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    #11
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    Quote Originally Posted by ejdge View Post
    I say this because I've had issues with metabones adapters for the a7s and s log is a pain to work with outdoors.
    Can you elaborate on both of these points, please? Thanks in advance!
    Charles Papert
    charlespapert.com


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    #12
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    Quote Originally Posted by CharlesPapert View Post
    Can you elaborate on both of these points, please? Thanks in advance!
    Adapters give painfully slow AF and they do not work with all lenses, and fail all too frequently. S log 2 has a nominal ISO of 3200, requiring heavy filtration outdoors, and with heavy filtration comes the need for IR cut filters to avoid IR coloration artifacts.


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    #13
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    So, are there known issues with the Metabones Mark IV EF adaptor and the A7S?
    Charles Papert
    charlespapert.com


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    #14
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    Quote Originally Posted by CharlesPapert View Post
    Can you elaborate on both of these points, please? Thanks in advance!
    Quote Originally Posted by CharlesPapert View Post
    So, are there known issues with the Metabones Mark IV EF adaptor and the A7S?
    With ALL electronic adapters there are limitations. It works enough, IS and aperture, not really for AF unless you have time. Great for video but not for rapid still shots.


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    #15
    Senior Member roxics's Avatar
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    Quote Originally Posted by IndyFilmPhreak2013 View Post
    I've met very very few working 600 pros, and even fewer ASC, who read any blogs whatsoever
    Can you fill me in on this 600 pros thing? Do you mean there are 600 pros (in a certain field) or is this some kind or organization or elite group of something? Maybe this is some kind of Hollywood lingo I'm not familar with?

    I'm far from Hollywood so I don't know all this stuff. But I love to learn it.


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    #16
    Senior Member roxics's Avatar
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    As for the 5D3 vs A7S, I don't think it's going to destroy it by any means. Most people don't upgrade their gear everytime a new camera is released. Let alone completely jump systems. Kind of reminds me of those people that have a new smartphone every six months when most people are on two years contracts. They spend a lot of money/time just to have the newest thing, which is usually only an incremental increase in quality/features. I think by the time most people upgrade their 5D3 there will be a 5D4 on the market.

    I shoot with a 60D myself right now and have been for the last year. I probably won't upgrade till next summer. By then the 7D2 will be out and possibly other Canon cameras (maybe an 80D?) with newer sensors. I'm in it for the long haul, I don't plan to jump systems just because one fancy new camera drops from X company.


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    #17
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    Quote Originally Posted by roxics View Post
    Can you fill me in on this 600 pros thing? Do you mean there are 600 pros (in a certain field) or is this some kind or organization or elite group of something? Maybe this is some kind of Hollywood lingo I'm not familar with?

    I'm far from Hollywood so I don't know all this stuff. But I love to learn it.
    IATSE Local 600 is the International Cinematographers Guild, which is a union for people in the camera related professions in film.


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    #18
    Senior Member Andrius Simutis's Avatar
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    OMG! OMG!! OMG!!! This new phone shoots 4k! I'm throwing my C100 in the garbage today! This phone will bury the Alexa!


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    #19
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    Charles: As to the metabones, he's referring to several comments made that a couple of different people on this forum, at least, have had ef to E mount adapters stop working, sometimes while shooting. Since the range of adapters is between $85 and $400, and there are reports of the most expensive one failing, my inclination is to try my hand at the cheap one for now. I think all the reports of the metabones issue are referring to Mark III and earlier, since the IV hasn't been shipping for long.

    I'm super interested in this camera as a replacement for a 5D as well, and that Charles Papert is interested in the possibilities of the camera is nice to know. In my experience, folks working every day in the TV and feature biz (I used to) tend to not be terribly interested in things that are "cutting edge"...it's not that the tech wouldn't be useful to them, but they just don't have time, or are generally only buying things that have a track record (at least for work use).

    As for the Philip Bloom comments on the previous page, I think that's terribly unfair to Philip. He has never pretended to be anything other than what he is; a camera man with experience at the BBC and as a freelancer who enjoys shooting short demonstration pieces with many of the latest cameras and lenses. Who incidentally shares an enormous amount of information with the public for free and devotes an amount of energy that I can't fathom to interacting with a user base (his readers) who range from ignorant to annoying to pros and hobbyists, but who all get a lot of value and education out of his work. I've never once seen him imply that his stuff has or should have any sort of effect on Hollywood shooters, although I think some of it has, and he seems to be tickled pink whenever Hollywood filmmaker takes notice of him. If you don't like him, don't read him, but there's thousands of people who have learned a lot from him.

    As to the "real movie industry", that's changing every day, and while so many of my friends rely on "keep it in LA" to make their living, the reality is that the industry is going to become less and less centralized, both geographically and in range of production and distribution. Tools like the A7s are speeding that along, and rightly so; in the end there will be more content, and some of that will undoubtedly rise to the top. I would rather see 100 indie films that had a low budget but *with an actual story to tell* that are shot on tools like DSLRs, with the hope that a few are actually good, than a single new "Transformers" movie being made. I've worked on $100M+ movies that had no place being made - we were all grateful for the work but in the end, if that money could have been redistributed to make better, smaller movies, the world and the art/craft would probably be a better place.
    Last edited by wallrc; 07-07-2014 at 11:26 AM.


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    #20
    Senior Member mb72378's Avatar
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    Quote Originally Posted by Andrius Simutis View Post
    OMG! OMG!! OMG!!! This new phone shoots 4k! I'm throwing my C100 in the garbage today! This phone will bury the Alexa!
    Love It! LOL. I personally feel the A7s is a one trick I pony. I light everything I shoot so it's not a huge bonus for me. Besides...lighting isn't just about overall exposure. Sure you can bump up the iso to 400,000 but the image is still going to be boring because you don't have lighting design. I just think too much emphasis is put on low light performance. Just my two cents. The Mark iii is amazing. The ML raw is insane. And let's not forget how muc everyone loved the low light performance back when it came out. The A7s didn't make the mark iii any worse of a camera. It's still the same it's always been! Any the A7s surely isn't going to kill the 5d mark iii. I have clients that are just as happy with stuff shot on my trusty HVX200 as they are with stuff shot on 5d marlk iii. These are just tools.
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