jack jin

2 hours ago, Yurolov said:

You do realise you are comparing a camera that hasn't come out yet to a camera that does not even exist lol.  Absurd as your comment is, one thing we do know for sure is that the footage coming from the a7siii is average. That is not something many would say about the recent komodo footage and the canon cine line in general. 

 

I am comparing to the canon, which is gonna use the same sensor as the c200, and you gotta try out the slog samples from the web to actually see how the a7s3's iq is man. Saying a camera's iq is thin just based on youtube videos is kinda pointless.

7 hours ago, ntblowz said:

Once u add ND adapter, XLR mount etc it actually cost more than this Canon and it is much more fragile too unlike proper cinema camera. 

 

Well it still costs 400 dollars less even with all of these adapters, plus all of the iq advantage I've mentioned (High iso, DR etc.) Of course if you need a cube form factor the canon and komodo makes sense. But there seems to be a ton of people on this sub who dismisses the a7s3 based on the older bodies and their clunky menus. Sony has come a long way and they should honestly take this with a open mind.

9 hours ago, herein2020 said:

I'll just come out and say it...I don't like Sony's cameras. I picked one up at a display case in a store once and it felt so cheap and plasticky that I have never given them another chance, the ergonomics were terrible, and the menus were even worse. I'm sure they have improved a lot since then but by now I have plenty of Canon glass, I love the Canon gear I have and if this camera doesn't disappoint and fits comfortably on my Ronin S it is a no brainer for me.

The new a7r4 body style is actually really nice, fits in my hand just as good as a eos r or z6, and the new menu system on the s3 is getting quite a lot of praise. There are also a ton of excellent e to ef adapters that will give you near native af performance, so that shouldn't be that big of a problem.

9 hours ago, RWR said:

6,  CHOICE OF BODY COLORS! (+$1k)

Yeah that's just pretty retarded, but obviously nobody in their right mind would actually spend 1k plus just for custom body color on a $6k cameras. And apparently everyone hates Sony ergonomic in this forum, but have y'all actually tried out the newer thicker a7r4 body? It really does feel pretty nice, I would say on par with the z6 or eos r. Obviously not as thick as the s1 but it's up there.

3 minutes ago, currensheldon said:

Sony's IQ continues to struggle, in my opinion. The FX9 looks better than anything else they've done (outside of the Venice), but from samples, the A7sIII seems to look similar to the A7sII, FS5, etc. Skintones are meh, image feels thin, and in general just doesn't have a very pleasing look. 

Also, this will have internal NDs, won't overheat, has two XLRs, etc - so not sure how it won't be much more usable than the A7sIII. 

You ain't gonna see what the footage look like just from youtube, and the a7s3's slog 3 and 2 is meant to match the fx9, and from the slog samples I've downloaded it seems great, especially if you use the right rec709 coversion lut like the alister venice or phantom luts. And the dynamic range of the a7s3 is the same as the c300mk3 with the dual gain enabled. And it still manages to beat out the fs7 even at 16000 iso.  The a7s3 also won't overheat from testing, since Philip Bloom literally managed to record over 8 hours of footage in a hot room before he gave up on the overheating tests.It also has a flip screen, ibis, great eye tracking af even at 240fps. With the xlr module it also can record 4 channel sound, 2 from xlr and 2 from 3.5mm. And of course there are internal nd adapters for e mount to ef if you want to go that route as well.

So the red komodo for 1500 dollars more is going to have: 

1, True internal Redcode raw at 8:1 in mq mode and 4-3:1 at hq mode

2, Internal 4k and 2k prores recording

3, Global Shutter

3, Much better dynamic range

4, 6k

5, Red ipp2 colorscience

5, Better lowlight then the c200

However, the canon is going to have:

1, Internal nd filters

2, full sensor 4k 120 compared to cropped 4k60 on the komodo

3, canon c series reliability

4, Better DPAF

5, 1500 dollars cheaper

Personally I don't see the point of the canon, since the a7s3 will blow the canon's image quality and usuability out of the water, while being 1000 dllars less, in a much smlaller mirrorless form factor. At least the red has global shutter and internal raw and 6k. The canon just sound like another 1dc all over again.

Man with the r5 I was at least able to hold back because of the lack of dr and overheating. But this thing just sounds insane, no overheating issues, 4k120 at 10bit, great colors, and A DUAL NATIVE ISO OF 640 AND 16000, what kind of number is that? I'm used to the 400 and 3200 on my pocket 4k, but 16000? And hell, even at 16000 it still has 0.4 stops extra dr compared to the pocket 4k.

Just a few years ago we were marveling at the hella noisy 12800 out of the 5d, and now we have 16000 as a native iso? Technology is amazing and I LOVE IT! 

Didn't a canon ambassador from the C5D comment section say that the r6 samples sent to the uk were all mistakenly body samples that weren't meant to shoot video? I think that could explain the reason why C5d's results are so different from dpreview's.

3 minutes ago, wondo said:

so i would have to pay for a 12k camera just to get insanely sharp 4k images and then put a shitload of filters on the lens, and probably a net on the back, just to get nice cinematic images?

this is nuts!

