Django

I'm not saying you're not on to something... but the A7SIII rumors have simply been all over the place to the point of it reaching unicorn status.

Sony themselves have sort of admitted going back to the drawing boards and postponing its release.. 

It's one thing to have a great sensor but materializing it into a stable/viable camera is another.

As for sensor data sheets, I don't want to argue with numbers but they don't always reveal the full picture (no pun intended). 

Many claimed A73 > A7S2 in low-light but really the cam got there by "cheating" with heavy use of NR at high ISO values.

Getting back to 8K i think it will be put in the Mark IV Sony cameras, just in time for the 2020 Tokyo Olympics.

That is the roadmap deadline the Japanese tech industry has set for 8K consumer product roll-out.

Don't most of these off shelf sensors go to non-Sony manufacturers? Has the A7S/A7S2/A7RIII etc sensors ever made their way into other camera brand models?

Sorry, but i'm just not sure these sensor announcements translate into A7S specs.. 

I certainly don't see a +30MP sensor inside A7S3.. typically high MP are for R series.. 20-30MP for the mid-range A7.. and sub-20 (12MP so far) for the A7S.

Low megapixel still means better low-light performance. Sony has narrowed the gap with A73 using BSI sensors & NR algos, but in reality A7S2 > A7III in low-light.

22 minutes ago, androidlad said:

Current generation ALEXA/AMIRA have rolling shutter about 2ms.

And rolling shutter on X-T3 in 4K is 20ms (<30p), 16ms (60p).

Rolling shutter performance has nothing to do with processor (ISP), it's a sensor characteristic, largely determined by ADC design. X-T3 is able to achieve this relatively fast readout by sacrificing quality for speed with 12bit ADC (compared to 14bit ADC in stills mode).

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You're right about AMIRA but charts/reports from various sites seem to claim otherwise for XT3:

I was also under the impression the quad-core processor alongside the new BSI sensor helped achieve the low RS number:

 Fujifilm says that it has worked to reduce rolling shutter (aka jello effect) to an absolute minimum in designing the X-T3. The new high-performance sensor and processor pairing together allow a level of rolling shutter that Fuji is confident will best not just previous Fuji cameras, but rivals as well. In fact, we're told that the company has managed to get rolling shutter down to about the same level as dedicated cinema cameras which are also CMOS sensor-based.

Fujifilm X-T3 Review

Right, even ARRI Alexa (the cine gold standard) has RS.. but at 6ms it's practically unnoticeable. To achieve that though, it shoots in 2K on Super35.

However, the current trend in hybrids is towards large sensors, high resolution, max DR & ISO performance. This comes at the cost of poor RS (Nikon Z & EOS R are certainly proof of that).

Fuji seem to be the only ones really paying attention to RS with XT3, by purposely not going full-frame or racing towards high MP/ISO. and focusing processing power towards sensor readout, achieving sub 10ms which is already great. 

Can't imagine the RS on these speculated 60MP / 8K Sony sensors without an octo-core if not higher processing requirements..

8K seems far-fetched for us in the western world, but it is literally yesterday's news in Japan:

NHK, other TV stations begin broadcasting 4K, 8K ultra-high-definition programs

Canon already has a working prototype:

https://youtu.be/rac0uva3OeU

If you are mostly shooting FHD and "use 4k for occasional static shots" then i don't think the EOS R crop/RS will be such a big issue. i also use it like that as a C100 b-cam and i find it perfect for that application. Without C-Log, M50 seems rather limited imo. Don't forget you are also paying for a quite nice 30MP FF stills camera.

That said, yes the 4K RS is bad, and the crop is massive. there is no sugar coating around those two facts.

honestly i feel XT3 is the first hybrid camera that really gives Super35 cine cameras a run for their money.. at a fraction of the cost.

Even 120fps & 4K60 looking amazing.. 

A73 already shoots 4K downscaled from 6K. Shows like House of Cards are shot in real 6K on Red Dragon (5.5TB files per 55mn episode!) since 2014.

Doesn't seem that far-fetched to me Sony would be pushing 8K on their next-gen cameras next year. Someone has to pave the way towards the inevitable.

How they will manage that without over-heating issues remains a mystery although that would corroborate the delay due to heat issue rumors.

I'd assume a major body redesign is in the works (and at that point they might as well just skip the A7S III moniker and go straight to series IV!)

sad but not entirely surprised. i stopped buying nikon after my D750 failed me and got recalled twice..  go figure they switched body assembly to thailand. (i'm very happy btw Z series is back at Sendai, Japan).

quality control is a real issue and i highly doubt the chinese factory made XT3 can rival with the well-known scrutiny of Fuji's sendai factory..

18 hours ago, ade towell said:

Thanks for that, am presuming the DR in clog is a similar 12 stops as C100?

Is the full frame hd quality pretty sharp as well then, and much better RS than crop mode?

 

DR in C-log should be similar, haven't actually tested it out though..

The FF FHD is pretty sharp.. for Canon DSLR standards. YMMV ?

The RS however is definitely much improved over the 4K/Crop modes.

Yeah the customisation of EOS-R is kind of understated i feel.

3 custom still modes + 3 custom movie modes + My Menu + Arrow keys + Mfn Bar + Ring control etc.. that's quite a bit!

