Even non camcorder fans should look at TheCameraStore’s Sony FS7 4K camcorder review. You really will see how important that camera is to push the E-mount system as a whole. And Sony really listened to the customers to make a close to perfect camera. Something we hope will happen with future E-mount photo cameras too!
FS7 store links:
Sony PXW-FS7 body only at BHphoto, Adorama and Amazon.
Sony PXW-FS7 with 28-135mm lens at BHphoto.
Sony VCT-FS7 Lightweight Rod Support System for PXW-FS7 at BHphoto.
28-135mm at Amazon, Adorama, BHphoto.
28-135mm powerzoom in Europe at Sony DE, UK, ES, IT, FR, CH, AT, NL, BE, FI, SE, NO, PT.
Sony 128GB XQD Memory Card G Series 400MB/s at Adorama and BHphoto.
Sony 64GB XQD Memory Card G Series 400MB/s at Adorama and BHphoto.
Sony 32GB XQD Memory Card G Series 400MB/s at Adorama and BHphoto.
84 Responses
Will that be the new formfactor of the “Alpha”- mount in future? A camcorder which is also able to take stills? In this case I prefer to push and promote the A-mount. “A-mount, your mate for serious photography”
Yes this is the new A9, that is why it is called the FS7.
The FS7-A9.
E-mount was jointly developed by and for both the stills (alpha) division and the video division for use in their prosumer and broadcast cameras. A mount is a poor choice for video cameras given the lack of adaptability.
Please could you explain me what you can do more with a reduced mount size? I’m talking about the size and not the removal of mirrors or simply the fact the turning a still camera into a camcorder for cheapo budget. Who on stills side is really interested in 4k , 8k or even 32k video when a still can inspire your imagination for the before and for the after of the scene taken?
I am speaking to the fact that e-mount was developed by Sony for both the video and stills division. It is not nor has it a been a new for factor since it’s inception. Debating the merits of a still versus a motion picture is entirely off-topic and pointless anyway.
Without the mirror box, the e-mount was made with a 17mm flange distance (versus 45mm for a-mount). Since nearly all mounts have a larger flange distance when compared to e mount, all manner of bayonet, PL mount, and other cinema / still lenses can be adapted for use on these video cameras (as well as stills). By comparison, very little can be adapted to be used on a-mount cameras (m42 and nothing else of note that I know of).
For video cameras, the choice is clear – e-mount is superior for the expandibility. E and A mount lenses can be used with full AF capabilities and practically every other 35mm lens can be used for cine work. The video cameras with e-mount are not merely “cheapo.” The FS-700 and FS7 are serious tools suitable for broadcast, documentary, ENG, and [in the right hands] cinema work.
The euro dropped 3.1 percent to $1.1204 on Friday in New York, the biggest weekly loss since September 2011, and touched $1.1115, the least since September 2003. The currency was headed for a seventh monthly decline against the dollar. 🙁
Good review from TCSTV, well knowledge on the product presentation and not wasting even 1 second of time; as usual 3 stops better than DigitalRev.
Even with YouTube compression that 4K footage is an improvement over plain old HD. But on my HD TV, who really cares about 4K as HD looks so good anyway. So 4K may actually have a place for high-end YouTubers, who’d have thought that.
I’d like to see a consumer grade version that works within the limits of the new Sony SD cards for around $5K, maybe only 8 bit internal, 10 bit to a recorder, something along the lines of the GH4. Those XQD cards are simply too expensive. Anyone know the recording time for a 64GB XQD card?
“high-end YouTubers”…?
LOL
There are people making films, both feature-length and short ones, just for YouTube.
https://www.youtube.com/channel/UCS3dfr0uOIC6OP-rSECVPMA
Now you’ve actually learnt something new today, PRAISE JESUS baby!
A few of my proudest achievements here for you!
http://youtu.be/V4qTeKo8xRw
She has a nice rack.
