Tagged: Review

This is a rolling shutter comparison between the new Sony A7S, the Arri Amira, Panasonic GH4, (Canon C300), Canon 5D mark III and Canon 1D C. In the first part in this series of tests we compared the usable dynamic range of the A7S and found that it comes surprisingly close to the dynamic range of the Arri AMIRA (find the dynamic range test here).

Rolling shutter is a phenomenon where straight vertical lines look bent on moving objects, or a “jello effect” appears when the recording device itself is in motion. It is a common issue with CMOS sensor cameras that read out a frame line by line over a certain period of time. A sensor with a global shutter however reads out the entire image at once, avoiding the rolling shutter effect altogether. A severe rolling shutter can be disturbing in certain shooting scenarios.

c5d lab logopsd21 Rolling Shutter   Sony A7S vs. the othersWhat is the cinema5D test lab?
At cinema5D’s new testing lab we accurately measure and evaluate the performance of cameras. As a source for reviews about cinematic cameras we strive to provide objective comparisons and share insights to help you choose the right camera for your projects.

The test lab has been developed over the past 6 months. We are using precise imaging tools, techniques and software to measure each camera’s performance. The following test measures one of several attributes we test about a camera sensor. Stay tuned for more.

IMG 384820 300x300 Rolling Shutter   Sony A7S vs. the othersThe Sony A7S is a stunning new compact camera that currently makes a lot of headlines due to its amazing lowlight capabilities. In this regard it outperforms any other cinema camera we know and therefore offers interesting new applications.
See Johnnie Behiri’s comprehensive video review on the A7S HERE.

Some of the strengths include not only lowlight performance, but also the high resolution OLED viewfinder, a strong cinematic picture, full-frame coverage, ease of operability, 50p mode, crop-mode and more.

In this scientific test we take a look at the aforementioned rolling shutter phenomenon in comparison to several other very important cameras. The C300 needs further testing and will be added soon.

Let’s take a look at the results:
rs chart a7s Rolling Shutter   Sony A7S vs. the others

Over the past weeks several people reported a severe rolling shutter on the Sony A7S. Many people disliked the strong “jello effect” that appeared when shooting with the camera handheld without any form of stabilization like a handheld rig. Some claimed it was more severe than on any other camera out there.
Our test results show that the A7S’ rolling shutter in full frame HD mode is severe, but we also found that the Canon 1D C performs similarly in 4K mode. Among DSLR style cameras in our test the GH4 in 4K mode performed best and is more or less on par with the A7S’ crop mode, and the 5D mark III coming in right behind that.
As expected the Arri AMIRA has an outstanding shutter readout speed almost looking like a global shutter.

rs grab Rolling Shutter   Sony A7S vs. the othersHow did we test?
On the left you can see a framegrab from the A7S video file used to determine its rolling shutter. We used a rotating test chart framed identically with all cameras. We used the sharp Zeiss 50mm CP2 T/2.1 makron on all cameras with which we could come so close to the small rotating chart. The amount of horizontal offset between the first and last line of pixels determines the severity of rolling shutter which we measured in milliseconds. These are approximate values (Precision is limited by our method of testing as it involves a slight amount of motion blur).

Stay tuned for more tests which we will publish over the course of the next two weeks. In our upcoming tests we will compare actual resolution (sharpness), lowlight performance, line skipping issues, moiré and will also give you an insight at codec performance and color reproduction. We will certainly try to include more cameras in the future.

Please share your opinion and thoughts on these test results in the comments.
Disclaimer: We’re not getting paid to do these tests. If you consider buying a camera please help us continue our efforts and investment by simply buying your gear through our links to B&H in USA and Marcotec in Europe. Thank you!

The post Rolling Shutter – Sony A7S vs. the others appeared first on .

All credit is given to author » NewsSebastian Wöber

Click here to view the embedded video.

I’ve had the A7S for over a week now and can share my initial thoughts, even some firm conclusions. Here’s one I’ve come to already – the Sony A7S is the best consumer camera Sony have ever made.

For $2500 the video performance of the A7S sits between the FS700 ($8000) and F5 ($17,000) yet the full frame sensor lends more character and allows for groundbreaking low light performance.

However there’s one thing missing from the A7S that I’d really love to see in a firmware update – the ability to load your own LUT for S-LOG 2 onto the SD card.

It is really tricky to get your exposure right when shooting S-LOG 2 on the camera display. The Atomos Shogun will have support for LUTs so that is yet another reason to get the 4K recorder when it is released this coming September.

There’s another caveat that isn’t really the fault of the camera at all. S-LOG 2 requires serious grading knowledge to get the best out of. If you have never used this before…

DaVinci Resolve curves

Then unfortunately it is time to learn how!

Sony have put professional video features on the A7S and S-LOG 2 is one of them. The more general consumer that will buy this camera simply will not be able to get the best out of the image.

The consumer Sony picture profiles for JPEGs just do not give you the same workflow or image quality, so you are compelled to learn to grade or at least apply the LUTs and looks created by others (such as my own here). Even raw on Blackmagic cameras is more friendly than S-LOG because you can just open the raw files on default settings. With S-LOG you have to grade, you have no choice. You have to learn how to use LUTs, how to export them from Resolve to Premiere, how to manipulate the luma curve, the RGB curves, the lot. It is a steep learning curve. L-Curve!

From left to right: 5D Mark III, Fuji X-T1 and Sony A7S

Above: from left to right – 5D Mark III with Canon 50mm F1.2L, Fuji X-T1 and Sony A7S with Voigtlander 35mm F1.2 Aspherical

The best sensor I have ever shot on

Digital cameras have usually been sold on the basis of megapixels per dollar. Here with the A7S it is the quality of the pixel not the quantity, that matters. After covering the mainstream bases with the A7 (low price) and A7R (high megapixels for the price) Sony now targets that smaller niche of people who actually just want a good image – and know what one is.

The higher price of the A7S is justified on so many levels. Firstly that 12MP count is a big marketing risk. Secondly the yields from a silicon wafer with such a larger sensor are far lower than for APS-C.

Additionally the yield of megapixels per dollar is much lower compared to the A7 or A7R so the A7S has to be sold to a more educated consumer willing to look beyond the ‘headline number’. The end result is brave, compelling and unique. Sony are alone in having the guts to do a 12MP consumer camera in 2014 albeit one with pro leanings.

