Sony a7 II Sensor Stabilization/SteadyShot INSIDE Test (filmed with a7S) by Tony Northrup.
Like on any new camera release there are always annoying bugs that hopefully will be fixed soon. The A7II has a strange bug on the 5 axis stabilization settings. David Sampson (Viramati) found the bug and Jono Slack sums it up at Dpreview:
If you attach a 3rd party lens after using an OSS (eg the 24-70 FE) lens then IBIS does not work
If you attach a 3rd party lens after using a non OSS lens (eg the 55 f1.8) then IBIS does work.
This is a bug that can (and I am sure Sony “will”) be fixed via firmware upgrade.
UPDATE: There is a workaround to fix the issue when it appears. David S. sent me this:
If you unmount (take off) an OSS lens without turning the camera off (or at least turn it off after you have removed the lens) then when you attach a third party (dumb) adaptor ‘steady shot’ (IBIS) continues to work normally. Of course this is not a thing a photographer would normally do as it usually common sense to turn the camera off when changing lenses so would still benefit from a firmware upgrade
USA/Canada A7II links:
Sony Alpha a7II (Body Only) for $1,698 at Amazon, BHphoto, Adorama, SonyStore and Sony Store Canada.
Sony Alpha a7II with FE 28-70mm OSS Lens for $1,998 at Amazon, BHphoto, Adorama, SonyStore.
Sony 70-300mm f/4.5-5.6 G SSM II Lens for $1,148 at BHphoto.
EU A7II links:
Sony Alpha a7II (Body Only) for 1.799 Euro at Sony Germany, Sony UK, Jessops UK, Sony France, Sony Italy, Sony Spain, Sony Austria, Sony Switzerland, Sony Netherland, Sony Belgium, Sony Portugal, Sony Sweden, Sony Finland, Sony Norway.
Sony Alpha a7II with FE 28-70mm OSS Lens for 2.099 Euro at Amazon Germany, Wex UK, Jessops UK, Verkkokauppa.
Asian/Australia A7II link:
Sony A7II at Sony Store Australia, Digitalrev and Amazon Japan.
198 Responses
This is a major fail. Just goes to show how fast Sony had to rush this to get it out.
You are a major fail
Dear Sir, please do not mistake someone else for me! I am Major Fail.
OMFG, sure, sony launches a camera with 5 axis, works with 3rd party, in tandem with OSS + internal stabilization, is nice enough to let one define the focal lenght.. I for once say rush is good.. If it was canon or nikon one would have to wait couple of years for a upgrade..
Go to your room, change your little m43/fuji apsc shorts and stay there. This post is for big boys and girls only.
Big boys and girls use proper cameras…not these bug-ridden failures…
Only amateurs and a few old travel photographers use these…
Yes, we use Leica, mit spotty sensor…….. or Nikon with the Valdez issue, or Canon with the black point-source highlights. Shall I go on?
Alpha-alpha…you want die double as quick?
And the other full frame IBIS systems they work much better; oh wait, there isn’t any. Trolls have shifted from sensor to IBIS envy, will it ever end. Times are getting tougher for trolls, it’s heartbreaking.
What system do you prefer that offers this level of adaptivity?
Sony releasing flawed gear between Thanksgiving and Christmas is so reliable the Swiss set their train schedules from it.
The Swiss run train on your sister? OMG that’s terrible.
Yes, and they do it in a timely fashion.
They all do it. Canon’s 5D3 had issues recording high-contrast light-sources (Christmas tree lights turned black) and Canon are the most CONSERVATIVE of Japanese manufactures. All things considered, Sony do very very well with their MULTIPLE camera releases.
Dear Sir, please refrain from blaming me for any rushed actions on the part of Sony.
Can we blame this on the N. Koreans? At least leak the 2015 cameras.
sure the extra weigth and lenthg of the zoom has to take in consideration, not an equal oss lense vs lense in the video.
i dont had and a7 and OSS lense, someone help me here, can you turn off the OSS of the lense?
in the A7 you can turn of “Steadyshot” in the lens.
in the A7II you can turn off “Steadyshot”, it will enable or disable both the OSS and the IBIS. Sony already selected the best combination of OSS and IBIS, so you can’t enable and disable them seperately, if that was you question 😉
sure it was, many thanks for answered it!!!
exactly that was my doubt, if they can be disabled separately.
i just dont understand it, for the last years many had louded the lack of IBIS in E mount as one of the reasons it was an inferior format, now it gets the best IBIS in the world, and still ist not good enough, men, thats just bad blood
Sony camera’s get confused when they use any other lenses other than the 5 lenses that were made for it lol
OMG, that was hilarious. Differential diagnosis; acute sensor, lens design from this century and IBIS envy.
