Let's wait for real tests, i mean when it will be in our hands...

@bozfx

Like predicted. Sony is very predictable company.

@bozfx

Can be popular, we'll see some reviews first. E mount and mirorrless form factor are much more handy compared to any Canon.

@balazer I would love to get one (provided the reviews are good), but at $2500 it's a bit steep for me. You getting one?

Awesome. Be sure to report back to this thread when you get it!

^ DXomark measured RED Dragon 14.8 EV, Nikon D800 14.4 EV.

Yup AI Nikon lenses do nicely on this baby

@peaceonearth The Metabones active EF adapter will give you IS ability with Canon lenses. The AF speed will be either slow or nonexistent, depending on lens, but you do not use AF much with video.

The a7S has APS-C crop modes for both stills and video. Those same Sony APS-C E-mount lenses for the FS700 will work on the a7S, though not with full 12 megapixel or 4k resolution.

Here's a little secret, and I'm only exaggerating slightly: the only difference between a cheap old lens and an expensive old lens is how well they perform at wide apertures. Stop down a bit, and the cheap lens becomes an excellent performer. If you don't need super shallow depth of field and your camera has good low light performance, those cheap old lenses become great options.

I was set on buying a GH4 to replace my GH2. Now I'm thinking the A7s may be the better investment.

As far as I can tell, it comes down to this:

*GH4 gives internal 4K, possibly a sharper image, a stronger All-I codec, and a smaller sensor (good for using my Speedbooster and the APS-C glass I already own).

*A7s gives much more dynamic range, insanely much better ISO performance, and a bigger sensor (good for using my old Nikon AI/AI-s lenses).

I don't particularly care about sensor size, beyond what it means about my lens choices. I would miss my Sigma 18-35, and I do quite enjoy using the Speedbooster, but overall it's probably an upgrade moving to full frame. I really like vintage 35mm lenses, and being able to use them at their intended FOV is a nice idea.

4K would be nice to have, but I don't need it yet. With the A7s I can continue shooting 1080p for the time being, and when I feel compelled to make the jump I can buy an add-on HDMI recorder. It's a significant added expense, but on the other hand the 4:2:2 uncompressed 4K from the A7s will probably blow the GH4 out of the water so it'll be a meaningful upgrade beyond just "catching up" with the GH4.

What I do care about is dynamic range, and having a decent codec. 50Mbps is a little low for modern cameras, but I sincerely doubt that Sony would cripple this camera after obviously investing so much in other well thought-out video features. It's probably a very optimized 50Mbps, and with the S-log curve and 15.6 stops of dynamic range, I don't think I'll be pushing the image very far in post. More likely I'll just be crushing the blacks, upping the saturation, and adding a little creative tonality to the colors, which any modern codec should handle just fine. Where codecs fall apart in my experience is when you try to boost exposure in post, reduce contrast, or recover highlights. With the specs on the A7s, none of those things should ever be necessary.

The dynamic range of the A7s... that's what really blows me away here. Here I was thinking that wide DR would continue to be the province of Blackmagic, while DSLRs and mirrorless cameras from the larger companies would stay under 12 for the indefinite future. 15.6 stops is phenomenal.

That, and the ISO performance. Watch this video:

As absurd as it sounds, you could shoot night for day. Or you could stop down and shoot deep DOF in dimly lit interiors. I think the big news isn't so much that this camera can shoot 400,000 ISO, but that it can shoot 20,000 ISO with very little noise. It may be the perfect run-and-gun documentary camera, coupled with a power-zoom image stabilized lens.

According to Amazon info it's 15.3 stops. But if it's a useable 12 stops in video mode that would be pretty phenomenal. The price is high for me, but if I see more outstanding video demos from this camera I might be swayed. The extra money spent on the camera could be made up by buying vintage full-frame lenses. I'm looking forward to more examples.

Fascinating stuff. Especially that chart of the luminance value remapping over shades of gray per stop. Someone has done a lot of homework. You say you've done some testing of S-log2... how did you test? Use another S-log capable camera and some charts? Just curious.

I agree .I just hope the codec holds better than the fs700 slog2 8bit .really was tough to work with and the color that came out of the fs700 was Un pleasing .hope for changes with the a7s