A7s sample footage

On the other hand, IQ, it's dynamic range, might be so good that it scared them. It might be better then fs700, so they are crippling it to protect it. That would be good, while annoying we can find workarounds for all of those little things.

You might be on to something there!
 
My 5N records 0-109, but Premiere doesn't understand the metadata and thinks it is 0-100. After loading the files, highlights are horribly clipped. I have to apply a 16-235 levels filter, and after that the highlights come back to life. It seems that the a7s has the same metadata issue. I'm not sure if this is a Premiere-only problem, or if it is Sony's or Adobe's fault.

This video shows the before-after with the a7s: http://vimeo.com/98137975

If it make you feel better, this happens with many many professional cameras. It happens with the FS700 AVCHD as well unless you specifically set your knee or gamma to top out at 100%.
 
I don´t want to start a new thread - so I post it here.

Help Guide (Web manual)
http://support.sony-asia.com.edgesuite.net/consumer/IM/4537940111.pdf

Thanks for posting that, what I'm particularly interested in that the Help Guide that manual refers to (http://helpguide.sony.net/ilc/1420/v1/en/contents/TP0000435736.html) specifically says black level adjustment is not available when in slog2, but it doesn't say that about any other function, so I wonder if I'll be able to drop down the shadow gamma and turn up the saturation in camera while in slog2 gamma and get the widest DR while still shooting images that don't need a LUT/grade. I've been wishing for that in my FS700 for a while...

Also something that is very clear from the manual and from videos posted is that all the gamma modes beside slog2 are designed to be 460% or 800% gammas which mean they throw out at least 1-2 stops of highlight DR right away compared to SLOG2 (designed for what Sony calls 1600%) and further they likely compress out a couple more. Also I wouldn't be surprised if most of the videos out there forget to take advantage of the soft clip highlight detail in the 100-109% range that most NLEs hard clip off. Basically you will always want to shoot in SLOG2 and never judge the capabilities of the camera based on any videos not explicitly shot in SLOG2.
 
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I don't mind having to add the 16-235 adjustment in post, I haven't forgotten to add it in quite some time, and it's a better use of the already-limited 8-bit color space.
It's just that if somebody brings the footage to Premiere and from there to vimeo without sorting this out, the image will look awful.

Says you.. Having shot regularly over the past few years with f3 and c300, I would hardly say there is any difference at all in regards to DR. If anything the nod would go to the C series
Says this, from 10:00 onwards (internal recording). I haven't used any of the cameras, I was going by that test, which I think gives a pretty clear result (at +2.5 the C300 is badly clipped in her face, the F3 is not; the shadows in the black coach have about the same noise in the C300 at -4 and in the F3 at -5.5).
I think I've posted that link like a dozen times in this thread already; I leave it out once and... :)
 
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I don't mind having to add the 16-235 adjustment in post, I haven't forgotten to add it in quite some time, and it's a better use of the already-limited 8-bit color space.
It's just that if somebody brings the footage to Premiere and from there to vimeo without sorting this out, the image will look awful.


Sorry to sound so dumb...what is 16-235 adjustment?

If I shot S-Log2 on the Sony a7S, what would I need to do in Premiere?
 
Great, thanks for posting :)



Weird and stupid. I hate being right on this one. I'll keep my US preorder anyway, it's $400 cheaper and having to format the card and suffer the annoying message have to be taken into account too.


You could buy one from here, price is about the same as the US with the exchange rate (for a change).
 
Actually reading it I think it looks like NTSC gives you 24p/30p/60p; and PAL gives you 25p/30p/50p/60p... Nearly "world"... but not quite!

WTF! The specs on the Sony Australia website state that it does all frame rates. If the Pal version doesn't shoot 24p it's useless to me.

EDIT: Page 23 "Frame rate of movies:" 24p
 
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Sorry to sound so dumb...what is 16-235 adjustment?

If I shot S-Log2 on the Sony a7S, what would I need to do in Premiere?

From a couple of pages back:

My 5N records 0-109, but Premiere doesn't understand the metadata and thinks it is 0-100. After loading the files, highlights are horribly clipped. I have to apply a 16-235 levels filter, and after that the highlights come back to life. It seems that the a7s has the same metadata issue. I'm not sure if this is a Premiere-only problem, or if it is Sony's or Adobe's fault.

