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    Sony A7III vs Pocket Cinema Camera 4k
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    I have had a lot of people on my YT channel claim that the A7III would kill the Pocket4k eventhough its mainly a stills camera. I have to see for my self. First Test. Skin Tones with downloadable.




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    footage from both cameras is disturbingly off.

    not sure why this was posted in the sony thread.

    it is quite easy to get good colors from the sony.

    in the following a7 III sample clip, I did no color correction to the skin other than pulling down shadows and boosting saturation. no LUTs either.

    https://www.youtube.com/watch?v=K11_mlwN3A4

    your contention that a dedicated video camera should shoot better footage than a hybrid camera is misplaced. there is no reason why a hybrid can't record stunning stills as well as gorgeous video.

    soon enough, there will be several full frame mirrorless cameras on the market that not only shoot 4K RAW, but which will also have outstanding eye detect AF, weather-sealing, tilt screen, IBIS and dozens of other indispensable features not found on the P4K.
    Last edited by jonpais; 01-10-2019 at 03:43 AM.


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    Don't count on Sony having one of those cameras. They will still have 8 bit XAVC 100Mbps till the end of time.

    Quote Originally Posted by jonpais View Post
    footage from both cameras is disturbingly off.

    not sure why this was posted in the sony thread.

    it is quite easy to get good colors from the sony.

    in the following a7 III sample clip, I did no color correction to the skin other than pulling down shadows and boosting saturation. no LUTs either.

    https://www.youtube.com/watch?v=K11_mlwN3A4

    your contention that a dedicated video camera should shoot better footage than a hybrid camera is misplaced. there is no reason why a hybrid can't record stunning stills as well as gorgeous video.

    soon enough, there will be several full frame mirrorless cameras on the market that not only shoot 4K RAW, but which will also have outstanding eye detect AF, weather-sealing, tilt screen, IBIS and dozens of other indispensable features not found on the P4K.


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    Quote Originally Posted by theillestmc12 View Post
    Don't count on Sony having one of those cameras. They will still have 8 bit XAVC 100Mbps till the end of time.
    Lol, I echo this sentiment.


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    Hogwash. Up until very recently, only two mirrorless cameras shot 10-bit - and both were made by Panasonic - with Fuji, Nikon and Canon belatedly entering the game toward the end of last year. The a7 III was released nine months ago, when no other full frame camera shot 10-bit either. And Canon’s (EOS R) externally recorded 10-bit is pretty weak. So 10-bit in and of itself does not tell the whole story. FWIW, Slashcam thinks it entirely possible Sony’s a7s III offers RAW.

    But I could care less, as I shoot for Web delivery, not Hollywood. I save tons of hard drive space which in turn saves me money. And as we’ve already seen, if you can’t shoot and grade worth a damn, it makes little difference how much bit-depth your camera’s got.

    Impossible to take seriously someone who uploads a video entitled 'Panasonic GH5s bokeh'. smh
    Last edited by jonpais; 01-11-2019 at 01:41 PM.


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    An article examining where the industry is headed written by Sareesh Sudhakaran five years ago is very pertinent here. First, regarding my earlier statement where I state that hybrid cameras should be able to shoot great video as well as stills.

    Wolfcrow writes:

    After 2007, roughly from the time the Canon 5D Mark II became a legend, there is a strong correlation between the number of still camera models and video camera models released every year. The correlation is greater than 0.9.

    This tells us, in no uncertain terms, that the future of stills and video is intertwined.


    Further on, he says:

    Integration of video and stills just because it’s possible in a CMOS sensor. If you integrate them, then the sensors become cheaper to manufacture.

    The result? Expect all future cameras to shoot both stills and video, and we’ll no longer have separate industries at least as far as hardware is concerned.


    Which is exactly what has happened. Partly as a result of cheaper sensors, we now have several very capable full frame mirrorless cameras that shoot 4K video, all packed with more tech than anyone could have imagined only five years ago. So in a sense, the P4K is a gigantic leap backward in time, with its small crop sensor, no AF-C, no weather sealing, no EVF, no tilting screen, no IBIS, no magnesium alloy body and a noteworthy inability to shoot stills.