The summary is misleading, this is not happening with “third party lenses” in general, but only when the camera does not know there’s a lens attached – ie with no-contacts “dumb” MF lenses or adapters.
A-mount, Canon EF and Contax G lenses on smart adapters are fine, as are Sigma/Tamron E-mount lenses, and presumably the Loxias.
Still annoying, of course.
Who would have thought that Sony would rush a flawed product to market in order to meet the Christmas rush? This has never happened before.
Is it too much to ask that Sony also fixes the lossy compression scheme that plagues their cameras?
http://diglloyd.com/blog/2014/20140214_1-SonyA7-artifacts-star-trails.html
http://www.rawdigger.com/howtouse/sony-craw-arw2-posterization-detection
The # 1 issue is the 8 bit files. Once the crowd works through the
Wifi and silly attempts to use RF wide angles they will finally start
paying attention to the banding, splotching, tonal transitions, aliases
and artifacts caused by Sony’s ‘lossless compression’.
14 bit files should come out of the camera at 63mb. No A7r RAW file
is bigger than 37.4mb. in that missing 26mb is a lot of color loss.
Imatest resolution testing only looks at B&W transitions and the
A7r is a fine B&W camera – perhaps the finest in the world. But
when it comes to color Sony’s ‘lossless compression’ is cheating you out
of the potential you should be getting in IQ.
The A7r is not a sports camera – it’s slow – very slow. But it’s in
one place – fast to market. Sony may have rushed this camera to market
to meet the fiscal EoY 2013 and Christmas season. The algorithm is a
shortcut and perhaps the Bionz engine isn’t up to the task of 36mp.
But Sony give us the option for Zero Compression (even at the expense
of frame rates). Fast computers and terabyte storage isn’t a problem.
More of the same old troll talking points, it doesn’t change the fact that Sony make the best sensors and most innovative camera technology in this universe. Jealousy will get you nowhere Anton, it just highlights your pettiness. What a sad troll you are that has nothing better to do than repeat ad nauseum the same old BS.
It is not a troll commentary. It is a serious issue for some types of photography and there is no reason why we should not have the choice of a lossless file. Yes Sony makes the best sensors, so why artificially hamper the output from them down to an 11 bit output? Click on the Rawdigger and digiloyd links to learn more rather than just shoot down anything that doesn’t fit your belief system.
Troll #2
Irving the idiot that refuses to even read the facts. It is called zealotry!
Now stop talking about Anton that way, he and his lover E.J. Piker are very sensitive.
Now that was clever and helpful to the discussion.
Betting that Nopey and Irving are the same.
Just like Sony iBIS…Fgts disappointed!
Maybe he works for Sony ?
HULK thinks his sucks lenses for Sony, nomnom wobblewobble
Sorry if I insulted your lover Anton, I didn’t realize you were so sensitive.
The irony here is that the only trolling going on is by you and nopey. You have added nothing to the discussion other than weird obsessive insults.
What types of photography? Examples please.
Perhaps if you read the two links that were provided from digiloyd and rawdigger you wouldn’t ask this?
Go out shoot on the A7’s for a year and come back and tell us what the actual issues are. I’ll guarantee, the issues you come back with won’t be found on the computer techs site! BTW. His actual PHOTOGRAPHIC experience can be summed-up in his backyard.
I have since December 2013 and have hundreds of published photos taken with the a7R, none of which were taken in my backyard.
Also not correct, more like school backyards…No good tele available but at least fgt can crop in on little kds
How many were ruined by the shutter issue and poor file?
Your whole sexual experience can be summed up in a backyard. But not yours, you pay to be allowed to work there. Sony fgts these days, jeez…
What part of this don’t you understand ?
“In other words, for a data span of 1178 the nearest larger number that is an exact power of 2 is 2048 = 211. Dividing 2048 by 128, we have the step of 16.
The delta values during the decompression are multiplied by this step
and further decompressed through the curve which you can dump using
RawDigger. In our example, after performing decompression through the
tone curve the step of 16 becomes 32, that is ≈14-30% of the values
characteristic to the background. Naturally with such a crude step
posterization becomes plainly visible”
Show me your numerous examples where this affected the image quality of your work. If not accept the fact that you’re just a hopeless Troll.
But E.J. Peiker is in love with him.
An expert on the subject. http://diglloyd.com/blog/index-30.html#20141204_1344-Sony-file-format
It’s obvious you don’t have the eye, equipment or training to understand.
You’re no expert on the subject, but an expert toll and a jacka$$.
You are confusing the best sensor with the file output. They have the best sensors but are compressing data out of the output. This has nothing to do with IBIS or EVFs or anything else. Just because those are great doesn’t automatically make their stupid beyond belief compression a good thing.
