the image. Nothing is burnt or crushed or baked into the image.

No, shooting 'flat' on a DSLR is nothing like shooting real LOG. I use VisionColor profiles on my canon because I like the look, but not because I'm squeezing a ton of extra details out of the sensor.