External recordings on Sony a7 series cameras are awesome for several reasons, but unfortunately the image is crushed and there can be a loss in dynamic range when recording externally via HDMI. The famous Slog problem cuts off blacks and highlights and gives you a wrong Slog 2 or Slog 3 image. But we’ve developed an extremely easy fix. This LUT can be applied either during external recordings or even in post and give you back the full dynamic range of a true Slog image. The Slog Problem Explained Back in March, I wrote a scientific article on the crushed blacks phenomenon concerning the Sony a7S, Sony a7S II, Sony a7R II and Sony a6300 cameras. Basically, the contrast information is saved incorrectly on external recordings via HDMI, thus defeating the whole purpose of a standardized Slog Gamma. This phenomenon has been the main reason why some people have avoided using external recorders with these cameras. There is a fix that involves either DaVinci Resolve or level filters in Premiere that I described here, but these can impact your rendering time considerably. [Important UPDATE:] You do not need this on the Convergent Design Odyssey Recorder as their latest firmware provides a fix in the form of a “Legalize HDMI” function you will find in the INPUTS menu. [UPDATE:] The Slog Fix LUT also fixes external recordings in F Log from the Fujifilm X-T2. There is a recovery of about 1 stop of dynamic range in the highlights. The C5D Slog Fix Here is better way to fix the Slog Problem at any stage of your workflow, and it’s the fastest we have found in the form of our very first official C5D LUT. Essentially, it recovers any Slog 2 or Slog 3 files recorded externally, and gives you back a true Slog image with the cameras full dynamic range. On top of that, this LUT gives you the unique possibility to burn the correct Gamma right into your external recordings. By loading this LUT onto an external recorder like the Atomos Shogun, you can fix the Slog problem during recording, work with a correct file from the start, and save the additional rendering time otherwise needed in post production. This Slog Issue is especially problematic in Slog 2 Gamma, as it kills some of the highlights and thus reduces the dynamic range of the image where it matters (highlight rolloff in critical shots): 100% crop of 4K image (Slog 2 Gamma) This is how the Slog affects the dark areas of the image and how the Slog Fix recovers the correct Gamma: 100% crop of 4K image (Slog 2 Gamma) In our tests, an external recording with the C5D Slog Fix LUT on an Atomos Shogun was virtually identical to a file otherwise transcoded in DaVinci Resolve by changing the Video Levels manually (See more sample images below) Note: We cannot be held responsible for wrong use of the LUT. Please test this yourself before implementing into your own workflow. We decided not to give away the C5D Slog Fix LUT for free, but if you buy us a cup of coffee it’s yours to use in your projects. We’ll also be happy for a higher contribution if you feel this fix helped you in your work. DOWNLOAD IT HERE [UPDATE:] As cinema5D reader Corey Robson pointed out, there is an alternative method on the Atomos Shogun, that gets you half way to the goal: The Shogun offers a “5D MkIII” Color Corrector option in the “Source” window. While I do not know the science of it, the tests showed that it recovers some of the highlights, but not the true Slog Gamma. If you’re working semi professionally it should be “good enough”, as the highlights are most important. For those who want to use a second LUT as a preview on the Shogun, I would recommend this method instead of the C5D LUT, or alternatively the C5D LUT can be used in post for a 100% accurate result. Sample Images Sony a7S – Slog 2 – Internal H.264 Sony a7S – Slog 2 – External – unfixed Sony a7S – Slog 2 – External Fixed with Slog FIX LUT in post Sony a7S – Slog 2 – External – Fixed with Slog FIX LUT burned in, on the recorder FAQ Do I need this if I don’t use Slog 2 or Slog 3 Gamma? No. The Slog Problem is only present in external recordings with Slog 2 and 3 Gammas via HDMI. What about external recordings via SDI? External recordings via SDI are not affected. Please don’t use the Slog Fix on those. Will this work even on files that have already been recorded? Yes. You can use this on files you have recorded with an external recorder in the past. The files were only saved with the wrong metadata and the