I agree, the power is in the sensor and in my opinion, the sacrifice on true color is made in order for the Bionz engine to run high frame rates. Just the option to get a 14 bit file is all that’s needed.
Wow! We have three way action now, Uranus, Anton and E.J. Piker. Love is a many splendor thing.
Wow, puberty must really be effecting your hormones bad
Or you could use a lossless compression algorithm like Nikon does with data coming off of essentially the same sensor which reduces the files into the 40’s but loses nothing. But yes, I agree, this sensor deserves a RAW file that doesn’t throw away data that was recorded simply to provide a smaller file size. At least give us the option, like Nikon does, of a space saving lossy compression or a file that is lossless.
If Nikon had a live view EVF for critical focus I would move in a heartbeat. This includes the ability to run in any f-stop. Sony could add a software upgrade that gives up frame rates for true 14 bit color but there are too many head in the sand people in denial that are processing jpegs on a 12″ narrow gamut monitor to know they’re being cheated. (like the Irving Berlin troll-moron below)
Nikon will have an EVF in 2024, IBIS in 2036.
yet they have lossless RAW files now… Why doesn’t Sony? And why is that so hard for you to accept?
Why don’t they (Nikon) have the other things? The raw file change would be an easy thing to do if it were necessary, but it only seems to affect Nikon trolls like E.J. Peiker and his lover Anton Berlin.
Irving, you’re demeaning yourself by not entering into an intelligent fact based discussion.
Guys like you are a part of the reason that Sony doesn’t put a little bit of work into better software, better software/firmware options or better processing engines. Any one of these could fix the problem. But no one’s going to fix a problem the avg joe like you doesn’t even recognize. I shoot Zeiss Otus and Apo lenses, I process with Capture 1 on a calibrated wide gamut monitor.
I see the problem come up again and again on properly exposed images that I push or pull on. The bottom line is that Sony’s compressed files aren’t as robust as Nikons. The Sony images band and posterize way more readily than a Nikon of the same composition and exposure.
Same to you!
OK, list the top twenty issues with Sony’s A7 series. Let’s see HOW and more importantly WHAT you shoot!
I’d like the option for a true 14 bit + file as # 1. Shutter shock is #2. #3 Sensors that challenge the Otii and Apo-Sonnar lenses.
So you obviously have little real-world shooting experience. You’ve made your point LOUD & CLEAR………… nothing to offer based on actual experience, just more second-hand conjecture.
“not entering into an intelligent fact based discussion.”
Lol, really? You’ve been all over the net with your “arguments” about some irrelevant issue. Guys like Irving certainly aren’t “the reason that Sony doesn’t put a little bit of work into better software”, that is so ridiculous, it is not even funny. If I remember correctly one of your posts on some other forum, all you could provide as “proof” was a single image crop. Yes, Sony is compressing and deleting data. And there are three people who dislike that “on principle”, so Sony should do something about it. Get over it.
Please explain to me how I am a Nikon troll. I own and shoot with both and several other systems as well. I see first hand, everyday, the pros and cons of each system. And if I point out a weakness in one system over another, I am a troll or the lover of somebody who I agree with. How old are you, 5? Come on, lets have a real discussion, not mud slinging simply because you don’t agree with what is being said. Now if you offered evidence that what we are saying about the RAW compression is wrong, we could have a real discussion. I am not picking on Sony because I can. I am picking on Sony because this is a weakness in their product, just like I pick on Nikon on their weaknesses and Canon, and even Phase One – all of those systems have some equally serious shortcomings. It does not make me a troll, it makes me somebody that would like the shortcomings addressed.
OK, list the top twenty issues with Sony’s A7 series. Let’s see HOW and more importantly WHAT you shoot!
It would definitely be in my top 20 (actually I don’t think I have 20 issues, more like 10) but also not #1 or #2.
List them for the group then, lets offer-up something constructive rather than quoting the great computer tech in the sky!
See my links above
Landscapes, for that isn’t the Canon a better choice for you, i.e. more & better glass choices? I’d seriously want those Canon TSE’s if I was a landscaper………
Canon has poor Dmax relative to Sony and Nikon. I shoot with Nikon and Sony primarily (Sony when weight is an issue, Nikon when it isn’t and Phase One when it really isn’t an issue). For wildlife which is about 50% of what I do I use Nikon. But I’m using Nikon less and less for landscapes since it often involves extensive hiking.
Someone should tell this to over 50% of the working professionals out there?
http://www.ejphoto.com/Quack%20PDF/Sony%20Alpha%207R%20Review.pdf
Note that this was written before the first firmware update. There’s also this that was linked here on SAR:
http://www.ejphoto.com/Quack%20PDF/Winter%20In%20Iceland%20With%20a%20Sony%20a7R.pdf
No commercial work, portraits, editorial? I think you’d soon find at least 20 areas of improvement for the A7’s if you were. Any examples of where the Sony file has tripped you up with its compression?