I woke up with fever. Still hallusinate. I dreamt that the A99 mk II was E-Mount. I also was buying Leica M lenses for my new A99 mk II, and that the A9s had arrived. I then used the same lenses on both cameraes. The files on the A9s was when i was using iso 51200, as it was on the A7s on iso 400
I don’t think you were dreaming. You may have ascended into heaven.
The dynamic range is Fk’ning amazing.
So in fact, these cameras already use super35mm sensor and are presumably paired with that Sony cine zoom lens which would make the equivalent of around 42mm to 200mm. But regardless of the dynamic range stated, is the video media it produces really at 10bit latitude for processing? I am completely cynical regards video image quality in general…
The real problem is you have no idea wtf you are talking about. Using a LUT to get all the info out of the flat profile is much more effective and regains far more detail and color then shooting in whatever rec 709 end result you want. I think the real issue is: you don’t now how to use LUT’s or have never shot video. the internet is full of videos explaining the process, perhaps you should learn something before posting more sharpshooter drivel.
HAHAHAHA
LUT? as in record a gradient of all shades such that you can reproduce it? pointless if you are reducing the colour depth to UNUSEABLE hahahahaha
Actually i make things in Filter Forge that include such operations..ones you couldn’t even imagine JUST by playing around and thinking about it XD
In fact forget non linear editors, a fantastic way to process real video would definately be to set up a macro with your favourite raw processor: end of argument.
For anything a lot worse in result? sure use whatever the main brands push…
A LUT is no better than a friends recommendation or a reviewers suggestion of what might be in camera…hence ‘superflat’
I use curves and simplify things. My solution may be many times more impressing for the work i put in, and you will surely want to know then huh?
This talk of great dynamic range directly to terrible file format is JUST overthink..it JUST isn’t there is it..in the output, so why talk about it like it could ever be.
Welcome back psychoshooter, you are as dumb as ever.
Correct as ever.
lol just ignore the ubertroll he is too stupid
Don’t call me a troll I have master and totally will mess with your nihilism in a implicit way dude!
He’s not stupid. Just has some loose screws.
He tries to argue subjects he knows nothing about, keeps contradicting himself then tries to claim some sort of argument victory by calling himself master, I say that is pretty stupid.
I doubt anyone cares about your psycho babble buIIshit sonysonysony / sharpshooter / mycumtentsites. Using the correct LUT on Sony S-log gives perfect results and a massive dynamic range. You can try to hide your true ignorance with rubbish but it will just be that: ignorance. I’m surprised you can get internet in that paper box you live in on the street, expected you would spend all your money on drugs.
Sure, and some old movies filmed with analog film have JUST as poor dynamic range..um for EXACTLY the same reasons it seems to a layperson..low contrast glass and reproduction pushed to the max in post…no different. EXCEPT some analog film work from the type of movies you watch casually DO have good dynamic range, something like the top of the range digital gear, these are my observations but i bet you can’t justify anything about all that terrible video imagery really.
I think they used good glass…with well regulated exposure…and in the 70’s ish period and later why wouldn’t that glass produce excellent results, and why wouldn’t the film produce adequate colour..well it does and it puts this stuff to shame basically. I know no history, these are purely my observations when watching movies a little bit critically. like i always do but now for reasons of the actual ‘medium’ in comparison to more contemporary offerings XD Its actually quite funny that this sort of footage is considered acceptable 😀 There was colour video in the edwardian period already…
What a pointless answer, film starts with a dynamic range of what? 16 / 22 stops? If you shoot rec 709 as you suggest, you will have 7 stops dynamic range because you throw away all the info while recording. If you use s-log and a LUT to regain the info from the flat picture, you can have up to 14.5 stops on a A7S. We are not debating all the crap that is only, simply what is possible if you do follow a workflow setup for camera’s like the fs7 and A7S: s-log gamma curve.
Sorry i don’t know what rec 709 is XD I find that even the really compressed pro res from my BMPCC is great.
