salim

Yep thats how I got an "open box" one for $2750 that had 3 shutter actuations. Like in your excellent examples the extra resolution is very useful for landscapes or even cropping and to me worth the extra money compared to the deals you can get right now on the A7rIII. But it is also true that 24MP should be plenty enough for most and the extra resolution can bog down the computer. I wish Sony would implement some version of downsampled RAWs. 

Hi @Robert Collins - thanks for input!  
Yes, I am addicted to high res. I often shoot multi-row panos with my Nikon D800e/D810 and prior to that with my Canon. I often (depending on the subject and how fast the light is changing) shoot between 100 megapixels to close to 1 gigapixels. So, I'm leaning towards the A7Riii. On fred miranda, I learned about Greentoe and some people told me they got their A7Riii for about $3-400 below MSRP. That makes the price differential not that bad, and I know I'll miss the 30-40 megapixels image size. I'm just waiting for a solid in depth side-by-side video autofocus comparison. The alternative is to buy both the A7riii and A7iii and shoot two camera at once for a short movie I am planning to shoot. This way I have a backup and get both to shoot the dialogues for both sides, etc. Only reason I do not want to do that, is I love the color from my Nikon and I'm just hoping the D850 sensor will end up in a mirrorless in a few months or even canon might do something out of character and release a really competitive 4k camera. 

I have a few of my panos here but I have a ton that I need to gradually upload, https://www.eyeem.com/u/photojournalist
 
Thanks, again!!!

Dynamic range should be about the same. 
The S35 mode in A7rIII offers better resolution (less aliasing/moire) & ~25% faster rolling shutter. 

Forgive me for interrupting but I have used both cameras: The a7riii has less rolling shutter, better motion cadence (imho), a better noise reduction algorithm which reduces ghosting outside of the log-gammas and it's easier to pull manual focus due to the better EVF and screen. If you like sharpness in full frame, then the a7iii is better of course, but sharpness is, as we know, a bourgeois concept.

If you need high res then def go for a7riii. The a7riii IS a better camera than the a7iii for video in almost every way (a7iii has sharper full frame 4k). But is it worth the price?....if you only shoot video...absolutely not. If you need high resolution stills....there is nothing on the market that comes close. 
SO if you were buying an a7riii for ONLY video...I would say NO...go for the a7iii. But for both. totally go for it

Hi @Robert Collins - thanks for input!  
Yes, I am addicted to high res. I often shoot multi-row panos with my Nikon D800e/D810 and prior to that with my Canon. I often (depending on the subject and how fast the light is changing) shoot between 100 megapixels to close to 1 gigapixels. So, I'm leaning towards the A7Riii. On fred miranda, I learned about Greentoe and some people told me they got their A7Riii for about $3-400 below MSRP. That makes the price differential not that bad, and I know I'll miss the 30-40 megapixels image size. I'm just waiting for a solid in depth side-by-side video autofocus comparison. The alternative is to buy both the A7riii and A7iii and shoot two camera at once for a short movie I am planning to shoot. This way I have a backup and get both to shoot the dialogues for both sides, etc. Only reason I do not want to do that, is I love the color from my Nikon and I'm just hoping the D850 sensor will end up in a mirrorless in a few months or even canon might do something out of character and release a really competitive 4k camera. 

I have a few of my panos here but I have a ton that I need to gradually upload, https://www.eyeem.com/u/photojournalist
 
Thanks, again!!!

Hi Salim,
I am in a vaguely similar position in that I am debating whether to buy a second A7r3 or an A7iii as back up for my existing a7R3, (Actually I would like an A9 with picture profiles but that doesnt sound very likely.)
If you happen to be addicted to high resolution sensors (like me) I wouldnt hesitate a minute in buying the A7r3. The video autofocus is really good. I dont know if the A7iii is better (because I havent tried it) but it doesnt seem noticeably better. Obviously the biggest loss by buying an A7riii over an A7iii is the money

There is plenty of hobbyist drop big $$ on hasselblad & leica stuff, they cost way more than ursa mini pro
(especially with Chinese tourist i see, they even buy kid's leica camera to use lol)
 
It is still cheap compare to some other hobbyist like cars/boat/gliders/airplane, we have one person in our work fly a glider every other weekend, another one fly and own a soviet yak-52 as hobby, he said it cost few hundred dollars to fly his yak-52 each time
 
For me gh5s is good investment, did 20k job with it so already got money back and just come back from a nice trip in japan  (it sucks to go on holiday without spending some on nice food and nice hotel lol)
 
Though i use different camera when on holiday or other stuff but i m not alone in that one, i also found out some photog use different camera when they are on holiday (i know two use canon professionally but use fuji for other stuff), that way i have a different "mood" so i am actually on leisure and not remind me of myself working.
 
 
 

I dont mean investment in $ profit. I mean investment in my skillset. I learn something with every camera I buy. I am more about investing in knowledge. I could do wedding, event, corporate video's but then I would loose my passion so fast. I am not in this for the money as most of you are, as I already have a job. Its a hobby where I choose to spend my time and money on. I rather develop my skill up to a certain level, so I could do certain projects where I could work creative but still deliver high quality. 

