Quote Originally Posted by Guy Mancuso View Post
Frankly I find nothing wrong with this cam that are not familiar with any other cam on the market. Just a matter what work arounds you need to employ. Not on this forum but people need to just get on with it and stop ****ing whining. I just spent probably 7 grand to get in this system. I'm ignoring the whining. There is not a shot I can't accomplish without a little extra work.Oh I forgot people don't like work. This camera will produce but just like the other 36 mpx sensors there are walls you need to get through and a lot of care to accomplish them. People forget the D800e release and I can't get sharp images. There is no difference here. I'm going to go make money with mine and enjoy its extra features I never had.

Oh and Merry Christmas. Now go shoot Grinch has spoken. LOL

I won't be grumpy in 10 minutes. ROTFLMAO
Yeah, what's happened to the MacGuver spirit in photography? Hell, I have to figure out some work around or solve some other problem almost every day I'm in the studio or on location.

Guy, some of us should elaborate on the "get on with it" aspect and how experience often solves seemingly insurmountable issues ...especially you

I used to shoot stills for test TV commercials using a technique I invented to cut costs compared to video taping them ... subjects would go through the action sequence and I'd fire off still frames at certain intervals. We would then import each take into one large layered file to pin register each shot to the other so the post production editor could animate them (like a cartoon). I quickly discovered that even the act of gently pressing the shutter button on a DSLR that was on a tightly locked down, sand bagged Gitzo 500, made the stationary background jump around like crazy ... on a 12 meg camera! A lesson I never forgot.

If anyone has ever been on a motion shoot, when the camera is rolling NO ONE can move or walk around. For one shoot we had to rent the big Sony padded sound stage in LA to avoid any sound created motion on a pool of water for a Lincoln commercial I created.

Want stringent? Try shooting a Multi-Shot MFD camera where the sensor is shifting one pixel for each color. Even with mirror up and a leaf shutter ... it still could abort the shoot if the slightest motion was detected.

This isn't to say we want that for this little camera, but it is little only in physical size ... it has an unforgiving 36 meg sensor, and we have to experiment to find the correct adapter/support system, and the best lenses for the best results. Our collective experience will grow as we get into using it, and all will benefit.

I've since discoved that this is a killer studio camera when used with lighting ... flash duration makes shutter speeds or sync speed almost irrelevant. What makes it killer in studio (with or without strobes) is the Manual Focusing system and EVF. Mag the view 14X for critical focus ... and you can also see the DOF via the focus peaking ... (look through the viewfinder with the lens wide open and then stop down while watching the focus peaking to see what I mean.)

The next lens I may try is the Nikon 85/2.8 PCE Macro to do table top ... love that lens! Pretty sure it can stand up to 36 meg if care is used. Hope the rental guys start stocking adapters for this camera so we can use all the fab stuff they already stock (hint, hint ). Anyone that has that lens with a A7R, I'd greatly appreciate any feed-back!

I still suspect that Sony's adapters mitigate any issues with long lenses but I have to test that further using different combinations of TriPods, Heads, and QR systems ... of which I have many.

Merry Christmas all ...

- Marc