Available at https://www.amazon.com/Sony-Translucent-Mirror-DSLR-Camera/dp/B019O9M92Y/

The new α68 (ILCA-68) camera from Sony lets enthusiastic photographers discover even more creative opportunities with their precious collection of A-mount lenses.

Inheriting many pro-style features from the acclaimed α77 II, the α68 features Sony’s unique 4D FOCUS system that delivers extraordinary AF performance under any shooting conditions - even in lighting as low as EV-2 where other cameras struggle.

This phase detection system uses no less than 79 autofocus detection points including 15 cross points, plus a dedicated f/2.8 AF sensor point for dimly-lit scenes. It all adds up to fast, wide area AF with predictive tracking that locks faithfully onto fast-moving subjects. And thanks to Sony’s unique Translucent Mirror Technology, the α68 delivers constant AF tracking at up to 8fps continuous shooting.

Whether you’re shooting stills or movies, peerless image quality is assured by the 24MP APS-C Exmor CMOS image sensor with wide ISO 100-25600 sensitivity range. It’s teamed with Sony’s speedy BIONZ X image processor that uses Detail Reproduction and Diffraction-reducing Technologies plus Area-specific Noise Reduction for pristine, finely detailed shots every time.

Full HD movies use the efficient XAVC Sv format for high bit rate recordings at up to 50 Mbps with outstanding detail and low noise. And thanks to Sony’s unique Translucent Mirror Technology, you can enjoy non-stop continuous autofocus that effortlessly tracks moving subjects for crisp, professional-looking footage, whichever format you choose to record in.

With a powerful array of creative features to explore, theα68 has plenty to offer experienced amateurs as well as step-up photographers and newcomers to interchangeable lens cameras.

Framing stills and movies is a pleasure through the clear, bright OLED Tru-Finder. 100% frame coverage ensures you see exactly what you’re shooting, with high contrast and faithful color reproduction helping you focus manually with absolute confidence.

Complementing the Tru-Finder, the 2.7-type LCD monitor tilts up to 135 degrees upwards or 55 degrees downwards for comfortable composition from a wide variety of shooting angles. Serious photo enthusiasts will also value the backlit top display that allows quick confirmation of camera settings, whether you’re shooting handheld or on a tripod.

As found on the critically praised α7 series, there’s a control wheel on the camera’s rear that allows quick fingertip adjustment of camera settings. In addition, 10 customizable buttons[vi] can be assigned for instant access to frequently-used functions. There is a front control dial for quick adjustments of settings and a sturdy grip to ensure that you are balanced, even when using heavyweight prime or telephoto lenses.

SteadyShot INSIDE reduces the effects of camera shake for blur-free handheld shooting – at all focal lengths and with any compatible lens.

The inclusion of a Multi Interface Shoe and Multi Terminal lets you expand creative options further with a wide range of optional accessories, including flashes, lights, microphones and remote commanders.

The new α68 A-mount interchangeable lens camera from Sony will be from March 2016 for approximately €600 body only or €700 with DT18-55mm F3.5-5.6 SAM II lens.

Weighing approximately 400g, the lightweight UMC-S3C is currently the most compact camera in Sony’s full-frame line-up. With mounting points on the camera body to enhance mobility, it easily attaches to moving objects. Users can control the camera via multi terminal, including micro USB compatible devices, remote controls or compatible software.

Sony’s new UMC-S3C video camera offers the highest sensitivity in its class with 4K video recording, allowing users to capture details even in challenging low-light conditions. The camera also features tremendous flexibility and long duration video recording with 12 megapixel color still image capture capabilities.

“New products like the UMC-S3C allow us to expand our 4K line-up and bring high resolution and high sensitivity to new markets,” said Atsushi Seki, Director, Business Development at Sony Electronics. “This latest video camera is a testament to Sony’s continuing efforts to provide solutions that meet users’ individual business requirements.”