That type of photography, while I have done it, has never interested me as much and I make a good living off of the nature stuff. I did point out a bunch of other things that were an issue for my type of photography in the review that I linked but I’m sure if I was a studio guy, there would be others that I would find – it’s the case with every camera. I photographed the Geminids meteor shower last year and you definitely could see what the digloyd and rawdigger articles were talking about along the edges of the meteor trail compared to the D800E which I have used in other meteor shoots. My point is that we should have the option to not have lossy compression as is the case with every other manufacturer that I have used. What Sony does isn’t a dealbreaker for me but it is annoying that we don’t have the option to shoot in a way that gets all the data that the sensor is capable of recording.
Nice work, like it! I agree, an option to choose the bit depth would be favourable. As we usually only have 4-8 ev difference across neighbouring points in an image, the lossy compression isn’t a big issue in 99% of the cases. But at edges (star trails, architecture against sky in HDR scenes) it can be an issue if you print large. Raw converters tend to smooth the artefacts a little bit due to interpolation, too. I guess Sony’s choice is related to performance issues and newer generation sensors and processors will introduce pure 14bit again (see what Samsung’s NX1 is capable of).
I like to hear how you market nature images and make a good living. It’d be infinitely more interesting than all this technical nonsense.
Very nice work.
Although I certainly agree with your above post….I can say without a shadow of a doubt that there is no difference between an A7R Raw file and a 800/810 Raw file… Identical… Even applying the same WB in Capture One…The compression issue is a load of nonsense… there is no issue…
But there is. Shoot the identical frame with both, the file size of the D800E or D810 will be substantially bigger. It is true that in probably 99% of shots you will never see it but there are certain circumstances that you will. Admittedly, even in that 1% or less it might take some pixel peeping but it would be nice if we had the option to not have lossy compression.
I agree, The file size is bigger. But any difference is simply outside the gamma of any screen I have see it on…It is simply not there to be seen. I only know one Nikon shooter that shoots in uncompressed… Because when push comes to shove…It slows you down…Slower tethering…smaller buffers..Why compromise getting the shot for the 1% difference that you can’t even see?? And lets be honest. By the time any ad goes to print….well you know the rest.
But the difference between Nikon 14 bit compressed RAW in the newer bodies is that it is not lossy so you can shoot Nikon compressed RAW with impunity. Older Nikon cameras do imply a compression scheme somewhat like what Sony is using. BTW, Canon’s RAW compression has always been non-lossy. As for tethering a D810 with essentially the same sensor and no lossy compression gives you a higher frame rate and faster offload to the computer (due mostly to USB 3)
“But the difference between Nikon 14 bit compressed RAW in the newer bodies is that it is not lossy so you can shoot Nikon compressed RAW with impunity.” That is a dead end agruement…I need uncompressed even though I can’t tell the difference….but it must be better….I certainly haven’t lost any sleep over it…Sony would have looked at it and came to the same conclusion..
The 810 and 800 were both slow as a dog shooting uncompressed until Capture one 8 even with USB 3.0. But also remember preview rendering time. It is not just about the tether cable…
I think you may have misunderstood my point or I didn’t make it clearly. Sony’s compression algorithm is a lossy one, it actually deletes image data captured by the sensor. Whether or not that effects your picture depends on the situation and in most it won’t affect it. Nikon’s compression algorithm (in modern cameras) does not delete data (it is more like ZIP or LZW in that it only compresses what it can without ever losing any information). That is why a Nikon compressed 14 bit RAW file is a little bit bigger than a Sony RAW file. I would expect any of them to be pretty slow with a completely uncompressed format and that is a waste and a performance hit – I totally agree. I don’t particularly care for or want a completely uncompressed format in the Sony cameras either, just one that isn’t lossy like all the other camera manufacturers. There’s a lot of info on the Internet about lossy vs non-lossy compression algorithms and how they differ if you want to explore it more.
No I understood you completely. Thanks for the concern…But as I have explained. There is no visual difference in image quality between an A7R and 800/810 file. It is that simple…Sony knows this…They designed the sensor….You are chasing a non issue a red herring a wild goose chase a fools errand a waste of time and effort for no gain….Good luck
Agreed. But we don’t, so move on or write to Sony!
Yeah, yeah, you shoot all systems. The usual comeback.
“if you offered evidence that what we are saying about the RAW compression is wrong”
Lol, really? How about you present proof of that problem, not links to a couple of images we don’t know the provenance an treatment of? How about a single raw file presenting the problem and the output where this problem is visible?