information can be pulled back with the help of our LUT or the workarounds described here. Who is it for? For people who want to retain the original Slog 2 or Slog 3 Gamma in order to grade accurately, match cameras or use pre defined LUTs. If you apply LUTs meant for Slog 2 or 3, you will not get the correct results without fixing your files first. Do I need this on the Sony FS7 or FS5? If you’re using an external HDMI recording you will also need this on a Sony FS7 and Sony FS5. If you’re using SDI as an output interface you will not require the fix. Will I lose color information or quality when I use the LUT on a recorder (burned in)? No. According to our tests the results are the same as if you would apply the fix in post. Note that in general there is a slight variance between externally recorded colors in comparison to internally recorded H.264 files on Sony cameras. We think the external recordings with our LUT look more color accurate. Download the sample images above to compare them and see the nuances. Make sure you use this workflow properly before burning the LUT into your recorded files. How do I use this on an Atomos Shogun? 1. To use the C5D SlogFix for monitoring purposes: Copy the C5D-SlogFix.cube file to the root folder of your Atomos Shogun Media (An SSD or harddisk) Tap the yellow “…” icon at the bottom right hand side of the screen Tap on one of the 8 LUT slots (preferably an empty one) Tap on the folder icon In the new window that opens tap the “C5D-SlogFix.cube” file twice. This will load the LUT onto your Atomos Shogun recorder To monitor tap the LUT slot now associated with the C5D-SlogFix and tap the monitoring icon on the top right hand side to switch monitoring on or off The C5D-SlogFix.cube file can be deleted from the media 2. To burn C5D SlogFix into your file (RECOMMENDED for a faster grading workflow): Follow the monitoring setup of 1 After your camera is connected, tap the “hdmi” icon in the top left hand corner In the window that opens, under the section “RECORD 4KUHDp…” tap on “3D LUT: Off”, so that it shows “3D LUT: On” There should be a red, flashing icon in the top right hand corner that says “MON LUT” Make sure the C5D-SlogFix LUT is selected in the yellow “…” menu Download Click the image below to get the C5D LUT Slog Fix:Read more
Metabones has released an update to its EF-E Smart Adapter MARK IV and EF-E Speed Booster ULTRA, vastly improving auto focus, smoother aperture adjustments and enabling continuous auto focus on compatible Sony Alpha cameras. Many Canon-turned-Sony users will have become accustomed to the compatibility quirks of using EF lenses on a Sony Alpha body. Metabones has been an ever present stalwart in the big player camera/lens mis-match and, despite their best efforts, have always struggled with producing reliable auto focus. This hasn’t been a huge problem with filmmakers, many of whom won’t ever have the need for this feature. But many will also like to cross over to photography from time to time, one of the features that was so liberating with the Canon 5D. A lack of auto focus in stills photography is of course a much bigger deal, especially with the release of more advanced systems introduced with mirrorless cameras such as the A7RII and A7SII. The mis-match in Sony body/Canon lens compatibility has forced many into exploring the less nurtured, less developed, less exciting Sony E mount lens line. These of course make full use of the Alpha cameras’ auto focus abilities, particularly the aforementioned continuous modes in newer bodies. The firmware update that Metabones just released for its EF-E Smart Adapter MARK IV and EF-E Speed Booster ULTRA closes the gap dramatically between native E mount and Canon EF lenses. With Metabones firmware V0.50, auto focus on an EF lens is much improved, aperture changes are smoother (still clicky, but improved) and continuous auto focus is now enabled on later compatible bodies. Here’s some press: Release date: 23 Jun 2016 Benefits and improvements: Wide-open button functionality is removed on A7 series and A6300. The button of the adapter is now dedicated to the function of the customisable Focus Hold button on the A7 series and A6300. “Advanced” mode is now the default operating mode. (Note: you may permanently change the default to “Green” mode, by holding down the button on the adapter while attaching to an already-on camera, and then, without ever releasing the button, turn