Wait a second… Gary Fong is doing a Hollywood movie? Well, it gets even better: the upcoming movie was shot only with Sony a6300 and Sony A7s II cameras and features two old acquaintances: Tommy Wiseau and Greg Sestero. Expect greatness! Best F(r)iends with Gary Fong Gary Fong, the photographer and entrepreneur, Tommy Wiseau and Greg Sestero. Hollywood? Well, I think I have to go back a little in order to fully convey the story. In 2003, actor/writer/director Tommy Wiseau teamed up with Greg Sestero to produce a movie. The Room is to this day still considered both one of the worst films of all times, and a cult classic B-movie that is just great fun to watch. Well, since a picture is worth a thousand words, have a look: Just like Wiseau, Gary Fong is a jack of all trades. He is a former wedding photographer, invented the so called lightsphere light-forming flash accessory and has also written several screenplays. But now he has taken a step further by teaming up with Wiseau and Greg Sestero in order to create a feature film called Best F(r)iends, this time as a director. According to Wikipedia, the whole movie was shot in secret in Los Angeles and Kelowna, British Columbia. Since cinema5D is all about cameras, it’s time to get to the heart of this story. You see, the whole movie was shot on Sony a6300 and Sony A7s II cameras, most of the time with Sony G Master lenses, namely the 50mm f/1.4, 85mm f/1.8, and 24-70 f/2.8. The trailer is quite confusing and I don’t want to dive into the story too much. I think you have to decide for yourself if this is something for you or not. Have a look: How to describe such a trailer? Here are a few comments from PetaPixel.com: “Not sure if I should feel dirty or just weird, but… It’s got Wiseau, and I feel an odd urge to see it.” “Nobody watching anything with Wiseau in would expect anything above b-grade, it’s part of the fun.” “YOU’RE TEARING ME APART LISA” I have nothing else to add except one thing: it’s not a Hollywood movie yet. The team is currently working on a distribution deal, with a clear aim to have it released in theatres. Other examples I don’t know if this is the most outstanding example of what these cameras are capable of, but it’s still impressive that whole movies are being made with these tiny devices as opposed to fully rigged up cinema camera setups. It’s not the first time that a consumer camera is used to produce a film, of course. As an example, have a look at this beautiful example. Can you guess when this movie was shot, and with what camera? This movie was shot… wait for it… in 2013 on a Panasonic GH2. Quite impressive! You have to draw your own conclusions from comparing these two movies, but I think there is an important point to be made: in times of tiny, yet very capable, digital cameras, it’s not the camera that makes the movie, it’s you and your passion. It may end up being a very strange b-movie or a must-watch feature, but in the end it’s the result that counts, not the camera tech that made it possible. What do you think? Any Tommy Wiseau fans in the house? source: Head over to PetaPixel.com for more information and some stills from the movie.Read more
FilmConvert has announced support for the Sony a6300, offering accurate camera profiles to start your film stock emulation look on the sub $1k 4K mirrorless camera. FilmConvert made the announcement earlier this month, and we’ve had a chance to apply the new profile to our existing in-the-field test of the Sony a630 above. Click here to read the full article on our first impressions of this camera. Like many Sony cameras nowadays, the a6300 caused a bit of a stir on announcement, bringing APS-C log 4K recording in a mirrorless body at an even cheaper price (sub $1000) than the Alpha 7 series, not to mention its super fast auto focus. In addition to our First Impressions article, we’ve also lab tested the Sony a6300, and taken a good look at its low light capabilities. We’re already seeing accessories like cages starting to pop up, and now support in the post production sector from FilmConvert demonstrates even further that third party vendors are taking note of this camera. In case you hadn’t heard of it, in a nutshell FilmConvert is both a standalone software and extension app for NLE systems like Premiere Pro, Final Cut and Sony Vegas that offers realistic film stock emulation. You start with a base camera profile, tell the software what camera you are using and pair this with a film stock of your aesthetic choice. Grading can then be applied to tweak your desired look. It’s support for the initial process enables you to accurately apply film stock looks to the Sony a6300. Support includes all flavours of S-log 2 and S-log 3, as well as 709, Cine 1 and Cine 4. Download here.Read more