I honestly don’t think you are! I simply think your experience with Sony is limited and your falling into the trap by relaying (verbatim) what others have conjectured. Something, BTW, that we’ve all done from time to time.
Maybe its statistically irrelevant. I can give you a long list of proper issues with the A7 series, issues that are actually relevant to people crossing over from Canikon. The shutter issue and the file issue are more often raised by people not shooting the Sony or with little real-world shooting experience.
Yes there are a number of issues and this is just one of them, but it’s the one we are discussing in this thread.
It’s one of two issues that those who rarely use these cameras have glommed onto. For those of us that actually use these cameras as primary kit, these two issues are statistically irrelevant!
What’s the other one?
Really your asking me that? You’re on SHAKEY ground if you’ve not read Lloyds sermon on the number one Sony flaw……….. 🙂
You must mean the shutter vibration issue. It’s a problem in some circumstances but it’s nowhere near as bad as it is on focal plane shutter medium format systems.
And if the D810 had a decent audio option maybe I’d use it too. We get what we get and use them the best we can, no…..
Yup, every camera has it’s shortcomings
Agreed, and we should concentrate on holding all manufactures feet to the fire on the relevant issues!
You don’t think 11 bits of data per pixel when everybody else is giving you 14 is relevant? Even if you can’t see it in 99%+ of photos, it’s a competitive disadvantage. I am really puzzled why there is such a violent reaction against lossless compressed compared to lossy compressed simply as an option for the user to decide on? Where’s the harm and why the massive negativity about asking for something that every other manufacturer has.
Didn’t you raise this issue?
No, I replied to and agreed with the person that raised it.
Wouldn’t your time be better served putting them straight, maybe offer a little education and guidance rather than re-enforcing their delusions? Pick something higher-up the “honey-do list” maybe? Just an idea!
I remember the time when they said CD’s are perfect and it was statistically irrelevant to go for higher bitrates.
I remember the time when they said mp3’s are perfect and it was statistically irrelevant to go for higher bitrates.
I remember the time when they said jpg’s are perfect and it was statistically irrelevant to go for higher bitrates.
Somehow we ended up with a lot of people buying Vinyl again.
Somehow we ended up with the Pono player being funded by a lot of people.
Somehow we ended up shooting raw. If there are people who want it, its relevant, crazy idea I know. It’s not a swing, you don’t make other problems irrelevant by having more pressing issues to deal with first.
Lol. Again with your nonsense?
I know it’s hard to grasp but before you where born there was such a thing as CD’s and people used Vinyl to play music.
Nah, it’s easy, actually. It is your point that goes nowhere.
Which point would that be exactly?
That’s precisely what I am trying to figure out.
It’s ok in a few years time when we all have the high dynamic range dolby screens ad you look back at the old pictures, you will think “Oh dear, it did matter we where just too far up our own behind to think ahead” All your arguments, all the BS it’s all been done before with the CD, with the mp3 and it has all come down to the simple fact that: yes they where not sufficient and yes we want more. I want 14bits on my A7s, mostly for video, but also for pictures because I want them to last, at least the ones I care about. But this is the kind of perspective you can only understand if you know how to look beyond snappy comments and realise whatever happened in the past is exactly what is happening right now.
Higher bit rates in music happen when you have technology to play it and actually hear the difference. Higher Bit images happen when you have monitor colour space and printing methods that actually let you see that difference. That hasn’t happened yet so yeah currently irrelevant…
I guess thats why Nikon offers it as an option: yeah totally irrelevant, sure if you say it it must be true. Technology happens because people want it, its that silly thing called demand, you might want to google it. It is why we have 4K coming out of the A7S, it’s why we have a zillion photo camera’s shooting video.
Yeah, because Nikon offers it, it must be totally important.
I know you have a really hard time with this, but yes, it really is that simple. for some bizar reason companies don’t invest time and money into features for the pro market when they thing nobody wants it camera after camera.
Yeah, companies always totally make sense with their investments. I guess, Olympus Art filters are very necessary and important too?
Extremely important!
Mmmmmm, like proprietary RAW files. Get back to me on that will you!
OH, good point, we really need more proprietary RAW files from camera companies don’t we.
I think you miss read.. I am not doubting demand…As soon as there is a medium where Nikons uncompressed files make any difference I will join the gnashing of teeth and pulling of hair so ridiculously expressed on this forum. The technology doesn’t exist to render the difference in anyway on the screen in front of me. Monitors current don’t have a wide enough gamma where there is any difference. When said monitors are produced….then….and only then…does the technology become ‘relevant’…Hope that helps…
Some intelligence on this thread at last!
It can make a difference, but won’t for the average hobbyists pictures from the Yosemite field-trip!
EXACTLY. Then there’s all those $200 16 gauge speaker wires that make HUGE differences to their music enjoyment. LOL
There’s a point here I take it?