off the camera’s power. Changing the default back to “Advanced” mode using the same procedure.) “Native” autofocus features including DMF, Eye-AF and fast CDAF on all E-mount cameras (see Press Release for details). Support for smooth iris feature of the latest Canon and Tamron SP lenses. PDAF improvement for Canon EF 50/1.4 USM and some other large aperture fixed focal length lenses. Descriptive lens name on EXIF LensModel tag (except on older cameras and Metabones Mark I, Mark II, Mark III and the original Speed Booster). A compliant utility such as exiftool is required. Sony Image Data Converter does NOT display the LensModel tag. Fixed a focus parking issue after an exposure with some older Canon lenses. I’ve installed Metabones Firmware 0.50 on my EF-E Smart Adaptor and can confirm the improvements. As an owner of the Zeiss 25mm Batis lens, I’m fairly familiar with the continuous focus modes available on the A7R II and A7S II. Users of the Sony Alpha II/Metabones/EF combo can now look forward – under certain circumstances – to a useable focus mode when shooting video, featuring face detection, zonal monitoring, with speed and sensitivity modes. Speaking from a wealth of experience with Canon’s Dual Pixel Auto Focus, the Sony equivalent is more complicated, less reactive and less subtle, but it does the job on wide focal lengths stopped down. Whilst auto focus is vastly improved, initial experience suggests it’s not quite up to native E mount speeds, but it’s certainly getting there. You can download firmware update V0.50 now from here.Read more
B&H, in association with Zacuto, has put together a handy video comparing the features & image performance of the Sony a7R II and Sony a7S II cameras. a7R II vs a7s II: The Debate Rages On The a7R II vs a7S II debate is an interesting one. Despite one being designed primarily for video and the other for photography, it’s not a clear-cut yes or no answer. Adding 4K and full frame/crop features into the mix produce a range of results over the two mirrorless camera bodies. We posted this detailed article back in November, giving great insight into the comparisons between the two—both in 4K/1080 and Full frame/cropped sensor modes. The above video condenses the information nicely and agrees with our findings regarding image performance. Here they are in a nutshell: a7S II better than a7R II in low light (a7R II capped at 25,600 ISO) a7R II cleaner in low light in cropped mode than in full frame mode a7S II optimum 4K performance in full frame mode a7R II optimum 4K performance is in cropped mode Both cameras more of less on par in optimum 4K modes (a7R II falls behind in 4K full frame mode) a7R II slightly worse rolling shutter than a7S II a7R II better with rolling shutter in full frame than in cropped mode a7R II vs a7S II: The Pros of Each There’s also a few features that separate the two. Below I’ve listed what can be considered ‘pros’ over the alternative camera body. Sony a7S II 120 FPS 1080 S-Log 3 Gamma Display Assist ISO range 102,400 – 409.600 Sony a7R II 4K mode in Full Frame and Cropped Mode More Auto Focus points (399 v 169) Faster AF performance with Metabones Adaptor 42 Megapixel Stills Here’s part 3 of the video that sums everything up very nicely. Our November article goes into far more detail from an image performance perspective a7RII vs a7S II. If you haven’t already, you should definitely check it out!Read more
The new Sony a7S II and Sony a7R II are currently leading the list of most powerful affordable large sensor cameras (Check out our comparison Review). To make those cameras work with third party accessories, a good camera cage is often a must. Read on to find the best Sony a7S II Cage (and a7R II Cage) out of 8 we tested. Review by Sebastian Wöber & Johnnie Behiri In August we reviewed the best cages for the original Sony a7S and now we take a look at cages for the new a7S II and a7R II cameras that share an identical body design. There are more cages out there that we didn’t test. Here we’re reviewing the ones that manufacturers sent to us in time to meet our publication deadline. We followed the same basic review guidelines of our first test, but also took reader comments into account. In particular Metabones adapter support was one review point that some of you were more interested in. We tried to keep it short, but this review is extensive. That’s why we split the reviews for each single cage into a