Trek of Joy

The Contax Zeiss 100-300mm is known to be very sharp. Its a one touch zoom though, something I can never get used to when shooting video. Landscape shooters use it as a cheap long lens that's also reasonably sized for its reach. Here's a thread about it with comparisons to Sony's 100-400 GM, its better than the Sony until 300 where it really only slightly dips on the edges and corners. With moving subjects this won't be noticeable at all.
https://www.fredmiranda.com/forum/topic/1501962
Chris

It's actually a HUGE Shame.
Canon had actually created a sensor for the R5 that has the performance of the class leading benchmark scores and even better. It has way lesser rolling shutter than anything Sony produces in 45MP, has superb dynamic rance, has 12 Stops of dynamic range with Clog 1 (which should go up another 1-1.5 stops with Clog 3), and so many great video frame rates. It also has probably class video autofocus. So for Photography it's a monster. 
But some jackass in Canon decided to keep this the size of a pocket pooch, so that it starts over heating even before one starts rolling. So it's basically unreliable for video. And what's with the dual cards, but you can't use them simultaneously as a backup in case of care failure or some other glitch. Why could Canon have had 2 card card slots and with the capability to record both simultaneously. The terrible mini HDMI can also be overlooked, if these are sorted.
But what a monumental waste of arguably the best sensor in an ILC that has ever been created. Sony probably seems to triple its R&D budget to counter this one. 
Canon should just sell the sensor to Panasonic and let them make magic with it. 

Damn, on the DR side - much like the 1dx3 - Canon has clearly caught Sony with the R5. Its now at the head of the class with Sony's best. That extra stop advantage Sony had is no more...
Chris

I'm with you. Still waiting for that unicorn to appear, for a brief second the R5 was it and I had one that would have been delivered Thursday. Then it literally went down in flames. Given that we really won't see anything significant for another couple of years now that Canon has gone all-in with the R5/6, Nikon is drunk and passed out with the rumored Z6s/7s, all Sony has left is the a7IV which will be hit with the cripple hammer compared to the a7s3, and nobody else is making significant headway - I've accepted the fact that the one camera hybrid solution isn't happening anytime soon. One body will shoot mostly stills, one mostly video, lots of lens changes, and lots of damn sensor swabs since Sony's 3rd/4th gen cams attract dust like no other camera I've used. Holy shit the a73/a7r3's are a dust magnet compared to the a7r2/s2 I carried across six continents!
Anyway, needing to go two cameras means I've ordered the a7s3 and I'm now looking to shift my a7r3 to a a7r4 so AF and accessories are mirrored (pun intended) between the two with grips, underwater housings and so on. This will cover me for the next 2-3 years until someone gets it right in the next round of updates.
Cheers
Chris

I'm with you. Still waiting for that unicorn to appear, for a brief second the R5 was it and I had one that would have been delivered Thursday. Then it literally went down in flames. Given that we really won't see anything significant for another couple of years now that Canon has gone all-in with the R5/6, Nikon is drunk and passed out with the rumored Z6s/7s, all Sony has left is the a7IV which will be hit with the cripple hammer compared to the a7s3, and nobody else is making significant headway - I've accepted the fact that the one camera hybrid solution isn't happening anytime soon. One body will shoot mostly stills, one mostly video, lots of lens changes, and lots of damn sensor swabs since Sony's 3rd/4th gen cams attract dust like no other camera I've used. Holy shit the a73/a7r3's are a dust magnet compared to the a7r2/s2 I carried across six continents!
Anyway, needing to go two cameras means I've ordered the a7s3 and I'm now looking to shift my a7r3 to a a7r4 so AF and accessories are mirrored (pun intended) between the two with grips, underwater housings and so on. This will cover me for the next 2-3 years until someone gets it right in the next round of updates.
Cheers
Chris