I think Simon is right actually. If money is no object, I would go a7Riii over a7iii. I found the rolling shutter performance especially in the S35 mode to be truly remarkable. The best of any mirrorless Ive ever seen! 

Unpaid job for a feminist film. Did I wake up in purgatory this morning?

I'll bite.
CIPA says almost 3.3 million mirrorless cameras were shipped in 2014, in 2017 its was about 4.1 million. Its been growing over the last few years, but not exactly setting the world on fire. This year is trending pretty far behind last year - mirrorless may very well have peaked in 2017 as the overall market continues to contract. If CaNikon goes FF like many rumors indicate - we're still talking lower volume/higher margin bodies at the upper end of the enthusiast scale. 
I'd love to be wrong, but there just doesn't seem to be a business case for a unknown camera brand to start producing ILC's. CaNikon going mirrorless is different than Samsung trying to resurrect the NX line. The big 2 have a massive advantage in terms of brand recognition, retail penetration and user bases to draw customers from, and over 100 million lenses produced by each to build upon with mirrorless offerings. If given the choice between a $3000 body from Samsung and the same from Sony, Canon or Nikon - few will opt for Samsung. 
And when you read Samsung's financial reports, their imaging and sensor production is focused on mobile and automotive applications. Backup cameras are pretty much standard equipment these days, and features that are becoming so popular like self-driving, lane warnings, surround view, night vision and so on mean the demand for multiple cameras in cars is rising sharply. If you can sell 250,000 ILC's - which would be about half of what Olympus forecasted for 2017, and probably far more than what Samsung actually could move - after extensive marketing, R&D and so on - or you can sell a few million to Toyota, a few million more to GM, a few million more to VW and so on, its easy to see what direction Samsung is going.
I've been to 55 countries on 6 continents over the last couple years, every city I visit, I find stores carrying cameras - from specialty camera shops, to electronics stores, to department stores and CaNikon still dominate. Outside of Japan smaller brands like Fuji, Panasonic and Olympus were few and far between. Samsung was an afterthought to the buying public when they actually had a presence, re-entering would be an uphill battle requiring a massive capital expenditure for marketing. And then you have existing users/reviewers asking a logical question - how long until they pull the plug again? Despite Samsung being a tech Goliath, retailers aren't going to suddenly stock Samsung ILC's alongside CaNikon because they say please - that will cost large amount of cash. Again, not much of a business case for making a move back into ILC's.
Just my $0.02
Chris

I don't see it. Samsung is a consumer electronic company. I think they want to sell TVs, phones, etc. and the electronics in mass volumes. Having a camera company is more than just designing a few camera bodies. 
Samsung is a global brand, and this decision is not just about can we make money now. The question is, how much distraction is it vs. how much money can we make it. What is the opportunity cost? Will our brand take a hit if we can't deliver. How are we going to support the prosumer market. Who will service and fix these lenses. And as the market is becoming competitive, can we still make any money from this market? Will our product be that much better to make a differentiation. Samsung tried that, they had a better product and they still couldn't make it work.

I just think, for Samsung is not worth it. The best you can hope for (as others have suggested it) is for samsung to make it a bit harder for Sony and start selling their sensors and give buyers more options and more bargaining power. I think they can make the inside of the cameras , but they probably will just remain inside some other brand (Nikon is being the most logical choice as pointed out with @Robert Collins ) 

So, I just don't think so. 

 

I dont see it myself. The numbers dont really add up. The digital camera market (ILC/compacts) is a US$10bn a year market of which Canon/Nikon/Sony hold 85%. If Samsung re-entered the market and we heroically optimistically assumed they gained a 10% share - it would only amount to US$1bn a year - less than 0.5% of Samsungs US$200bn+ annual sales. Compare that to the US$500bn a year smartphone industry.
However there are, I think, two 'possibilities that could bring Samsung back into the market.
First, Samsung and Nikon are almost a 'perfect' fit. Samsung key competencies are electronics and Nikon's core competency is photography - ideal when cameras are turning into electronic products. Samsung brings image sensors, image processing, lcds etc and Nikon brings lenses, brand, market share and distribution. Furthermore, Nikon is ultimately going to be seriously disadvantaged long term relying on Sony for sensors (Sony being a major and growing competitor in cameras). So a joint venture/strategic partnership between the two makes a lot of sense (assuming that Samsung is interested in the digital camera to showcase its tech.)
Second, and related to this, Samsung could quite easily acquire Nikon. Samsung is a US$300bn market cap company and Nikon is a US$6bn market cap. company. So acquiring Nikon is chicken feed to Samsung. So if Samsung wants to reenter the market, it makes a lot of sense to buy into the market rather than try to recreate their market share from scratch.
But even the Nikon/Samsung tie up in one form or another I see as pretty unlikely because Samsung really hasnt shown a lot of ambition in the image sensor market (despite some press reports to the contrary.) Take the flagship S9/S9+ as an example. It continues to use both Samsung and Sony image sensors (and people dont seem able to tell the difference.)
https://***URL removed***/news/0634864640/tech-insights-teardown-confirms-galaxy-s9-uses-samsung-and-sony-image-sensors
So if Samsung cant be bothered to showcase their image sensor tech in their flagship smartphones, I dont think they are likely to do it in digital cameras.