separate page. Do you Need a Cage? In the age of small cinema cameras the camera cage has become the most popular accessory by now. But it is not always a good idea to follow the trend. First here’s a checklist to see if you really need a cage for your application. Mounting accessories on your camera? Cages provide mounting points (standard threads and coldshoes) so you can mount stuff. This is the main purpose of a camera cage, as the Sony a7 cameras by themselves don’t provide any other mouting points, besides one single hotshoe on top. Protection and Ergonomics. Cages protect the camera and can enhance the ergonomics, by offering a more handy form-factor or handle rec-triggers. On the other hand they add weight and some of thembulkyness. So if lightweight and compactness is your #1 concern, think again. HDMI cable protection. The original Sony a7S offered external 4K recording. As the new a7S II and a7R II have internal 4K, HDMI protection is less of a necessity. However if you intend to use HDMI for external screens, EVF or recording, then a cage that protects the HDMI port is essential. Lens Mount Support. If you use larger lenses or rigs with focusing gears, a solid lensport is a good idea. Sony’s native E-Mount is not the most sturdy of mounts and many shooters work with a Metabones adapter to use Canon EF mount lenses on the a7S II and a7R II. Why this Cage Comparison? Because there are huge quality differences between cages and you will not be happy with just any of them. Most of them actually are not recommended. Don’t just order a Sony a7S II cage blindly. You should weigh all the pro’s & con’s of the cages we present, so you can decide which of them will tick most or all your boxes. In our conclusion we will tell you which one we liked best, which ones we recommend and which need improvement. Structure of Each Review: Ease of assembly and disassembly. How securely is the camera attached to the cage? HDMI cable protector design. Do we have access to other outputs on the side? Is it possible to use the Sony XLR-K2M audio module? Can we easily access the lens release button? How well can we attach a tripod plate? How good is the included Rod Support? Metabones Mount Quality. The top-handle design. Overall ergonomics. Conclusion How We Rate We rated each point as follows: Double-green: In some rare cases we decided to give a double-green rating for outstanding performance/design. Green: The product performs as it should. Orange: There are some issues, but it’s ok. Red: The product didn’t live up to our expectations. Double-Red: Something is wrong here and should be addressed by the manufacturer. The Cages we Reviewed Simply click on the name of the product to get to the review page or find the conclusion at the end of this article. Products reviewed in alphabetical order. 8Sinn a7RII / a7SII Cage Came-Tv Rig for a7SII / a7RII Movcam a7RII / a7SII Cage Kit Moza Cage for Mirrorless Cameras Shape Sony a7S II / a7R II Cage Skier LiteCage for A7RII / A7SII Tilta for Sony a7 Cage ES-T17 Varavon Cage for a7R II, a7S II GO TO PAGE 2 → Links to each Cage Review: Page 1: Introduction Page 2: 8Sinn a7RII / a7SII Cage Page 3: Came-Tv Rig for a7SII / a7RII Page 4: Movcam a7RII / a7SII Cage Kit Page 5: Moza Cage for Mirrorless Cameras Page 6: Shape Sony a7S II / a7R II Cage Page 7: Skier LiteCage for A7RII / A7SII Page 8: Tilta for Sony a7 Cage ES-T17 Page 9: Varavon Cage for a7R II, a7S II Page 10: WinnerRead more
The Sony a7S II is shipping and many filmmakers rejoice as it is one of the best low cost video cameras out there right now. Last week we took a really close look at the differences between the Sony a7S II and the old Sony a7S. But how does this new camera compare to the Sony a7R II that was introduced just a few months ago? Here is the ultimate Sony a7S II vs. a7R II Test. Just like in our a7S II vs. a7S test we went to the test lab and compared all the camera’s capabilities in detail. In this review I’m going to give you all the unbiased results as quickly and to the point as possible and conclude with our recommendation. On the Outside Unlike the original a7S, the two cameras on the test bench share the same body design. The major difference here is the sensor itself. Both have a full-frame sensor, but the a7S II uses Sony’s 12.2MP Exmor CMOS Sensor while the a7R II houses the 42MP Exmor R BSI CMOS Sensor. Obviously this makes the Sony a7R II the better choice for photographers