Thats very interesting and i get the sort of idea but its something from nothing and thats why it shows as well nothing and JUST terrible colour rendition. Who cares if its overbaked contrast? with pure authentic colours? its the way this superflatness purports to be what it is evidently not that makes me lol there is no solution to that terrible storage limitation bar the worst looking footage. No skies, no highlights, oh no..the wall has vanished, its these things that require that extra latitude or else..don’t shoot anything at all with local colour ‘light’. The difference with even latitude limited heavily constrasted up analog film is so evident..there you have highlights here you do not…we can demonstrate this time and time again with a magic selection tool click of low tolerance on areas considered holding highlights that well..are not and should be!!! Visually (italics)
Can we get a translator in here please? Te guys is speaking some weird sharpshooter dialect!??!?
BMPCC “really compressed Pro res” hahahaha… ok you really don’t know a first thing about video. Here is a little video for you about s-log: https://vimeo.com/103097236
Au contraire. You don’t know that BMPCC now has many versions of pro res and can even format in cam (once i get the right USB connector to update the firmware XD )
I hate these videos so much!
That’s a reasonable situation on a heavy day….
Somedays, for about ten minutes, you can get a nearly dark sky..it JUST depends
s-log thus purports to lead to versatility that it in fact does not!
This is perhaps the mistake made: The result will be only as bad as jpeg regards colour depth..false, it is a million times worse…
Superflat is something they tried on canon camera’s, it was terrible to work with, I never used it in a production. but we are not talking about that failed experiment from 5 years ago, we are talking about the fs7 and it’s s-log curve. s-log works, Arri uses the same principle and it gives fantastic pictures, Sony uses it with the same amazing results. Yes I know the bmpcc has difference prores settings, you also know it has a cine style curve that you need to correct with a LUT to get those amazing cinematic images out of the bmpcc right? s-log works, but you actually need to try it before you can argue about it in some nihilistic implicit bs way.
Sure i use that one and not the direct presentaton ‘video’ one, that’s why i am arguing for real latitude for processing in post and not skimping on that inherent colour quality and realism possible WITH actual latitude and considered curve application and co-ordinated sharpness presumably too. 🙂
Show a completed processed video with this mode and i will show something taken by someone with BMPCC to beat it easily. I got my BMPCC while it was cut price which is JUST amazing value and it is regardless, were it not for the other ones in same line if you had the funds and inclination to set them up 🙂 IT IS TINY!!!! and my lens has at least some stabilizing: success! I took the RAW challenge XD Of course i’m curve master too 😀
So you use flat profiles even though you don’t, and they don’t work and you do not know what rec709 is but you want it changed. How about less buIIshit and a little more google: rec709, you will finally understand why we are in the log/flat situation to get more latitude.
You might also like to read about dolby trying to set a new standart with superbright displays that will solve most of the latitude issues. But be careful: you will be reading info form people who actually know what they are talking about, and it will most likely be in actual English.
Good luck!
Nonsense as usual. There will be no need for latitude for processing in the future anyway, as the camera will output the image ready and tone map matched for the most suitable high dynamic range display and authentic to situation captured. I already said this, so its you who is not reading up…
s-log may not be superflat but it ends up similar and lossy in a way i won’t accept nor do i see it as a desirable process for what already had sufficient latitude and dynamic range hence you are in fact talking the usual trolls**t ignoring the factual way i accounted for better image quality in practice.
The important lapse in cognition here was my mention of ‘super’ flat as a qualifier. The files from the BlackMagic camera are relatively flat sure, but they dont have a pretense of allowing even greater dynamic range by being ‘super’ flat. You are using what amount to arbitrary references for a simple issue as you know. I can set a curve for virtually any flat image with latitude in the file and actually any image with limited latitude better than you can, even where you know what it should be ‘technically’ if you ever do that is..i work by all means necessary to get the most authentic and effective looking contrast, but i wouldn’t bother with all that over complicating technical nonsense. The BlackMagic outputs flat? the BlackMagic outputs superflat colour saturation levels? I guess so, you tell me seeing as you know all about it.
Your ignorance is almost entertaining slowshooter, I doubt you ‘get’ redshark news, I doubt you get most of what is written and explained to you here in the comments.
you don’t know what rec 709 is, the key to the whole discussion, you don’t know the cine setting on the black magic is a log setting. you basically don’t know anything about the point you try to argue.