ISO 12,800 on this camera looks like ISO 800 on the GH4. ISO 3200 looks like ISO 200 on the 5D Mark III. Dynamic range is 14 stops in raw stills – close to it in S-LOG. The overall  image is spectacular.

Sony A7S with vertical battery grip


In the A7S one of the world’s best full frame sensors is finally backed up by a professional standard video processor and codec.

Having seen mediocre performance from XAVC-S on the AX100 and RX100 III, my expectations were that this would be the Achilles heel of the A7S but it is actually one of the camera’s greatest strengths. The encoder in the A7S is far better and actually I’d rank it higher than Sony’s pro camera the FS700. It is incredibly efficient and grades on par with ProRes recorded via HDMI.

It only has one flaw and that is on fast unpredictable motion blur you get a lot of macro-blocking, so a recorder like the tiny Atomos Ninja Star will be useful there.

SLOG 2 which was a $3800 upgrade just a few years ago on the Sony CineAlta F3 really does work on this camera to deliver enormous dynamic range without the usual artefacts and banding we’ve seen with flat picture profiles before on DSLRs. The image once graded is silky smooth at the native ISO of 3200. What grain there is left helps to dither the 8bit bands together more smoothly. Yes there is some more ugly noise in the very deepest darkest areas of the S-LOG image but this should not appear in your final image unless you’ve made a mistake either with exposure or with your grade.

The 5D Mark III in raw files cannot achieve the same dynamic range as S-LOG on the A7S while still maintaining low noise in shadow areas lifted in post.

Like the GH4 the A7S has a full pixel readout which means much crisper detail and less banding in skies and areas of plain colour. Resolution in 1080p is extremely good internally, yet 4K to the Shogun in September is an absolutely mouthwatering prospect.

Less rolling shutter skew is a button press away

In full frame recording mode at 24p rolling shutter is of course more severe than on the more expensive professional Super 35mm cinema cameras. It is easy to over-blow the problem though because in practical every day shooting rolling shutter is sometimes a problem, sometimes not. It depends on the kind of shoot and shooting style. Those who do fast handheld camera movements, whip pans or shoot handheld at the long end of a telephoto lens will want to enable the reduced rolling shutter skew mode of the A7S of which there are two.

Super 35mm mode (APS-C mode as the A7S calls it) gives you roughly equal rolling shutter skew to the FS100. That’s incredibly impressive given that the A7S is reading out 4x the resolution from the sensor.

Switching to 60p in Super 35mm mode further reduces skew. The results are impressively detailed and you get a clean image with no increase in moire or aliasing.

APS-C mode also works over the 4K HDMI output. How is this possible? The camera appears to crop the 12MP full frame sensor to approximately 2768 x 1560 and upscales this 2.8K image to 4K with only minimally less detail than in true full frame 4K mode. You can add a Metabones Speed Booster if you need the look to match your 24p shots in full frame mode. If you enable 60p in full frame mode the sensor starts pixel binning and you get moire and softness so always shoot at 24,25 or 30p in full frame mode.

Image quality

The A7S resolves slightly more detail in 1080p than the 5D Mark III can manage even in raw 1080p – and of course compared to the stock H.264 video on the Canon it’s a non contest as you can see from the shootout video.

As I noted in the shootout video, the A7S scratches a very large itch. I haven’t felt this satisfied with a camera since the GH2 came out.

I liked 4K on the GH4 and still do, it’s a fantastic camera and cheaper than the A7S, doing 4K internally with much smaller file sizes than 4K externally to ProRes will clock in with. Dynamic range on the GH4 is also pretty impressive given the much smaller sensor and higher megapixel count.

However the A7S is full frame. There’s no getting away from that. Even versus the 1.5x crop of Super 35mm over full frame, the feel of your images,especially at the 24-50mm range of your lens is completely different. Good though Speed Booster is, the GH4 cannot quite mimic it with one, not without softer edges and corners if you push beyond a 0.71x focal reducer to something like 0.58x.

The Sony A7S is timely because I need a replacement for my ageing 5D Mark III despite the fact I love the image with Magic Lantern Raw video, the file sizes mount up over the months and become a real headache, deleting the raw masters a folly. I’ve also found reliability for continuous recording to be an issue at times, probably due to file fragmentation on my cards. So I am over the moon that the XAVC-S codec in the A7S with S-LOG is able to give me an equivalent image which grades fantastically for my needs yet with small file sizes.

In short all I wanted was the image quality of 14bit raw from a full frame sensor in small compressed files, the mirrorless form factor of the GH4 and the option for 4K when required later….Not too much to ask surely!? :)

Well Sony have delivered it!

Atomos Ninja Star on A7S

Cleaner and quieter for stills compared to A7R

For some uses the 36MP resolution of the A7R is going to still be useful for photographers, but I am not one of those people. For me the sensitivity of the A7S is far more creatively important.

The difference in number may seem large between 12 megapixels and 36 but the difference in reality feels far less when you view or print the images.

Additionally the silent electronic-shutter mode of the A7S like the GH4 is just lovely….it makes the camera far sleeker and stealthier to use, overall more pleasing and more mannered in public spaces.

The A7R clanks away, the shutter feels like a diesel engine in a Tesla Model S. Electricity is the FUTURE! Someone tell Canon and Nikon!

The continuous shooting rate of the A7S in e-shutter mode is significantly quicker than on the A7R. The images have the same wide dynamic range and colour gamut I am accustomed to from the excellent 36MP Sony sensor in the Nikon D800 and A7R so there’s no compromise there.

Also the camera feels more responsive overall, due to a faster processor. It seems snappier in the menus and quicker to start up.

Areas of improvement and caveats!

A lot of the quirks here are forgivable but some of them are a little bit silly.

Mainly they are ergonomic quirks like not being able to assign APS-C or silent shutter mode to a custom button, or even the function menu for quicker access.

The batteries are rather on the small side, certainly compared to the GH4. Because of the massive sensor and very fast processor the A7S runs down the juice quicker than the GH4. You really need the A7 battery grip for this one. The grip works well ergonomically apart from one glaring fault – the shutter release button is too easy to put pressure on as you hold it for horizontal video shooting. There doesn’t seem to be a way to disable or lock it. The button should really be on a sloped part but it is flush to the flat surface and right against your hand.