who need lots of megapixels. But let’s look at the video test results now, shall we? Sony a7S II dynamic range tested with a XYLA-21 transmissive chart. Dynamic Range Dynamic range is important for us filmmakers, it gives us the ability to capture high contrast scenes without over or underexposure, highlights and shadows are saved resulting in an organic, filmic look and in theory gives us more leeway in post production. In theory: The dynamic range on a7S and a7S II was identical in Slog2. The a7R II could surprise us though as it has a different sensor. In reality: At 4K resolution in Slog2 gamma mode the Sony a7R II (ISO 800) had half a stop more dynamic range than the Sony a7S II (ISO 1600). This is interesting. However the Sony a7S II now also features Slog3 gamma which wins back that half stop. We determined a maximum usable dynamic of slightly above 12 stops on both cameras. We use a a DSC labs XYLA-21 transmissive chart and IMATEST evaluation software with a crisp Zeiss 50mm CP2 T/2.1 makro lens. Dynamic Range Conclusion: Set your Sony a7S II to Slog3Cine (PP8 under Picture Profile Settings) in order to match the a7R II dynamic range. However Slog3 is not an ideal gamma mode as the camera is limited to 8-bit color, resulting in banding issues, so Slog2 (PP7) is the preferred gamma setting. The a7R II wins this first point, but not by much. Rolling Shutter The so called “rolling shutter” is a phenomenon that skews a camera image when fast moving objects are recorded or during fast pans and handheld camera movement. In theory: Users have reported severe rolling shutter on the a7R II, but then again the a7S II doesn’t hold up too well also. Let’s see how they compare. In reality: In 4K the Sony a7S II had the same rolling shutter performance as the original a7S. Using the best image quality mode on the a7R II (4K super35mm crop mode) we can indeed see that the rolling shutter effect is about 12% more severe on the Sony a7R II. However in 4K full-frame mode, which is slightly softer, the a7R II has about 50% better rolling shutter performance. Rolling Shutter Conclusion: Both cameras have a strong rolling shutter effect in their best quality modes, just like most other cameras that use a large CMOS sensor. The a7S II performs slightly better here. To improve rolling shutter you can use full-frame mode on the Sony a7R II. Resolution / Quality The resolution comparison between the Sony a7S II vs. a7R II is quite interesting. Both cameras can record a beautiful 4K image internally with a variety of different crop and HD modes. Let’s see how this one turns out. In theory: The cameras share a lot of similar specs in video mode, like the 100Mbps XAVC-S codec, 4K (UHD) internal recording, but the recording and crop modes differ as follows: The Sony a7S II records: 4K Full Frame: up to 30 fps HD 1.6 crop: up to 60fps HD 2.2 crop: up to 120fps The Sony a7R II records: 4K Full Frame & 1.6 crop: up to 30 fps HD Full Frame & 1.6 crop: up to 60 fps 720p: up to 120fps In reality: Left: a7R II (crop) 4K | Right: a7S II (FF) 4K On the left you can see a comparison (100% crop images) between the Sony a7S II vs. a7R II in their best 4K modes. Overall the image looks really really similar. But I can see two things: 1. There is some slight sharpening happening in-camera on the Sony a7R II. If I add slight sharepning in post to the a7S II image it looks pretty identical. Left: a7R II (crop) 4K | Right: a7S II (FF) 4K 2. The a7R II seems to resolve a tiny bit more detail, but it is not affecting most regions of the image as they get washed out by some internal processing. This is only apparent in the danes-picta sector star chart and the actual difference is minimal. Left: a7R II (FF) 4K | Right: a7S II (FF) 4K When we switch the Sony a7R II to full frame mode, the image gets a little bit worse, but is still beautiful. It resolves a bit less detail and there is some more aliasing / moiré introduced than on the crop mode. Still very usable. HD Modes: We found out that the a7S II’s HD modes pretty much match the quality of the original a7S. What about the a7R II? In crop mode the a7R II is softer with some aliasing and not really recommendable. In full frame mode however the Sony a7R II gives us acceptable results that are comparable to the quality of the original a7S and are very similar to the image of the Sony a7S II. We took the following shot comparing the a7R II crop mode to the original