You can not argue colour space without understanding the basics of image capture and display tech. Be a good boy and do your homework, then re-read the moronic crap you post here, last time we got disqus to delete your nonsense, perhaps now you can be smart enough to do it yourself. Pompous, clueless, ignorant and arrogant clearly make you just another wannabe moron who obviously knows nothing about cinematic colour space.
log setting? um i think you don’t realize that is the simple solution do you..again i am the master and you should bog off. I know all i need to master all photographic mediums perfectly, you however can’t do anything but troll, how ironic. How political.
I’m sorry my friend but they are right, you do not understand the simple reality:
If you want to shoot all the latitude a camera has to offer without log, you shoot raw. Everything else wil need a log type solution or you will be throwing at least 5 stops of dynamic range out of the window. A lut is whatever you want it to be, it can be simply regaining all colour info the camera has to offer while shooting, or a specific film look. Whatever you shoot, in the end, even if it is raw, you will need to use some sort of lut or grading tool to get the colors into the rec 709 colorspace or they simply won’t show up on your screen the way you want them.
What we need is anew colorspace, this is what dolby is trying to promote, we need to change our screens, then we can finally shoot the way we want.
Log retains, this s-log is hmmm ‘super’….
Quoting a forum with a piece of info that has nothing to do with the discussion only shows how little you understand the subject. S-log needs a camera specific LUT to put the colours where they need to be. After that you can apply curves and play with the image. The a7R is a terrible camera for video and has nothing to do with the s-log fs7 discussion. Perhaps it is you that is trolling for attention here.
Our eyes perceive brightness differently than an electronic sensor does. Video monitors are locked into a standard for color and contrast, but now Digital Cinema camera systems are being used to capture images that are used and displayed in media that can see well beyond those limitations.
Brightness is captured on a Linear scale (LIN), and usually stored with video gamma (REC709) or with a more film-like Logarithmic encoding (LOG). What does this mean, how does one use it, and what capabilities does it represent?
If you’ve ever taken light readings with a light meter set to foot candles, you’re familiar with film’s non-linear response to light. In order to increase exposure by one stop, the amount of light hitting the film needs to be doubled. The fact that we perceive a one stop increase in exposure as a linear increase, whether it is a gain over something relatively dark or relatively bright, indicates that our own perception also operates in a non-linear way, similar to film. This response can be closely approximated by a logarithmic function (LOG).
When film is transferred to video, there are two approaches. One is to color correct during the transfer so that the material looks as intended on a video monitor. This footage would have video gamma applied to it. The other method is to capture the full range of the negative for later color correction. This is done using a transfer function developed by Kodak for the Cineon system. It is based on a logarithmic function so that the same numerical interval represents the same change in exposure no matter where on the exposure curve it happens.
LOG Curve
If power law curves and logarithmic curves are so similar, what is the difference? Primarily one of intent. When footage is transferred with video gamma, it is meant for display (perhaps with minor adjustment applied later). When footage is transferred using the LOG CINEON curve, no artistic interpretation of the footage happens during the transfer – the goal is to preserve the full range of possibilities for later adjustment. This footage will look very flat and dull when displayed directly on a monitor.
The approaches used for film transfer are now choices available for Digital Cinema. Most Digital Cinema cameras have a mode of recording or transcoding to a LOG curve. For example, Sony has S-Log (in the F35, F23, SRW-9000 and the PMW-F3), ARRI has LOG-C, RED has REDLOG, and Panasonic has FILMREC (which, while not technically a LOG curve, serves the same purpose). Each of these LOG curves has been designed to preserve as much information as possible from the sensor and make it easily usable during color correction.
Why Shoot LOG?
There are several advantages to capturing imagery this way. It is simple and predictable both on set and in post. On set there are fewer camera settings with which to be concerned. Color correction can be more predictable because workflows can be optimized for known inputs.
