Sony A7SIII = $3500, 10-bit 4K120p internal, 16-bit 4K60p RAW out

scorsesefan said:
Is the effect strong enough with the 1/8?
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That's a popular debate...it is very subtle but just enough to take the edge off.

The next one up - 1/4 - can be a little too much (but great for those CUs you might want it for).

Ideally, you'd have a variable softening filter. (Maybe that's next for camera features if AI face manipulation isn't first.)
 
Thanks, guys. I think I'll try the 1/8 as I want to just take the edge off of the A7SIII's sharpness. I wish I had thought of an ND with mist built in before I bought my vari ND...
 
scorsesefan said:
Thanks, guys. I think I'll try the 1/8 as I want to just take the edge off of the A7SIII's sharpness. I wish I had thought of an ND with mist built in before I bought my vari ND...
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Put fingerprints all over your variable ND filter and...presto! Variable ND with 1/8 soft.

I’m only half joking. It is something DP’s did “back in the day” to take the edge off sharp lenses.
 
JPNola said:
Put fingerprints all over your variable ND filter and...presto! Variable ND with 1/8 soft.

I’m only half joking. It is something DP’s did “back in the day” to take the edge off sharp lenses.
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Don't forget the panty hose behond the lens trick too. I used that one for years. Everything looked too sharp in interlaced.
 
JPNola said:
Put fingerprints all over your variable ND filter and...presto! Variable ND with 1/8 soft.

I’m only half joking. It is something DP’s did “back in the day” to take the edge off sharp lenses.
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Like "nose grease" for the gate in your film camera. :)

Chris Young
 
I like Tiffen Black Satin. it's quite subtle. But by the same token it doesn't give you a "look," which is either a good or a bad thing. Although there is a constant amount of halation throughout the range that some may notice. You have to go to a 1 before it becomes strong, and even then most people probably wouldn't notice you're using it. I'd say 1/8 just to soften things a bit but 1/4 or 1/2 if your goal is to smooth skin

 
Does the Active Steadyshot (1.1x crop) option take into account a lenses focus breathing or not? It would be great it you could essentially get a breathing free focus pull that used the cropped area to compensate for focal length changes.

The huge amount of breathing on the new 50mm GM made me think about it.
 
Everything in the frame shifts when a lens breathes so no crop can help.

There's no AI correcting any breathing...at least not yet.
 
NorBro said:
Everything in the frame shifts when a lens breathes so no crop can help.

There's no AI correcting any breathing...at least not yet.
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Well, focus breathing is just a slight shift in focal length accompanying the shift in focus distance. so, in theory, automated cropping could correct it. but I haven't heard of any software or camera that does this
 
I can't picture that working well in motion pictures (especially when the shift is in the direction of revealing more pixels), but I do picture it existing.
 
Right, you'd have to be cropping in on your image for starters so you can crop out when necessary. Not sure this will happen because people care more about it as budgets go up, which is also where they're more likely yo demand better performance from the lens and less likely to monkey with resolution changes. And on the low end where we'd want it, probably no one cares enough to implement it. I guess BM might he the likeliest candidate. But it seems like something that could have been done already. Of course, we could also do something about it for ourselves manually if we really, really cared. Most of the time, I just find breathing to be an annoyance. But it only is noticeable in large focus racks anyway
 
ahalpert said:
I like Tiffen Black Satin. it's quite subtle. But by the same token it doesn't give you a "look," which is either a good or a bad thing. Although there is a constant amount of halation throughout the range that some may notice. You have to go to a 1 before it becomes strong, and even then most people probably wouldn't notice you're using it. I'd say 1/8 just to soften things a bit but 1/4 or 1/2 if your goal is to smooth skin

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whaddya know - The Queen's Gambit was shot with Tiffen Black Satin 1 (perhaps entirely?)

http://www.reduser.net/forum/showth...n%92s-Gambit-Steven-Meizler-FDTimes-Interview
 
Even if enhancing becomes so good that lower-resolution camera results become perceived as better than higher-resolutions camera results, there is no joy in doing this.

With most of the world using phones this isn't even worthy of discussion, but once you start comparing the non-camera phones with each other then it must be said that people use certain equipment because the superior technology - in this case high resolution - provides them a sense of fulfillment.
 
How are you guys that bought one liking it?
Who all is planning to buy?
I really want 4K60P for my gimbal but I really do NOT want to buy another camera..
My A7Riii looks good and focuses well but it's 30P. My A7Sii handles my low light needs.
Sell them both and get the A7Siii? ;)
I think I'll just wait a couple years until the price drops and if I'm still alive and my business not destroyed consider it then. Or get an FX6 which is what I really want :) haha
 
I bought one as a 4K b-cam to my Sony F55. I've now seen it mixed in with the 55 in a fully color corrected sequence, and the camera is gorgeous. We also used it with the new Cinetone profile in an un-CC'd video mixing 6 different cameras. Beautiful image. I run it on a Moza Air2 gimbal with a 20mm Sony Gmaster lens. Buttery smooth. I shoot everything I-frame.
 
A7Siii is a great cam. We have used it to cut with Monstro and Gemini and had zero issues. DR is actually quite high for the sensor and you are all aware of its sensitivity and lowlight capabilities as well (albeit with internal noise reduction). Never tried the 16-bit output but that has always intrigued me from experiences recording pro-res raw through SDI from my old FS5 (now sold). The fact that the A7siii does 4k/120 with no crop or overheating is outstanding at this price point considering my Komodo can only do 4k/60 with severe crop unless shooting in prores in order to downscale with no crop, but that kind of defeats the purpose of owning a camera that is meant to shoot RAW. The newer color science and s-cinetone is quite nice as well with the a7siii and skin tones are much improved over the older a7 series cameras. I own a Gemini and Komodo and still think about picking an a7siii up for certain situations where proper cine cameras just feel "too much or overkill". I know a DP who sold both his Monstro and Gemini to shoot on FX6 and A7siii and his clients haven't batted an eye. I still have an a7rii that is going strong for over 6 years for photo work and is still considered to be a high resolution image (42mp) compared to the current standard of about (50mp). And to think that the a7sii was around for almost 7 years and we are still talking about it as probably one of the industries greatest consumer/prosumer low-light capable cameras. People tend to hate on Sony DSLR's in the cinema realm but they really have had some great technology in the last 5 years. The a7siii will definitely be another winner as it just do so much well.

captslomo said:
I bought one as a 4K b-cam to my Sony F55. I've now seen it mixed in with the 55 in a fully color corrected sequence, and the camera is gorgeous. We also used it with the new Cinetone profile in an un-CC'd video mixing 6 different cameras. Beautiful image. I run it on a Moza Air2 gimbal with a 20mm Sony Gmaster lens. Buttery smooth. I shoot everything I-frame.
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