FS7: FS7 successor (rumours/expectations)

DLD said:
They are not looking at it like that. To the Japanese members of the cartel, it's a total pie, not the individual slices. Whether you make money on the GH-series or the FS-series, the only thing that matters is that you make money overall. (and Sony makes a crap load off their sensors).

But, insofar as the camera designs themselves go, Sony could have made a pro-style camera based on the A7S-series or the A-6300/6400/6500 series. And Panasonic could have done one of the GH-based series. And so on and so forth. The reason FS-7 soldiers on in its 5th year is because it's allowed a certain set of features but not others. At some point - and I believe these deals last 4-5 years - the deal expires and a new model comes out.

Meanwhile, Red and BMD poop out a design a year. That's 'cos they're not in the loop.
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This is a tinfoil hat fantasy.
 
morgan_moore said:
Sure. and the sales of the Fs5 vs DVx 200 are?

If I cant slip on a t1.2 voigtlander.. im not interested in any MFT camera.

Fixed lens is not the chameleon that 'we' need. One of the colours of the chameleon needs to be DOF blurro bohaka vision.
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I’ll have you know that sales of cameras such as the DVX200 and the new CX350 are great. Can’t make ‘em fast enough. Understand they’re not for you, but they sure are for a lot of other people.

We don’t go into things on a whim. There’s lots of research. And as much as you and a few others may ask, our extensive research shows that an EVA-like camera with an MFT sensor would not sell well enough in 2019 to make it worthwhile to offer. I know some of you will say, “Will no one asked me,” but we did ask lots of others.

Panasonic has been doing this a long time.
 
I think those not wanting Mft cine camera are those waiting out for the 17-200 2.8 s35 lens for $2k.

I’m aware that will be a long wait

—

You will be aware I think the cx 350 is a most interesting camera

Every 22yo “Dp” I know has an fs5

I’ve never seen a dvx200 - but I don’t go to church- which I understand is a big market :)

Remember no marketing department saw the need for the 5d2 to have a video mode - canon changed the market by a mistake
 
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morgan_moore said:
I’ve never seen a dvx200 - but I don’t go to church- which I understand is a big market :)

Remember no marketing department saw the need for the 5d2 to have a video mode - canon changed the market by a mistake
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DVX200: Unfortunately I have a (US)network client that has a bunch of them. Full size XLR's, SDI, built-in ND, decent image, but as a shooter, I just hate actually using it.

5D2: It was built with the video recording function on purpose. It was specificallly requested by "newspapers" and agencies like AP and Reuters so that their photographers could shoot stills and video, as this was around the time newspapers started putting video up on their websites. But the "FF"/large sensor revolution that came from that, was more or less an accident/by-product.
 
The 'bigger is better' sensor mentality just doesn't appeal to me for numerous reasons. Sometimes depth of field is too shallow and if over used can actually be annoying to audiences who have over 120 years of watching academy, or Super-35 depth of field. A DP has plenty of control on selective focus shooting S-35. I was not happy to see the marketing department at Sony rush headlong into pushing full frame everything to the point that many uninformed consumers consider APS-C an "amateur" format.

I recently purchased a new Ronin-S gimbal but am waiting to buy a camera for it. Sure I could get an A7RIII or even a A6400, but am waiting for the promised high end successor to the APS-C (Super-35 format) A6500. Hope I don't have to wait until September, lol. My FS7 is too big for most gimbals unless I want to spend $6,000, and I don't want to have to buy a new set of FF primes. I think that Doug Jensen is right saying to skip the FS5 if you already have an FS7. (So, in the meantime I have a NEX-7 on the shelf I can use for HD only on the gimbal). What I'm hoping for is 4K (DCI would be great) Super-35, 10-bit in body recording, S-LOG 2 & 3, XAVC-I or L, with or without in body stabilization, and XQD card slot would be ideal. (hey, Nikons have it, why not Sony?)
Hopefully the new technology that Sony is developing is to allow all the fancy new auto-focus features to run continuously while shooting video.
Lastly, I'd happily pay extra for the camera if it had a Global Shutter.
 
I had my FS7 for three years before I got an FS5. I wasn't sure when I got it that it was the right move to get an FS5 but looking back it has actually made me more flexible in what I do. I had other options but they complement each other as tools and work great together for two camera stuff.

But I wouldn't consider FS7 or FS5 on a gimbal. First they are just to big and heavy, secondly AF sucks on both cameras. I prefer to use an A7RIII on a Weebill Lab with great AF and manageable.
 
Cynthia Webster said:
The 'bigger is better' sensor mentality just doesn't appeal to me for numerous reasons. Sometimes depth of field is too shallow and if over used can actually be annoying to audiences who have over 120 years of watching academy, or Super-35 depth of field. A DP has plenty of control on selective focus shooting S-35. I was not happy to see the marketing department at Sony rush headlong into pushing full frame everything to the point that many uninformed consumers consider APS-C an "amateur" format.
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There was a point where “Full Frame 35” was looked down upon by photographers in the still world and considered an amateur format.
 
I think that was for resolution, not depth of field. They wanted to make large prints. A full-page photo in a magazine did not look great from 35mm. So they shot medium format.

But these were stills, to the second order. The image was a still photograph. And the subject needed to be still too. These were usually landscapes or portraits.
 
Run&Gun said:
There was a point where “Full Frame 35” was looked down upon by photographers in the still world and considered an amateur format.
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Adams shot in large and medium format cameras. For landscapes, that was the best choice pre- and post-WWII. The portrait photogs shot Rolleiflex (or its iterations) until the digital age.