Not sure if this video was posted, scrolling through the last few pages its mostly S1h/Netflix arguments that don't seem to relate to the Sony at all. As to the a7s3, if you need reliable AF, cameras like the Zcams, the Blackmagic's and likely the S1h are not something people are considering, its a completely different type of camera and shooting experience. Nothing is ever going to change that until they have reliable AF. I need AF for my work, none of those will ever be a part of my kit, and I'm obviously not alone. The excitement over this and the R5/6 is because you're combining great IQ with great AF with bitrates that many Sony shooters have wanted for years. Continually injecting cameras like Blackmagic's or Netflix approval into the discussion is just noise. Nobody is buying the a7s3 or a Pocket 4k for that matter to shoot the next season of Ozark. 
You're buying this over other options if you're already invested in the E-mount ecosystem and want the best video option without having to lug around one of the larger FS/FX cameras - or if you want reliable AF for your work.
Bonus the E-mount has the widest selection of native AF lenses that's more comprehensive than all other FF options combined. And with all the 3rd party support combining MF and AF lenses from Zeiss/Tamron/Sigma/Voigtlander/Samyang and others, that gap will keep getting wider. Second bonus if you shoot stills, the E-mount has you covered with a some of the best photo options money can buy.
I put this on my 65" TV, this guy put it through its paces and shot tons of 120p, no surprise since its one of the standout features. Just wish the poster had enabled captions - even YT's sometimes weird autocaption - so we can get a partial translation. But this looks like a proper review.
Chris
 
 

Not sure if this video was posted, scrolling through the last few pages its mostly S1h/Netflix arguments that don't seem to relate to the Sony at all. As to the a7s3, if you need reliable AF, cameras like the Zcams, the Blackmagic's and likely the S1h are not something people are considering, its a completely different type of camera and shooting experience. Nothing is ever going to change that until they have reliable AF. I need AF for my work, none of those will ever be a part of my kit, and I'm obviously not alone. The excitement over this and the R5/6 is because you're combining great IQ with great AF with bitrates that many Sony shooters have wanted for years. Continually injecting cameras like Blackmagic's or Netflix approval into the discussion is just noise. Nobody is buying the a7s3 or a Pocket 4k for that matter to shoot the next season of Ozark. 
You're buying this over other options if you're already invested in the E-mount ecosystem and want the best video option without having to lug around one of the larger FS/FX cameras - or if you want reliable AF for your work.
Bonus the E-mount has the widest selection of native AF lenses that's more comprehensive than all other FF options combined. And with all the 3rd party support combining MF and AF lenses from Zeiss/Tamron/Sigma/Voigtlander/Samyang and others, that gap will keep getting wider. Second bonus if you shoot stills, the E-mount has you covered with a some of the best photo options money can buy.
I put this on my 65" TV, this guy put it through its paces and shot tons of 120p, no surprise since its one of the standout features. Just wish the poster had enabled captions - even YT's sometimes weird autocaption - so we can get a partial translation. But this looks like a proper review.
Chris
 
 

Not sure if this video was posted, scrolling through the last few pages its mostly S1h/Netflix arguments that don't seem to relate to the Sony at all. As to the a7s3, if you need reliable AF, cameras like the Zcams, the Blackmagic's and likely the S1h are not something people are considering, its a completely different type of camera and shooting experience. Nothing is ever going to change that until they have reliable AF. I need AF for my work, none of those will ever be a part of my kit, and I'm obviously not alone. The excitement over this and the R5/6 is because you're combining great IQ with great AF with bitrates that many Sony shooters have wanted for years. Continually injecting cameras like Blackmagic's or Netflix approval into the discussion is just noise. Nobody is buying the a7s3 or a Pocket 4k for that matter to shoot the next season of Ozark. 
You're buying this over other options if you're already invested in the E-mount ecosystem and want the best video option without having to lug around one of the larger FS/FX cameras - or if you want reliable AF for your work.
Bonus the E-mount has the widest selection of native AF lenses that's more comprehensive than all other FF options combined. And with all the 3rd party support combining MF and AF lenses from Zeiss/Tamron/Sigma/Voigtlander/Samyang and others, that gap will keep getting wider. Second bonus if you shoot stills, the E-mount has you covered with a some of the best photo options money can buy.
I put this on my 65" TV, this guy put it through its paces and shot tons of 120p, no surprise since its one of the standout features. Just wish the poster had enabled captions - even YT's sometimes weird autocaption - so we can get a partial translation. But this looks like a proper review.
Chris
 