We found that the new Sony Alpha a6300 mirrorless camera is delivering excellent 4K video at a very low price. Using an external recorder we can use easier-to-handle and higher quality codecs. In this guest article cinema5D reader Doug Stanford describes his experience working with the Sony a6300 and Atomos Shogun. — Intro by Sebastian Wöber Check out our Sony a6300 Reviews: Sony a6300 vs. Sony a7S II Image Quality – How Good is it Really? Sony a6300 Low Light Test – a Mini a7S II for Much Less? Sony a6300 Review – Real-World Video & First Impressions Download & Grade Our Sony a6300 Footage – 4 Free LUTs by James Miller The Sony a6300 and Atomos Shogun As a full time freelance commercial/corporate comm/lifestyle DP living just outside of Washington DC, I’m always trying to balance competitive workflow and deliverables with gear that I can afford as I build my equipment arsenal a year and a half in to self-employment. I’ve been searching for an upgrade to the 5D mark II that would give me a few key features that have been lacking for my clients – 4K acquisition, a robust codec for color work, external monitoring, and high frame rate shooting – but without making the leap to a cinema body just yet. With the announcement of the Sony a6300, it finally felt like the time to jump to an updated and more modular solution had arrived. I selected the Sony a6300 and Atomos Shogun (Note that Atomos recently introduced the Ninja Flame), with the Metabones Speed Booster to be the foundation of my new rig, as I already owned a collection of Canon primes. My 2016 goal has been to grow my commercial/corporate comm business, but for now I still need to be able to shoot on location at weddings that can last 8-10 hours, so I used that as a baseline for my rig’s stamina. I rarely come back with more than five hours of footage from these, so 4x SanDisk Ultra II 480GB SDDs that can record just shy of 6 hours of 4K ProRes 422 (HQ) collectively seemed like the minimum I could stock. Similarly, after running some tests it seems like both the Shogun and a6300 can run reliably for an hour and a half per battery (note: Atomos and Sony brand batteries – I have tried 2 varieties of off-brand batteries and found at best they’re about 20-30% quicker to burn out), so 4x Atomos 5200ma and 4x Sony NP-FW50 is the minimum I can bring with me to most likely make it through a full day. Often times I’ve struggled with low-light during receptions and I’ve grown to love the field of view that a full frame sensor provides, so the Metabones Speed Booster was a no-brainer to add to the setup. My media management has been challenging to think through – I work off a Glyph 4TB RAID drive that definitely can’t support holding on to too much footage at 4K ProRes 422 (HQ) sizes. My strategy (for now) has been to down-convert on ingest to 1080P ProRes 422 for self-produced projects that don’t demand extensive color treatments or 4K deliverables. I’ll retain the benefit of the supersampled 4k->1080P sharpness and noise but be working in post start-to-finish at the resolution that I’m delivering at 99% of the time. Shooting with the a6300 and Shogun I shot this video as my first trial run with the rig outside of the house. I wanted to put it through the challenges of high contrast, bright sunlight shooting and see if it could hold up and provide shadow detail without blowing the clouds – an issue I ran into constantly with the 5D mkII. Processed with VSCOcam with f1 preset Some notes on how this was shot: I used PP7 in it’s factory mode: S-log 2, no settings altered. I had a Tiffen 72mm Variable ND filter on the lens to keep my shutter speed at 1/50 and f-stop typically around F/2.8 and ISO 800 (natural ISO/lowest available in video mode). There are some scenes where you’ll catch some of the unpleasant X-pattern from setting the ND filter to it’s max darkness, I’ve added an additional 0.6 ND B+W filter to my collection since shooting this to avoid having to crank the variable ND as high. I unfortunately recorded nearly all the footage at 422 (LT) by not remembering to double check my settings before I headed out, but thankfully it didn’t have a lot of impact on the footage, which didn’t receive a very heavy grade in post. I shot in a lot of direct sunlight for about 45 minutes – simultaneously to the a6300 and Shogun, using the a6300 to trigger recording via HDMI – without running into any heat issues thankfully, but it was pretty cool out and I wasn’t shooting clips back-to-back. I did my 4k 422 (LT)->1080P 422 conversion via Media Encoder CC on import, edited in Premiere, and sent it to Resolve for grading where I used a modified version of Casey Wilson’s REC709ish for A7s S-LOG2. My tweaked version has a lower contrast, a subtle warming in the shadows, and a bit of desaturation in the highlights and shadows, which I was using on the Shogun to preview while shooting. You can download my version HERE. Throughout the grade I was impressed by how rich and vivid the colors became as soon as I loaded the LUT onto a corrector node. I played with exposure here and there and corrected UV hazing on a handful of shots, but for the most part the footage is pretty un-corrected. The especially impressive parts are the shots of ivy vines and the black bar gate blocking an alleyway, both of these pulled detail out of the shadows that blew me away. Furthermore, the shots where I aim directly at the sun for flaring came out beautifully – no apparent banding or harsh steps out of blowout; the Speedbooster adding a few extra element flares that I’m fine with. Overall I can’t