The most significant advantage is the increase in Dynamic Range (captured variation in scene brightness). Because video gamma, such as REC709, is designed to produce pleasing images on the limited Dynamic Range of video monitors, there is a limit to how much scene brightness can be compressed into the signal before the images start to appear artificial or unpleasant. LOG capture modes, because they are designed to preserve image information rather than look good as is, don’t suffer from this constraint. The LOG mode instead captures what the camera is capable of discerning. Because the maximum range of sensor data is being recorded at all times, there is more range to create the desired look in post. In a REC709 video gamma, an image may have a bright light source overexpose to white and dark shadow areas record as black. The same image recorded in LOG may have considerable detail on both ends of the exposure range, which in later color correction can be exploited, if so desired.
Stop patronizing, say something useful or leave either myself alone or this place. I said this in one sentence many weeks ago.
Now show mathematical proof that ‘super’ log isn’t lossy, like 8 bit recording file format incidently…
Hilarious, the irony of you and all your master drivel saying: “Stop patronizing, say something useful or leave” Everybody would be happy if you would take your own advice.
Many weeks ago? You have only been here for 2 days. So how about it, are you going to say something useful instead of endless rants about nothing? Show you proof? Everybody knows rec 709 throws info away, you need to stop pretending you know something when you are just another comment troll.
I was talking about s-log, god knows what you are talking about polititroll. And regards how the setting of a curve will produce the best results aside from use of s-log recording media or even with it: IF YOU COULD..you can’t… We compare stills from said equipment you don’t have and mine will be both innately better and processed to tragic result for yours.
Stop patronizing, say something useful or Ieave
The fact you don’t understand that s-log and rec 709 are two sides of the same coin says it all: just a clueless buffoon who tries to sound smart. You can’t even read or understand the information give to you on a platter. Obviously you are a moron and a troll and have never used a camera.
The fact Sony make people like you pay more for that exact same tech ‘advancement’ is proof you have no idea what high quality video would be and are thus part of exact same problem. NOT lossless compression and apparently not even compressing according to you.
How about post this:
https://pro.sony.com/bbsccms/assets/files/mkt/cinema/solutions/slog_manual.pdf
now JUST reading through a bit, it makes the file handle like film does..ok so far…it mentions ISO which is interesting as i was gathering that ISO does have an effect on dynamic range and could be called upon by camera designers in the processing of the file as it is in BMPCC for instance differentially regards dynamic range at different ISO settings.
But does s-log improve dynamic range from any other or now as you consider it ALL trolling camera output…well no obviously it doesn’t then does it as they are as you put it identical. If it even ‘added’ dynamic range by putting the output in the suitable ISO range, who wants to use a higher ISO for that..oh…Sony A7S users so they can make up random DR figures and show it in charts and argue with people who can actually output far superior quality with no tech knowledge and with a cam that cost under a third of the price JUST to find out if curves apply to video..YES THEY DO…a bit trickier delicate log shaped one with the BM output or something i think. Besides, this output format dynamic range constraint is the other way round regards placing the output curve…the other direction from this s-log idea…hence NOT exactly the same at all. Exactly the opposite to what i propose in fact.
“Does anyone really understand this? and can say without hesitation that dynamic range is improved with the application of this s-log as opposed to other optimizations? ”
Yes I understand s-log, yes it has improved dynamic range, everybody who is actually a pro in the business of color correcting knows this and agrees on this. We have tried other solutions for over 12 years, this is what worked best so far, why else do you think color experts Arri are using it, go argue with them if your idea is so much better.
If Arri are such experts, why don’t they fix the sensor to have sufficient DR in the first place and an output medium with that latitude for easy adjustment without loss of authentic image data and move things on in the next 3 years more than they have stalled in the last 12.
s-log doesn’t improve DR if you, the users push it all to black point or white point so its pretty much moot, you can make better reproduction of ‘DR’ in an image and you can make more ‘authentic’ reproduction of the subject and scene, but i don’t see anything but better sensors and even more importantly, better output medium with latitude solving that problem for any users, or for really good dynamic range in final output.
Arri? aren’t their cameras expensive and differentially with little improvement if relatively underbaked compared to equally bad or worse cameras?