The video record button is really awkwardly placed, but bafflingly cannot be assigned to the C1 button next to the shutter release or the shutter button itself in video mode.

In video mode you can’t take stills and in movie mode you can’t get the full quality magnified focus zoom and peaking is less effective where it is most needed.

If you try shooting video in stills mode and silent mode is enabled, you can’t select S-LOG or the other pro video picture profiles unless you enable the mechanical shutter, which is deeply odd :)

It is a shame the EVF is not up to the benchmark set by the Fuji X-T1 considering Sony led the way here with the A7R but I am sure on a Mark II update this will be an area of further improvement. To be honest it isn’t exactly that bad as it is, just not the best any more.

Fuji X-T1 and Sony A7S ergonomics

The US model is NTSC locked and the European & Hong Kong version is PAL / NTSC switchable. However when set to NTSC you get a persistent Running on NTSC message to dismiss on every boot-up which is a bit unnecessary.

There’s some more minor quirks which I have sent to Sony, who appear to be doing an excellent job listening to users.

Evolving review continues…

The Sony A7S is the first camera to really beat the Canon 5D Mark III on pretty much every level for both stills and video, especially the latter. The A7R did not have the video quality to topple Canon. The A7S not only topples Canon, it destroys their claim to video quality on DSLRs. Canon’s dated consumer and semi-pro DSLRs are now in serious disarray for video and in some ways stills too (dynamic range and low light for instance). In terms of the video shooter they risk losing the market which gave birth to their pro line of Cinema EOS cameras altogether. I warned them about this 3 years ago and nothing has been done. They have focussed all their efforts on Cinema EOS and completely neglected the lower end video shooter.

I can think of absolutely zero reason to shoot on stock Canon 5D Mark III video settings when you can shoot XAVC-S on the A7S.

As for raw, it’s becoming a little harder to justify the larger files now the gain in image quality and grading ability has narrowed to the best compressed codecs. S-LOG is fantastic. If you’re competent at grading LOG footage (quite a complex acquired skill that takes time to master) then S-LOG 2 on the A7S will give you an image in the ballpark of raw with Magic Lantern on the 5D Mark III but with XAVC-S file sizes which are 300 MB per minute compared to 6GB per minute of uncompressed raw. These images also have far less noise and are delivered from a form factor more suited to shooting video.

Those without the necessary grading expertise can wait for Film Convert to support S-LOG for the A7S. It already supports S-LOG on the FS700.

For Blackmagic and Panasonic GH4 users it is a tougher choice and it will definitely come down to individual taste, lenses, needs and projects. Further on in the review I’ll try and delve deeper into that and allow you to make your own mind up about which way to go. For instance the GH4 and Blackmagic cameras still have unique features not offered on the A7S, like global shutter and internal 4K recording.

I’ll keep adding parts to this review. There’s just too much to cover in one session!

The post Evolving Sony A7S Review (Part 1) appeared first on EOSHD.com.

All credit is given to author EOSHD.comAndrew Reid

This is a dynamic range test and comparison between the Sony A7S, Arri Amira, Panasonic GH4, Canon C300, Canon 5D mark III and Canon 1D C.
The dynamic range is the range in luminance any given camera can capture. More range allows for more flexibility in post production and usually provides a more natural and hence more cinematic end result.

c5d lab logopsd21 Dynamic Range   Sony A7S vs. the othersWhat is the cinema5D test lab?
cinema5D has established their own scientific testing facility to accurately measure and evaluate the performance of cameras. As a platform for reviews about cinematic cameras we strive to provide objective comparisons and share insights to help you choose the right camera for your projects.

The cinema5D test lab has been developed over the past 6 months. We are using precise imaging tools, techniques and software to evaluate each camera’s performance precisely. The following test indicates one of several attributes we test when looking at a camera sensor. Stay tuned for more.

IMG 384820 300x300 Dynamic Range   Sony A7S vs. the othersThe Sony A7S is a stunning new compact camera that currently makes a lot of headlines due to its amazing lowlight capabilities. In this regard it outperforms any other cinema camera we know and therefore offers interesting new applications.

Johnnie Behiri reviewed the A7S and found numerous points that make it a candidate to replace our all time favourite, the Canon 5D mark III (see full review here).

Some of the strengths include not only lowlight performance, but also the high resolution OLED viewfinder, a strong cinematic picture, full-frame coverage, ease of operability, 50p mode, crop-mode and more.

In this first scientific test in a series that we will publish over the next weeks, we want to take a look at the aforementioned dynamic range in comparison to several other very important cameras.

Let’s take a look at the results first:
Test Scores DR Dynamic Range   Sony A7S vs. the others

Here we tested usable dynamic range of the given cameras. With 14.1 stops the usable dynamic range of the A7S comes surprisingly close to the Arri Amira with its legendary Alexa sensor (see our full review here).
This is an extremely good dynamic range rating and is fascinating considering that the A7S is available at a fraction of the Amira’s price and is also in a completely different weight and size class. While the Amira will outperform the A7S in other tests, the dynamic range is a very important attribute to consider when working with a camera.

The Canon cameras come in at 11-12 stops of usable dynamic range. This is still a very strong dynamic range rating, but in comparison to the A7S the Canon’s are way behind.

The Panasonic GH4 had the worst dynamic range in our test. This is in line with the rather videoish look and contrasty colors we can subjectively observe.

Why did the C300 perform worse than the 5D mark III?
Before we go into details about how we test let me explain why the Canon 5D mark III outperformed the C300 and 1DC in our test. As mentioned before we’re measuring usable dynamic range. This means we’re observing actual dynamic range relative to the noise ratio of the signal. In other words, we only measure dynamic range where the signal still upholds a certain quality which is measured in noise.
This is where the bad resolution and codec of the 5D mark III gets a few extra points of dynamic range rating, because its softness blurs the visible and measurable noise. While this might be deemed unfair, the worse quality also gives the viewer an impression of a cleaner image in view of its actual resolution.