Well with the way that blackmagic raw handles compression the sharpness won't be that apparent. Their demosiac algorithm often smoothes out some of the higher level details and noise in order for better compression, so the details even when downsampled from 12k are going to be a improvement around some more subtle areas. It's going to be textures rather then digital sharpness.

3 minutes ago, wondo said:

who needs this? and why??

It does a full sensor readout even in raw on the lower resolution, since it uses a full RGB pattern sensor, so basically you get insanely clean and sharp 8k, 6k, and 4k since they are all downsampled from the full 12k resolution.

@Andrew Reid John Brawley said on the official BM forum that it has the same rolling shutter as the ursa pro g2 at 12k at around 15ms, and 6ms in 8k. Which is I think the same as the alexa.

1 hour ago, Andrew Reid said:

Feels a bit more like it.

But the battery compartment wobbles.

 

This camera is looking more and more like a 80's boombox lol

I think metabones recently released their own gfx to hasselblad speedbooster, which also boosts the gfx into an insane 6x6 0.56x crop factor, and it should be quite a bit sharper than the kipon, but for some reason not a single review or sample footage has been posted on the internet. I think that could be interesting to test out.

But won't this create a toxic environment for political circle jerking though? Since there will be only one side of the political spectrum present on this forum. I agree with the other users about the idea of a blanket ban, since these political discussion often don't bring much value to this specific forum, and both sides of the coin can get pretty toxic at times. Or maybe there should be a specific subforum just for politics, since a lot of us on other subforums is only interested in gear and filmmaking. Having any political posts or replies in these threads really does ruin the atmosphere of this forum. That way we could still allow political discussion to proceed, but there won't be any "wankers" present in these normal threads.

@Sage Hi, I love your ghalex v3 luts on my g7, and since i have recently upgraded to pocket 4k, I intend to purchase the lut again, but I have a question. When I put on the tungsten lut instead of the daylight lut in the same lighting conditions and white balance, the only difference that I found was a redder skintone, so is it ok if I just use the daylight luts across everything? Or will the color accuracy be sacrificed?

6 hours ago, Media Kat said:

I do have E lenses and I'm hoping the A7S3 has 10 bit just because everyone says it should, though I honestly do not understand the benefits. How much of a difference does it really make? I've read it really comes into play with doing green screen and heavy color grading. Is this true? What other scenarios will it be useful?

Just look at this little test https://www.youtube.com/watch?v=22u0DUQ_pxM&t=477s

Andrew, I think if you don’t limit this to digital, tons of people are just gonna buy a 16mm camera and spend 500 dollars on film. And that kinda defies the indie spirit of this forum. And plus it’s too easy to get good footage out of 16mm film, It will not actually test the filmmakers’s ability to shoot and color grade.

On 2/15/2019 at 1:22 AM, Andrew Reid said:

Huge by what standards? Tiny by video standards. Smaller than even an FS5.

For something that sits between the Panasonic GH5 and 1D X Mark II in size and weight terms it's not "HUGE"!

Sigma will release their ART lenses for L-mount and there will also be an EF adapter.

Problem solved.

L-mount makes for a very adaptable system as I am finding with my Leica SL which I enjoy immensely and I don't own a single full frame Leica SL lens (just the small 23mm F2 APS-C).

The Panasonic lenses are expensive because they are pro lenses. Canon, Sony, same pricing.

Yes it would be nice to have some more affordable primes and better AF - for sure.

On the S1R the 4K/60p is full frame.

On the S1 it's a 1:1 readout Super 35mm. Nobody complains the 4K/60p on the X-T3 is "only" Super 35mm! (Actually a bit more cropped, around 1.7x).

I admit this is the main area for improvement, but there's a lot of cinema shot in manual focus, to say the least... Maybe we are just being lazy, demanding AF all the time for video.

I found it pretty organic looking, with superb colour. I still have the original 4K files on my card. Maybe I should show them in a follow-up post. Also the low-light performance was outstanding.

You show me the perfect camera!!

Well if you are comparing to the gh5s, it looks worse, better then sony, but would be lovely if the colors and highlight roll off are up to the gh5s level, and if panasonic can give us 400mbps all i and turn off the in camera noise reduction, it will be pretty great. and yes, WE WOULD LOVE AN FOLLOW UP POST WITH MORE FOOTAGE, most people shot in cinelike d with horrible colors, so it would be great to see some more footage shot in standard color profile or natural color profile.

The problem I see with the s1, is that the color and the highlight roll off seems to be pretty bad, it just doesn't have the mojo that the gh5s has, it's better then the sony, but i wish it could be as good as the gh5s.

15 hours ago, Andrew Reid said:

They won't be, it will be capped at 150Mbit 10bit internal and 60p will be external only, as you can see from your WEX info.

NOO!!! c'mon can you please tell panasonic into releasing 400mbpbs all I codec for the v log updtae? that codec is so good for editing and color grading, it will be a shame if they don't include that codec. The 150mbps codec is going to be so compressed.

Dude you should've really asked them about if they are going to inculde 400mbps all I 10bit 4:2:2 for the paid upgrade