FS7: New FS7 little brother?

Paul schefz said:
....ok....definitely not something i would point out as a major selling point....sometimes it works surprisingly well, other times....
but the FS7 has none of the latest tech that makes AF a real tool......that said, i am surprised how often i have it in the ON position.....

i think that manual focus is completely different tool then AF and AF is not really a replacement for manual focus....but i think both have their place or at least i am hoping for AF to advance more and more to have more of a place as a tool....for example: i am pretty sure that in the not so far future we will have AF systems able to track an actors face/eyes (or rear end if that is the focus) for a shot FF at f1.2....this will happen and sooner then we think (the A7rII has something very similar now, probably does not work perfectly yet...)...that does not mean that a manual focus pull might not feel better in certain situations.....
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Just look at C300II, manual focus is aided by AF. You get indications for focus points. This is a great tool to have.
 
Yes a big disappointment to me with FS7 . I was expecting at least the same quality AF as FS700. Sony departments sometimes just don't talk to each other. Its amazing what they could gain by simply listening to a few DPs here and there.
 
Ben Scott said:
I don't fully get why everyone wants a full frame video camera.

Super 35mm was great for cinema for decades and for something to take advantages of Vistavision etc you really need a bit of an epic subject, at which point you'd probably not be looking in this price range of camera anyway.

Plus you'd need all full frame fast glass and wouldn't be able to get the speedbooster umm... speed boost. You'd count yourself out of using some of the greatest movie glass ever made.

Odd.
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Not just any Full frame sensor, I want the A7s sensor in a camcorder body. I love the imags both still and video from the a7s. S35 has been around as a standard for a long ass time, true, but for me it will nicely complement a S35 camera - like an FS7 or whatever else I decide to get S35 wise.
 
tillhavis said:
The reason we might see a new A7SII sensor in this camcorder is simple; the A7RII body (as it stands) can't handle the heat produced when recording 4K. Unless there is a radical redesign of the body it will cause too much headache for Sony...
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The heat is normally caused by the processors working too hard. Three most popular solutions there are more efficient processors and/or a bigger body and/or ventilation (the fourth solution is to use a lot of very expensive materials that are normally reserved for the military/airspace but that would result in much higher costs and prices). So, a larger body should take care of it but the new 14-16 nM chips should aid as well, as they produce much less heat than the 20-22 nM chips that were inside the products in 2011-15.

As to s35 vs. FF - as I've mentioned before, Sony wants the consumers off APS-C and onto FF. That's their general strategy. That's where they think the money is. That's where they are going with the pro level cameras and leave APS-C for the shelves at Best Buy.

And, finally, as to AF - check out the Newsshooter channel on You Tube. They have a few clips from last week's pro gear show in China.
 
Ben Scott said:
I don't fully get why everyone wants a full frame video camera.

Super 35mm was great for cinema for decades and for something to take advantages of Vistavision etc you really need a bit of an epic subject, at which point you'd probably not be looking in this price range of camera anyway.

Plus you'd need all full frame fast glass and wouldn't be able to get the speedbooster umm... speed boost. You'd count yourself out of using some of the greatest movie glass ever made.

Odd.
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Just to be clear (and I am only speaking for myself here)
I was NOT saying I wanted a FF cinema cam, I was saying
I thought that is what it would be. To me, the fact that there is
this 28-135 PZ lens out there, that doesn't really fit well with the A7S,
makes me think Sony is planning a FF cinema camera (because, that
would drive sales of the lens.). On super 35 it seems like it isn't wide
enough. Also, Sony is in this strange place where they don't want to
piss off all the FS7 owners, but they need to give it something 'newer
and better' if they want to drive sales of it. They already
went through this with the F5/55 and the F5/FS7/700 and figuring out
how to 'segment' markets. My thought was, if the new cam was FF,
that would be something 'new' and 'exciting' enough to drive sales
even if it didn't have all the other features of the FS7. Because if you
get too close to the FS7 feature wise....then people quit buying the FS7.
But if you cripple it to no HFR and no 10bit, then people just buy the FS700.
Giving it FF gives it something 'new' to drive sales, while still being able
to limit it compared to the other cameras. But Super 35 is fine with me,
I have no need for FF. That doesn't mean that I don't think it's coming though....
 