 

Not sure if this video was posted, scrolling through the last few pages its mostly S1h/Netflix arguments that don't seem to relate to the Sony at all. As to the a7s3, if you need reliable AF, cameras like the Zcams, the Blackmagic's and likely the S1h are not something people are considering, its a completely different type of camera and shooting experience. Nothing is ever going to change that until they have reliable AF. I need AF for my work, none of those will ever be a part of my kit, and I'm obviously not alone. The excitement over this and the R5/6 is because you're combining great IQ with great AF with bitrates that many Sony shooters have wanted for years. Continually injecting cameras like Blackmagic's or Netflix approval into the discussion is just noise. Nobody is buying the a7s3 or a Pocket 4k for that matter to shoot the next season of Ozark. 
You're buying this over other options if you're already invested in the E-mount ecosystem and want the best video option without having to lug around one of the larger FS/FX cameras - or if you want reliable AF for your work.
Bonus the E-mount has the widest selection of native AF lenses that's more comprehensive than all other FF options combined. And with all the 3rd party support combining MF and AF lenses from Zeiss/Tamron/Sigma/Voigtlander/Samyang and others, that gap will keep getting wider. Second bonus if you shoot stills, the E-mount has you covered with a some of the best photo options money can buy.
I put this on my 65" TV, this guy put it through its paces and shot tons of 120p, no surprise since its one of the standout features. Just wish the poster had enabled captions - even YT's sometimes weird autocaption - so we can get a partial translation. But this looks like a proper review.
Chris
 
 

Not asked of me I know, but if it was not for the overheating controversy (and whether that would even be an issue for my own hybrid needs I don’t know at this time), it would be my first choice right now.
A pair of them matched to the RF 28-70 f2 and 85mm f2 and I’d be set and never need to change a lens or use a monopod as I do now.
That 28-70 is a beast...but it’s a featherweight compared to my current combo of; Sigma 18-35, Fringer Pro, Anker powerbank and monopod (with XT3). Replace all 4 of those items with the 28-70 f2 would be a dream.
And that is my consideration, - the sum of the whole kit and not just the camera body.
The Sony looks good as a pure video tool, but has 3 strikes against it for me; colour, IBIS, 12mp. Could I live with it? Maybe, but only if it was the best option out there and for me it isn’t.
My hope is they either sort the Canon or at the very least it turns out to be OK for my needs.
The XH2 will need to have zero compromises to beat a sorted version of this Canon. And I’m a Fuji fan.

Pretty amazing update. And without the year-long saga like the Z6. Looking forward to footage.
Chris

This video has some really beautiful A7SIII footage in there, and a lot of it. A couple of wonky skin tones but mostly lovely colours. It’s in Chinese. 
 

In that case a viable alternative is to shoot at 16,000, which is much cleaner and just raise exposure in post the same way he did with the FX9. I'd be interested to see that one since we've seen how clean the a7s3 is at 16k. Its really amazing watching all the reviews how incomplete the tests are in the rush to be first. Even the Undone video leaves questions...
Chris

What about smaller file sizes? Adding something like Braw would reduce file sizes, but would likely require a massive coding effort to get it working. Some say the CFexpress card gets really hot in the video modes that cause overheating. That's really all I can think of that would help with just a FW update. Not sure if they can cram any more heat mitigation into the current body, but I'm sure they're trying to figure out what can be done.
Otherwise a small re-engineering of the body to improve heat dissipation seems like the only other solution. If I were in charge, the R5c with a slightly larger body would be part of the November second wave of cameras. Create a solution for video centric shooters that doesn't overheat, and let the "these are photo bodies, get a real video camera" luddites continue to have the current R5.
Chris