(I am sure you knew that but I felt like chiming in)

In moving images, the Full Frame/Vista Vision was Paramount's's precursor to the 70mm Todd-AO/Panavision cameras, as it didn't require the new film format.
 
"The portrait photogs shot Rolleiflex (or its iterations) until the digital age."

Not to be too pedantic but probably most of us used a Hasselblad. I had Rolleis but the H range was larger and more reliable. I also used Pentax (a 6x7 beast), Mamiya, Contax (my favourite) and Bronica (great lenses, underrated). Then, like now, like many, I got seduced by the latest and "best ever". I hope you have more control than me and that YMMV!
 
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stewhem said:
"The portrait photogs shot Rolleiflex (or its iterations) until the digital age."

Not to be too pedantic but probably most of us used a Hasselblad. I had Rolleis but the H range was larger and more reliable. I also used Pentax (a 6x7 beast), Mamiya, Contax (my favourite) and Bronica (great lenses, underrated). Then, like now, like many, I got seduced by the latest and "best ever". I hope you have more control than me and that YMMV!
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Thanks for the comment. At what point did the high end portrait photography switch to digital?
 
I think I've lost too many brain cells to be accurate but for me I seem to remember around the late nineties, just after I'd seen a demo of what an early version of Photoshop could do. And it was a gradual transition, rather than sell everything and dive in. I played with film scanners, 35mm and med format, before getting my first digital camera, a Nikon D1 (or 1D?). Never looked back and strongly prefer digital with its great ability to manipulate. Sorry this is off topic.
 
DLD said:
Thanks for the comment. At what point did the high end portrait photography switch to digital?
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2006 ish.. Phase one P21 and Sinar22 (which I had) , $15k, were the first non tethered MF digital backs that had onboard memory (didn't need a tethered hard drive)

That made portable digital photography at magazine resolutions (22mp dalsa chip with 16 bit raw ) - aka 'serious portrait photography'

The D1 was the breakthrough 'press' camera in 1999 (I shot the millenium night on it) - 2.4mp for $7k. Not really good enough for magazine work but 'afford able'
 
So any new rumors about Sony's next e-mount cinema camera? Or any cinema camera for the world of documentary/TV/general production?

The F5/F55 are long in the tooth, and the FS7II has already been out 2.5 years.

I'm in the market for a new camera, as my FS7 has gotten pretty beat up over the years, but I can't decide if I should wait 6 months or jump on a 2-3+ year old "new to me" body.

FS7II has some great new features, but if they release an update in the Fall, I worry about recouping my investment. Same for F5/F55; great used deals, but just feels like shifting the furniture around.

Amira's are starting to pop up for under $20k used, so that's an option, but that camera is also getting older and doesn't do proper UHD from what I can tell, which is something my clients are now requesting almost on every shoot. Nothing new from Canon or Panasonic in a few years either.

Thoughts? Opinions? General musings?
 
Not a cinema camera, but the a7SIII should make an appearance in the fall.

The only other confirmed non-Sony cameras coming out at the end of the year (at least on paper) are the Z Cam 6K and 8K systems.

2020 will probably be a big year for refreshments.

A loaded 1DX Mark III (it's an Olympics year) is supposedly coming. And BM's G2 is now shipping.
 
dipstik said:
So any new rumors about Sony's next e-mount cinema camera? Or any cinema camera for the world of documentary/TV/general production?

The F5/F55 are long in the tooth, and the FS7II has already been out 2.5 years.

I'm in the market for a new camera, as my FS7 has gotten pretty beat up over the years, but I can't decide if I should wait 6 months or jump on a 2-3+ year old "new to me" body.

FS7II has some great new features, but if they release an update in the Fall, I worry about recouping my investment. Same for F5/F55; great used deals, but just feels like shifting the furniture around.

Amira's are starting to pop up for under $20k used, so that's an option, but that camera is also getting older and doesn't do proper UHD from what I can tell, which is something my clients are now requesting almost on every shoot. Nothing new from Canon or Panasonic in a few years either.

Thoughts? Opinions? General musings?
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What do you mean by "pretty beat up"? Cosmetically? Enough to warrant buying a camera to replace it?
 
JPNola said:
What do you mean by "pretty beat up"? Cosmetically? Enough to warrant buying a camera to replace it?
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Beat up as in I am beginning not to trust it, knowing what it has been through. Multiple water events, impacts, ingesting insane amounts of dust, sand, snow, etc., and generally a life spent in the outdoors getting knocked around. I know it's going to fail, just a matter of when.

So, after many years of good use, this is about the time I'd look to replace it. But there isn't really anything out there I'm interested in replacing it with, due to reasons stated previously.
 
There were several recent camcorder releases for the ... well, the camcorder crowd.

In the "cinematic" realm, there is an already announced, albeit without the final specs or price, Panasonic S1H*.

Plus, there's an expected ProRes Raw upgrade to Nikon Z6 via an Atomos Ninja 5 recorder.

*S1H is expected to cost somewhere around $4,000.

PS. There was also a price reduction on Varicam LT, bringing it down to the FS-7II territory.
 
A full-frame fs7. Why doesn't it exist?

Put the a7s into the fs7 body. The result being an a7s with xlr inputs, bnc timecode in / out, sdi out, a VF with a loupe, etc. I'd buy one yesterday. And pay as much as $25K for it. And you know all the content producers would go nuts for it. "Do you have an fs7 LF? Because we want this in 4K and in full frame. And you have full frame primes to go with it? Good. That's what we want."

What technical hurdle am I not seeing as to why it couldn't be done?
 
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