A7S dynamic 300x168 Dynamic Range   Sony A7S vs. the othersHow did we test?
On the left you can see a framegrab from the A7S video file used to determine its dynamic range. We use the DSC labs XYLA-21, a high quality LED-backlit transmissive chart that displays 21 stops of dynamic range. Each vertical bar represents one stop of light.
marko Dynamic Range   Sony A7S vs. the othersThe chart is filmed in a completely dark room using the same very sharp Zeiss 50mm CP2 T/2.1 makro lens with interchangeable mount adjusted for the camera bayonet.

GH4 dyn 300x158 Dynamic Range   Sony A7S vs. the othersThis second picture on the left shows how the same stepchart is recorded on the Panasonic GH4. Each camera is set to its native ISO and the F-stop of the lens is adjusted accordingly.

After extracting i-frames which retain the highest image quality from the video files they are loaded into the testing software. Our software of choice is coming from IMATEST. They are among the industry leaders, provide very flexible and complete solutions as well as being very supportive and helpful in setting up testing standards and understanding the science behind it.

Please stay tuned for more tests which we will publish over the course of the next two weeks. In our upcoming tests we will compare actual resolution (sharpness), rolling shutter, lowlight performance, line skipping issues, moiré and will also give you an insight at codec performance and color reproduction. We will certainly try to include more cameras in the future.

Please share your opinion and thoughts on these test results in the comments.
Disclaimer: We’re not getting paid to do these tests. If you consider buying a camera please help us continue our efforts and investment by simply buying your gear through our links to B&H in USA and Marcotec in Europe. Thank you!

The post Dynamic Range – Sony A7S vs. the others appeared first on .

All credit is given to author » NewsSebastian Wöber

First off my apologies for the bad audio quality – a setting in the lav mic wireless kit was wrong and we only discovered afterwards. I keep preaching that audio is just as important as video but we messed it up in this one!!

In this Minute Review, I tested the Pad Prompter from OneTakeOnly (in Europe available via AF Marcotec). It’s a mirror box contraption that allows you to use your iPad as an efficient teleprompter.


In many instances, teleprompters are very helpful – for clients that need to address the audience directly, but often are unable to memorize lines quickly, this is the way to go. Or for minute reviews like this one, which needs to be perfectly timed (and therefore scripted) to fit into exactly one minute. There are many, many applications for a teleprompter and it’s one of these devices that you quickly get used to once you actually start using it.

I think it’s better than all the other iPad prompters that I have seen so far. Unlike many others, it doesn’t put the entire weight of the prompter and iPad onto the lens. It connects to an included rod system and distributes the weight to where it should be, the tripod head.


You need to add a teleprompter app for the iPad, and there are a lot of them out there to choose from. I recommend Teleprompt+ (click here to buy in iTunes), which in my opinion is the most advanced iPad teleprompter app that I know. It can also be controlled via the iPhone (iTunes link), so an assistant can adjust the speed of the text during the recording.

The Pad Prompter (European order link here) also packs up into next to nothing, and it actually looks like a MacBook in a sleeve when it’s all put together.

I would definitely recommend to get the rod version (there is also a slightly cheaper one that only works on a light stand) as it’s much more versatile during a shoot.


All credit is given to author cinema5D » NewsNino Leitner


EDIT: New from Cinema5d!. As part of our commitment to our readers, the A7s is the first to be tested in our lab. What is the cinema5D test lab? cinema5D has established their own scientific testing facility to accurately measure and evaluate the performance of cameras. As a platform for reviews about cinematic cameras we strive to provide objective comparisons and share insights to help you choose the right camera for your projects. Test 1: Dynamic Range – Sony A7S vs. the others 

ORIGINAL POST: The Sony A7 camera family is constantly growing and the new kid on the block is dedicated for video filming. My respect to Sony for listening to professionals and advanced hobbyist alike by bringing to the market what I consider to be the best full frame HD “DSLR” camera released in a long time. Unfortunately when conducting this review no 4K external recorder was available for testing the 4K video quality but let me tell you, the HD footage coming out of this camera is shockingly impressive. For me, if it is to choose between the Panasonic GH4 or the Sony A7s, then with no doubt, it’s the A7s. The picture aesthetic in combination with full frame is simply more pleasant to my eyes then the GH4 footage. On the other hand, internal 4K recording is what we want (and sometimes need), so I guess we can consider the A7s as a “bridge camera” and it won’t be long before we will see a Sony camera that can do so for a hopefully attractive price. 

The direct competitor to this camera is naturally the Canon 5D Mark III. Personally, I think it is time to move on and say goodbye to the Mark III. The good thing is, you don’t have to invest in an all-new lens system. Simply use the excellent Metabones Sony E-mount to Canon EF adaptor (Generation III in order to cover the full frame sensor) and there you go. You now have an amazingly sharp looking video camera that records in a new robust codec (XAVC S), very small with a build in great OLED EVF and last but not least, also a lowlight king. I also have to had that the audio recorded directly to the A7s is much better then the one recorded on the Mark III because of better internal preamps. All in all, if you are looking for a working tool that is small enough to look “un-professional” yet one that records great looking video footage at a price which is not modest but affordable, look no further. The Sony A7s is your best friend.
Sony also deserves compliments for its menu stricture and flexibility when it comes to assign functions to the Fn button. Simple, elegant and very useful. Almost every function you need in the tip of your finger. 

OK, it is time to take the “pink glasses” off and see some of the limitations this camera has:

- World camera. Please be aware that only the the model which intended to be shipped to PAL countries is a switchable PAL/NTSC camera. All NTSC models are only NTSC!
- 30 minutes maximum recording length in all cameras regardless if they are PAL or NTSC
- Sony S LOG 2. While this is not supposed to be a limitation the implementation of this feature is not entirely clear to me as the starting ISO point in this mode is 3200 (which is the native ISO). If you shoot outdoors and want to keep your aperture open you will have to look for stronger variable ND filters then the ones normally used. 

Firmware/menu improvements I would love to see:

– The ability to record higher frame rate in more then 720p
- This camera has the ability to crop into the sensor (APS C mode). Assigning a short cut to this feature is a must (via the Fn button).
- Another thing regarding the APS C mode of the camera: the indicator symbol which lets you know you are in this mode should not only be visible in the full “info” display, but also when “info” is turned off. It’s easy to forget that you are in this mode just to find out later it’s not what you intended to do.

