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Sony A7S III (Or will it be A7H?) set for July - video specs tease


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From working in the industry and seeing what’s used. Yours?

Just now, newfoundmass said:

Who knows? Who cares? You said no one was using it for Netflix, outside of it MAYBE being a crash cam. That's not true. 

I'm guessing his point is that you're speaking as an authority when, truthfully, you probably don't know and have little real experience working on a major production. 

Bollocks.

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You could literally post a frame from R5 or Arri Alexa, say it's a Sony A7siii frame and someone would say the color isnt that good and that something is wrong with the skin tones.

These recent camera releases have resulted in a significant amount of velocity  and trolling right across the web.  Every camera is good these days. Every single one. Nor is a single one of them

Some tests and a review from Brandon Li. Chris  

Posted Images

3 minutes ago, Nezza said:

From working in the industry and seeing what’s used. Yours?

What's your name? Resume? 

I really do think @Andrew Reid should require people that talk like this to use their real names so we can judge how much credibility we should give what they say. It's way too easy (and common on here) to hide behind "working in the industry" when people disagree with you when you're anonymous 

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10 minutes ago, newfoundmass said:

 

Mark Holtze is using a S1H and vintage lenses for a Netflix pilot right now. 

Thanks for posting this video.  Mark makes a compelling point for the S1H for Netflix production quality without making a pitch.

The S1H being Netflix approved is actually great.  You can invest in a Netflix approved camera for a lot less money which is needed in some productions.

 

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6 hours ago, deezid said:

The ZV-1 and A7s3 look the same, only that the latter has more dynamic range. Since Sony uses the same processing algorithms throughout their alpha cameras since the A7sII why wouldn't it?

Here some examples for the horrible oversharpening (left, also showing aliasing issues) and paint brush like noise reduction with ghosting and smearing (right).

 

f8eKAp5.jpg

Now I See Part 2 Vimeo version FINAL h265.mp4_snapshot_01.25_[2020.07.28_21.33.26].jpg

The S1H is clearly better here, you can clearly see the pixel steps with the Sony while the Panasonic is completely smooth.

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30 minutes ago, thebrothersthre3 said:

uji offers an incredible bang for its buck. Its AF needs major improvements though. I'd pay $2500 for an XH2 with a 12mp sensor and 4k 120p though. Especially if it has reliable AF.

I will see your 2.5k and raise you by 500.

I’d prefer 20mp though as I need a genuine hybrid and would prefer the latitude for cropping.

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1 minute ago, newfoundmass said:

What's your name? Resume? 

I really do think @Andrew Reid should require people that talk like this to use their real names so we can judge how much credibility we should give what they say.

Would you care to actually refute what I've said based on evidence or just demand to see my CV because you can't?

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1 minute ago, Super8 said:

Thanks for posting this video.  Mark makes a compelling point for the S1H for Netflix production quality without making a pitch.

The S1H being Netflix approved is actually great.  You can invest in a Netflix approved camera for a lot less money which is needed in some productions.

 

Mark is great. One of my favorite YouTubers. 

Just now, Nezza said:

Would you care to actually refute what I've said based on evidence or just demand to see my CV because you can't?

I mean, I literally refuted what you said and showed evidence that the S1H is being used on an actual Netflix production. 

Now share evidence of your production experience, please. 

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4 minutes ago, newfoundmass said:

What's your name? Resume? 

I really do think @Andrew Reid should require people that talk like this to use their real names so we can judge how much credibility we should give what they say.

Not this again? 

Use your eyes and ears and brain and judge footage first.  Then get into spec's and defend what you see and hear.   We are film makers and content creators and for some reason we ignore the image a camera produces over what brand it is.  

I'm willing to give any camera brand a chance if it produces a great image. 

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2 minutes ago, newfoundmass said:

I mean, I literally refuted what you said and showed evidence that the S1H is being used on an actual Netflix production. 

Now share evidence of your production experience, please. 

Has somebody somewhere made a pilot for netflix using this camera. I'm sure they have. Do the vast vast majority of netflix prods use a prosumer body with a tiny screen and limited lens line up as their cam. Absolutely not. I'd stop digging.

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Just now, Nezza said:

Has somebody somewhere made a pilot for netflix using this camera. I'm sure they have. Do the vast vast majority of netflix prods use a prosumer body with a tiny screen and limited lens line up as their cam. Absolutely not. I'd stop digging.

Watch Mark Holtze video.  You can adapt glass to the S1H.  Also being Netflix approved makes the S1H a cine camera.  Yeah it's hard to figure out because it is a hybrid but don't slag the facts about the camera.   Also, if productions have the money they'll use what the DP prefers. 

A buddy was on a Ace Hardware shoot and you wouldn't believe how much wasted money they spend on a 5 day shoot.  They spent close to a million on traditional a tv commercial.

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1 minute ago, Nezza said:

Do the vast vast majority of netflix prods use a prosumer body with a tiny screen and limited lens line up as their cam. Absolutely not. I'd stop digging.