Demand creates supply, the A7s is a typical example of a camera created for very specific demands.
NO, that would be an DSLR mit mirror (if you believe the sales metrics).
Only if Sony sells it to them like they did with the sensors.
What Nikon in 2036?
Yes, an option would be nice. But these people going “oh this ruins everything” are as clueless as the Sony engineers for non giving us the uncompressed option!
I never said it ruins everything and I love both my a7R and my a6000 but it is a disappointment that should be addressed.
It’s should be addressed IN YOUR OPINION.
Isn’t almost every comment on here somebody’s opinion?
Yes, but when your opinion is based on someone’s observations its not worth much. Show us some of YOUR pictures ruined by Sony’s RAW implementation and MAYBE we’ll take you more seriously?
We? Speak for yourself, there is no “we” just a bunch of subjective personal opinions.
In this case you should have used ‘it’s’ as in ‘it is’ or ‘isn’t’ would have been a better option.
It is should be addressed in your opinion ? Are you taking anguish as a second language ?
Again quoting a friggin computer tech on PHOTOGRAPHY issues…………….. point me at his portfolio or photography website. You will see no difference 99.9999% of the time.
“This has never happened before.” Rushing a product before Christmas? Don’t make us laugh. As to the links you provide, your “expert” diglloyd is presenting a single image of one of his readers (from an a7, not an a7r) and making conclusions based on it. As to the rawdigger, the guy is using some potentially flawed RAW analyzer.
In short, you are apparently complaining about a “problem” you don’t even have, as you are unable to provide a single raw image where this has affected your photography and basing yourself off of a single image and some weird raw analyzer.
Vlad – read more or read better. Here’s a night sky that’s been pushed. Because the Nikon isn’t missing this information you can push further before banding and posterization take place.
Read what? You are showing me some 1198 × 735 JPEG with no camera data, while claiming that it comes from a Sony and that some inexistent Nikon file is better. Where’s that comparison?
AMAZING, that’s your example. An underexposed picture of NOTHING, really. Now go out shoot some pictures of proper subject matter, preferably something you have to interact with WITHOUT a keyboard and post them tomorrow. You’re getting a D grade so far.
There is a nice discussion here: http://www.luminous-landscape.com/forum/index.php?topic=87260.0. Some of the points seem to favour the speed over quality argument. Again, I would prefer full 14bit files, but if this issue is only happening in extreme circumstances I can live with it. When extreme posterisation shows up in my images I use a brush in PS adding a tiny bit of noise. Removes it completely.
Those are good threads and I’ve read Kasson’s work before. Throw out all of the matlab and there is still the easy fix. Sacrifice FPS and give the option of a real 14bit+ file.
Go sck buggy Sony dcks
germany.. place 1-10… canon cameras…..
a marketing victory – not a proof that Canon has better cameras – the Nikon D810 is newer and beats the Canon 5dm3 for example – Canon of course still makes great cameras – but Nikon has been busier in updating lately – Sony likewise – Canon still have a really nice lens selection and the best 70-200mm F2.8
So how do we overcome this for now? I am assuming there is two ways you could fix it?
1. Reset the camera completely
2. After attaching the OSS lens attach an FE non-oss lens then the 3rd part lens?
Maybe dump the battery and reinsert it between an OSS lens and an adapted third party lens?
Isn´t this problem due to the fact that lenses was changed without shutting down the cam ?
If you don’t shut down the cam, even lens correction /micro adjust don’t work.
Did anyone ever consider that it was designed to work that way?
That Sony has deliberately made it so that IS with a non-native lens would work only after a strange lens swapping operation? Nope, I didn’t consider that.
No, but they want you to sck their native dck. lucky for you, Japanese dcks are small
No. Go fck yourself!
The only way to get it back after using an OSS lens is to mount a FE non OSS lens (FE35 or 55). Removing, battery, turning on and off, changing settings, etc, etc make no difference. I have been Identifying and trying to understand the problem side Wednesday and have been in communication with Sony since Thursday.
I got it to work by doing this sequence of events. After using the 70-200 FE lens; I attached the FE 55 then turned stabilization off. Then attached my legacy glass and turned stabilization on.
I am sure that Sony appreciates that its customers conduct beta testing for them.
At least Sony lets you beta test products. Nikon lets you beta test their quality assurance procedure (aka D600).
LOL that’s true too.
Communicating by scking their wobbling pnises. Go to Japan, stpd fgt!
