Sony announced new A7r mk2, RX10mk2 and RX100mk4 all with internal 4k

[Jacques Mersereau]

I look forward to trying out the MkII.

I like the A7s, but it sounds like the MkII has addressed a couple of things lacking = internal 4K recording, usable auto focus and an even better viewfinder + 8K stills.

[Michael Kraus]

Here are the first high-ISO still image samples. Looks as good or better than my 6D so I think I'll be happy with it.

First High ISO (12800, 25600) Sample Images of Sony a7RII | Camera News at Cameraegg

[Dave Allen]

Do you think the A7R II will video autofocus better than the Panasonic GH4 which really sucks on video autofocus.

As to low light video, I am a bit uncertain which would provide better footage, using the full frame feature which supposedly has more issues, or the super 35mm setting for the sensor.

[Paul Chiappini]

News Shooter | Sony a7R II first impressions: Hands on with the surprising 4K camera

Granted this a preproduction unit but I'm disappointed in the rolling shutter performance.

[David Heath]

Originally Posted by Dave Allen

........ I am a bit uncertain which would provide better footage, using the full frame feature which supposedly has more issues, or the super 35mm setting for the sensor.

I think it's worth quoting something else from the link above link (my emphasis):

The second big surprise is that the full-frame 4K mode also looks remarkably good. I assume that pixel-binning is being used to reduce the output of the 42-megapixel sensor to achieve this. As I have pointed out before, the quality of images achieved by pixel-binning techniques varies wildly. There was very little obvious aliasing and moire of the kind we used to see on the 5D mkII. The 4K full-frame output of the a7R II is really excellent.

All that is definitively known about the various modes is that it does some form of pixel-binning in the full-frame modes, and also s35 HD - it doesn't in 4K s35.

That has then been widely interpreted as it must mean the full-frame modes won't therefore be as good as the s35 because of the binning - but as I've suggested before that may be a wrong conclusion. High quality via binning relies on the sensor dimensions being EXACTLY twice the format resolution, and that is mathematically possible for a 42Mp sensor.

I'm still waiting to see more definitive tests (esp crop comparisons of the various modes) but reading "The second big surprise is that the full-frame 4K mode also looks remarkably good. ........ The 4K full-frame output of the a7R II is really excellent." tends to make me think it is indeed likely that it is using 2x2 binning for ff 4K. Having less rolling shutter in the FF mode would also be in line with the theory - more photosites to read out, but much less processing to do.

And that really would make the A7R II quite special.......

[Ger Griffin]

disregard, apologies

[Larry Secrest]

I have a stupid question here.

Assume somebody is mainly interested in acquiring some equipment around the $ 3000 price point for video only.

Why spend 3000 bucks on this Sony A7r 2 when for the same price you can have a ursa mini shooting ProRez 444? I still believe that the 4K sensor camera, because it comes with free Resolve and the amazing color grading capability of ProRes is better than the Sony. I understand somebody taking the sony over the Ursa Mini 4.6K, which I think is probably over kill for most people, but why pick it up over the 4K, considering the incredible advantage of a color space offering 444?
Am I missing something here?

[Ger Griffin]

For me its about the full frame sensor and the look that that gives me with my full frame lenses.
At the moment I have a 5d3 and Im considering the new sony. I wouldnt jump ship for a crop sensor. I dont do much grading (dont have time) so really its what can be produced in the camera itself that applies to myself. Im not even iterestedn in Slog2. Too time consuming for my work to be messing with it.
So color space is all great but for me I need a light small good in low light full frame camera that shoots 4k internally and looks like a photography camera. Too much to ask? Apparently not. :)

[Michael Kraus]

Originally Posted by Larry Secrest

I have a stupid question here.

Assume somebody is mainly interested in acquiring some equipment around the $ 3000 price point for video only.

Why spend 3000 bucks on this Sony A7r 2 when for the same price you can have a ursa mini shooting ProRez 444? I still believe that the 4K sensor camera, because it comes with free Resolve and the amazing color grading capability of ProRes is better than the Sony. I understand somebody taking the sony over the Ursa Mini 4.6K, which I think is probably over kill for most people, but why pick it up over the 4K, considering the incredible advantage of a color space offering 444?
Am I missing something here?

I'm pretty sure the URSA mini is a repackaged Black Magic Production Camera. It's not going to be great in low light and the dynamic range is good, but not anything special. For wedding filmmakers such as myself 4k at ProRes 444 isn't practical. I need an efficiently compressed codec. The Sony will also make a great stills cam for those of us who do both. Also if we need a more robust codec for a specific shoot we can always rent or buy a shogun. There's also the in camera stabilization which is very attractive for handheld work and the short flange distance that lets you adapt pretty much any legacy lens ever to it. There's a lot of win in the A7R II.

[Larry Secrest]

OK,
your answers make sense, both of you. In both cases we are dealing with people not interested in narrative but who are working at filming weddings. Sure I understand.
The fact that the Ursa Mini 4K is a repackage BMPC is not a bad thing.
I guess if you don't do fiction why bother to color grade and why bother with any codec in 444

[Wacharapong Chiowanich]

Also from my past experience with the Blackmagic 2.5K and pocket cameras, just setting up the cameras and all that necessary rigging for a shoot was a work in itself. Not to mention a number of firmware glitches and design quirks that often held back the shoots. Assuming you can and have the time to get everything right I believe the newer 4K capable models will give you a nice image with a distinctive look in a way the Sony A7R II probably can't. But IMHO the $3,000 for the Sony also buys a peace of mind for a lot of people aside from a camera that shoots 4K.

[Gary Huff]

Originally Posted by Larry Secrest

I guess if you don't do fiction why bother to color grade and why bother with any codec in 444

And why bother with shooting in 444 with a sensor that doesn't actually give you that?

[Michael Kraus]

Has anyone here gotten to play with an A7RII yet? I have mine ordered but who the heck knows when they'll ship...

I was interested in the A7R mkII until I saw various reports of it overheating and shutting down after a short time when recording 4K. Maybe this is something Sony can hopefully fix?

New Shooter article mentioning overheating:
News Shooter | Sony a7R II part III: 5-axis stabilisation and heat issues – going handheld to tell the story of a London busker

B&H review mentioning overheating:
http://www.bhphotovideo.com/c/product/1159878-REG/sony_a7r_mark_ii_digital.html

[Charles W. Hull]

Originally Posted by Michael Kraus

Has anyone here gotten to play with an A7RII yet? I have mine ordered but who the heck knows when they'll ship...

I've had a A7RII for a few days. The 4K video quality for both full frame and S35 is very good. S35 performs really well in low light (it's not an A7S, but it is better than anything I've ever had). I've played quite a bit with Slog2; this has exceptional dynamic range. But EOSHD has published a flat profile for the A7RII they call CINEFLAT that is more like a Canon LOG style, and it seems to give better color and better control of color in post. I've tried this and am switching to it - I expect this profile will be a winner for serious video.

Rolling shutter is high, so you won't be doing fast pans - as we're all used to with CMOS sensors. There have been reports of shut down with over heating with the S35 mode before the 29 minute limit. I have not had this problem, and many users report trying to make it fail and they can't, but it is something to be concerned about.

Of course it is an amazing stills camera.