say enough about how happy I am with the sharpness and clarity of the image. Having had the opportunity to shoot on a C100 (with Atoms Ninja) and RED Scarlet with my lenses on a number of jobs in the last year I can say that the sharpness and noise levels of this camera are impressive compared to these workhorses. The Trade-offs There are of course some trade-offs to be made with a camera body that offers these features at such an affordable price point. The primary issue I have with the camera is the very noticeable rolling shutter, which has been written about by a lot of people at this point. Unfortunately the reviews are all being pretty fair, it would be challenging to use this camera entirely handheld and fast motion in the frame is going to suffer. Initial testing with Premiere’s Rolling Shutter Repair effect is promising, but it feels like a bandaid to a fairly large problem. A secondary issue is overheating, which again, has been documented plenty in this body and other Sony mirrorless options. Using the Shogun seems to delay the issue but on a shoot today I finally had the camera shut off from overheating after about 3.5 hours of continuous use. So the big question is, how important is it to record to the Shogun vs. internally in XAVC? Given that the Shogun is more than the cost of the camera itself (Alternative: Ninja Flame), it’s not necessarily an easy decision, but here’s what I’ve found from comparing a few shots simultaneously shot both ways: Sony a6300 Internal vs. External Recording The a6300 takes significantly longer to overheat if you don’t record internally at all. The screen on the Shogun is much easier to view, though neither do amazing in bright sunlight. The Shogun adds a handful of precise and easy to use metering tools that can ensure you’re not blowing highlights, which can be a little unforgiving in S-LOG. The Shogun adds XLR in/out – making it finally simple to record and monitor your audio during interviews, and/or increasing your total record channels to 4 when combined with the camera’s stereo over HDMI feed. Despite being a nice 100mbit compression, the internal codec has it’s limitations. For scenes with little or subtle motion things hold up pretty well, but when you have a fast camera move, things fall apart in three areas: complex patterns, edges, and subtle gradients. Furthermore, beyond the compression artifacts you can see a visible difference in color information and an interesting contrast shift between the two versions, which I’m attributing mostly to the improved color space of the Shogun. I’ve pulled a handful of stills from test shots taken around the house that exemplify this: obvious color/contrast shift Note the highly degraded detail in the gradients of the motion blur note the loss of detail in the handle and speaker area again, obvious color/contrast differences note the loss of detail in the mic stand base’s center hole note the loss of fine detail in the wire rack’s supports color/contrast shift while you can nitpick the loss of detail in the gradients of the bokeh, this is actually the worst part of the image I could find… the XAVC held up well in this scene, which I’ll chalk up to the lack of motion and the image information being mostly in the mid and highlight tones color/contrast shift a real loss of definition and smoothness in the bokeh introduction of serious banding in the bokeh gradients, in the Shogun footage the sensor’s noise actually does a really nice job dithering these inside of the 8-bit HDMI feed, where the internal recording destroys the natural look of the Shogun footage with hard banding Final Thoughts If you’re looking to work in a capacity where you’re delivering footage to paying clients publishing to broadcast or projection, the Atomos Shogun (or Ninja Flame) can make this camera a viable option if you’re conscious of and compensating for the rolling shutter problems while shooting. If you’re working on personal projects or on your own independent film endeavors you have more choice, and you can weigh the benefits of the added image fidelity against your working budgets to decide what you need. At the end of the day, I’ll be continuing to shoot at 4k ProRes 422(HQ) despite the more time consuming post workflow and physically cumbersome production rig, I’m really excited by the results and look forward to continuing to see what this set up is capable of.Read more