Almost a month in and I'm finally settling on what i feel is now perfect setup for my type of shooting and it feels amazing. 

On 10/31/2018 at 12:27 PM, ade towell said:

Good to hear that the hd cuts well with c100 - is this in full frame or crop mode? Do you have an example of it cut with c100, just a few seconds worth? My worry based on what I've seen so far was that the full frame hd is same old soft Canon mush they've been giving us for years in their dslr's and that you had to put it in crop mode to get better quality hd - but this mode has bad RS

 

Also what flavour clog is in the EOS-R - is it original clog of c100 or does it have clog2, 3?

Both modes cut very well with the C100. Obviously, crop mode does better with only x0.2 crop difference and similar 4K downsampled IQ.

No example footage I'm afraid ( you can thank Vimeo for pulling the plug on my account.. over an old private video SMH).

EOS-R has original C100/C300 Clog or C200 "Neutral" CLog options. 

X-Trans was also designed for stills.. and has it's downsides as well, especially at higher ISOs.. 

2 hours ago, Shirozina said:

 Does the EOS R have an anti aliasing filter over the sensor?

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Yes, like most Canon FF cameras. 

XT series lacks an AA filter (thanks to X-trans sensor) which makes for sharper / more detail IQ.

Depending on what you're shooting, one may serve you better than the other.

1080p doesn't suffer from bad RS. and it cuts super well with C100/C200.

The commercial has the iPad pro directly connected to a 5D3 (without even a dongle ?) which of course is BS:

EOS-R, A73, Z6/Z7 etc however do have USB-C so it woud be interesting to see what could be done there. I'm assuming it's just JPG transfer, but hopefully also DNG/MOV/MP4.

External monitoring would be a dream (Atomos should maybe look into an app) but I'm sure that isn't going to be the case yet.

Sony fanboys getting triggered.. Let it go mate..

Calling Andrew biased towards Canon is the joke of the year. I don't think anyone has been as hard on Canon than Andrew in the past half-decade..

1 hour ago, Kisaha said:

This is exactly what I mean, but in the opposite.

You were expecting everyone to admire your very shallow DoF (why?), while now everyone, and their mobile phones, trying to mimic that technique because it seems "more professional". 

I guess (no offense) you are an example of what I described above. You probably started working at, or just after the 5DmkII "revolution".

It is just a tool, and a technique.

When I started working is irrelevant.

I don’t think I’m alone here who indeed started  experimenting with ultra shallow DoF thanks to the FF DSLR revolution and  access to fast primes for video use.

..or super slo motion with affordable HFR camera options.

Always been aware though that these are obviously just tools, techniques.

Never expected anyone to admire anything either. Just thought it was interesting some people would marvel over bokeh while others just found the footage overly blurry.

Beauty is in beholders eyes. One mans junk.. you know the story.

Anyways my point was that shallow DoF, super slomo etc has become over used and a bit of a crutch. I’m honest enough to admit I’ve been a victim of it myself and tend to try and avoid them in favor of other techniques and working with cameras that don’t offer those specs/features has certainly helped resist that urge..

Which brings me to my other point: chasing camera specs / bashing cameras over specs is a little bit futile in the grand scheme of things. All the latest mirrorless cameras are capable of spectacular results in the right hands.

Yeah the average joe associates blur as a negative. they want sharp everything in their images. probably victims of point & shoot / phone cameras. 

I remember when showing my first full frame video projects (shot wide open naturally) to non photo/video enthusiasts, they use to say: "why is there so much blur around everything?" and i was like "SMH they don't get it" while connaisseurs would be more like "OMG sweet bo-keh".

But i think we as creators also tend to abuse & rely a bit too much on shallow DoF, Super slo-mo etc..

Going back to S35 or even bigger crop factors like on XT2 (or now EOS R 4K) with greater DoF & no HFR options has got me thinking more about composition, interesting angles etc again. I guess I'd argue limitations spark creativity.. even though I'm still a sucker for shallow DoF & HFR shooting.

Max should call these guys to clear up that mushy garbage 400% EOS R footage:

@Robert Collins even better:  it does object tracking in continuous, so you can select the eye (given you are close enough) and it'll track it. YMMV, but it's pretty dope feature.

FWIW here is a SOOC EOS R 4K screen grab shot wide open (RF 50mm), plenty of detail & sharpness as far as i'm concerned.

Also I'd like to see another camera's AF track the eye like that at F1.2 ... 

lol at pixel peeping license plates from a mile away. these kinda tests always crack me up.. do a skin tone test in mixed lighting and we'll see who comes up on top!

I strongly advise the vertical grip if you're having trouble with ergos, as your right hand sits lower and your thumb rests exactly where it should in between AF-On & touch bar.

Grip also comes with a USB-C PCU.

54 minutes ago, mercer said:

Gotta love Canon colors... it’s like a moving photograph.

Damn right.. and while the naysayers are out there moaning about so & so spec limitations.. it's nice to see actual shooters (and viewers ) out there appreciating the rich colors, rendering & skin tones this latest Canon produces. and quite effortlessly at that may i add!

Again wasn't asking at all for an ETA, i fully realize the nature of the project and limited dev resources.

Just curious what the next steps are towards porting ML. I know they've made recent progress with the 5D4 (and Digic 7/8 models), succesfully extracting 4K DNGs etc.