Camera Settings for this review:

-Picture Profile – off
-Picture style – NTRL (all settings on “0″)
-Internal recording codec –  XAVC S, 1080/25,  50Mbps

About this video: By no means this video intends to be a “corporate video”. It is just me having fun for 2 days in a beautiful location together with an amazing camera. My aim was to see how it functions during real life production and see how little equipment I can take with me (in comparison to the amount of equipment I would have taken with my Canon 1DC)  and let me tell you, it is much less…

I can not even describe how dark it was inside the wine cellar. I’ve decided to leave it “as is” and add only 1 small LED light to enhance a spot I wanted. This camera can easily shoot in ISO 5000 for broadcast. Very well done Sony!

I also recommending downloading the original HD file from Vimeo for a better viewing experience!

Edit: As of readers request, here are the different Picture Profiles as described by Sony. Those can be modified if wanted by going to MENU-PP selection-Modify.
Screen Shot 2014-07-06 at 11.40.35


Music: Themusicbed Artis: Tiny Houses-Cerulean

A special thanks to the people at Castello di Gabbiano

Federico Cerelli – Head Wine Maker
Francesco Berardinelli – Executive Chef , Ristorante Il Cavaliere (del Castello di Gabbiano)
Cornelia Reali – Director of Hospitality

All credit is given to author cinema5D » NewsJohnnie Behiri

Click here to view the embedded video.

Don’t fancy the GH4? Then the full frame Sony A7S is now in-stock at B&H

Philip Bloom has his take on the Panasonic GH4 ready, the highlight for me is the footage – it simply looks superb. Great job on the grading as well.

Reviewing cameras is a difficult business at the moment with so much choice, so many variables and so many different needs. However Mr Bloom does a good job in putting the strengths and weaknesses out there for your consideration. The final decision is up to you!

Head over to Philip’s blog for the fully evolved review

Meanwhile Steve Huff has his Sony A7S review out – in short he loves it but did not test video fully

The post A great in depth review of the Panasonic GH4 by Philip Bloom appeared first on EOSHD.com.

All credit is given to author EOSHD.comAndrew Reid

Click here to view the embedded video.

Despite appearances the third RX100 is no incremental update. It is astounding that Sony have managed to put a built in ND, OLED EVF, 120fps and XAVC codec in a compact camera, not to mention the new 24-70mm F1.8 to F2.8 lens. Sharply detailed resolution in video mode round out the spec.

But does the reality of shooting with it live up to the specs on paper?

Sony RX100 III

Above: size comparison with the Panasonic GM1, Sony RX1 and Blackmagic Pocket Cinema Camera with full frame 24-105mm lens.

What’s new?

  • Full sensor readout for increased detail and reduced moiré in video mode
  • Built in ND filter
  • Built in OLED EVF
  • XAVC-S codec at 50Mbit/s
  • 120fps (NTSC) and 100fps (PAL)
  • New lens – 24-70mm F1.8-2.8
  • Uncompressed clean HDMI output – on a compact!
  • New LCD tilt mechanism – it goes 180 degrees upwards for selfies

Pretty impressive. Compare this to the main things the RX100 M2 added over the first model.

  • Tilting screen
  • WiFi
  • Accessory port hotshoe for an EVF

Worth the upgrade

The new built in ND filter is as welcome for stills at F1.8 as it is for video with a shallower depth of field, because the leaf shutter only goes to 1/2000 leaving even raw stills at ISO 200 over exposed in strong sunlight when shooting wide open. I wish my RX1 had a built in ND filter.

120fps (useful for slow-mo) is surprisingly good though it does entail a crop and softer detail, it does not significantly increase any moire and aliasing. It records files at 720p in 120fps and you must conform in post to get slow-mo.

The EVF is 800 x 600 (1.4m dots) and similar quality to RX10. Impressive for such a small camera.

Cinematic camera?

The RX100 III is a consumer compact camera that reaches very high in terms of the features but it is still a consumer compact camera. The limitations it has as a creative tool are merely part of the parcel of it being what it is! Although the RX100 II is a big improvement on the previous model, it now inhabits a world where we get 10bit ProRes for $999 and 14bit raw video recording on Canon DSLRs like the 7D.

Sometimes you can’t tell the RX100 III apart from the Blackmagic Pocket Cinema Camera…

Click here to view the embedded video.

But sometimes it is night and day different. I am really starting to notice when a camera serves up a brittle little thin compressed video clip.

When a scene contains a lot of variation in tone like a sunlit leaves or or a colourful umbrella the camera actually produces very nice results. When you have a lot of low contrast surfaces and subtle variations in tone are required like with skin for instance, the results are just horrible - plastic, waxy and video-like. It is not a camera you can put in ALL lighting situations and expect it to sing like 5D raw or Blackmagic ProRes.

Also dynamic range remains a major limitation. It is very much clipped in the XAVC-S files. It isn’t the sensor’s fault. This is rated for 12 stops on DXOMark like the 5D Mark III. Sony have done a superb job on the 1″ sensor.

The next limitation is the 8-25mm lens to match the small 2.7x crop sensor. That is 24-70mm in full frame terms but in reality it is still a 8-25mm. That is simply not long enough to give you separation of the subject from their surroundings when they are more than 2 or 3 meters away from the camera. The lens on the RX100 III is much shorter than on the RX10 and it is actually shorter (by 30mm equiv. ) than what we had before on the RX100 M2. It is shorter to accommodate the lovely bright F2.8 aperture at the long end of the zoom which is very welcome but even at the long end of the zoom between 3m and infinity there’s hardly any subject isolation at all.

Here’s such a shot that looks too busy and flat from the lack of separation at the long end of the lens…


Despite framing the subject (couple in carriage) top to bottom, the background is involved as well as a crowd of about 6 other people.

For so long consumers had ignored aperture simply to look at the length of the zoom. Some compacts now have camcorder lenses with a reach of 50x which is madness because they lack the stabilisation and fast aperture to make it all look nice! Sony did a noble thing with the fast F2.8 aperture at the long end of the zoom, but the irony is I really miss the reach and shallower DOF of longer focal lengths.