The Sony Alpha a6300 is a new pocket-sized mirrorless camera that has some serious video potential on a budget. Johnnie reviewed the camera a few days ago and earlier today Nino published a lowlight test video. We’re currently looking at the strengths and weaknesses of the camera in our test lab and have decided to compare the Sony a6300 vs. Sony a7S II. For less than $1,000, we definitely weren’t sure what to expect from this camera. For the price range, decent 4K recording and an acceptable low light performance would have been great. However, numerous reviewers—ourselves included—have actually found that the Sony a6300 is performing brilliantly; in fact, it plays in the realm of cameras like the a7S II! Comparison: Sony a6300 vs. Sony a7S II Of course, no camera is without its flaws. That’s why we decided it is time to take a look at what the tradeoffs are when choosing to use the a6300, in an attempt to get an idea of just how good it is. For that, we needed a comparison point. Time for an exclusive a6300 vs. Sony a7S II article! Dynamic Range An often overlooked and a difficult attribute to quantify, I’ve decided to start by looking at the dynamic ranges at play in the a6300 vs. Sony a7S II debate. More often than not, we find that this is where many camera sensors fail to amaze—after all, a good dynamic range rating allows us to capture more shadows and highlights in hgh-contrast scenes. We’re testing with a DSC labs XYLA-21 transmissive test chart (more on how we test HERE). Our software measured about 11 stops on the Sony a6300, compared to about 12 stops on the Sony a7S II. Above you can observe the two shots subjectively. 11 stops is a good rating for a camera. Most professional cinema cameras nowadays get between 10-13 stops in our tests. Additionally, we see that the two cameras have very different noise characteristics. The Sony a6300 was shot at iso 800 (native) and there a stronger base noise than on the very clean A7S II. In this a6300 vs. Sony a7S II test, it is apparent just how clean the A7s II is, giving it the edge over the a6300. [Update:] However, the noise at base ISO on the Sony a6300 is no reason for concern. You should simply know, that you have less room for pushing the dark areas during grading. Another point to note is that, unlike the A7S II, the Sony a6300 has no difference in dynamic range between S-log2 and S-log3. However, the a6300 uses an 8-bit codec so we’d recommend avoiding S-log3 altogether; use S-log2. Lowlight and Noise Before we go any further, I have top say that we were very impressed during this stage of the test. So far, the a7S II is the camera which has shown the best low light capabilities of any camera that we have tested—and the Sony a6300 gets surprisingly close! The shots below are 100% crops from a dark area in our subjective test chart. We can see that both cameras retain detail at high ISOs. While the Sony a6300 is a bit grainy and has some minimal noise reduction artefacts, there is actually very little noise in the traditional sense—especially when the price is taken into consideration! Left: Sony a6300 Slog 2 | Right: Sony a7S II Slog 3 It seems as though there is intense noise reduction going on in the Sony a6300. Maybe this is how they managed to get such good lowlight results with this camera, even though the super35mm sensor used is much smaller than the Sony a7S II full-frame sensor and should be much more noisy. When we look at a moving image, the noise reminds me of the results of temporal noise reduction, which can be found in software like DaVinci Resolve. This algorithm calculates the difference in noise between adjacent frames. I’m not saying this is what’s happening here, but lowlight images show a kind of unnaturally slow moving noise, which might be an issue for some. Overall the lowlight behaviour is really impressive on this camera. It gets close to the performance of the Sony a7S II, though at ISO 25600 the Sony a7S II clearly retains more detail than the Sony a6300. Keep in mind that due to the sensor size you can use a Metabones Speed Booster and a full-frame lens with the Sony a6300 and win another stop in lowlight. This is what Nino did during his Sony a6300 lowlight test. Image Quality Here is a blown up shot of a tube test chart. On this chart fine lines get closer and closer together. This way we can see when aliasing kicks in or, in other words, when detail can no longer be correctly resolved on the vertical axis. What we see is that the Sony a6300 resolves similar fine detail as the Sony a7S II. The Sony FS7 obviously produces a cleaner image in terms of aliasing but that is to be expected. Codec Compression Artefacts on the Sony a7S II What we also noticed in this chart, however, is that the codec compression on the Sony a6300 is much better than on the Sony a7S II which eventually leads to a much cleaner image on the a6300 (look at the number “25” above). The Sony a7S II image falls apart and doesn’t resolve contrast details very well. Images like the one above look mushy and clouded due to some problem in the compression algorithm of the camera. The Sony a6300 doesn’t have this problem and is the winner in the a6300 vs. Sony a7S II comparison in this regard. One thing to note though is that there is a slight in-camera sharpening on the Sony a6300 even though “detail” was set all the way to the lowest number and there is a slight magenta tint in all shots. Rolling Shutter As mentioned in our initial review, unfortunately the rolling shutter effect (also referred to as “jello”) is quite terrible on the Sony a6300. In fact, with a readout speed of about 34 milliseconds from top to bottom, it is the most severe rolling shutter we have ever measured on a camera! Even worse than the Samsung NX1’s 30ms. In comparison, the Sony a7S II has about 25 milliseconds and the Sony FS7 has 14. Less is better. HD Images and Slow Motion 100% crop | Image Resolution in Full HD Sadly, this is another