a7S in crop mode: Left: Sony a7R II (crop mode HD) | Right: Sony a7S (crop mode) As we’re currently in Japan for InterBEE (tradeshow next week) the large Japanese symbols reveal how strong the aliasing in HD mode really is. Resolution / Quality Concsluion: The images on both cameras look remarkably similar in terms of quality and resolution. Especially a7R II crop mode vs. a7S II full frame mode are hard to differentiate. The a7R II in full frame is slightly worse, but still very usable. In HD only the full-frame mode is usable on the a7R II. Lowlight Here’s an interesting part. Can the a7R II match the lowlight capabilities of the a7S II? The short answer is: No. In theory: The a7R II has more pixels on its sensor than the a7S II, hence the a7S II pixels can be larger and capture more light resulting in better lowlight performance. Let’s see the results: I compared ISO speeds of both cameras up to ISO 25,600. Surprisingly the a7R II doesn’t hold up so bad in lowlight at all. It can almost match the a7S II detail in low ISO modes. What I can always see is the a7S II having better noise performance. The image is cleaner. Anyway, with a little bit of noise the a7R II looks ok up until ISO 12,800 and does resolve details in the shadow areas. When we switch to full frame mode on the Sony a7R II though, the results are quite unusable. Even at very low ISO’s it is not nice. ISO 6400 is already quite noisy. Lowlight difference between Sony a7S II (top) and Sony a7R II (bottom) at ISO 25,600. Shot brightness was matched. Lowlight Conclusion: In lowlight and noise the Sony a7S II is clearly the winner with an edge of about 2 stops. However the Sony a7R II in crop mode is a pretty good performer. It can retain good shadow detail up until ISO 25,600, but there is clearly more noise than on the a7S II. If you want the best and cleanest lowlight camera go for the a7S II. Which One Is Right for You? Each of the two cameras has some strengths and weaknesses. Let’s summarise this now: The Sony a7R II has the following advantages: It can produce 42MP still images, a resolution almost 4x higher than the a7S II. The option of a great crop mode in 4K besides the full frame (FF usable if you have sufficient light). Good lowlight in crop mode. Note: Many readers commented on the overheating issues they experienced with this camera. Apparently some units are shutting down during long takes in warm environments. Keep that in mind when you make your buying decision. Price: $3,198 (LINK) The Sony a7S II has the following advantages: Slog3 Gamma Mode (not always recommended) & gamma assist feature. Slightly better quality full frame mode in 4K. Slightly better rolling shutter performance. Better lowlight, cleaner image. 120fps slow motion mode in Full HD. According to user reports less prone to overheating on long recordings. $200 more affordable. Price: $2,998 (LINK) Conclusion There’s really not a big difference between the two cameras, both on the outside as well as on the inside. The video colors are very balanced on both cameras and they produce a good internal 4K video. There’s no way you could tell the images apart without deep analysis and even in lowlight the cameras are not so far apart. If you would like to use your camera for high resolution photography the Sony a7R II is clearly your preferred choice. It is also more versatile as it offers crop mode which can be used with APS-C lenses or a SpeedBooster to get an extra stop of light out of full frame EF lenses. On the other hand the Sony a7S II could be your choice if you’re only doing video and lowlight and a clean image is important to you. You’re restricted to full frame lenses for best quality, but you get Slog3 (if you need that) and somewhat usable 120fps slow motion. Which is your camera of choice? Let us know your arguments in the comment section. I hope this comparison answered all your questions. If it helped why not get your gear through the links to our sponsor. Thank you and good light for your shoots.Read more
[UPDATE]: Check out our extensive Sony a7S II / a7R II Cage Review At IBC 2015 we saw a lot of camera cages made specifically for the Sony A7R II and Sony A7S II. The Varavon Zeus caught our eye with its very modular design, snug fit and cable clamp options. If you’re looking for a Sony A7S II cage you’ll soon have a lot of choice. Many manufacturers are designing Sony A7R II and Sony A7S II cages. At cinema5D we recently looked at the best cages for the Sony A7S and Varavon’s Armor II a7S Cage was our favourite. We’ll soon undertake a similar comparison for A7S II cages. For now the Varavon Zeus looks like a great option. It is very modular, felt very robust yet lightweight and the new cable clamp system looks promising as well. The Varavon Zeus is available for pre-order for $312 or $367 with a second handle at HERERead more