It begs the question why everything related to this camera must be discussed in this thread. When a thread is 82 pages long it makes sifting through the post time consuming. 
Proof in point, I asked Panasonic about this very question. And reported the answer here. 
Sub-topics are ok. 

I will never buy a video camera with out good AF if you like to film things that move. Assuming one man crew. If you do, you risk static senes and boring videos. That means only Sony and Canon for the moment. 
All extra you put on the camra is a hassel for field work or if you travel. 
The best tool contains what you need as part of the camera. I have gone through all these phases and to day I have:
A7r3, 1dx2 and C200. So I am not using my Atomos any more..C200 shoots raw to CFast cards..... have the SmallHD, maybe on the Canon if on tripod. Its a good monitor. 
 

Lil spot for a FIFA tournament we have at work every year. Shot in 4hrs, edit/grade/audio in about 8hrs. Since everyone here loves tech, it was shot with FS7, 35mm+100mm Lomo anamorphics, Easyrig.
And a longer commercial for a modular house construction company that went along with a less-corporate look'n'feel with poetry as VO (in Swedish, though. Sorry non-Scandinavians) rather than corporate mumbojumbo
Shot on FS7 in FS-RAW, Cooke S2/S3 Panchros, combination of dolly moves and Easyrig stuff. Gaffer mostly used M18 and accented with smth like an Aladdin Flexlite on a boompole with a pancake for diffusion. 
https://vimeo.com/247948695 (embed turned off apparently and I'm on my private phone so not logged in to fix it)
Cheerios!

Yeah apparantly color science 4 is the closest color science to the alexa. I wish they would release it for the UMP already. Its already very close right now though as you can see in the following comparison video. 
 

@tomsemiterrific BM's colour science is really good, especially on the P1 & I assume that they will have gone the route of their URSA set of cams for the P2. When recording in their Film Mode (or Log if you prefer) you could pretty much do what you wanted, you don't have to be a genius at grading - just add some contrast & saturation, or whatever your taste is. After numerous firmware updates, their Video Mode was really good if you were in a hurry & just wanted their baked in look (you could push it). One thing I will say is that after shooting loads with the P1, I didn't bother filming in RAW beyond a few tests & some tricky lighting setups. This is because the ProRes HQ coming from the P1 was absolutely stunning - if you didn't have enough latitude in ProRes HQ you simply weren't filming properly, as all you had to do was nail the exposure & in post you could push it by 3 stops either way. The other reason for not shooting RAW was that it produced more noise, M&A, took up way too much HD space & grading took longer. I hope that answers your question & you don't need to be a genius at grading, just shoot/capture your subject properly and the rest is child's play.

Tascam DR10L, or something similar?
 

Maybe you do need Timecode then?

Or at least use PluralEyes, or something similar built into your NLE already.

Here's a long, somewhat professional, video-centric review of the XH1:
 
And here what it can do under professional hands:
I'm about to try out the camera soon, but I'm almost decided. Fuji+Flog+Eterna is the closest I've seen to an ALEXA under €10k, highlight rolloff, color, and motion. 
On top of that, lenses are superb, it's a perfect hybrid camera -it's great for photos-, the new Linear ManualFocus solves focus by wire issues, the High EVF with focus peaking is perfect for MF, and the XH1 along with the XT20 make a great A/B combo system -for peanuts.
 

@salim
Thank you for the post on the Largesense camera.  We have discussed it before in this forum in a few threads, but it is always helpful to revisit the camera, especially now that Largesense seems to be taking orders.
 
 
Thank you for the link.  I had never heard of this project.  Basically, he has made a large format DOF adapter, except this adapter uses front projection, rather than the typical rear projection.  That makes it unique, but it sort of necessitates dual tilt or dual shift (simultaneous tilt or shift with the each lens).
 
I would guess that a rear projection DOF adapter with condensing optics would be more efficient than this front projection system, but a lot depends on the projection screen material.
 
Speaking of large format DOF adapters, our own @Gonzalo_Ezcurra created the ECyclops (20"x20") and the "Mini" Cyclops (14"x14") several years ago.  Here is one of his videos showing the rack focusing on the MiniCyclops:
 
In addition, our own @richg101 created the splendid Forbes 70 medium format DOF adapter.
 

This is a 8X10 sensor at 12 megapixels that shoots 4K video as well 
http://largesense.com/products/8x10-large-format-digital-back-ls911/
 
 
 
 
 

The viola is cool! It's not super bright, but for its size it's quite good and useful even for non-special purpose work as an on-camera LED or fill light. Its LEDs seem weirdly harsher than usual but not a big problem. 
The strobes show some rolling shutter, I only see it on the attack and not the decay which is weird but probably just chance and they sustain for a while, so it's nice.
Don't use this if you have epilepsy... very crazy light.

Love to hear more about the production and pre production side of this, & what was the size of the crew you used? Any BTS? And your distribution plans?