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Martin Håndlykken

Sony A7sIII announcement

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I really would be interested to know what those people who preordered expect to change for them through the purchase.
I know people prefer to discuss more about the features that separate the A7SIII from eg the R5 or why the Sony should offer a higher resolution.
But on a "set", let's just say an interview, what will get better over your current camera?
I got the C200 pretty early and right now I could't justify upgrading to anything else, not because it is the perfect camera (it far from is...) but because I feel except for buying an Alexa or frankenrigging a F35 no current camera would give me a "better" picture.
I'm conditioned to Alexa and F35 (and to some extend RED) representing "the look" and if I can't get it for a project, I'm basically fine with every current 4K large sensor camera.
So what do you folks expect from the A7SIII?
 

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Anyone know if the IBIS on this new little low light beast will, or will not, work with zf.2 Zeiss Milvus lenses (mounted on an adapter, obviously - Novoflex in the case at hand)? If so, will it be possible - I would assume it would be necessary, actually - to specify focal length manually in a menu somewhere, is that menu easily accessible for working solo and fast, etc. In short, this is a usability question (!). Will be great if anyone that gets hands on a new body to test or review soon can delve into this issue and share whatever you glean. Thanks.

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@WaldenThhree This is definitely something I do think people need to think more about when buying a new camera. What kind of return on investment are you getting and more importantly what ROI are you looking for or wanting? 

Cameras these days are so good you'd get a good picture for most things with anything. In my opinion, specs alone isn't what's important when buying a new piece of kit. How it fits into your workflow, how it fits into your clients workflow, how it fits into your market and how it will benefit your clients are much more important questions.

I see a lot of people comparing the A7sIII to the FX9 and C300MKIII.  "Why buy a cinema camera when the A7sIII has as good specs or better?". When people ask that question it really shows you that those people don't really know what they are talking about. In my opinion of course. It's just two completely different tools that work very differently and fits into very different workflows. 

I own a lot of cameras which I use, and every camera I own because it fills a role that I need it to fill. I own an Amira and FS7 for my video and cinema work, and two 5Ds for my stills work. 

I'm not pre-ordering the A7sIII right now, but I'll probably get one down the line. Why? Because I'm missing a small capable camera which I can use for an extra angle, use in special situations, easy gimbal work, travel camera when I need something very light, BTS-video etc. 

I had the A7sII for a few years along side the FS7, and it worked great as a small B-cam. It had some limitations as the codec did not match the FS7, and it lacked a few features etc. The A7sIII is a definite improvement and it looks like it internally can record something that looks as good or even better than the FS7. It's probably going to be a great addition to my kit, but not a replacement to anything I already own. 

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1 hour ago, TommyD DoP said:

Anyone know if the IBIS on this new little low light beast will, or will not, work with zf.2 Zeiss Milvus lenses (mounted on an adapter, obviously - Novoflex in the case at hand)? If so, will it be possible - I would assume it would be necessary, actually - to specify focal length manually in a menu somewhere, is that menu easily accessible for working solo and fast, etc. In short, this is a usability question (!). Will be great if anyone that gets hands on a new body to test or review soon can delve into this issue and share whatever you glean. Thanks.

The IBIS should work, yes. If the adapter don't communicate the focal length to the camera you can manually select it. This was how it worked with the A7sII and I don't see how the A7sIII should be different. The menu on the A7sII was not as bad as people say it is in my opinion, and it looks like the menu on the A7sIII is even better. I would not worry. 

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10 hours ago, Martin Håndlykken said:

This is definitely something I do think people need to think more about when buying a new camera. What kind of return on investment are you getting and more importantly what ROI are you looking for or wanting? 

Many will be buying either the Sony or Canon simply because of the hyperbole coming from the usual YouTube spin meisters, 'my new favourite mirrorless camera, I had my doubts but..., a technical masterpiece, etc'. People just rush off and order without much thinking because their favourite YouTuber has gone over the moon over the latest camera.