point where the Sony a6300 fails. The camera can shoot in full HD resolution, but the image is very soft and dirty in terms of aliasing. The Sony a7S II is much closer to the quality of the original a7S. The Sony a6300 can shoot slow motion up to 120fps in full HD. A crop of about 80% of the sensor is used in this mode. Unfortunately, the quality is almost identical to the one observed in HD mode at normal recording speeds—and in both modes, low light performance isn’t great. Sony a6300 vs. Sony a7S II Conclusion All in all, the Sony a6300 is a truly surprising camera. Who would have thought that a budget camera would perform so well when compared to the quality of the highly recommended Sony A7S II? When we compare the Sony a6300 vs. Sony a7S II, we see that the latter has slightly better quality in terms of dynamic range and low light capabilities, but the Sony a6300 certainly excels when it comes to fine image details and sharpness. Only the rolling shutter of this camera is below expectations and the HD quality is, for all intents and purposes, not recommended which makes the camera less suited for broadcast use. Overall, we’d say: Stay away from this camera if you are looking for a good HD mode and if you do lots of fast handheld shots, as the rolling shutter may become too apparent. Besides those two points, if you are looking for a camera that shoots great 4K with a quality that matches the Sony a7S II, at a much lower price-point and the form-factor of a small pocket camera, then the a6300 is a great pick. In combination with a Metabones Speed Booster, this is probably the best affordable 4K camera on the market right now—highly recommended! [UPDATE:] Note that we have not tested NTSC 30p mode. Other testers report that in 30p the camera will crop the image and give you more noise and worse lowlight performance, but better rolling shutter. If you require 30p we recommend you test the camera before you buy.Read more
The Sony Alpha a6300 is creating quite a stir – Johnnie already posted his mini documentary film shot with the entry-level mirrorless camera from Sony, and we are working on a series of further lab tests with the camera to see its strengths and weaknesses. From the specs, the camera sounds almost too good to be true: 4K internal in XAVC S on an APS-C sized sensor for below $1,000. That’s about one third of the price of the popular low-light beast, the Sony a7S II. The low-light test shoot setup Many people who saw our first review asked how it performs in low light, particularly compared to the Sony a7S II. On a rainy miserable dark rainy winter night here in Vienna, I decided to put together a versatile yet unusual handheld setup that would make the camera as light sensitive as possible. With a Metabones Speed Booster E-EF and a Canon EF L 70-200mm IS II f/2.8 zoom lens, I was out shooting a few test shots in the city center at an effective f/2.0 (gaining one additional stop of light with the Speed Booster). The base ISO of this camera is 800, but I used ISOs between mostly 3200 and 25,600 and to my surprise, the low light capability of the camera is exceptional. I didn’t do a comparison to the a7S II but it’s very very clean up all the way to 25,600 ISO. Sony a6300 with Metabones Speed Booster and the Canon 70-200mm f/2.8 Having the ability to use a Speed Booster on the Sony a6300 is a great gain because of its APS-C sized sensor, making the footage effectively look like it’s been shot on a full frame 35mm camera sensor, and adding over a stop of sensitivity. I decided to go handheld purely for practical reasons and this was not shot to win any beauty contests – I was trying to see harsh contrasts and deep shadows combined with bright lights at night, to stretch the sensor’s abilities. Please scroll down to watch an ungraded version of the UHD clip – you can also download it on Vimeo and have a play with yourself. (It’s encoded with 40MBit in H.264.) Noise reduction works differently Details of this will be highlighted in our upcoming lab tests, but we observed that the internal noise reduction of the camera seems to be working a little differently, calculating the difference between frames – which results in some ghosting with fast movement. This might be down to inferior processing power in the camera compared to the Sony a7S II. Ungraded version of the footage: Music from Music Bed: Paperchaser – The World We Made. If you find our reviews useful, please support us by buying through our links to B&H or CVP below this post. This gives us a tiny commission and keeps us going. Keeping this site running is never-ending hard work!Read more