For shallow depth of field there is the Sony RX1 which shoots amazing stills, the problem there being that is it shoots terrible video! Lots of moire, no pop-up EVF, no ND and no XAVC codec. Yet here Sony have an $899 compact with all of that and one which shoots much cleaner video than their flagship RX1. Strange stuff! It is almost as if Sony are making their product planning up as they go along. The RX1 isn’t even that old and there’s absolutely no reason why it shouldn’t have a firmware update for 50Mbit/s XAVC-S.


This is the same codec Sony are putting on the A7S so possibly with the RX100 III we get an early glimpse of what it is like.

On the RX100 III we have 1080p at 50Mbit/s so double the bitrate we had previously with AVCHD but still there is lots of horrible macro-blocking on motion blur. It’s a poor encoder, rather than the bitrate which is to blame.

Also the clips are still stored in a sub folder of a sub folder of a sub folder in the PRIVATE folder. I hate having to fish for them there, put them with the stills! The clips are in there as they are accompanied by XML metadata files and 720p resolution JPEG preview frames. Incredibly the metadata file does not contain anything useful at all and the JPEG thumbnails also are completely wasted. They don’t contain any EXIF shooting info related to what settings you used, or what exposure, or the picture profile selected for the clip. When scrolling through videos in playback mode the high resolution thumbnails are ignored completely and you get a barely legible pixilated scrawl! What on earth were they thinking here?


Above: Stills thumbnail in playback mode


Above: video thumbnail

Video quality, stabilisation, EVF

Sony appear to have switched to a sensor-shift based stabilisation system in the RX100 III rather than optical. I think this because even with standard Steady Shot enabled which I thought uses the OIS of the lens, I get a warping effect caused by the sensor moving. The stabilisation is not as effective as the Olympus 5 axis system. You can switch to Active or Inteligent Active mode which is quite effective but then you have a further crop of the sensor and a softer image.

The EVF is bright, sharp and the best viewfinder yet seen on a compact. The pop-up mechanism means the camera maintains the jeans pocketable form factor it is famous for. I really love this feature and found myself using it a lot. It’s an OLED panel and very sharp and contrasty.

In terms of resolution the 1080p from this camera has the crispness of fine detail like the GH3 but it falls flat vs the 4K you would get from Panasonic’s upcoming compacts using the same sensor, like the FZ1000 bridge camera.

Here are some 1:1 crops from the output…


A little compressed looking, but sharp…


Very poor handling of subtle grey tones.


Very nice handling of colourful and detailed subjects at close-up.


Encoding mud from motion blur of passing objects outside a train window. Not nice!

The stills quality is pretty much as before but I did notice the JPEG quality on this camera has taken an interesting direction. Lots of sharp detail and fine noise grain in the JPEGs this time.


A big surprise is that 120p (at 720p) does not contain lots of moire and aliasing. It is actually very usable for slow-mo! It takes a 16mm film crop of the sensor and of course it is softer than 720p on the GH2, but it’s the best 120fps I’ve yet seen on any compact camera. It is certainly in league with the GH4′s 96fps. However the camera astoundingly does not playback 120fps in-camera as slow-mo! Hmm! How is the average consumer buying a high end compact supposed to know how to conform this 120fps to 24fps or 30fps slow-mo? In Premiere Pro!?

The camera is PAL / NTSC switchable so PAL uses get to benefit from the higher frame rate of 120fps as well. A 100fps option is available when the camera is set to PAL to reduce flickering with electric lighting.

I’ll be revisiting this feature in a separate article.


There’s no hotshoe and no mic socket so external microphones are out of the question for this one.

However overall this is a camera that handles better than you’d expect give the tiny size. It is far more responsive than the older models too. Operation is very snappy and there’s virtually zero lag on the video record button.

The zoom lens operates slowly but very smoothly during video recording and at he end of the zoom it settles gently to a stop rather than abruptly. Nice touch there.

The punch-in focus assist zoom can be activated while recording. Framing changes on the LCD but the recording isn’t effected. A quick brush of the shutter button brings you back out. Again a nice touch!

AF is now MUCH faster than the RX100 M2 in stills mode, but in video mode it is still very hesitant and slow. I actually prefer to use M stills mode for movie recording than the actual Movie Mode on the dial. In movie mode you cannot use AF-S to grab focus quickly on an object and record video with it locked rather than continuous. Also in movie mode the manual focus assist is a bit soft and peaking a quite low res affair. Pressing the shutter won’t allow me to bang off a still in movie mode either, nor can the shutter button be used to record a movie! I have set my stills to 16:9 so I get proper framing of movies in the stills mode. When I need MF I get a crisper zoomed display and when I press the shutter button I can rattle of a raw still. Only at 120fps does the framing change when I hit record in this mode and I lose the option for the cropped ‘Active Stabilisation’ for movies too but the benefits of stills mode for movies outweighs those downsides.


The pop-up EVF is easy to extract even if it does need two motions… One flick of the switch and one pull forwards to extend fully. Rightly or wrongly the camera automatically powers off when you retract the EVF. You can leave it up and switch between the LCD and EVF with the eye-sensor but shame there is not a menu option to switch off that auto power-down behaviour.

My feedback to Sony on the RX100 would be to fix the small but annoying things. There’s nothing major which is a deal breaker but plenty they can improve upon.

The playback mode separates out files of different types in the menu rather than allowing you to scroll between movies and stills seamlessly like every other camera on the market. If you have shot video in XAVC-S, some in AVCHD and then some stills, only one set of these files will be available in playback mode at any one time and the rest hidden. This makes you believe the files are actually deleted. For consumers who haven’t yet found the right option in the menu these will be a scary few hours.

When you use the SD in another camera, Sony cameras need to ‘rebuild the image database’ and the propriety folder containing videos. This was a regular occurrence for me with lots of SD cards and other cameras. It was also a painfully slow process but on the RX100 III this seems greatly speeded up and it does it pretty much instantly. You just have to dismiss the prompt. When switching regions (PAL / NTSC) you have to format your card (unlike on the GH4) so I recommend PAL shooters keep two cards, one for 120fps and one for 25p! You can then set 120fps to the Memory Recall mode on the dial which handily sits between Movie mode and M stills mode, then keep your regular 24p/25p settings on one of those.

When the screen is tilted upwards the shooting info rotates with it but stays at the bottom of the screen, the exact part which is obscured by the camera body when the LCD is in selfie mode. Hmm!

