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Some lowlight action with A7s. Lots of 120fps and shot in very, very low light (when the sun went down, that was it. You can see stars in the last shots) Also youtube link, though the vimeo one is better quality:

- Sony a6000 (auto ISO, auto WB, OSS on) - Lens 16-50mm FilmPower Nebula 4000 - Stabilizer FilmPower Nebula 4000 - Rollerblade New Jack 4 Music: Ki:Theory - The Man I Left Behind (Instrumental)

Hi folks, As far as I know, very little has been said about this. However, Convergent Design has recently stated that Sony has the A7s HDMI port locked to a gamma curve that is closer to REC 709 than true SLOG-2. It's true, I have tested this myself and the A7s destroys it's SLOG-2 gamma curve on it's HDMI port. Here is what happens: 1.) Record a SLOG-2 internal XAVC-S file. 2.) Record via HDMI to any recorder that you have. 3.) Compare both files on a scope...you will see that the SLOG-2 gamma curve has been stretched and "damaged". (compared to internal file's "proper" curve on the scope) The histogram does not lie either, it CLEARLY shows what Sony is doing to cripple it's HDMI port. (hopefully this is a Sony oversight and not a "surprise...gotcha!" stunt. Sony markets its A7s external recording HEAVILY against the GH4 and it's a big selling point for the A7s. SLOG-2 in general is a HUGE selling feature of this camera. Now, if Sony chooses to cripple SLOG-2 over the port and trap it inside it's internal 4:2:0 codec,...that is perfectly well within their right. (No doubt at all) However, Sony needs to state this is being done in it's marketing and sales materials!! Sony needs to be upfront about it when they push it's external recording capability! Statements like: * "SLOG-2 has been removed from any external recording" or * "What is displayed on the camera monitor (gamma curve) is NOT what is actually output over HDMI. This would be the FAIR way to treat Sony's customers. This is a huge problem and I hope Sony fixes this soon. Am I the only A7s owner that is concerned about this?

Shot in my spare time during a commercial gig. Autumn Leaves creative style, -3,0,-3. Edited in FCP X with Impulz LUTs

Im a novice filmmaker and I've been following websites like EOSHD, reading blogs like Philip Blooms and generally for the last 6-8 months researching camera gear while I have been saving up enough to buy my own gear and not just borrow friends. I am looking to spend about $1500 at first. I love video and intend to shoot more, but I also shoot a lot of stills as well and that is obviously where my problems start. I would be very happy to buy a G6 or a used GH3 for video as I know these will outclass almost anything at that price range for video. Add a bunch of old nikkor primes and id be set. But I know stills and the DOF id get with the mft mount is nothing like that of a APS-C or FF nikon or canon. THE SONY A7s is amazing and if i could afford one I'd get it in a heartbeat, it retails at 3300 NZD here in NZ so its ridiculously out of my price range. Im looking to go second hand as it'll mean i can buy more lenses and such. Ive been looking at used 7D and D7100 bodies as both sit between 700-800 used meaning i could easily pick up a 50mm 1.8 prime, a 17-50 sigma or tamron 2.8 and maybe a telephoto lens for stills. Any suggestions or help I don't know what else to read or look at but I know what I buy now will influence my decisions and I'm not sure what to invest in. Also side note; if I purchase a 7D i will be shooting near exclusively with ML.

Hello, I have a lot of problems with the preview in adobe premiere pro and quicktime when it comes to color grading. These problems I experienced on different computer running Mac os x and different monitors calibrated or not. The issue is that the footage (h.264 / AVCHD) no matter if it´s from a 5d or a sony a7s looks alway more saturated and more punchy in the preview of premiere then after exporting and opening in quicktime. I think it´s a gamma problem. the thing is when i use magic bullet and the magic bullet looks preview inside premiere, it looks the same then in quicktime. when i use vls to playback the footage it looks the same then the preview of premiere pro. i made an example foto with four pictures. it´s a slight difference but if u look careful you will see it. it really drives me crazy. does anybody have the same experience or a solution? thank you, ben