I hate how buggy these A7 cameras (in my experience) have been. Feel free to call me a troll, but I feel much more comfortable in a professional environment with my Canon (despite the inferior IQ). I’m a video guy so I’m adapting glass on lots of different systems, and the Sony’s just always give me a headache. The GH4 plays well with Metabones, but the A7s does not. I don’t have to worry about the blue channel clipping with a WB less than 4,600K with other cameras; with all Sonys I do. I keep wishing Sony would spend the time to really tweak the fine details either prior to release or in a firmware update, but they just seem too preoccupied with pumping out the next thing.
Canons are also buggy. Used a 1DX last week that only wanted to turn on when it felt like it……that’s a bit unnerving…Then also AF issues as the 1Dx mirror slowly drops oil and bits on the AF sensor until one day the AF freaks out and can’t find focus…(Have had that one on a job as well)…Or When the AF tricks you in sub zero temperature because the AF drop down mirror no longer drops down correctly in the cold. So your AF is now completely out of calibration giving you out of focus images…which can be hard to tell because the Canon rear screens are so terrible…yep a few bugs off the top of my head
There’s a difference between having a particular body malfunction and there being issues prevalent in every single one manufactured. Your example is the former. There are plenty of 1Dx’s that don’t have the aforementioned issues, but there isn’t a single A7/r/s that doesn’t freak-out on blue highlights.
Well bugs are bugs my friend…But it is a bit strange… I don’t appear to have any problems with my blue channels….
A camera that locks up is very annoying but can’t say I had any real problems with the A7S, had a lot more weird problems with the Canon 7D. Zero issues with the blue channel, but had the metabones die on me a couple of times, to be honest I can’t see how that should be considered a Sony issue. It happened every time I turned the camera on, never during a shoot, it’s annoying but the fun of being able to shoot F8 1/250th in the dark has made more then up for it.
At least it only locks up, not scks ccks like your face, lel
It happens on very saturated blue highlights (i.e. Blue LEDS). http://www.eoshd.com/comments/topic/7172-sony-a7s-color-channel-clipping-issues/.
It makes shooting a wedding reception a nightmare.
Damn those Blue LEDs!!!!!!
The only thing oversaturated is your @nus with Sony dcks!
Looks like a graph of Sony profits. Should open dildo business considering all the fgts here…
Well, nothing is perfect. My first camera was a Canon and I keep wishing that they will start putting the dials at some ergonomically sound locations or that they will put an EVF in a camera or that they will finally make a proper mirrorless system, but no such luck.
Go suck Sony dck, get bugs. At least your dials are going to be ergonomic. You will have a lot of time fondling them, Sony make your dck fall off lel. Stupid AIDS fgt
Well, u caught bugs from taking it the @nus from Sony fgts. Should have gone Canikon, stpd hmo boy!
WHAT do you “shooting in dark”? Weddings? Sports? Nothing?
Admin shooting hmo prrn in the dark. Now can do handheld, but means no dck of camerman up his @nus, so still tripod, lel.
Maybe even Sony camera realize too much wobble embarrassing…at least Son fgts still have wobble lens for pleasure to put up their @nus.
Time to ban the HULK, no. Admin, either you ban him or its your troll alter ego 😛
HULK advise: Go suck a vibrating lens. HULK not intolerant, just knows u are fgt who can t get dck, that s why so focused on wobble lens news as substitute. Heil Canikon!
I say old sport, I find this attitude rather fascinating, I think we should commend you with clicking that lovely flag next to your comment! hip hip hurray and all that!
Excellent idea Major, I love a bit of vlag clicking!
Fegs love flags! HULK realized long ago. Sck a dck, and have a wobble
lens up your @nus! Admin, let your page become this. pls ban fgts from
your page, thank you!
This the future of photography if Sony overcomes. SMASH Sony! Heil Nikon, heil Canon!
You have a rather amusing way with words old chap, public school education I say? My dear fellow what do you mean with “Sck a dck, and have a wobble lens up your @nus!” I do love that wordplay of yours but it would really help if you could spell out some of those short comings of yours. Your obsession with nacked men does worry me a bit, where you one of the bumboys I heard so much about at Eton? tragic really being forced at such a young age, but I see you have accepted it and are now a proud flag waver. Smashing!
He is behaving like the classic sociopath. He started out with a few cute comments and it has steadily progressed to more an more hostile levels and has now gone way over the edge using extremely derogatory slang towards people and accusing people he doesn’t even know of criminal acts. This person’s IP should be banned immediately and would be on any moderated forum.
HULK escalated with your mum. She not banned. U mad, go sck a dck, oh, vibrating lens. My bad, fgt!
Fck the Admin. HULK smash Admin. If ban proof that he is antihomophobic. Makes him chief of Sony fgts. Happy dckskking hmos!
Best way to kill a troll. Starve them of oxygen. Ignore them and they fade away…It’s quite sad really…Poor guy..
HEIL CANIKON!
Breaking News: Hulk was found to be an m43 and point and shoot user at 4:05 this afternoon….lol!