The organisation of the menus is still a bit haphazard with video frame rate on the same page as flash options, movie options scattered around on different pages. Why not put all the movie related options on one page? And for stills you have AF / focus options scattered onto no less than 4 different pages in two separate menu tabs. Why?

The manual focus ring is still too thin and has too much variation in sensitivity as you use it. It’s very confusing. You can whip focus quickly from infinity to macro with a very short turn, but then fine tuning focus over a tiny distance requires many many slow turns of the ring. I’d rather the travel was constant like a DSLR lens. Especially with a deep depth of field it is hard to see what effect the focus ring has, when the effect is not predictable.



The RX100 III is deeply impressive as a compact camera. No other camera this size touches it.

As a video camera it delivers 50Mbit/s files with plenty of detail in 1080p and very usable 120fps for slow-mo.

It doesn’t lack for features or usability either. For video the RX100 III really has a chance to displace the GoPro as a popular drone and action sports camera. It would be great to see 3D gimbals for the DJI Phantom and RX100 III!

However I dislike the lack of depth of field control with the short lens. 8-25mm on a 2.7x crop sensor pales in comparison to a 35mm or 50mm F1.4 on full frame. I just cannot get the dreamy look that I can with the GH4 + Speed Booster and fast lenses or with the 5D Mark III and full frame raw video. Too much to expect from a compact? Maybe, but the Sony RX1 fits a much bigger sensor into a pocket camera doesn’t it?

If you need a drone camera or a very small ‘shot grabber’ as well as a pocket camera for stills you cannot get a better one than the RX100 III. However image quality does fall short of the Blackmagic Pocket Cinema Camera for video. The other thing which may give potential buyers slight pause for thought is if Panasonic put 4K in their LX series. The FZ1000 already has the requisite 1″ sensor and 4K codec for $799 in a bridge camera, so this is a distinct possibility.

Right now in the here and now, the RX100 III is highly recommended as long as you appreciate the limitations.

The Future

I would LOVE to see a full frame RX1 Mark II with these features. I suspect the RX1 II is going to be a curved sensor affair but if they put the 12MP A7S sensor in the RX1 and added the new RX100 III features it would be a great in-between step. A full pixel readout for crisp 1080p, 120fps, pop-up EVF, built in ND filter and XAVC-S are exactly what the RX1 is missing.

I would also love to see an APS-C version as well. That 1″ sensor is just a bit too small for the tastes of many filmmakers. 1″ is approximately Super 16mm but with a fixed zoom lens but with Super 16mm you really must have interchangeable lenses and raw for it to sing like the Digital Bolex does, with the lovely fine grain and 14 stops dynamic range…

Click here to view the embedded video.

Above: Shot on a small sensor!

As we have seen with the RX1 it is possible to fit a very large sensor in a compact body. Even if an APS-C RX had to grow to accommodate a 18-50mm lens to cover the larger sensor I’d buy it in an instant.


  • Larger sensor by compact standards (2.7x crop 1″)
  • Respectable low light performance especially considering the 20 megapixel count
  • Very good resolution in 1080p/60p/24p
  • Very good quality 720/120fps mode for the price
  • XAVC-S 50Mbit/s increases quality of movie capture over AVCHD on previous models with finer noise grain and less banding
  • Sharp lens bright at both ends (F1.8 / F2.8)
  • Built-in ND filter
  • Built in pop-up OLED EVF with eye sensor
  • Uncompressed clean HDMI output
  • Very good quality stills. JPEGs are excellent this time
  • 180 degree tilt on the screen, makes selfies possible
  • Effective optical stabilisation and even more effective Intelligent Active Stabilisation for movies (with crop and reduction in detail)
  • Very fast AF in stills mode
  • PAL / NTSC switchable
  • Almost all movie options usable in stills mode
  • Wide range of frame rates – 120,100,60,50,30,25,24p
  • Full manual control and stabilisation remains active in 120fps mode unlike other compacts (like LX7)
  • WiFi allows remote control
  • Very small and light so perfect for DJI Phantom drone
  • Responsive
  • Zoomed focus assist can be activated while recording a movie and moved around the frame
  • Full manual control of ISO, shutter, etc. while recording a movie
  • $799 for all that in a compact camera is superb value


  • Short lens (8-25mm) makes it difficult to separate subject from background if they are 2 meters or further from the camera
  • Still occasional (mild) moire and aliasing
  • Waxy skin tones and occasional ‘video’ feel to images
  • XAVC-S still prone to blocky compression and poor rendering of motion blur
  • XAVC-S meta-data useless, very poor quality thumbnail preview in playback mode despite high quality one stored on card!
  • XAVC-S still hides clips in a sub folder of a sub folder of the PRIVATE folder
  • No option to conform / playback 120fps as slow-mo in camera
  • No mic socket
  • No hotshoe
  • Limitations when set to movie mode on the dial – No AF-S or ability to take stills with main shutter button
  • Slow AF-C in movie mode
  • Confusing feel to the manual focus ring – way too much variation in sensitivity
  • Video recording button awkwardly placed and cannot be assigned to another key
  • Main shutter button cannot be used to start video recording in movie mode
  • Options relating to focus and movies scattered randomly throughout the menus rather than grouped
  • Playback mode only displays one format of file per session, hides the rest
  • Switching between PAL / NTSC requires card to be formatted
  • Shooting info panel obscured when screen is facing forwards in ‘selfie mode’
  • Low resolution peaking not accurate enough for critical manual focus

The post Sony RX100 III review appeared first on EOSHD.com.

All credit is given to author EOSHD.comAndrew Reid

Crucial MX100 512GB SSD Speed Test

Crucial MX100 512GB SSD drive (1 of 3)

The Crucial MX100 512GB was only released a few weeks ago and I’ve already seen it on sale a few times for as low as $199. That puts the MX100 at about 39 cents a GB compared to the current average price of around 48 cents a GB, making it one of the most affordable SSD drives on the market. This price savings comes from the use of 16nm flash which is smaller than the 20nm flash used in previous models. The reduction in size means more memory can be produced from a single wafer, which intern reducing the cost per GB.