Hi, I'm new to this forum, but saw there were a few posts from A7S owners and users on here, so thought somebody may be able to help with the predicament I find myself in. I recently bought a Sony A7S, with metabones EF-E adaptor (Mark IV) and Sigma Art 24-105 lens. I'm having a lot of trouble getting the lens and camera to connect properly - Sometimes, the lens works fine and I can shoot long video clips no problem. However, a large proportion of the time, the set-up has several issues: 1. The aperture randomly jumps 1/2-1 stop either side of my current exposure. 2. The iris won't open and close when I change it in the camera. When it does, there's a 5-10 second delay until the lens catches up with the camera. 3. I have downloaded the firmware upgrade on my macbook, and when I open the app and connect the adaptor, nothing happens. I have also downloaded it on my iMac, and it won't even open, it just crashes straight away. I also tried downloading it on my girlfriends macbook, but it also won't open on there. Any help would be greatly appreciated. Thanks, Andy

Can anyone verify that the silent electronic shutter on the A7S is (or is not) available via Sony's Smart Remote Control app? I'm hoping the camera could do double duty for both stills and video, and the silent shutter is a big draw, particularly for up-close (and therefore remotely controlled) wildlife shots. I've done this sort of thing with a blimped DSLR (tupperware and memory foam), which is awkward in the extreme. The A7S sounds perfect, but I've read that operating the thing in silent mode isn't possible via remote. Is that true? Thanks so much.

A few shots from Abu Dhabi. I really like the way this camera handles nighttime and sunset shots, but I'm having trouble getting satisfying colors in daylight. Would appreciate any feedback: Graded in FCP X with native CC tool, Pixel Studios ProHDR, and Impulz LUTs

I just did a test, and I really like the colors I get when turning Picture Profile off and just shooting in Sunset Creative Style. It worked on my old NEX-5n to produce smoother gradients, and it looks like it gives good rich colors on the A7s as well. I think you do lose dynamic range in the highlights, but for medium and low-contrast scenes, I think it's a good way to get punchy yet natural colors. Anyone else tried this? Any thoughts?

This is a frame taken by my Sony A7s with PP4 25p Full frame Take a look at the tie. The picture speaks for itself. I thought that the A7s didn't have aliasing and moire, at least not in FF 25p mode!

