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Sony a7 III discussion

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I think Panasonic and Olympus both shot themselves in the foot with the pricing of the GH5, GH5s , and Oly with the EM1 mk II. That is crazy money for a m4/3 camera. Especially with the Sony A7 mk III now and the BM PK4 coming out. They have done screwed up as they say. The Genie is out of the bottle and no way to put it back in.

And now Canon and Nikon both are going to have to have a FF mirrorless in the 2000 dollar range, and not some piece of crap one either. There really isn't a whole lot the A7 mk III can't do that even Nikon or Canon will have on their top end ones. What the hell is left out that the average person needs other than high MP for photos. And that is really over rated in this day and age anyways. Nobody prints anymore anyways.

From Imaging - Resource

"Sony A7 III Print Quality

Excellent, high-quality prints up to at least 30 x 40 inches up to ISO 800; Very good prints up to 13 x 19 inches at ISO 6400; Usable 5 x 7 inch print at ISO 51,200."

Hell that is a print as big as most peoples LCD TV!

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EOSHD Pro Color for Sony cameras EOSHD Pro LOG for Sony CamerasEOSHD C-LOG and Film Profiles for All Canon DSLRs
22 minutes ago, webrunner5 said:

I think Panasonic and Olympus both shot themselves in the foot with the pricing of the GH5, GH5s , and Oly with the EM1 mk II. That is crazy money for a m4/3 camera. Especially with the Sony A7 mk III now and the BM PK4 coming out. They have done screwed up as they say. The Genie is out of the bottle and no way to put it back in.

And now Canon and Nikon both are going to have to have a FF mirrorless in the 2000 dollar range, and not some piece of crap one either. There really isn't a whole lot the A7 mk III can't do that even Nikon or Canon will have on their top end ones. What the hell is left out that the average person needs other than high MP for photos. And that is really over rated in this day and age anyways. Nobody prints anymore anyways.

From Imaging - Resource

"Sony A7 III Print Quality

Excellent, high-quality prints up to at least 30 x 40 inches up to ISO 800; Very good prints up to 13 x 19 inches at ISO 6400; Usable 5 x 7 inch print at ISO 51,200."

Hell that is a print as big as most peoples LCD TV!

The big advantage of a high resolution sensor is that it gives you a lot of flexibility to crop. Essentially with an A7riii you have 42mp FF, 18mp APS-C and 11mp M43 all wrapped up in one. Makes your lenses very versatile.

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7 hours ago, webrunner5 said:

I think Panasonic and Olympus both shot themselves in the foot with the pricing of the GH5, GH5s , and Oly with the EM1 mk II. That is crazy money for a m4/3 camera. Especially with the Sony A7 mk III now and the BM PK4 coming out. They have done screwed up as they say. The Genie is out of the bottle and no way to put it back in.

Totally disagree. The GH5 is possibly the best value proposition video camera out there. Its overpriced and oversized for an m43 photography camera but that's why they have the GX and other lines. 

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On 8/11/2018 at 9:54 PM, Robert Collins said:

I heard that people shoot 4K for YouTube because the 4K videos get ranked higher in search

I saw an article once saying that Youtube switches to a better codec / bitrate when you upload your video in 4k - except if you are a Youtube Partner, then you always have the best encoding options.

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Further thoughts on full frame after shooting m43 for five years.

Buttons. Someone mentioned button placement in the Nikon thread - and two of the most annoying on the a7 III are the menu button, which is inexplicably located to the left of the EVF; and the lens release button, which is tiny and very difficult even with rather slender fingers to reach with the handgrip scrunched so close to the lens mount.

Some buttons might advantageously be placed on the front of the camera: the dilemma being that there isn't much real estate for any. Several G Master lenses do have programmable buttons, though I haven’t used them yet. The camera is probably a nuisance to shoot with gloves on, though this doesn’t really pose much of a problem in Vietnam! I’m sure if Nikon gets it right, their mirrorless will be more popular with people who shoot in harsh environments. 

Sensor dust. Over the years, I’ve heard the online community complain about dust gathering on the sensor. I should preface my remarks by saying that Saigon is one of the filthiest places I’ve ever been; the air quality is poor; there is construction everywhere; and I have to bathe several times a day to get the grime off. Still, in my five years of shooting Panasonic, it never once occurred to me to check the sensor; and since I almost always shoot at f/4 or wider, it was never going to show up anyhow. But checking the a7 III yesterday, I did notice one speck of dust, which was easily dislodged with a puff of air. 