Overheating killed the R5 for me, though I saw someone on FB asking $5000 USD for his, maybe I should have kept my preorder.
Keeping an eye on this...
Chris

In that case a viable alternative is to shoot at 16,000, which is much cleaner and just raise exposure in post the same way he did with the FX9. I'd be interested to see that one since we've seen how clean the a7s3 is at 16k. Its really amazing watching all the reviews how incomplete the tests are in the rush to be first. Even the Undone video leaves questions...
Chris

Downloadable clips and probably the most excited review you'll ever see. I don't speak Italian, but they're shouting the whole time, its great. 
 

I have been to Italy, rented a car and drove around for two weeks when I was touring Europe a couple years ago. Some of the most amazing sunsets I'ver ever seen were in Tuscany and along the Amalfi Coast. Would love to go back with the a7s3.
I tried to watch the video with auto translate but a lot didn't make sense. Still fun to see everyone's reaction to the camera, even if they were acting for the video. Priceless.
Cheers
Chris
 

I have been to Italy, rented a car and drove around for two weeks when I was touring Europe a couple years ago. Some of the most amazing sunsets I'ver ever seen were in Tuscany and along the Amalfi Coast. Would love to go back with the a7s3.
I tried to watch the video with auto translate but a lot didn't make sense. Still fun to see everyone's reaction to the camera, even if they were acting for the video. Priceless.
Cheers
Chris
 

If you do the magnetic filter holders you can avoid the hassles of screwing filters in over and over. The only reason I didn't go that route is because in the end it would cost as much as the more expensive vari-ND and then I'd have to carry more filters instead of just moving the vari with my thumb as I'm shooting. The K&F looked good in that test too. Cheers
Chris

It may just be your filter, I think there are better vari-ND's compared to the Genustech. I have the 2-5 stop McKinnon and its really nice, no vignetting or uneven color with the 16-35 on FF at 16mm. I have a couple budget vari-ND and its much better. I think I'm going to buy the other one as well, they're expensive but I use them every day so for me its a good investment instead of dealing with wonky color shifts. Buy the 82mm and just use step down rings on all your lenses with generic $3 lens caps off ebay or cheap neoprene covers. YMMV. 
Chris

Word. I’m buying this camera for sure. And I agree we need to see more testing with regards to overheating: what cards are they using, temperature outside, codec (I hear the h265 runs hotter) and so on. But I’m confident it will run just fine at 4K 24p All-I. 

Skin tones look good to me. Even at iso 50,000 they look natural whereas previously there would be a strong yellow or green shift. Also that rolling shutter performance is incredible

Cancelled my R5 preorder too and jumped over to the a7s3 right as it went live with B&H. I'll have a couple months to sort that one out since it doesn't ship until late Sept. The way the R5 prevents you from shooting anything other than line skipped video if the camera is hot - and the fact just shooting stills can trigger the thermal shutdown is just a deal breaker for me.
The a7s3 has about 1.5 stops better DR according to Undone (the potatojet EV lift compared to the OG EOS R, wow), sharper 60/120p along with 24p that's better than the R5's standard and just a smidge behind the HQ for detail, smaller file sizes, equally good AF (which works with external recorders), cheaper cards, nice looking color, much longer battery life, and so on. You would need at least 2 bodies to shoot all day with the R5 and if its hot you're stuck with no high frame rates or HQ, so if that's the case I'm fine with one of the other a7 bodies with the Z battery and the a7s3. I'd rather have the better DR and more detailed 60/120p.
Glad the s3 was announced today and not next Tuesday LOL!
Chris

Well I got R6 pre-ordered.. C200 and R still gonna be the main workhorse, i might try borrow ninja v and see how that goes for extended shooting.