Your mum was found collecting mushrooms…not in the woods,, though…
Oh I say dear fellow, no doubt in under your bedroom growing in all the used magazines? Ah we have all been there: 14 year old and just your right hand to talk to.
You’re looking to get banned little boy.
About A7-II Bug stabilization : I tested and i found that :
24-70 f4 Sony-Zeiss + legacy lens + Adapter without electronic contact = no stabilization
24-70 f4 Sony-Zeiss + 24-70 f2.8 IS I Canon (OS On) + Adapter without electronic contact = no stabilization (Manual steady shots settings on 70 mm for the A7II)
24-70 f4 Sony-Zeiss + 24-70 f2.8 IS I Canon OS On + Adapter with electronic contacts : Metabones III = no stabilization (Automatic steady shots settings for A7II)
24-70 f4 Sony-Zeiss + 85 f1.2 II Canon (none OS) = stabilization !!! (Automatic steady shots settings for A7II)
85 f1.2 II Canon + 24-70 f2.8 IS I Canon OS Off + Metabones III = stabilization !!! (Automatic steady shots settings for A7II)
I hope this test could help the people, like me, who don’t have a none OSS Sony / Zeiss lens. (like 55mm f1.8 Zeiss/Sony)
I have the pictures who prove that… obviously…
Alain
Oh great, Tony Northrup *rolls eyes*
sounds like they hurried this for december sales. am keeping my a7; this ibis is ok for rookies shooting in a nightclub and I would’ve welcomed it a couple years ago when learning, but who needs it once you nail hand-held with a bit higher ISO? a7 is real good at 1600.
How about wedding professionals like myself for starters…
what a terrible justification for your a7 purchase. it’s not sonys fault you had to buy one just moments prior to a7ii release.
IBIS is great – especially for the Zeiss 35mm F2.8 and the 55mm F1.8 as neither has a IS – however the Zeiss 24-70mm and the kit 28-70 and the 70-200 f4 all have IS
Sony has a Sony G branded 35mm F2.0 with OSS coming in 2015 so as the A7 II has the same processor and sensor as the A7 – I do not see the need to make an upgrade –
Will wait on the A7 III – if one is doing a lot of video then one should own a GH4 or the A7s anyway
I agree Sony probably rushed out the product for December sales (I got one for Christmas). If they hadn’t rushed they could have done more QA and regression testing and probably caught this bug and fixed it prior to release. The reality is most companies today would rather get their product ASAP and patch later. It happens with Video Games and Software all the time.
Anyways I think IBIS is helpful for more than rookies or those who are learning. Skill is important but why make things harder for yourself if you don’t have to?
“Like on any new camera release there are always annoying bugs”
actually no. good companies test their products before they put them on the market.
“This is a bug that can (and I am sure Sony “will”) be fixed via firmware upgrade.”
I’m not. probably sony locked that feature to force consumers to buy sony branded lens. it’s a move typical of stupid monkeys at sony that know nothing about the market. that will likely hurt sales and not improve them.
Sony really does not want you to use all those $15 50mm lenses when they have a $1000 55mm to sell you.
agree – Sony is really raping customers with their $1000+ Zeiss primes –
by end of 2015 it will be 10 Zeiss lenses and 5 Sony branded lenses ! what manufacturer does that ??? and yes the Sony branded lenses have IS or OSS in the lens so no real need to buy the A7 II as it still has the same sensor and processor –
Sony is pumping out the bodies – A7, A7r, A7s and A7 II – so 4 A7 bodies yet only 3 Sony branded lenses – go figure – Ok folks say the Zeiss lenses are decent and of course the 24-70mm F4 is a bit better then the kit 28-70mm f3.5-5.6 and should be as kit around $250 and the Zeiss $1200 – however I have yet to hear someone say something fantastic about any of these Zeiss FE mount lenses – they seem OK but not fantastic – It seems clear that Sony is playing a game with reasonable prices on their bodies but raping consumers on the few and expensive lenses –
I do think it is starting to hurt them – as I know several potential buyers that have opted to not get the A7/r/II due to lack of lenses as focus speed is very slow with adaptors –
there is something odd when a camera manufacturer comes out with 4 bodies in about 2 years time frame and only 3 Sony branded lenses in that same time frame
They clearly playing Gillette model.
What kind of an idiot buys a $2000 camera and uses $15 lenses with it? Sorry to be blunt but the optics matter way more than the camera itself, I mean, if $15 50mm is good enough IQ for you why don’t you just buy an MFT-camera???
$15 50mm/1.8 etc ARE good enough for certain applications, for example, portraits. And if you need corner-to-corner sharpness for landscapes, then f/1.8 on FF is too shallow for DoF.