No one claimed this, so stop being an ass. You asked for evidence. He gave you some. No one is claiming they should shoot their next Netflix documentary special on an S1H. They shouldn’t if they have access to something better. But it is a fact, based on what NETFLIX has said, that sure...you can and we will accept it because X, Y, Z.

So what is your whole point of this argument? Almost everything you have posted is to incite some kind of argument.

No wonder people don’t stick around on this forum.

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16 minutes ago, Nezza said:

Has somebody somewhere made a pilot for netflix using this camera. I'm sure they have. Do the vast vast majority of netflix prods use a prosumer body with a tiny screen and limited lens line up as their cam. Absolutely not. I'd stop digging.

The argument you made wasn't "the vast majority," it was that no one would use it for anything but a crash cam. That's factually not true. 

Your comments re: the screen and lenses is a tell that you don't know what you're talking about. No one is using the S1H without rigging it up, unless they absolutely need to. They certainly don't care if they have to adapt lenses, either. 

You've done nothing but shit post on this forum. Please stop.

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In Netflix, their executives look for pictures from aggregators who pitch the content, not cameras.

This is not-variably just a mere fuss from a bunch of camera geeks, who keep dreaming to be the next discovery to be found directly within their catalogue.

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1 hour ago, Video Hummus said:

All cameras have their faults. I do recall the S1H had horrible temporal noise issues. They are fixed now. Give Sony a break. My god.

Sony didn't care fixing the temporal noise reduction issues and oversharpening since the A7s2.

So, no break for Sony. This is not a camera made for narrative work. The Sony Videolook and missing DCI4K and missing shutter angles and true 24p made it quite clear.

I honestly expected much more.

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8 minutes ago, Emanuel said:

In Netflix, their executives look for pictures from aggregators who pitch the content, not cameras.

This is not-variably just a mere fuss from a bunch of camera geeks, who keep dreaming to be the next discovery to be found directly within their catalogue.

It's called being prepared.   If you shoot new original content for a Netflix pitch and you use the A7SIII you'll look like an idiot when they ask for production specs.  Netflix camera list is a form of quality control so Netflix doesn't look like You Tube.

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I see lot of people have a romanticized idea how the distribution or the film production is made.

One thing is the 'Originals' label, the other one is the content previously produced.

 

If you're luck enough the aggregator you hired got success to gather their interest, they will hardly care about the technical specs of your piece other than how you'll deliver it to them.

That's the quality of the craft they're looking for, definitely not the camera.

 

It's just strictly from a geek option route starting cult.

Any reality to back it? Makes little sense to none.

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1 hour ago, Video Hummus said:

No one claimed this, so stop being an ass. You asked for evidence. He gave you some. No one is claiming they should shoot their next Netflix documentary special on an S1H. They shouldn’t if they have access to something better. But it is a fact, based on what NETFLIX has said, that sure...you can and we will accept it because X, Y, Z.

So what is your whole point of this argument? Almost everything you have posted is to incite some kind of argument.

No wonder people don’t stick around on this forum.

Amateur. 

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24 minutes ago, Emanuel said:

I see lot of people have a romanticized idea how the distribution or the film production is made.

One thing is the 'Originals' label, the other one is the content previously produced.

 

If you're luck enough the aggregator you hired got success to gather their interest, they will hardly care about the technical specs of your piece other than how you'll deliver it to them.

That's the quality of the craft they're looking for, definitely not the camera.

 

It's just strictly from a geek option route starting cult.

Any reality to back it? Makes little sense to none.

It depends on the content being delivered and what they're paying.

If you're pitching an original series like Stranger Things then your A7SIII is not going to cut it.   If you go in an pitch an original idea with 100% original content then no you can't get away with my "idea is great" so I'll shot with an unapproved camera.  

You're talking about a mix of original in the can content that can't be reshot and new content mixed in.    This is classic Tiger King content. 

So yes you have already created original content vs to be created original content.  

The reality is Netflix has it's approved camera list.  In your next pitch to Netflix you can ask them how bogus it really is.  I'll let you know how my pitch goes also.

 

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If fits your expertise, your content will be the variable. Everything else, secondary. Your standard can and should take in consideration their approved cameras list if you'll work directly from a budget raised with their own money. Otherwise, if they will take your content, they don't give a damn what camera you shot your product with.

Netflix or anyone else.

Even BBC I'd say, the most complicated people because of their technical & engineering staff reputation. They push a bit their envelope further but not enough to veto your content unless you messed up around the whole thing. But then, you're in trouble from scratch : D

Craft is key.

 

I'll give you an example:

As producer, I would trust on Dennis @deezid and hire him. He would tell me the camera he would like to shoot and work with, just in the case the producer or director hadn't proposed him a camera system and workflow to begin with. Well, if our budget wouldn't tell to all of us in advance... LOL

That is, the level of expertise : )

 

In a line... that's all about that: content (1).

Two lines? It is surely supposed your craft (2) won't fail.

Cameras are non-primary.

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