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Sony has gone internal-4K crazy: A7RII, RX1004, RX10II


utsira
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​The case is: it does FF 4k with aliasing/moire high rolling shutte, and s35 4K without them. S35 is the standard cinema format, but you also have 4K at FF if you need that. Best decision made on this camera as it would have been dull in press if it only had either of them. (aliased 4K or clean s35 crop).

 

​You aren't listening. The press release implies that is the case, but does not confirm it. That is the point I'm making.  It only says the full frame mode uses the entire width of the sensor. It doesn't say what it does or doesn't do beyond that.

If I say "there are 2 cars on the race track, the BMW uses its 4 wheels to grip to the road as it speeds round the corner, the Mercedes uses it's V8 engine to deliver explosive power".  That doesn't mean that the Mercedes doesn't have 4 wheels does it? Although it does imply it.  As it happens I do think you're right. Its just a point of logical exactitude that I'm making.

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About the high framerates of the smaller cameras: yeah, it is upscaled. Full specs of the 3 cameras are already up in Sony's website.

From the RX10 II page, in the HFR section: http://www.sony.net/Products/di/en-us/products/ht7k/specifications.html?contentsTop=1

"<Sensor Readout Number of effective pixels>
Quality Priority:240fps/250fps (1,824x1,026), 480fps/500fps (1,676x566), 960fps/1000fps (1,136x384)/Shoot Time Priority: 240fps/250fps (1,676x566), 480fps/500fps (1,136x384), 960fps/1000fps (800x270)"

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Anybody else watch their video in full res?  On my 5K, it certainly looks good, but not revolutionary good, if you will. The same issues that plague most current cams with baked codecs seem present here, despite improvements:  questionable DR and blown highlights in the first two shots (and a couple others), noticeable moire on the roof of the far left house at :15, and the roof at :18 (and the camera is static!), and though it has the in-cam 5-axis stabilization, some pretty shaky looking shots throughout, including the motion-controlled shots (which should be butter smooth).  I don't mention that to as means to downplay the camera, just as an observation. Like everybody else, I think it looks like a cool cam, and would really like to see some more footage, preferably some original files.

That said, it has some awesome specs that may make it the new IT cam, for the moment. Perhaps it'll even get some other companies to drop their new tech/prices a little sooner. Please post as you find new info.

---

And just to cover my bases, "Yes, I know that a new camera doesn't make me any better of a filmmaker. I just like them, nonetheless."  (Since this tired argument ALWAYS seems to come up.)  =]

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Specs sound near perfect on the A7rII but I really wish sony would redesign the form factor. I really dislike the handling of the A7s and find it's short battery life and awkward ergonomics beyond frustrating. The form factor of the GH4 is much more to my liking but Panasonic needs to make a mirrorless camera with a larger sensor.

Sony fix the form factor or Panasonic offer something larger than MFT, whoever moves first gets my money. Canon and Nikon can keep living in the past.

​Yup, the form factor is the biggest turn-off with the A7 series.

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I don't like the sample video very much either, but it looks like a typical one with high contrast, too much sharpening. S-Log2 should fix the DR, sharpening can be toned down probably. I did notice the moire but I'm watching on a 1080p screen. I hope we will see some proper videos soon.

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I've been completely ignoring camera based news for a couple of months, and in that time period I've whipped out the GH3 a few times and still been amazed at the resolution. I even cut it with F55 footage (the stills leave a lot to be desired though!). 

Regardless, I've recently been asked to film a large series of band interviews, live gigs, lounge sessions, photo sessions and other music material to be delivered in 4k. So I must admit these announcements caught my eye as I have to build a reliable, multi-cam based 4k setup. These Sony's seem ideal. 

This technological race is near impossible to keep up with though - it's when you let it distract you away from true creativity that it becomes a real issue. 

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Regardless, I've recently been asked to film a large series of band interviews, live gigs, lounge sessions, photo sessions and other music material to be delivered in 4k. So I must admit these announcements caught my eye as I have to build a reliable, multi-cam based 4k setup. These Sony's seem ideal. 

This technological race is near impossible to keep up with though - it's when you let it distract you away from true creativity that it becomes a real issue. 

It's crazy how many clients ask for 4k now, isn't it? That's what got me looking at cams again, as well. Got admit, I love talking shop, but keeping up is exhausting.  =]

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Ah darn, the 1000fps option for the RX10mk2 is only at 1,136x384 resolution! :-o But 250fps is doable at nearly FHD.
http://www.sony.net/Products/di/en-us/products/ht7k/specifications.html?contentsTop=1

 

​1000fps at 1136 x 384 is unheard of for a consumer camera, breaks new ground,

250fps at 1080p is genuinely groundbreaking as well for £1k.

That is going to look brilliant.

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​No, I'm sure it will be decent, or even quite good, but won't be close to the same level as A7s.

Everyone says this, but I'm not sure why it couldn't be.  Tony Northrup suggest that less pixels aren't the real reason why the A7s is so good in low light, but because the camera can move data faster from the sensor (there are less pixels).   Also since data can be moved faster, the A7S is able to use a better algorithm to create better low light video.  I'm not saying having "big" pixels doesn't help in low light situation, I'm saying the data transfer and the better algorithm is where most of the low light magic happens.  In any case, I could totally be wrong but if still images from the A7R which has a lot more pixels than the A7S; if the A7R and the A7S basically have the same quality image file with the same shutter speed in low light situation, I think the "low light magic" is NOT due to the lower number of pixels or because the A7S has "bigger" pixels.  Just a thought.  Remember video is just the combination of multiple still images.

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"S-Log2 Gamma setting:

This proprietary Sony setting featured in professional camcorders creates a 1300% wider dynamic range for smooth gradation with reduced whiteout and blackout. Use color grading in post-production to make the most of low-noise images and super-rich detail to express footage in various ways. ISO 800 or higher is available when S-Log2 Gamma is selected"

There is some plastering for the DR at least :) 

 

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