Crucial MX100 512GB SSD drive (3 of 3)

While I don’t really “need” any more SSD drives the Crucial MX100 512GB pricing tempted me enough to the pull the trigger on a single drive. The drive itself is actually a little thinner than normal 2.5″ drives at a thickness of 7mm. Thankfully Crucial was kind enough to include a spacer for laptops that have the more common 9.5mm drive enclosure.

Crucial MX100 512GB SSD C speed test

Speed tests on the new Crucial MX100 512GB drive look very impressive for the price. In crystaldiskmark sequential reads are just under 500MB/s and writes are a very respectable 474MB/s. The 16nm flash seems to be just as fast as 20nm offerings that use the same Marvell controller.

Crucial MX100 512GB SSD Samsung s test

Testing the Crucial MX100 512GB drive with Samsung’s Magician software, the MX100 looks even better. Sequential reads are at 525MB/s and sequential writes are at 477MB/s, put the Mx100 in the same category as the Samsung 840 EVO (tested here) with rapid mode turned off. The Samsung 512GB 840 EVO runs $249 and the MX100 is currently selling for $219 (with sale prices as low as $199), if you don’t plan to use Samsung somewhat experimental “rapid mode”, the MX100 saves you around $30 to $50 for about the same performance.

Crucial MX100 512GB SSD drive (2 of 3)

I’ve only been using the drive for a few days. Once I’ve had the MX100 running for a month or two I’ll post some more results. I experienced a little bit of a slowdown in performance after a few months with the previous generations of Crucial drives (m500 series), so I’ll be keeping an eye out for that.  I’m sure well seem more 16nm flash SSD drives hitting the market soon which should lead to even more price competition.

SSD drives are finally starting to look like an affordable storage option. Hopefully the trend will continue.

The post Crucial MX100 512GB SSD Speed Test appeared first on DSLR Film Noob.

All credit is given to author DSLR Film Noobdeejay scharton

HMNsound Lav (2 of 2)

I’ve been testing and using the HMN Sound lav mic for the last few weeks (earlier post here) and I’ve been pretty happy with the results. The shelved version of the HMN lav sounds very similar to the $140 Sennheiser ME-2 Lav mic I normally use. At $79 however, the HMN lav is a bit more affordable than Sennheiser’s offering and it leaves me wondering if the ME-2 is really worth the extra $60.

HMN sound Lav test (1 of 2)

Placing the two lav microphones side by side, you can see that the HMN Sound lav (left) is slightly wider and slightly shorter than the Sennheiser ME-2 (right). Both microphones have a brass outer shell casing. This is easy to see on the ME-2 thanks to all the use it’s seen, but I actually had to scrape a little paint off the HMN to find out what it was actually made of. Both microphones also use a very similar tie clip and the cable size is pretty much the same.

All of the sample tests have been converted to a 192 kbps mp3 format for easier download. This first test is the HMN Sound lav plugged directly into the Zoom h1 field recorder.

This next test is the Sennheiser ME-2 plugged directly into the Zoom h1 field recorder.

HMN sound Lav test (2 of 2)

For the last test I’m using the Azden ULT dual wireless system. I have the HMN Sound lav plugged into the left channel and the Sennheiser ME-2 plugged into the right channel. The receiver is feeding the audio directly into the Zoom h1.

I’ve listened to this last one a few times and to my ear it sounds as though the shelved HMN might have a slight advantage over the ME-2. The sound difference is very subtle and i’m having trouble deciding which one I actually like more. 

Sometimes tests like this really boil down to personal preference. Both microphones sound good, but the HMN is roughly $60 less than the Sennheiser ME-2 and audio difference seems pretty minimal compared to the difference in price. Take a listen to all of the audio samples and let me know what you think.

The post HMN sound & Sennheiser ME-2 Lav mic audio testing appeared first on DSLR Film Noob.

All credit is given to author DSLR Film Noobdeejay scharton

128gb SDXC cards 2 (1 of 1)

I’ve been testing out that Komputerbay 128GB SDXC card with the Panasonic GH4 over the last 3 or 4 days and I haven’t run into any problems with write speeds. Even at 1080p 200Mbit/s the card seems to sail along without any trouble. No dropouts or write issues so far, I might even approve it for paid work if it makes it through a few more weeks of road testing.

1gb 128GB SDXC

As promised here are speed tests from CrystalDiskMark. The rest of the information is nice to have but for video work Sequential read and write speeds are what you’ll want to focus on. The advertised speed for the Komputerbay 128GB SDXC card is “60MB/s Write, 90MB/s Read”. As you can see from the results, the read speeds fall a little short of the mark coming in at 76.76 MB/s. However the write speeds for this card seem to be “write” (pun intended) on target at 64.20 MB/s which slightly faster than advertised. 

Sandisk extreme pro 32GB speed test

Compare those results to the results (above) from the Sandisk Extreme pro 32GB card and you’ll see that the Komputerbay 128GB SDXC card results are pretty close. The Extreme pro is slightly faster in both reads and writes but both cards are more than fast enough to keep up with the GH4.

Where the Komputerbay 128GB SDXC card really pulls head is in price per GB. A Sandisk Extreme pro 32GB card will set you back about $50 which works out to $1.56 per GB. At $64.50 the Komputerbay 128GB SDXC card works out to 50 cents a GB, that’s 1/3 the price of Sandisk’s offering.

Keep in mind that the Komputerbay CF cards I’ve tested in the past have been a little bit unpredictable from card to card. Some people have reported speed differences as high as 20% from one card to another. This is the first and only Komputerbay SDXC card I’ve owned so I don’t have a very large sample size. From the Amazon reviews I’ve read, it seems like the SDXC cards might suffer from the same quality control issues. About 14% of the reviews are negative out of 1350 total. So make sure you check your card speeds as soon as it shows up.

The other thing to note is that with a large capacity card like this, you are putting all of your eggs in a single basket. If you shoot on 32GB cards, all 4 cards (128GB worth) would have to fail for a shoot to be a total loss. However a problem with a single 128GB card may cause you to lose everything. In the old days I feared using anything over 32GB for that reason, but the hassle of changing out cards every 45min or so has me rethinking that strategy.

Once I’ve had a chance to use the card for a month or two, i’ll let you know how well it works out. So far so good.

The post Komputerbay 128GB SDXC Speed test appeared first on DSLR Film Noob.

All credit is given to author DSLR Film Noobdeejay scharton