Update: Head to our latest Sony a6300 reviews: lowlight test done by Nino and a comprehensive lab test done by Sebastian. Not long ago, the Sony a6300 was announced. After spending a day working with the camera, I am amazed at how far filmmaking technology has advanced in recent years. We’re barely into 2016 and already it is apparent that it is going to be an amazing year for tech lovers who are looking for new and affordable tools for expressing their creativity. For under $1,000, the Sony a6300 offers features which were previously unheard of in this price range. 4k (UHD) resolution, S-Log 2, S-Log 3, APS-C sensor size and an interchangeable lens system, full-HD slow motion, and up to 120 fps (NTSC mode) are all available on a budget, thanks to the a6300. I’ve been playing with the camera a lot since I got my hands on it. In fact, I found it hard to put down once I’d picked it up! However, rather than drone on about my experience with the a6300, I’ve decided a quick summary of the pros and cons will be easier to digest. Please note that these are in no particular order. Sony a6300 Pros: XAVC S 4K (UHD) internal recording 1080 100/120fps recording Dual video REC allows video proxies for slower computers when editing Excellent auto focus system in video shooting mode High quality EVF/LCD APS-C sensor and interchangeable lens system Adjustable screen World camera Charging the camera via USB is possible External audio recording (direct to the mic input in the camera or externally with Sony’s k1m/k2m XLR attachments) Manual audio control Plenty of customised button options including routing the REC button to a more convenient place Connection of the camera to the mains power via the supplied USB charger and recording while charging the battery is possible Battery life is good Sony a6300 Cons: No dedicated charger (charging the camera will eliminate you from using it until charging is done. Get an additional charger) No headphone jack Very stiff eye cap. Also, by the way of attaching it, it’s going to be very hard to replace with a better solution EVF and LCD will go blank while connecting an external recorder/monitor via HDMI (only overly information will be shown in REC mode) Somewhat noisy slow-motion (including Moiré effect) Full HD video quality is soft Noisy audio pre amps Markers in the LCD and EVF are not aligned Noticeable rolling shutter effect My Conclusion: For the price, the Sony a6300 is a really nice camera. I do wish that the higher framerate would have been a little cleaner and that it took the importance of audio a little more seriously. However, I do suppose there are limitations to what one can ask for when they’re choosing a camera in this budget. All in all, I would have the attest to the camera being a lovely tool for working with and I think it’d work well for both amateur and professional shooters—especially considering the price Notes: Overheating did not raise its ugly head during the interviews that I shot but more investigation is needed before I can provide a real opinion on this matter ALL gimbal shots were done in autofocus mode in order to test the new system. It’s very fast and accurate but please be aware that different lenses will give you different results. In those shots the Sony 16-35mm f/4 was used Audio was recorded in camera. I really wish there was a headphone jack I have not had a chance to test the camera’s low light capabilities yet but there’ll be a post coming shortly with regards to my experiences using the a6300 in low light, so keep your eyes peeled for that! Download and grade the footage for your liking: Camera picture profile used in this video: S-Log 2. Shot mostly on 800 native ISO, Edited on Adobe Premiere CC latest edition. Colour correction was done with FilmConvert a6300 camera profile. Music by musicbed. Title used : Your Favorite Song by Katrina Stone A huge thank you to Katharina Almer and Cornelia Rimser for allowing me to document a day in their professional life. Please support them in finding a sponsor for their sportive activity!Read more
Sony has just announced a new addition to their line of mirrorless cameras: the Sony a6300, an upgrade to the ever successful A6000, featuring high-resolution 4K recording with full pixel readout in Super 35mm, as well as claiming the world’s fastest AF acquisition time—taking as little as 0.05 seconds to lock focus on a given subject. The XAVC S codec is used during video shooting—allowing recording at 100Mbps for 4K, and 50Mbps for standard Full HD shooting. This is obviously good news for those who do not have the budget or resources for regular 4K shooting. The Sony a6300 is the first interchangeable lens camera in Sony’s range with an APS-C sized sensor with the ability to record Full HD at 120 fps; allowing footage to be reviewed and edited into 4x and 5x slow mo video files. Also featured is S-log Gamma recording, providing the Sony a6300 with decent wide dynamic range shooting capabilities. External microphones can be used in conjunction with the camera, thanks to the addition of a microphone line. The A6300 supports XLR input via the XLR adapter kit. Sony a6300 Highlights 24.2 megapixel APS-C Sensor 4K video recording Extremely fast AF 120 fps Full HD recording S-log Microphone line for external mics XLR support The Sony a6300 will see a European release in March 2016, priced at approximately €1,250 body only and €1,400 with SELP1650 lens. A kit will also be available in April, offering the a6300 and the SEL1670Z lens for around €2,250. You can read more details on the Sony A6300 here. Has the announcement got you as excited as it has us? Let us know in the comments! Images: Sony EuropeRead more
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