Sony just surprised everyone by announcing the Sony A7rII, the new generation of its high-resolution interchangeable lens camera from the incredibly popular A7 line. The photos from this camera feature a whopping 42.4 megapixels – however, it’s not the photo features we are usually most interested in … The Sony A7rII incorporates features from the recently updated A7II like the 5 axis SteadyShot sensor stabilization, which does a pretty good job at getting rid of micro jitters commonly seen when using unstabilized lenses. Even more importantly, Sony managed to introduce internal 4K recording, either using the full 35mm sensor or a Super35mm crop section of it. Amazingly, Sony claims that this 4K crop mode happens without pixel binning – which means that this mode is most likely to be entirely aliasing and moiré-free. I can’t wait to be able to record internal 4K on Sony’s A7 line, which means it’s not necessary to use external recorders like the Atomos Shogun (on the A7s) anymore in order to get 4K in such a small package from a full-frame camera. The codec used for recording is XAVC S7, with 100MBit in 4K and 50MBit in 1080p modes. The A7rII also features SLog2 gamma settings for maximum latitude in video recording, just like the A7s and A7II. This camera will not be as light sensitive as the Sony A7s due to the high resolution of the sensor (pixel density), one of our current favorite cameras of all of us here at cinema5D, however it features a new rear sensor illumination technology (BSI) which should make it better in low light than its predecessor – we are looking forward to be surprised. Now with both other models in the lineup replaced by their Mark II successors within just over a year, it’s only a matter of time until the A7sII will appear as well. Sony have released a 4K video from the A7rII which looks nothing short of spectacular, even with YouTube compression … the details in the leaves on the trees are exceptional, for instance. The camera also features their new Fast Hybrid AF system, which is supposedly a much faster phase detection autofocus system (see video below) – of course, this can only be utilized with Sony’s own E-Mount lenses, which are becoming more widespread as more lenses are released. Unfortunately, they can’t compete with Canon yet in terms of speed of most lenses as well as the range of lenses available. I personally EF Mount Zeiss and Canon lenses with a Metabones adapter on my A7s and FS7 cameras. I don’t quite understand how they manage to dissipate heat from the sensor in such a small body when recording 4K continuously, so we are looking forward to hear more from Sony on that. Also it will be interesting to see how well the normal batteries perform because from experience with the A7s, batteries can drain relatively fast when using the camera extensively for video shooting – and of course 4K is expected to draw even more power in a shorter time. One more thing is the newly designed OLED Tru-Finder which gives better edge-to-edge sharpness in the viewfinder than before. Sony also announced the RX10II and the RX100IV together with the A7rII – please find press releases with all the details about these cameras here and here. The Sony A7rII will be available for preorder from B&H from June 17 and will ship in August. If you appreciate all the work we put into cinema5D and are in the market for this amazing camera (that we can’t wait to get our hands on), we appreciate your kindness to order the camera on B&H through one of the affiliate links on this page. It costs you nothing more. Thanks! RX10m2: 20.2MP 1″ Exmor R CMOS Stack Sensor BIONZ X Image Processor Carl Zeiss 24-200mm f/2.8 Lens (35mm Eq) 3.0″ 1228K-Dot Tilting Xtra Fine LCD XGA OLED Electronic Viewfinder UHD 4K 3840×2160 at 30p/24p Super Slow Motion 960 fps Video Built-In Wireless and NFC Connectivity Low-Light Sensitivity to ISO 12800 Super Sonicwave Motor for Fast Autofocus via Sony USA, SonyAlphaRumors and NewsshooterRead more
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