Capable of achieving sensitivity and resolution with color video recording in 4K, the UMC-S3C realizes the highest sensitivity in its class – under 0.004lx, expandable to ISO 50-409600. The camera uses advanced imaging technologies from Sony’s consumer and professional groups – a full-frame 35mm Exmor sensor, to realize high sensitivity with high light condensing efficiency, and an image processing engine, which enhances noise reduction. Using compatible E-mount lenses that maximize the performance of the 35mm full-frame sensor, resolution is kept high across the entire image area.

https://blog.sony.com/press/sony-expands-4k-video-camera-lineup-with-new-model-delivering-ultra-high-sensitivity-and-excellent-mobility-features/

http://www.sonyalpharumors.com/sony-announces-the-most-compact-full-frame-e-mount-camera-the-umc-s3c/

A Full Frame Sensor (based on a Sony 6K sensor, with improved 4K from it)
Improved AF similar to the a6300,
10bit 4:2:2 Internal recording (not LongGop)
RAW output similar to the one coming to the FS5
A new Sony Touchscreen
IBIS
Improved Menu System, and easy access to commonly used features.
Improvement Colour Science
Improved White Balance
Price is slightly above the FS7

source: Sonyalpharumors:

http://www.sonyalpharumors.com/sr2-rumored-specs-of-a-new-sony-e-mount-6k-camera/

To achieve true HDR video recording, the advanced Exmor RS camera sensor in Xperia Z changes the exposure every two lines of pixels. This creates a spatially varying exposure (SVE) array image, which is then used to make an image that is perfectly exposed in both dark and light areas.

To simplify the concept, for each frame the camera shoots one picture with two different exposure levels at the same time, one light and one dark. Then, an intelligent software algorithm is used to combine (synthesize) the two shots into one picture, pixel by pixel. This allows you to see the details of both the dark and the bright parts of the picture.

Idea is extremely obvious, useful for 1080p video, but this will also mean that aliasing, most probably, will be worse.

What specs do you hope to see?

What do you predict it will actually release with, realistically?

My Minimums:

Basically, match the A7rII's new features:

• The new sensor design/features
• Internal 4K up to 30p
• 1080/60
• 5-axis IBIS

plus

• resolution bump- even a MP or two
• some improvement in ISO and rolling shutter (even if tiny)

Both just for marketing reasons- New! Improved!

• Price within $200 of A7rII.

My Hopes:

• Kill the rolling shutter! Get it to the RX10II level or lower, at least in APS-C mode. Preferably in FF too, but up to GH4 levels would be acceptable I guess.
• Improve the color science/skin tones/highlight response/etc. Don't go completely down the Canon road, but at least get it out of the Weird Sony Colors parking lot.
• A slight MP bump- enough for the APS-C 4K to be pixel-to-pixel, instead of upscaled from 2.7K like the mkI. Not sure what this would work out to for the total MP bump, but photo-wise I'd be very happy with anywhere from 15-22MP. Hopefully the numbers for binning/scaling/etc needed for the full frame video mode would work out well.
• A substantial improvement in the IBIS- get it to the Olympus level, at least. Maybe a few different more specialized modes- one for panning, one for gimbal use, one for trying to hold a locked-off shot, one for photo?
• 10-bit 4:2:2 internal
• 4K/60, at least in APS-C mode. Maybe do 4k/48 in FF?
• Clean 1080p120 and maaybe 240? 120 should look just as good as non-slomo.
• Another, even smaller crop mode- something roughly m4/3 or s16 size. Maybe do the super HFR stuff in this if necessary (in 1080p).
• Some sort of half-electronic shutter mode for photos- I want to be able to sync flashes at 1/1000th like my old Nikon D70! And without rolling shutter...
• The mkI's low-light/ISO performance is still ridiculous so I don't really see a need for improvement here, unless it can be done without changing these other improvements. A lower minimum ISO for S-Log would be cool.
• Bigger battery, or at least try to optimize the cam's power consumption. Probably won't ever get it close to the GH4 level but somewhere in that direction would be nice.
• Get the video AF up to par with Canon's Dual Pixel AF.
• Price lower than A7rII.

My predictions

• 16MP
• 4K/30
• 1080/120 that isn't quite clean. Faster modes with binning/skipping compromises
• Same IBIS and AF performance as the A7rII. Same battery, body, etc
• Improved rolling shutter but still not at RX10II levels
• Same Sony color
• Same price as A7rII.
• Claimed one-stop improvement in ISO/low-light (so they can market OMGONEMILLIONISO!!!). More like a half stop when tested.
• Still ISO3200 for S-Log.
• Still 8-bit 4:2:0 recording, 8-bit 4:2:2 HDMI output.

What do you think?

