Another ISO and test images

http://www.focus-numerique.com/test-1880/compact-a-objectifs-interchangeables-sony-a7s-bruit-electronique-12.html

To the people worrying about rolling shutter: http://instagram.com/p/pZEIouwZFa/

http://www.stevehuffphoto.com/2014/06/18/the-sony-a7s-1st-look-testing-the-limits/

That one's only 720p; a little hard to judge.

oh no..man, the more videos I see , the more it looks like the fs700 footage and color, I could be wrong

The Japanese manual has been posted: http://www.sony.jp/ServiceArea/impdf/manual/45379400ILCE-7S.html

A few things I noticed:

• Color mode may be selected independently of gamma, and S-Gamut is an option. This is super good news for me, because it should allow for a full ACES workflow, just like the F55 and F65.

• 25p and 50p are not available on the Japanese camera.

• In Silent Shooting mode, raw pictures are recorded with 12 bits per pixel effective precision, instead of 14.

• In Silent Shooting mode, the time to record an image is 0.5 s longer.

• There is an electronic first curtain shutter mode. (Like the a7)

ACES is a color-managed workflow for video. The ACES color space is a scene-referred linear color space, which means you can do primary color correction (color balance and exposure compensation) in ACES just like you can on raw sensor images, maintaining accurate color without the weird color shifts that you get when you try to manipulate display-referred color spaces like sRGB and rec.709. Sony provides the formulas for transforming S-Log2 + S-Gamut video to ACES. Log recording plus the ACES workflow give you wide dynamic range and accurate color correction, just like raw but without all the overhead. You work in the ACES color space, and you preview and render in a display-referred color space like sRGB or rec.709. ACES has built-in transforms to convert from the ACES color space to rec.709. A lot of high-end video packages support ACES and have built-in transforms for S-Log2 + S-Gamut. Arri Log C and Canon C-log are similar in this respect.

Sony Vegas Pro and DaVinci Resolve also support ACES and have transforms for S-Log2 + S-Gamut.

Here's a really great white paper on Cinematic Color, by Jeremy Selan, a color scientist at Sony Pictures Imageworks who did some of the ACES development. http://cinematiccolor.com/

Here's a presentation with some of the details of ACES: http://www.oscars.org/science-technology/council/projects/pdf/ACESOverview.pdf

Matthew Allard / News Shooter review on vimeo:

Would be more interesting if we could have seen histograms/RGB parade or such when working those highlights. Most NLE's clip the highlights on Sony's video files in h264, so the amazing recovery could just as well just be that that info is being pulled back into the editor's visible spectrum rather than amazing roll off in the highlights. Having said that the 720p image in 120fps looks quite good. A shame they slowed it down 15% as it makes it hard to tell how the compression holds up and how the actual cadence is in 120fps.

@yabafunk

That was tight!!!! Awesome breakdancing :-)