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AlaskaCameraDude summed up my thoughts exactly.

My HOPE is that it's 8bit so I won't be tempted to buy ;)
If it needs external recorder to do 10bit I'll just get one for my FS700.
 
So, a groundbreaking camera, "a new way to see", "something that will shock people"... I should know better to not get hyped, but this is getting me giddy with anticipation.
 
Fingers crossed its not simply a "C100 w/4K internal".
I already have to deal with not being able to do HFR, HDMI out only, 8-Bit, and a poor codec. (Yes XAVC is better than AVCHD, but I've only heard awful things about XAVC-L, specifically not being able to import into many NLEs without updates etc)

The same thing in a Sony box certainly wouldn't be shocking to anyone! Fingers crossed theres something special in there!
 
alaskacameradude said:
Just to be clear (and I am only speaking for myself here)
I was NOT saying I wanted a FF cinema cam, I was saying
I thought that is what it would be. To me, the fact that there is
this 28-135 PZ lens out there, that doesn't really fit well with the A7S,
makes me think Sony is planning a FF cinema camera (because, that
would drive sales of the lens.). On super 35 it seems like it isn't wide
enough. Also, Sony is in this strange place where they don't want to
piss off all the FS7 owners, but they need to give it something 'newer
and better' if they want to drive sales of it. They already
went through this with the F5/55 and the F5/FS7/700 and figuring out
how to 'segment' markets. My thought was, if the new cam was FF,
that would be something 'new' and 'exciting' enough to drive sales
even if it didn't have all the other features of the FS7. Because if you
get too close to the FS7 feature wise....then people quit buying the FS7.
But if you cripple it to no HFR and no 10bit, then people just buy the FS700.
Giving it FF gives it something 'new' to drive sales, while still being able
to limit it compared to the other cameras. But Super 35 is fine with me,
I have no need for FF. That doesn't mean that I don't think it's coming though....
Click to expand...

The evidence would suggest that Sony does not care for a millisecond about pissing off the owners of its existing cameras. Hence not fixing the shutter bug for a year...
 
sodotoguwangus said:
I still say super 35 or go home... !
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It isn't difficult to have both .. in a full frame format ... A7RII offers an s35 crop for $3,200 ... GH4 offers various crops off its MFT for ~ $1,200 ... and it's easier from the manufacturing standpoint to have a greater uniformity of components too ...

PS. A600II/A6100 will have an APS-C sensor but it will be priced accordingly and a competitor to G7 and not much more (but it doesn't mean it'll be a poor camera)
 
If it is A7S in a camcorder body, is there any chance that they might have made it a lot better when it comes to rolling shutter? Any other possible improvements?

I'm not THAT good on the technical side of film making.
 
Ben Scott said:
I don't fully get why everyone wants a full frame video camera.

Super 35mm was great for cinema for decades.
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Super35 with a set of smooth focusing cine lenses usually as wide and fast as 18/2 is the 'cinema look' - with a decades experienced AC pulling focus.

Now - you cant afford an 18/2 smooth focussing cine prime, neither can I - so our affordable option to replicate the cinema look across a full set of FOVs (the hardest being S35/18/2) is FF with a manual 24/2.8 from nikon or contax

Also the FF35 size makes it simpler (and therefore cheaper) to make good chips - the pixels dont have to be so small - if you examine stills cams (shooting stills) you will see all the 'winners' are FF

That is the argument for FF actually being 'more cinematic' than digital S35 used with out cine lenses

--

Now we have a speed booster and there is starting to be some development of non roetrofocal MF-S35 primes (samyang? voigtlander) the argument above somewhat falls apart.

So Id say that FF is a huge advantage if you want to kit up using a few vintage stills lenses but once one has access to a broader selection of glass then the argument is less pressing.
 
Sigma 18-35 f1.8 - either original or rehoused is the answer :)

That said I spent a lot of the last two days shooting S35 on a 21mm f2.8 and I absolutely love it and was gutted every time I had to change and go tighter.

I have a pretty full set of C/Y Zeiss glass, 18, 21, 28, 35, 50, 60 macro, 85, 135, 28-85, 80-200. The rare times I need another focal length I've also got the speedbooster.

Plus, we don't have to own the 18mm t2 cine prime that we want :)
 
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