Detail. The amount of detail is staggering, but also extremely unflattering if you’re working with models with anything but perfect complexions. This means having to use extra diffusion with lighting, and perhaps even hiring a stylist to assist with hair and makeup, stuff I never concerned myself with shooting m4/3. 

The Full Frame ‘Look’. I happen to love the full frame look, but have come to realize that unless I’m shooting in the dark, for me, there’s no need to shoot much wider than f/4 or so to get the nice creamy out of focus backgrounds I’m after with the lenses and subjects I regularly shoot. With m43, I rarely shoot at apertures narrower than f/4 and often shoot wide open. 

Autofocus. The AF is insane, and face tracking is almost psychic. Sunday morning, I shot with a model for two hours in the Central Post Office and on Book Street, both of which are teeming with sightseers on the weekend, and every clip was in focus, even at wide-ish apertures, and even when the model was quite far away from the camera.

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1 hour ago, jonpais said:

Further thoughts on full frame after shooting m43 for five years...

Sensor dust. Over the years, I’ve heard the online community complain about dust gathering on the sensor. I should preface my remarks by saying that Saigon is one of the filthiest places I’ve ever been; the air quality is poor; there is construction everywhere; and I have to bathe several times a day to get the grime off. Still, in my five years of shooting Panasonic, it never once occurred to me to check the sensor; and since I almost always shoot at f/4 or wider, it was never going to show up anyhow. But checking the a7 III yesterday, I did notice one speck of dust, which was easily dislodged with a puff of air.

I think for us sony shooters, part of the problem was that some of the earlier lenses were considered "dust vacuums." I don't know how much truth there is to this theory that certain zoom  lenses were prone to sucking dust out of the air and blowing it on to the sensor. But that is what a lot of people think anyway.

Interestingly enough, Sony claims one of the reasons the shutter is open when powered off is because the shutter mechanism is "more delicate" than the sensor. I know a couple of Nikon shooters who WON'T use a little blower on their Nikon bodies because they are afraid of damaging the shutter.

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3 hours ago, Márcio Kabke Pinheiro said:

I saw an article once saying that Youtube switches to a better codec / bitrate when you upload your video in 4k - except if you are a Youtube Partner, then you always have the best encoding options.

Yep.  Lots of discussion here:

2 hours ago, jonpais said:

I happen to love the full frame look, but have come to realize that unless I’m shooting in the dark, for me, there’s no need to shoot much wider than f/4 or so to get the nice creamy out of focus backgrounds I’m after with the lenses and subjects I regularly shoot.

I did some experiments with my Sigma 18-35 1.8 (which is basically a ~2.5 in FF equivalence) and came to the same conclusion - that F4 on FF would be sufficient.  For me it's just about having a bit more depth and separation to the image.  I shot a test video at 2.5 of my wife and I going for a walk along the beach and DoF was too shallow in almost every shot.

I also had trouble with MF on the not-so-great Canon 700D screen in full sunlight - which having focus peaking will rectify nicely.

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6 minutes ago, jonpais said:

More wholesome a7 III goodness.

Full size screen grabs. ISO 400, around f/3.2. No color correction in post. Shadows pulled down slightly.

I've shot with the GH5, the X-T2 and the a7 III and the Sony is by far my favorite mirrorless camera to date.

1234

You're making it hard to wait for the other camera announcements!!

Just think, if this is a hybrid then how good will the pocket 2 look at 4K RAW!!

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7 hours ago, jonpais said:

More wholesome a7 III goodness.

Full size screen grabs. ISO 400, around f/3.2. No color correction in post. Shadows pulled down slightly.

I've shot with the GH5, the X-T2 and the a7 III and the Sony is by far my favorite mirrorless camera to date.

1234

Nice.

As far as the lens release, I find it annoying too at times. I always palm the camera with my left hand and hit the button with my middle finger while holding helens with my right hand. Then I flip the camera over so the sensor is facing the ground to try and avoid dust entering while swapping lenses. A few times I've unknowingly bumped the button while carrying the camera and when I went to shoot the lens rotated a bit, scaring the bejeezus out of me. Fortunately I never dropped a lens, but putting the lens release on the grip side with so little space is stupid. 