    Sony has led the way, the others sheepishly follow. As a matter of fact, the growth of large format cinema - according to Jon Fauer, the biggest change in the industry since the advent of talkies - is partly attributable to the insane popularity of Sony’s a7 series.

    https://wolfcrow.com/camera-trends-o...e-future-hold/
    Last edited by jonpais; 01-11-2019 at 06:54 PM.


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    The Pocket 4K is not a traditional Japanese stills/video hybrid.

    It's a cinema camera that's designed by an Australian company and has features in common with their other products.

    There are two forums dedicated to this camera that don't care about the sensor size (SBs are available), no AF (most use manual cine glass), and no EVF or tilting screen or IBIS (the same could be said for ARRI and RED whose cam ops use third-party accessories).

    It's in a completely different category because if it were to be compared with Japanese stills cameras that shoot video it would be years behind as you mentioned.

    This camera appeals to independent filmmakers that have certain features in mind: RAW and ProRes recording, 4K/60p (only the GH5, GH5s, X-T3, and 1DX Mark II currently have it), high-quality 120p, 3D-LUT recording, and other features that may not be found in any of the new mirrorless'.

    Sony indeed has had a major impact (probably the greatest in the last 4-5 years after Canon's 5D Mark II), but Panasonic has contributed a great deal with their GH series as well, and others are releasing great cameras too (Canon, Nikon, Fuji, Olympus).

    The Blackmagics are on the ARRI and RED shelf.


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    Quote Originally Posted by NorBro View Post
    The Pocket 4K is not a traditional Japanese stills/video hybrid.

    It's a cinema camera that's designed by an Australian company and has features in common with their other products.

    There are two forums dedicated to this camera that don't care about the sensor size (SBs are available), no AF (most use manual cine glass), and no EVF or tilting screen or IBIS (the same could be said for ARRI and RED whose cam ops use third-party accessories).

    It's in a completely different category because if it were to be compared with Japanese stills cameras that shoot video it would be years behind as you mentioned.

    This camera appeals to independent filmmakers that have certain features in mind: RAW and ProRes recording, 4K/60p (only the GH5, GH5s, X-T3, and 1DX Mark II currently have it), high-quality 120p, 3D-LUT recording, and other features that may not be found in any of the new mirrorless'.

    Sony indeed has had a major impact (probably the greatest in the last 4-5 years after Canon's 5D Mark II), but Panasonic has contributed a great deal with their GH series as well, and others are releasing great cameras too (Canon, Nikon, Fuji, Olympus).

    The Blackmagics are on the ARRI and RED shelf.
    While I agree with much of what you've written,

    A great many P4K owners, reviewers and prospective buyers would have welcomed a weather-sealed body, an EVF and a tilting LCD screen. You know I'm not making that up.

    And I've yet to see anything on Netflix or at the local theater shot on a Blackmagic camera, so I'm guessing they're not used much for big-budget feature films like ARRI or RED.

    But none of that interests me much: partly because I'm not a Hollywood filmmaker - I just deliver content on the Web - as will 99% of P4K shooters - and because I already decided months ago after much deliberation that a full frame mirrorless camera better suits my needs.

    Just as I assume that the one or two independent filmmakers at DVXuser who occasionally read this thread have.

    What irks me is that a P4K owner would post a silly video in the Sony thread with image quality that, to be kind, is less than stellar, comparing the P4K to the a7 III and make unwelcome anti-Sony jibes.

    Were I to do the same in the BMCuser thread, I'd be torn to shreds.
    Last edited by jonpais; 01-13-2019 at 04:48 AM.


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    I absolutely love my A7S2, it has been a work horse. I've used it 50/50 photos/video but recently mostly just photos (and astro) as I love the fat pixels that give it a medium format look. I am starting a long film project though and am using two Pocket4K's for various reasons...mostly Blackmagic Raw, ProRes, and I really like the color science - it's just very easy to grade. This is not to say Sony is not easy to grade...I just like the grain from BM sensors and I'm more used to grading footage from those cameras (was a heavy original BMPCC shooter). Also the scopes I am using for anamorphic work better for a smaller sensor and I need a bit of depth of field when wide open. But I have no qualms about having to change to Sony if the need should arise, fantastic cameras and very excited to see what the A7S3 will do for the industry.


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    My Verdict



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