Edited by Australian Image (Ray)
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@Australian Image (Ray) Definitely! I think people who actually make a living of creating visuals need to think about their purchases more like a business decision, and I think most do. I have no one in my close professional circle who buy especially into the "hype" of new kit, and no one commenting stupid things like "ahh why doesn't the A7sIII have 8K?" "I want 8K RAW no buy" "Sony sucks" "Canon sucks".

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I own an Fx9 as my main camera and have been using a gh5s as my B camera since it came out.. time to make that B camera match better, so an A7s3 has been preordered. 

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13 minutes ago, Isaac7SUN said:

Can someone explain to me why the viewing angle on the EVF matters at all?

It's more to do with the eyepoint or eye relief, the ability to see the entire view without having to mash your eyeball against the dioptre. It's a combination of magnification and how much of the actual scene (100%?) the EVF covers.

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13 minutes ago, Australian Image (Ray) said:

It's more to do with the eyepoint or eye relief, the ability to see the entire view without having to mash your eyeball against the dioptre. It's a combination of magnification and how much of the actual scene (100%?) the EVF covers.

That's interesting. Is there a large contingency of people that are filming through the EVF than I know about? 95% of my time, I am looking at the LCD. Partially because of glasses, partially because of higher degree of movement. I just get the sense that there's so much attention paid to the EVF when I feel like it's barely functional as-is.

Now, don't get me wrong, if one is using the EVF, having it be rad makes sense. I just feel like it gets a disproportionate amount of attention when we're in the video world. One step further... if it is that important, it's super uncomfortable and I wish that there were a large number of accessories to make it awesome. What about a magnifying eyecup for instance?

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Much would depend on the quality of the EVF. Those in the latest mirrorless cameras are very good indeed for their size. Even with the one in my Olympus E-M1, I can view the entire EVF without mashing my eye to the eyepiece. The thing that's also good about the EVF is that I can adjust the dioptre and not have to use my glasses.

With my BMPCC4K, I don't miss an EVF all that much, but there are times in extreme sunlight where I'd love to have a small EVF for when a monitor is getting difficult to view and focus. There's no way that I could use an EVF for any great length of time. I know that there are many in a similar position to myself, where they'd love to have a small, less expensive and simple EVF, say running off HDMI (maybe looped through a monitor), that would be used from time to time, but not constantly. Such an EVF wouldn't need to display any waveforms etc, as it would only be used for focus and composition.

Unfortunately, many argue that the EVF needs to be beer can large so that you can use it all day and must display everything that the camera does and so I suspect that no manufacturer is prepared to make something for what I believe is a much larger market than some argue.

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I would have thought the A7sIII would have specific S Cinetone picture profile .. yes I know different sensor and all that, but they make a claim about matching the Venice /fx9 color science ,maybe Slog.. but there are a ton of PP,s but not one that says S Cinetone (like)..  I just thought that would be an obvious "feature" for a video centric A7..

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On 8/1/2020 at 12:17 PM, Robin Probyn said:

I would have thought the A7sIII would have specific S Cinetone picture profile .. yes I know different sensor and all that, but they make a claim about matching the Venice /fx9 color science ,maybe Slog.. but there are a ton of PP,s but not one that says S Cinetone (like)..  I just thought that would be an obvious "feature" for a video centric A7..

Yeah, I mean after all... they made a CineAlta phone FFS!

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I'm very interested in the raw out to Prores Raw on the Ninja V. The EVA1 is my current workhorse. I love the image but the two things I miss from it are good autofocus and the ability to shoot high colour depth on occasion. I don't think the a7s iii will beat it for image internally but that autofocus will help me in a number of situations. I've been looking at the Komodo (I have EF glass for the most part) but if the raw out of the a7s iii is close it will be close enough.

I know Prores Raw isn't particularly adjustable at the moment but other than that does anyone see why the 16bit raw out couldn't be pretty darn good?

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