^layman cinema shooter but MASTER photographer
looked up Arri: see video using ALEXA ProRes 4444 XQ..hmm well that has latitude anyway right… and these cameras use something like s-log? well i don’t want that if it already has the requisite DR. I don’t want digital to look worse than film when it can look more authentic.
Another video: ARRIRAW…which one is this s-log type process?
You dumb fuqkk if you had read any of the posts people send you you would have realised the sensor is not the problem, it is recording to a compressed format and the conversion to rec 709 that is.
Talk is cheap, show the superior image compared to the 7s or shut up.
I have nothing to prove, it is pro res from Black Magic which is intrinsically superior, you have to prove DR is improved by s-log.
Proof? near perfect still from video regards at least colour and well of course dynamic range! hahahaha are you still even trying to suggest that DR thing about s-log? Is Sony A7S video output clean? idk you tell me, pro res output from BM certainly can be very clean indeed, perhaps what you really meant to say all this time was: Sony A7S lowest light video best XD
Stop patronizing, say something useful or Ieave
Pixel count
Rec. 709 refers to HDTV systems having roughly two million luma samples per frame. Rec. 709 has two parts: Part 1 codifies what are now referred to as 1035i30 and 1152i25 HDTV systems. The 1035i30 system is now obsolete, having been superseded by 1080i and 1080psquare-sampled (“square-pixel”) systems. The 1152i25 system was used for experimental equipment in Europe and was never commercially deployed.
Part 2 codifies current and prospective 1080i and 1080p systems with square sampling. In an attempt to unify 1080-line HDTV standards, part 2 defines a common image format (CIF) with picture parameters independent of the picture rate.
Frame rate
Rec. 709 specifies the following picture rates: 60 Hz, 50 Hz, 30 Hz, 25 Hz and 24 Hz. “Fractional” rates having the above values divided by 1.001001001001001 are also permitted.
Initial acquisition is possible in either progressive or interlaced form. Video captured as progressive can be transported with either progressive transport or progressive segmented frame (PsF)transport. Video captured as interlaced can be transported with interlace transport. In cases where a progressive captured image is transported as a segmented frame, segment/field frequency must be twice the frame rate.
In practice, the above requirements result in the following frame rates (“fractional” rates are specified in commonly used “decimal” form): 25i, 25PsF, 25p, 50p for 50 Hz systems; 23.976p, 23.976PsF, 24p, 24PsF, 29.97i, 29.97p, 29.97PsF, 30PsF, 30p, 59.94p, 60p for 60 Hz systems.
Digital representation
Rec. 709 coding uses “studio-swing” levels where reference black is defined as 8-bit interface code 16 and reference white is defined as 8-bit interface code 235. Interface codes 0 and 255 are used for synchronization, and are prohibited from video data. Eight-bit codes between 1 and 15 provide footroom, and can be used to accommodate transient signal content such as filter undershoots. Eight-bit interface codes 236 through 254 provide headroom, and can be used to accommodate transient signal content such as filter overshoots and specular highlights. Bit-depths deeper than 8 bits are obtained by appending least-significant bits. Ten-bit systems are commonplace in studios. (Desktop computer graphic systems ordinarily use “full-swing” encoding that places reference black at code 0 and reference white at code 255, and provide no footroom or headroom.) The 16..235 limits (for luma; 16..240 for chroma) originated with ITU Rec. 601.[1]
Primary chromaticities
Note that red and blue are the same as the EBU Tech 3213 primaries while green is halfway between EBU Tech 3213 and SMPTE C.
