A7S 4K RAW recording on the Shogun?

The original cineon log format for film scans was 10-bit, fwiw.
The digital cinema standard is 12-bit, but it uses a non-log curve (2.6 power gamma) and the bitdepth is chosen so that it is future proof. 10 bits is around what you need for DCI color space.
For a very wide gamut like rec2020 (larger than digital cinema) 10-bit is surely not enough (i've seen 11 bits mentioned for it), but there are no rec2020 displays that I know of (yet). Hence the "typical gamut" I mentioned above.

So yeah, ideally 12-bit log raw would be better, but 10-bit log raw is damn good already. And it is certainly more than enough for Rec709.
Frankly, the difference in datasize between 12 and 10 bits is not that big, so if your camera can do 10-bit raw, you might as well stick 12-bit raw in there. :)

Are there other cameras doing 10-bit log raw besides the SI2K and the C500? Can't think of others off the top of my head.
 
10-bit log is definitely enough, either in RGB/YUV or in RAW format. I actually prefer to have the image debayered, if it is done properly. That's hardly ever the case, but it seems the a7s is doing a very nice debayer. Either way, this is just dreaming...
 
12 bits is four times more gradations than 10 bit.. I Don't think they are really close.. Just another 2k good enough and 4k discussion.. Its endless..
For me, I'd always like to get the best possible results if have more bitdepth option I'll definetely use (if possible with my current workflow) cuz the good enough mentality is way far from my mind, and am pretty sure about the differences, cuz I tried them.. Actually I consider all imaging technology (we are using now) immature and always needs workarounds to simulate reality .. Like we have just seen cameras with 16 stops of dr.. The road is still long..
 
Unfortunately its obselete in my country.. you need three features together to put the lab back to work.. You can never convince a producer to go this route.. Plus digital is now more mature in terms of flexibilty and low light senstivity..
 
Well, of course 12 bits is better than 10 bits. Then again, 14 bits is even better. And floating point 32 bit is a whole lot better too...
But I am yet to see any shortcomings of 10-bit log.
 
High dr scenes + heavy grading + 10 bit = banding , posterization and poor color rendition.. Am speaking of alexa 4:4:4 10bit
 
It would have to be a very, very, very dramatic grading, over some very particular footage too. And still I'd tend to blame final encoding.
 
i had the fs700 and 7Q, it record 12bit raw, i import to davinci resolve to convert it into mov file, export at prores 4444 or prores 422, 10bit i think? i only adjust exposure and add a little saturation and minus a bit contrast (depend on footage) in davinci resolve. The rest grading i will do in FCPX with magic bullet and some other plugins.

12bit raw file of fs700 is TOO GOOD, i made mistake for first try and film shooting, underexpose way too much, but the raw file save my ASS! incredible dynamic range bring back the image to correct exposure, and it just give me slightly sharpness loss and some noise in shadow! ONE WORD: STUNNING! most of the original footage exposure is unusable! if not because of the power of 12bit and dynamic rangeof fs700, i will give up on this film, i can't reshoot everything in short time and the submission deadline is near.

10bit 4444 is much more richer in color, which i like to export in this format if i want the colour be more saturation. If not, 10bit 422 is very enough to use.

About A7S having same profile with fs700 and 8bit limit like fs700 internal, actually is pretty easier to grade compare to normal camera without profile setting. Just make sure film everything at correct exposure will do! And the low light power of a7s will easily help you to use high iso to get the correct exposure too! So i think not a real big trouble. I like fs700 profile 8bit that i never can get from other camera, BUT i do LOVE fs700 12 and 10bit.
 
I use the fs700 and O7Q, I find that exposure is on a razors edge. I know that highlights in general are compressed in the bit stream so I don't like to ETTR but I also hate noise (ETTL). I find from experience that exposure in the center with a slight bias to the right (for that extra room to move is the sweet spot). To have beautiful rich imagery with the biggest highlight range and little to no noise.

I am interested in the a7s as the perfect partner for the Fs700, A7s nighttime cam and photography bonus and the FS700 daytime cam with HFR bonus. To make a really nice kit.

The only real disappointment to me was the 8-bit output, why use s-log2 with 8-bit? From my grading experience s-log 2 falls apart much quicker in 8-bit AVCHD 4:2:0 (fs700 internal), but it's phenomenal in the O7Q (eg. 4K2HD prores HQ 10-bit).

Also RAW recording is a massive pain to work with I much prefer the 10-bit codecs for great graded images. If you expose log correctly you'll get beautiful film like images rich in DR. Working the O7Q in 4K2HD in rec709 is an amazing quality and super fast workflow for web delivery.
 
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