Hi, Final call, I'll sell these items on ebay pretty shortly. I am finally ready to give up my Konica Minolta / Sony Alpha ties.. The following lenses are thus for sale (or in various combinations for trade (unlike sale, trades are only in person, Chicago area), in return for Oly 45mm 1.8, Oly 75mm 1.8, Pana 35-100 2.8 - more info below!). I will provide more detail by each lens, but in general, I have tried to set the prices very fairly. I prefer to sell/trade them to people in this community, rather than putting them up on one of the auction sites.. I have tried to include plenty of pictures, but this is the first time photographing equipment, so if you want me to provide better pictures, etc, please feel free to contact me. -- Lens #1 - Tamron AF 10-24mm f/3.5-4.5 SP Di II LD Aspherical (IF) Lens for Sony Minolta AF Digital SLR Cameras Price: $320 - REDUCED to $300 including shipping CONUS Notes: Comes with front/rear cap and lens hood Condition: Overall very good condition, but appears to have a very small cleaning mark(?) on the front element. (looks like in the coating). It is so small I could not get it to show up in pictures of the lens, and it is not visible when using the lens as far as I can tell. It has probably been used less than a dozen times total. Pictures: http://s1289.photobucket.com/user/tosvus/library/Tamron10-24 -- Lens #2 - Tokina AT-X PRO 28-70mm f2.8 for sony minolta α AF (Full Frame compatible) Price: $275 - REDUCED to $255 including shipping CONUS Notes: Comes with front/rear cap and lens hood. This lens is regarded quite highly especially considering the price (which is why I bought it). user rating at dyxum is average 4.59 where 5.00 is max. Condition: Very well built lens, overall very good condition for age. Some very minor cosmetic imperfections on the barrel, and what appears to be a cleaning mark on the rear element (again, looks like in the coating). Also hard to get to show up in pictures. Again, I have not been able to see any problems when using this lens. Probably my favorite lens of the bunch. For the years I owned it, it has been safely stored when not in use. Pictures:http://s1289.photobucket.com/user/tosvus/library/Tokina28-70 -- Lens #3 - Tokina 100-300mm F4 AT-X 340 AF-II (Full Frame compatible) Price: $325 - REDUCED to $305 including shipping CONUS Notes: Comes with front/rear cap and lens hood. This lens is regarded very highly especially considering the price (which is why I bought it). user rating at dyxum is average a whopping 4.88 where 5.00 is max. Condition: Very well built, overall very good condition for age. Some very minor cosmetic imperfections on the barrel from normal use. Optics look great as far as I can tell. For the years I owned it, it has been safely stored when not in use. One thing to note; I have only used AF with this on the Minolta 5D and occasionally it would hunt excessively for focus. I believe this is a common trait (not fault) of these zooms, and may have been more noticeable on my lower end camera, than on other cameras as well. Pictures: http://s1289.photobucket.com/user/tosvus/library/Tokina100-300 -- Bonus: If anyone buys two or all three of the lenses, I will throw in my trusted old Konica Minolta 5D dslr with 18-70 kit lens. It has seen some use and cosmetically only in ok to good shape, but works well. It was pretty much the last dslr that Konica Minolta made, so while it has IBIS (which is a neat feature), there is no live-view or video-recording. Still if you have someone in the family who wants to start taking pictures, or as a second/third camera, it's definitely nice. Also comes with a Extreme III 2GB compactflash, extra battery, neck band and lens cap. As, mentioned, free if you buy 2 or 3 lenses! Pictures:http://s1289.photobucket.com/user/tosvus/library/KM5D -- Last item: Panasonic HDC-SX5P/PC camcorder. Price: $100 including shipping CONUS Notes: 1080i video recording to sdcards or mini-dvd. Comes with battery, charger and manual (plus possibly other accessories like av-cables). Condition: I would have to say this is in excellent condition. Probably used only a 10-15 times and stored carefully in between. Pictures:http://s1289.photobucket.com/user/tosvus/library/PanaCamcorder -- Payment accepted •Regular PayPal (fee included in price) -- Shipping method USPS Priority Mail (limited to CONUS) -- Shipping charge Included in asking price -- Handling time 2 business days -- Additional -Either Sale or Trade. -Sale - Open to Reasonable offers. If you live in Chicago area and can meet+pay cash, we can definitely figure out a discount -Trade only in person, Chicago-area, as I am not sure of a good way to do this remotely. -Trade options: ---1 (one) of my lenses for a (preferably black) Olympus 45mm 1.8 mft mount prime ---2 (two) of my lenses for a (preferably black) Olympus 75mm 1.8 mft mount prime ---ALL of the equipment listed (3 lenses, camera, camcorder) for a Panasonic pro 35-100mm 2.8 mft zoom. (No other trades are of interest).

5dmkIII raw (converted to LOG-C and then rec709): Sony a7s (cine 4 - color, saturation and contrast dialed down -1, then gamma lowered and shadows raised a bit in FCP X): My thoughts are that the a7s can give you some nice skin tones and balanced color if you don't try to do S-LOG 2. I consider midday sun to be a challenging environment for 8-bit cameras, as the color can easily become washed out and desaturated. I find that I need as much saturation from the camera as possible (without clipping) before processing. Then I lower the gamma a bit in post and lift the shadows in order to give it more of a filmic shadow response. What you can't do with the a7s in my experience is extreme shadow recovery like this backlit shot:

I just got an A6000 and the SEL 35 1.8 lens. On some shots I occasionally see a very subtle ripple effect. I don't think it's caused by rolling shutter and sensor readout speed, it seems like it's optical to me. I say this because I haven't noticed rolling shutter when shooting with un-stabilised lenses. I had the optical steady shot on, and I wonder whether this is the culprit. I'll try to post a clip later, but I wondered whether anyone has had similar experiences either with this lens or other Sony OSS lenses?