This video shows the before-after with the a7s: http://vimeo.com/98137975

And a couple of framgrabs too, so people in a hurry can get a hint of how much of a difference this makes

a7s_uncorrected.jpga7s_corrected.jpg
 
I saw those examples, but what are they actually doing to make those adjustments?

Just importing the clip into Premiere, and adding a "Brightness & Contrast" or "Levels" filter, then decreasing brightness?

Or is it something more specialized?
 
"Holding the camera properly
Stabilize your upper body and take a position that keeps thecamera from moving. "

So that's how you make those cat movies look so pro
:cheesy:


 
says this, from 10:00 onwards (internal recording). I haven't used any of the cameras, i was going by that test, which i think gives a pretty clear result (at +2.5 the c300 is badly clipped in her face, the f3 is not; the shadows in the black coach have about the same noise in the c300 at -4 and in the f3 at -5.5).
I think i've posted that link like a dozen times in this thread already; i leave it out once and... :)

zing!
 
EDIT: Page 23 "Frame rate of movies:" 24p

That's just the list of icons. Pages 34, 43, 70, 71 all imply no 24p for PAL camera. But it now doesn't mention restrictions on any other frame rates. I swear that when I looked at this earlier it included references to no 25p/ 50p for NTSC...

EDIT:
Oh the PAL/NTSC menu item must have been what I was looking it (still there), but I really thought it had also got asterisks next to all the excluded frame rates... Why specifically mention 24p is on 60i model only? My only guess would be that we don't get it on 50i models even if we select NTSC.
 
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Looks like it should run off a USB power supply :Drogar-BigGrin(DBG)

I was hoping for this when I saw that you can charge the battery in the camera using a micro-usb power connection, but researching further on the internet seems to show that the A7/R have this charging function as well but cannot have the camera powered by the same connection. It is only for charging. It's something but it doesn't mean you can use any ol' usb power source to power the camera for long periods of time. It does mean you could travel without a charger and just use the same charger most people use on their phones to charge your batteries though. Could be pretty handy in some situations, but its not an external power solution, for that you need the sony dummy battery adapter.
 
I was hoping for this when I saw that you can charge the battery in the camera using a micro-usb power connection, but researching further on the internet seems to show that the A7/R have this charging function as well but cannot have the camera powered by the same connection. It is only for charging. It's something but it doesn't mean you can use any ol' usb power source to power the camera for long periods of time. It does mean you could travel without a charger and just use the same charger most people use on their phones to charge your batteries though. Could be pretty handy in some situations, but its not an external power solution, for that you need the sony dummy battery adapter.


No big drama http://www.amazon.com/Adapter-AC-PW20-SLT-A33L-SLT-A55V-SLT-A55VL/dp/B0083EQS3I
 
That's just the list of icons. Pages 34, 43, 70, 71 all imply no 24p for PAL camera. But it now doesn't mention restrictions on any other frame rates. I swear that when I looked at this earlier it included references to no 25p/ 50p for NTSC...

EDIT:
Oh the PAL/NTSC menu item must have been what I was looking it (still there), but I really thought it had also got asterisks next to all the excluded frame rates... Why specifically mention 24p is on 60i model only? My only guess would be that we don't get it on 50i models even if we select NTSC.


The Pal model records 1080 60i (page 72) so it does record 24p.
 
The Pal model records 1080 60i (page 72) so it does record 24p.

That manual is so awfully vague that I am beginning to fear that AlexLeith might be right, and only what Sony refers to as 1080 60i devices (with 60i printed on the bottom of the camera) will have 24p. So when switching a PAL camera to NTSC we will get 30p 60p, but no 24p.

If so it is the most idiotic idea ever! Sony may have multiple versions of their firmware for Asia (both ntsc and pal), Australia, Europe and the US. We are not gone know anything for sure until someone from this forum or a good tester gets their hands on these camera.
 
On the other hand, IQ, it's dynamic range, might be so good that it scared them. It might be better then fs700, so they are crippling it to protect it. That would be good, while annoying we can find workarounds for all of those little things.

about that ISO changing. it's not related with any other products...absolutely nothing wrong with that cannibalism stuff we, customer always keep talking about.

we all have good news about ISO issue anytime soon so just go relax, there is no need to worry about it :)
 
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