Specifications:

• 20MP CMOS sensor
• Video - 1080i60, 1080p24
• Stereo mike
• 2" 230k screen (sic!)
• 2.5fps, up to 3.5fps in speed mode
• Shutter 30s-1/400sec
• Alpha lenses can be used with adapter
• 281g
• 102mm x 58mm x 38mm
• $400 kit price

http://www.pdf-archive.com/2013/08/27/ilce-3000k-b-spec-sheete-8-14-13/ilce-3000k-b-spec-sheete-8-14-13.pdf

Previews:

• http://www.dpreview.com/previews/sony-alpha-a3000
• http://www.imaging-resource.com/news/2013/08/27/sony-a3000-review-first-impressions-of-the-slr-like-affordable-e-mount
• http://www.thephoblographer.com/2013/08/27/first-impressions-sony-a3000-featuring-some-new-nex-lenses/
• http://www.digitalcamerareview.com/default.asp?newsID=5386
• http://www.ephotozine.com/article/sony-alpha-3000-hands-on-preview-22738
• http://www.photographyblog.com/news/sony_a3000_hands_on_photos/
• http://www.steves-digicams.com/camera-reviews/sony/a3000/sony-a3000-review.html

Available at:

• http://www.amazon.com/Sony-Interchangeable-Digital-20-1MP-Camera/dp/B00EH5UGR6/
• http://www.adorama.com/ISOA3000.html

There are simple features like intervalometer, jpg engine(iso noise) and so on that could be used in old a77 to.

Thank for your work so far with Sony firmware repacker tool. I can also offer some help if needed since i studied IT science and have some programming skills.

Greetings Domen

Specs:

• 24-720mm 30x zoom
• 1/2.3" sensor
• 1920 x 1080 at 60p, 30p

Available at:

• http://www.amazon.com/Sony-DSC-QX30-Smartphone-Attacheable-Camera/dp/B00N2KD49O/

thanks Moshe Suffern, NY

Specs:

• 20.1 megapixel APS-C CMOS Sensor
• Sony E-Mount
• ISO100 - ISO16000
• BOINZ X image processor
• Built in pop-up flash
• Wi-Fi / NFC connectivity
• RAW and JPEG shooting
• only 1080p30 video (sic!)

Available at:

• http://www.amazon.com/gp/product/B00N3K7NF4/

As the title says, I need a firmware hack for the J1 to other code.

I'm reasonable enough with computers to follow a point and click install, but I'm not keen to hack the updater myself if a viable copy is available.

Cheers

http://ironfilm.co.nz/sony-fs100-discontinued-sony-fs1-coming-soon/

As Sony has confirmed something is coming: https://twitter.com/sonyproeurope/status/639713098702696448

Now my real questions:

1. How long will I be able to record at 1080P120?

2. How will the file be displayed on my computer?

3. Do I need special software to get slow motion or can I just use VLC Player plus the keyboard +/- to adjust the speed like I do with 1080P30?

4. Will the internal codec bit rate be high enough to display the detail I want?

5. Is the HDMI port capable of exporting the file to an external recorder of monitor?

We planned to buy 4 x A7s, with lenses and accecoires this summer, but ran a little out of money. 12 - 14 K is a little unrealistic to spend right now. Still we really need some camera's that will do extremely well in low light. Something we can crank up high in ISO and still will look clean.

The A7s is absolutely the best in low light, but maybeye we might settle for a little less low light and spend a lot less money.

That's why I'm now looking for an alternative: a camera that is lots cheaper then A7s, has a wide angle lens or can fit one, is able to run on AC power for a long time (10-12 hours) and has a clean and very high ISO. Something that will allow us to make shots in a very dark club, that are still clear and sharp and noise free.

I already saw a lot of cheaper cams that have high ISO available, but there's so many new models coming out nowadays, that it's a little difficult to get a clear overview and compare them all.

Anyone who knows a decent compact, at a decent price for me?

I just did picture comparison video between the Canon C100 and the Sony A7s.

http://www.castleinthesky.info/canon-c100-vs-sony-a7s/

Chris :)

Firmware: http://www.sony.co.uk/support/en/product/rm-lvr1

How good is the FullTime AutoFocus? Will it track a moving person in moderate low light?

If I get one, I will also need a Native 24-70 Lens and Shogun Recorder for extended Videos. I am not interested in investing over $6000 for something that does not work, just to film my Bowling.

240fps = 1824 x 1026
480fps = 1676 x 566
960fps = 1136 x 384

...so the idea ...is sony using that additional horizontal res to process a higher overall apparent resolution in the 1080 output ? I guess we'll have to wait for the cameras shooting resolution charts for a definitive answer, but that's what my eyes see.

ps....interestingly, have all the youtube samples have been stripped of all resolutions offerings other than 360p ?