Look here fore an interesting camera shootout!: - with high-end cameras like the Alexa, Red Dragon, Epic, Sony F55, Canon C500, Blackmagic Production Camera 4K, Sony FS 700 4k, - and also lower priced rated cams, like the 5dmk3raw, GH4 4k and Blackmagic pocket camera... Guess the camera...:)

I've been using PP7 to take stills with, but when I bring the ARW file into Image Data Converter the Picture Profile is lost if I change any of the RAW settings. I'm wondering if anyone else is having this problem? Is there a setting I'm missing to keep/change the Picture Profile? I always make sure to keep the Creative Style set to Camera, but that won't keep the Picture Profile if I change any other settings.

Hello Do you use MK3 to shoot videos? If yes, can you please tell me which settings do you use? For example, how do you set up your camera for everyday videos, for action (sport) videos, for night videos ...? Do you use xavc-s or avchd format? Do you maybe use flat picture profile and edit videos later in video editors? How to set up flat picture profile for this camera? I really do not know where to start. So many settings, options. This is my first digital camera with decent video. This is the reason for so many questions :-) Thank you for your help. Kind regards

Canon cameras sell very well because they make people look great by creating very pleasing skintones. Apparently for technical reasons (silicon sensors, etc.), Canon makes skintones look great at the expense of color accuracy. ARRI is the undisputed* King of Color Science and reading about how to make a C300 somewhat match an Alexa may be helpful in setting up new cameras such as the GH4 and A7S to produce more pleasing skintones (at the expense of color accuracy): http://provideocoalition.com/aadams/story/color-matching-a-canon-c300-to-an-arri-alexa Art noted that digital cameras do the best in daylight (~5500K) due to sensor response to blue. While I too have noticed that Sony, for example, does much better in sunlight, I've found that cameras also do well in Tungsten (~3200K). While Tungsten doesn't have much blue, it is a continuous spectrum light, and that I believe is the most important issue. Cameras have the most trouble in mixed light (fluorescent + incandescent + LED, etc.) or light sources with large gaps in the spectrum (some fluorescent and many LED lights). I had no idea what kind of light this was, however AWB with the A7S wasn't too far off (minor WB adjust in post: still a bit magenta but that's the look I wanted): In the Art Adams article above, he had to make custom profiles (mostly the special Color Matrix) for each desired color temperature (two provided). This makes it clear that getting pleasing (and/or accurate) color for a wide variety of color temperatures and light sources is a very challenging technical problem. Face/skintone detection is one way manufacturers try to deal with the problem (regardless of race, all skintones have similar color properties (along the 'skintone' line on the vectorscope: ). It's not likely there's anything we can do to picture profiles on cameras to improve color performance vs. factory settings for general use. If we tweak colors for a particular WB and light source, it won't be correct for another light source with different spectral properties. Thus, if someone posts a tweaked color profile that changes WB colors or general color matrices, keep in mind those tweaks might not work correctly for your particular situation. * this is the internet, so the likelihood of disputing is much greater than zero. The Sony F35 and F65 can produce great color, and the new RED Dragon and associated color science is looking very good. The camera system most people prefer in terms of color is the ARRI Alexa (now +Amira).

This music video was shot with a Sony Fs700 and Samyang lenses.Check the shots at night, they were all made at 50 fps, without help of any speedbooster, just the combination of the Samyang lenses and the right exposure.We had no help of any kind of light equipment, because we didn't have the budget... just the street lights. For those who are thinking to buy this camera, I can just say that the Sony Fs700 is really a good deal for what it can deliver. See for yourself. And the grain... was put on purpose on post-production to have that dirty effect.

Hello! Just got my A7s over the weekend and would like to know how everyone's converting their MTS files to their favourite gradable file format. At the moment i'm doing Adobe Prelude to Apple ProRes 422 but somehow the output is much worse after transcoding. Most likely something i'm doing wrong in the code settings! Cheers Shaun

So I run a small film company, Lightworks Films, and we have done a few reviews on the Canon 5d Mark III and the C100 (here is one of my reviews). I am really interested in purchasing a Sony a7s, and to my eyes (online) the camera looks better than the C100 - can anyone with both cameras comment? Or anyone who has used both? I am specifically referring to resolution - not 4k, but how well the a7s resolves 1080 compared to the c100 at 1080. Thanks for your thoughts!

