And Newsshooter reviewed the FS5 with Kai from Digitalrev:
As a B-camera on larger productions the FS5 should work well in places where you might previously have used a DSLR, GH4 or Sony a7S. Obvious uses include on brushless gimbals and in-car rigs, although you will probably want to record externally.
Newsshooter also tested the camera at anti-war protests:
After having a pleasant shooting experience with the camera, I wondered how good Sony’s new BSI sensor would look when compared to both the D810 and the 5DS R. To my surprise (and as you can see from the previous pages of this review), the Sony A7R II demonstrated superb performance at handling noise at high ISOs, easily surpassing both cameras. In my past evaluations, Sony full-frame cameras always fell short when put head-to-head against Nikon DSLRs, so I did not expect the A7R II to do better either. But looks like the BSI CMOS sensor that Sony decided to utilize on the A7R II was the right choice, as the performance speaks for itself. Not only does it deliver exceptionally good ISO performance, but it also does it with more megapixels than the D810 and a far better dynamic range performance than the Canon 5DS R.
The Zeiss Batis 85/1.8 is a near-perfect lens, at a price that’s well shy of the company’s manual focus Otus line. It’s tack sharp from corner to corner, even at f/1.8, captures a heck of a lot of light, and draws wonderful portraits with a very shallow depth of field. The only real complaint is the pincushion distortion that it exhibits, and that’s something that’s easily corrected on a computer. If you’re in want of a prime lens in this focal range for your Sony mirrorless system, and you put an emphasis on portrait and general photography, look no further.
Yes, the Otus just in terms of sheer IQ wins but I was surprised by how close the Otus and the Batis were in pure IQ. Add to that equation the size difference and addition of fast and quiet AF and I have an absolute winner for my destination wedding work. And the 25mm Batis met all my needs on the other end of the spectrum as well. Just superb!
quick test between the Zeiss Batis 25mm f/2 and the Sony FE 28mm f/2 on Admiring Light.
Why I’m returning my Batis 85 mm f/1.8 (Alin Popescu).
Skydiving with the Batis 2/25 and Alex Torre (Lenspire)
Well, you can test the new Sony A7sII with your best Zeiss glass or you can choose to go the other way around and test it on this 105 year old [shoplink 42750 ebay]Kodak Junior A1 lens (on eBay here)[/shoplink]. Well, you really see it that’s it’s that old :)
This lens kept its promise offering superb quality and while it is made for photography with some ergonomic drawbacks for video it is still among my favourite lenses of all time. The kind of shots I could achieve with this lens, without any noticeable quality loss is amazing and opens up new possibilities for people who like lowlight shooting. Furthermore this lens opens up your path to shallow depth of field at wide angles, which is rarely seen outside of high end professional productions. The biggest highlight about the Sigma 20mm F/1.4 Art Lens for me is its price though. At $899 the value for money you get is very high and makes it an affordable option for shooters working with a Sony a7S II.
Dpreview (Click here) just claimed the A7rII as best camera of the year in the over $2,000+ category!
The Sony a7R II wins this group for many reasons: it is arguably the most innovative, most improved, and houses the most features of any camera in this category. 399 PDAF points offer the largest frame coverage and truly challenge full-frame DSLR AF. We were in disbelief at the incredibly high AF hit rates we observed across multiple shoots, so we baselined the system against DSLRs in a slew of continuous AF tests to find that, sure enough, the a7R II challenges some of the best DSLRs, even in low light. Continuous Eye AF is a boon for candids of even moving subjects, and better-than-DSLR AF accuracy ensures critical focus for shallow depth-of-field applications. Many of these AF benefits disruptively carry over to 3rd party lenses when using electronic adapters, an industry first.
Ming Thein reviewed the new Loxia 21mm f/2.8 FE lens. And the conclusions are quite favorable:
“it is already remarkably sharp in the center at maximum aperture, and taking into account some field curvature, the edges, too. By f5.6 it is very difficult to find fault with anywhere in the frame – longitudinal and lateral chromatic aberration are very well controlled and there is little evidence of smearing in the corners. I wouldn’t call it apochromatic, but it’s really not far off. Colors are deep and saturated, and in the typical Zeiss manner, microcontrast simply pops.
The Zeiss has the level of clarity we have come to expect from their best lenses, and is a perfect partner for the whole philosophy of ‘smaller, lighter, no optical compromises’ – it is a little jewel of a lens, and built to last a lifetime. It takes filters, and is my choice when working stopped down on a tripod or if weight is a priority.”