Standards Conversion
When converting between the various HD and SD formats, it would be correct to compensate for the differences in the primaries (e.g. between the Rec. 709, EBU Tech 3213, and SMPTE C primaries). In practice, this conversion is rarely performed and such a conversion would create a liability for post production facilities as they would need to ensure that the color bars on all the new masters are redone. Correcting for differences in the primaries would cause the resulting color bars on the converted tape to be inaccurate. Incorrect color bars will cause a (sub)master to be rejected by quality control checks.[3]
Luma coefficients
HDTV according to Rec. 709 forms luma (Y’) using R’G’B’ coefficients 0.2126, 0.7152, and 0.0722. This means that unlike Rec. 601, the coefficients match the primaries and white points, so luma corresponds more closely to luminance. Some experts feel that the advantages of correct matrix coefficients do not justify the change from Rec. 601 coefficients.[4] Although worldwide agreement on a single R’G’B’ system was achieved upon the adoption of Rec. 709, adoption of different luma coefficients created a second flavour of Y’CBCR. Whenever SDTV is upconverted to HDTV, or HDTV is downconverted to SDTV, at the studio or at the consumers’ premises, luma-chroma matrixing is required.
Transfer characteristics
Rec. 709 is written as if it specifies the capture and transfer characteristics of HDTV encoding – that is, as if it were scene-referred. However, in practice it is output (display) referred with the convention of a 2.4-power function display [2.35 power function in EBU recommendations]. (Rec. 709 and sRGB share the same primary chromaticities and white point chromaticity; however, sRGB is explicitly output (display) referred with an average gamma of 2.2.)
A colour space? so what? what has that got to do with absolutely lossy methods vs not absolutely lossy methods such as the fantastic compressed pro res that looks so clean in comparison. What a formatard.
LUT’s are curves you can share you clueless demented moron.
I asked a question. What is the operation of such a LUT upon a video using s-log, in terms of the setting of the curve: WITHOUT a LUT
Redshark news? That load of editshare propaganda? It explains a lot if you think it’s a source for pro video info. That website is as pointless as your posts here.
Dynamic range VS resolution, Off colour of almost all affordable continuous light sources….yeah sure..says a troll who virtually quoted it.
Stop patronizing, say something useful or leave
“i read and receive Redshark news ” hahahaha
Which is how you knew about Dolby cinema HDR video.
Those are protocols you can do without where you already have to deal with so many in video..endless opaque image deteriorating protocols!!!
Anyone who has even tried playing or editing video on computer will know this never mind video pros!
The XQD memory is a scam. Those specs are less than a mSATA drive and a 128GB mSATA costs about 1/10. This is case where Sony went out and developed an expensive technology when there was already a cheap alternative available.
True but it’s not the form factor needed for a camera without an external recorder, making the comparison superfluous and idiotic.
mSATA could have easily been repackaged in something far less expensive with better specs. This is just Sony trying to gouge consumers with yet another format that will not be adopted by anyone.
I think you are confusing SSD with mSata, which is merely a connector. That said, I honestly do not know how SSDs compare to compact flash or XQD. They seem more fragile. Would you toss an SSD across a room or drop it down a flight of stairs without concern. I have with CF cards and didn’t think twice about them not working.
Durability and re-writeability may have something to do with it.
mSATA technology is proven in every SSD sold. There are no durability or re-write issues
Sony pro cards have build in redundancy, I think 600mb is pretty damn fast for a memory card.
It is no faster than an mSATA SSD and it’s 10x the cost
So what? It is a new pro card standard, prices wil be high and it has build in redundancy, it shoots a build in copy. Stop comparing pro gear with consumer gear, it is pointless.
This camera is too small, it doesn’t handle well when you mount 2000mm f/4 telescope on it.
or you know, a 150mm caliber long rande anti tank canon rifle 😀
I wish the guys took better care in the presentation of their videos. Not just relying on the presenter’s charisma! Also… Sony needs better industrial designers… period! But not just Sony!
It is a bit too much talking head look at my winter beard bs video. Part 2 is probably going to be what part 1 should have been
if has rigid mount it is going to be no good sell, Sony fgts prefer wobble mount for that extra flexibility up the @nus
typical writing of a 16yrs old, now go wash your mouth
It just some poor kid with mental problems, likely subject to sexual violence/exploitation as his posts often revolve around this.
The more shocking thing is that someone voted him up !
Please, SONY, give us a such a modular stills camera!!!!
Get a nice little toolit and you will find out the a7 can be made modular as well!