Right now on BH the fs100 with a free metabones EF adapter (after rebate) is only 2500. I've been using a 5d mark ii for the past 4 years as my main camera and although I still love it, it is a pain to use sometimes in a corporate video/documentary environment. I figure the fs100 at this price with an adapter that will work with all my current glass seems like a great deal for the type of work I've been doing lately. anyone own one and have some thoughts?

Here's some vacation footage that I turned into a semi-narrative. My friend composed an original score.

Hi, I am in photo and video since a few years and I had a lot of cameras : fuji XE1, XPRO1, canon 5D2, ... Since a few months I have nothing, and I watch the market which is changing a lot and want to invest in a system for a long time (lenses, accessories, ...) because I am tired to change everything each time. I am gonna give you what I shoot, and then my pros/cons for each and then you can tell me your point of view ? So I shoot 50% stills (Mostly landscapes and portraits). Exemples of shots : http://500px.com/loup_f What I basically need as lense is a or 16-35 (full frame) for landscapes and a 85mm for portrait for exemple. And 50% videos. My videos are only travel videos. When I go somewhere, I shoot and make a video of the trip. For exemple, my last trip in California : As you can see, I do a lot of timelapses (with the same lens as the landscape stills one) and basic shoot of people and streets (for exemple the 16-35 at 35mm would be fine, or with a 50mm). I also do paragliging and sports, so here it's a bit special. I use the gopro but wouldn't mind using the body in the air (lens with IS necessary here). Also, I like to spend time on edit. So I like the RAW possibilites. Now about the cameras: I just purchased a 5D mark III used. I made a good deal (200eur under normal used price) and I have it with the 24-70 that I don't like (not wide enough, not long enough, not fast enough (2.8) so I prefer primes^^). If I invest for the 5DIII I am going to buy : a sturdy carbon tripod, a glidecam, the new 16-35mm f4 IS just released (for landscapes and video), and a cheap 85mm 1.8 for portraits, ND filters, canon flash and so on. So as you see I don't want to buy all of this and then have to sell everything in 6 months because A7S is much better ... My dilema is : Should I keep 5DIII invest in what I said or just use it with the 24-70 2 months and then sell it and go for A7S ? My pros and cons : 5DIII pros: -RAW for video : big pro for me -Cheap lenses used (yes not the new 16-35 which will be 1199 like the sony one) but for exemple 270 for the 85mm. -pro body, resistant, nice to handle -price and value: got it for 1800 used / A7S is gonna be 2500 because no available used. Not a new body so value is going down slowly now. 5DIII cons: Big and heavy for travel No cool slowmotion (FHD 60fps and 120 fps like A7S, I use a lot slowmo) Dynamic range A7S pros: size - wheight : big pro for me slow motion : big pro for me DR for landscapes : way better than 5D here A7S cons: New body so pay full price and value is going down quickly No Raw video Lenses price : they are new only, the 85mm will be like 1500usd ... So a bit shitty. Conclusion For photo they are both fine (slight edge for A7S with DR for landscapes and timelapses) For video 5DIII has raw advantage and A7S has slowmo ( I don't use external 4K) A7S has size advantage and 5DIII has price advantage (due to the fact I got it used, and lens used as well) For future, for the moment I trust more in investing canon system (for exemple when 5D4 is out I get it and keep the rest) as Sony is changing system all the time like crazy. But I might be wrong. Sometimes I tell myself I should just get the sony RX100 III (slow mo, 24-70 5 axis IS, ...) such a convenient camera. But I am affraid it is only a "compromise" and will be frustrated by results (lack of bokeh, dynamic range for timelapses, no ultra wide angle...) So according to my conclusion and use what do you think ? Thanks for reading