Vietnam is really dusty, Cambodia and Myanmar were even worse - my rocket blower got a lot of use there and in many other places. My Fuji lenses inhaled a lot of dust. The sensor gel stick came in handy a few times.

Chris

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On the topic of changing lenses, changing lenses inside a bag can be useful.  

My travel setup is a camera insert at the bottom of a nondescript backpack.  The insert has a padded lid, so there's essentially a little flat surface and room within the top half of the bag where you can you can change lenses.  If the area is touristy (and likely to have thieves around) I wear the backpack on my chest, so changing lenses inside the bag is really easy and convenient.  The bag is open a little for your arms to go in the sides and to see in the top, but it protects from dust relatively well and no-one can see what you're doing so it's not entirely obvious that you have multiple lenses in there either.

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Apart from skin tones, tonal transitions were one of my greatest concerns when switching over to Sony.

Would they be blotchy or smooth? It was really difficult to tell from the YT videos I'd studied.

The GH5's ALL-I 400Mbps 10-bit 4:2:2 files not only consume a ridiculous amount of hard drive space, but surprisingly, they don't necessarily have better tonal transitions than Sony's tiny 8-bit 100Mbps files.

In fact, I find quite the opposite. 

The Sony has better dynamic range, cleaner shadows and less noise overall.

Color is subjective, but I prefer Sony's straight out of the camera. 

Here's an outtake from my last video when the AF went momentarily bonkers and focused on a man in the distance. It's underexposed, but still retains nice color and detail without unsightly smudging. 

more images

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And the takeaway IS that he doesn't know how to grade Sony SLog files. Eh, not much of a video to be honest.  Next. Is it going to hold up to 14bit Raw Red files, probably not, but I really have never thought Red footage was very Cinematic to start with. I am not a big fan of Red output. If I won the Lotto they are probably the last camera in hell I would buy.

And like i said above, they are not the best camera to buy if you are looking for a FIlmic look. The Original A7s had a better output for that than the newer ones do now.

And I would argue that the Filmic, Cinematic look is dead, dying anyways. Most people that even look at movies, go to them are all younger, and they probably haven't even seen 10 movies shot on Real Film.  They are Used to the Digital look, and think that it is the cats ass. 4K, 6K, 8K stuff is Not going to look like B&W film from the 30's, ain't happening.

And I think with HDR video getting a Film Look will be even More difficult. It is way past film DR wise if done and viewed right. Digital is here to stay, no surprise there.

Damn good article on HDR, by a person that knows a thing or two about video..

https://vmi.tv/training/useful-stuff/HDR_reality_and_monitoring-a_DOP's_Perspective

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@webrunner5 we must have different definitions of filmic/cinematic. and FYI Mission Impossible Fallout, Ready PLayer One (latest Spielberg) & Star Wars Last Jedi.. all 2018 blockbusters aimed at younger audiences and just to name a few were all shot on Real Film.

@jonpais highly doubt his camera is defective.

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We do have different ideas.  I like Arri output. And there Has Never been a Star Wars movie that looked for a shit when it comes to a Cine look to it, from the Original Sony ENG cameras till now with the Reds.

And a Arri Panavision was used on the http://www.arri.com/news/news/the-last-jedi-steve-yedlin-asc-on-skypanels/

"Production shot for several months at Pinewood Studios in London, with additional locations in Ireland, Croatia and Bolivia. Compared to THE FORCE AWAKENS, the number of sets and lighting schemes were far greater on THE LAST JEDI. Yedlin shot the movie in a combination of four formats: primarily anamorphic 35mm but also spherical 35mm, spherical and anamorphic ARRI ALEXA cameras from Panavision, IMAX 15-perf 65mm film, as well as the ALEXA 65 from ARRI Rental. His first ARRI ALEXA feature was the 2012 GIRL MOST LIKELY."

Oh no doubt some films, very few now, are shot using all kinds of different cameras, from Go Pros to BMPCC. They use what works and what is more economical. All these new movies use tons of VFX stuff, Surely you can't do that with a Film camera? And geez half of a Mission Impossible has to be VFX stuff?

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