Test footage details:
The choice of lenses was done very carefully. Considering different crops of the APS-C and micro-four-thirds sensors (1,5x vs 1,86x recpectivelly) I've used the lenses that have similar view angle, same speed and extremely similar optical performance. All lenses had proper lens hood at all times. The aperture was most of the time stopped down for one step (day at f/4.0, night at f/2.8) except in very dark scenes, where both Nikkors had fully open diaphragm. In the NEX-7 there is no possibility of shooting in 24fps mode so I set it to 25fps and adjusted the GH2 to HBR and 25fps.

NEX-7 with stock firmware (PAL) // GH2 with the patch Cake 2.3 by @balazer
AVCHD 25fps 1080 // AVCHD HBR 25fps 1080
The GH2 camera files were quite exactly double-sized compared to the NEX-7

Daylight footage settings:
Lens: Canon FD 35/2.8 // FD 24/2.8
Lens aperture: (always) 4.0, no filters
Crop: 1.5x35=52,5mm equivalent // 1.86x24=44,6mm equivalent
ISO: 200 // 200 (always)
AWB // AWB
EV 0.0 // 0.0
Metering: multi // frame+center
Colors progr.: standard // standard
In-camera setting: default // default (0,0,0,0)
Mode: aperture priority (both)

Night footage settings:
Lens: Nikkor 35/2.0 Ai // Nikkor 28/2.0 Ai
Crop: 1.5x35=52,5mm equivalent // 1.86x28=52,1mm equivalent
Lens aperture: 2.0-2.8
ISO: 1600-1600
AWB // AWB (one take manually set to 2500K both)
EV: at first 0.0 both, later -0.3 / +0.7
Metering: multi // field+center
Colors progr.: standard // standard
In-camera setting: default-default (0,0,0,0)
Mode: manual (both)

Comments and bit of my subjective impressions:

Exposure: by default settings (EV 0.0), NEX-7 tends to overexpose EV+2/3, GH2 to underexpose EV-2/3
Colors: NEX-7 tends to reddish, GH2 to greenish colors. The NEX-7 has possibility of adjusting the color tones for every color mode, also for AWB.
White balance: NEX-7 is capable of getting much cooler AWB, extremely weird situation occurs at 2m45" when the WB in both cameras was set manually to 2500K
Moiré: two tipical situations by 1m40" but generally, the NEX-7 has obviously less moiré
ISO: NEX-7 has feature of changing the ISO sensitivity during the recording, the GH3 offers this but GH2 and GH1 not. In the daylight ISO was set manually to 200, in the night to 1600 in both cameras.
Sharpness: I was expecting clear winner GH2 and much worse NEX-7. Yet, the result is very similar. Please mind that in one scene I forgot to focus the lens (by 2m35") mounted to the NEX-7
Contrasts: in all test situations the NEX-7 shows more details in the shadows, but it would need bit more testing because of the camera's propensity to overexpose what I didn't notice at first.

The NEX-7 is even smaller than GH1 or GH2 and it has bigger sensor.... I like its concept, very minimalistic- pure idea of the "mirrorlessity". Its big advantage is the still photography, such a comparison wouldn't make much sence because it simply blows off not only the GH2 but even most of the DSLRs with APS-C sensor.... it's newer generation. The big drawback of the NEX-7 considering its video functionality is its sensor overheating. On the room temperature, some 20min are maximum one can expect, regardless if the display is lifted or left in its position. I am kind of very pleased to see that the NEX-7 renders the shadows very smooth and in cinematic spirit, with lots of details. It is a feature that we are struggling to get with our GHx cameras. This cinematic image gets more obvious by using a bit less sharp lenses than Canon FD or Nikkor that I used in this test.

Thank you for contacting the Sony Alpha Email Response Team.

I'm glad to know that you enjoy the camera and very happy with it. With regard to your inquiry, we don't have an information yet about the availability of the  50mbps XAVC-S feature on the A6000 camera model.

However, you can always go to the website from time to time to check for the availability of this feature, including the firmware update of A6000 camera model. Just click the link below:

http://esupport.sony.com/US/p/model-home.pl?mdl=ILCE6000&template_id=1&region_id=1&tab=download#/downloadTab

I hope this helps. Please feel free to send us an e-mail should you need further assistance.

Thank you for choosing Sony. Have a good one.

If you would like to be the first to know about our latest products and receive exclusive offers, please sign up for our newsletter: https://subscribe.sel.sony.com

Visit www.Sony.com/4K to see the latest information on our new Sony 4K Ultra HD Televisions

Best regards,

C5WY The Sony Alpha Email Response Team

Must have.

• Sensor - 1/2.3" Exmor RS CMOS sensor
• 19.2Mp
• F2.0 bright lens
• 3.3" OLED 1.230k dots screen with touch support

http://www.sonystyle.com.cn/products/cyber-shot/dsc_kw1.htm

Because I've just joined on as the DoP to shoot a feature on a BMCC, but given the nature of the film (shooting most of the time late at night), am wondering if a Sony A7s is better.

Am curious about some direct comparisons between an A7S and a BMCC at night, and how they'd be able to grade, and how they'd be used in practise with lighting set ups (as if we can use a smaller lighting kit, that might help mitigate some of the cost of an A7S), their look, etc.

As if so, I might then recommend to the director trying to find space in the tiny budget to switch to a Sony A7S instead.

What I really wish Sony would do is make something like an A7S version of the Sony A5100. So perhaps an APS-C version with merely a 5 megapixel sensor and the same amazing low light performance as the A7S but with the cheap price of the A5100!

As I don't need a "full frame" sensor, neither do I need more than 5 megapixels so as to have enough for 4K video. I'm content with 1080p.(after all, even with the A7s, most are not shooting 4K because it doesn't do internal 4K)

Unfortunately I don't think a 5 megapixel camera would go down well at all with the typical 2014 consumer, even though I've shot plenty with my old Nikon D50 which was only 6 megapixels. So I think 5 megapixels would do just fine for casual photography, especially as it would be a very very good 5 megapixels. (plus of course I wouldn't be getting it for photography, but video)

For my surprise I found in the waveform that the Sony NEX F3 and 5N can record highlights up to 109 IRE, almost 10% above 100, and this 109 value can be lowered to under 100 in post to a nice improvement in dynamic range avoiding highlight clip. It is amazing how good results from lowering 109 to under 100 can delivery just lowering video gain to 91 or 93 %. It does not turn the highlights into a grey mass, there is gradation and texture in the super whites.

This super white combined with DRO (5 levels of shadow lifting) can give a interesting dynamic range result. If the QTGMC can reduce the aliasing and shimmering to an acceptable level the old cheap NEX will become very useful with the lens turbo, more wide, 1 fstop more light. The iso 1600 from the old NEX cleans OK with Neatvideo.

It seems there is a new life to the old cheap NEX-F3 for who cannot afford the new A7s or the new A6000.

Interesting reading about the super white 109 ire and sony S-LOG 2 1300% dynamic range:

http://blog.abelcine.com/2013/01/18/sonys-s-log2-and-dynamic-range-percentages/

Personally, I didn't care about the MFT information, it wouldn't surprize me at all if Sony would try to get piece of Panasonic's cake on the market. It was anyway just a rumor, unapproved information as my friend didn't see it.

But I would say the news about the new FF sensor in the mirrorless NEX body is quite sensational. It sounds to me also as Sony's very logical next step: just recently Sony unveiled its FF camera with fixed lens (RX1) and also FF interchangeable lens body camcorder. Sony learns and produces already now FF and also APS-C sensors which belong to the best on the world (in Nikon D800 / NEX-7, respectively). As release date I heard "as soon as possible as Sony desperatly wants to be the first one (?)"

Such a release would have many consequences. Sony's E-bayonet mount provides the possibility to use almost all lenses ever made, just like "our" beloved MFT cameras. The new FF NEX would ceirtanly not be cheap, but probably it would still cost considerably less than Leica M. So it will have enough customers. I belive that the prices for the venerable old good lenses would be pushed quite a bit upwards. By the way: my own experience about using old lenses on the newest high-end digital bodies is quite good: the most of my best old AiS Nikkors which were great on the 24×36mm film are also great on the D800. Nikon's recommendation to use only the newest expensive lenses is just a bull.... except the true that bad Nikkors still look just the same bad on the D800 like ever before :-)

If this whole FF NEX comes true, my speculation is probably 24MP sensor for start model followed by 36MP in the next step etc. It wouldn't surprize me at all if Sony after having its fingers already deeply into the pockets of consumer and professional domains now attacks also into the semi-pro world. Orwell's "1984" is getting true in the world of eletronics......