Given the modular nature of the design, I expect third party manufacturers will bring out accessories, The HDMI may be less of an issue if the cable is very short connecting a Nanoflash or a HD SDI converter hard mounted to the side of the camera very close to the HDMI output, rather than an arm with cables hanging off.

The RED cameras have lots of 3rd party mods made to them and the Scarlet fixed has mini jacks for the mic inputs, you need the media I/O module for XLRs etc

There seems to be a bit of a rumour that the HDMI on the camera is 10 bit, rather than 8 bit, but that would need to be confirmed, since most people are talking in terms of 8 bit.

Fast Super 35mm lenses are large and not cheap. Optimo PL mount zoom lenses (http://www.angenieux.com/zoom-lenses/index.php?txt=5)
Optimo PL mount zoom lenses (http://www.angenieux.com/zoom-lenses/index.php?txt=5)
Another option are zoom lenses for the RED.

There are zoom lenses that Sony is introducing for the F3, but the max aperture is rumoured to be T3 for a 11-16mm, the bigger zoom range lenses would tend to be in the T4, with aperture ramping at the long end to keep the size down. If you want fast, with large zoom ranges, but relatively compact, 1/2" or 2/3" makes more sense, rather than large sensor cameras.

I expect Birger will bring out a mount which will allow Canon zooms to be used, but you're talking about similar max apertures

The camera tested had the standard e-mount 18200 which seemed to cover the sensor just fine. I see no reason why we will not see 2.8 e-mount zooms within 1.5 years.

That's the fastest DSLR zoom I've seen, and certainly fast enough for indoor event filming. As you know there are many out there now, all for under 2K.

2.6 is impressive but only a tad faster.

I was just thinking about the LCD position-- ie., top mounted LCD. Seems like a bad idea to me. The top mounted LCD sure kills the potential of a quick and easy jib shot.

Never crossed my mind but even when mounted on a tripod you're going to struggle to see the LCD, that wasn't well thought out if you ask me.

You can get f2.8 mount zoom lenses already, just use an adapter, however, just don't expect them to to be 10 to 1 zooms, more shorter zoom ranges. Examples are the RED zooms which are 18-50mm and 50-150mm. People are using stills lens zooms on the RED, so they'd be the same ones you'd consider for the FS 100.

A non aperture ramping f2.8 10 to 1 Super 35mm zoom,is very large and you'd be attaching the camera to lens rather than the other way. I suspect the front diameter of the lens would be over 140mm

Never crossed my mind but even when mounted on a tripod you're going to struggle to see the LCD, that wasn't well thought out if you ask me.You are right about that. Many times I put my camcorder on my tripod and the head is always approx 5 inches above my head for certain times. I'll either need a chair or a HD monitor now.

The top picture may be the answer to your problem.

NEX FS 100…Sony’s affordable version of the F3, first footage | Philip Bloom (http://philipbloom.net/2011/03/23/nex-fs-100-sonys-affordable-version-of-the-f3-first-footage/)

This camera seems to be more like a RED layout than a traditional Sony product. Unfortunately, that means accessories will be needed to solve various issues.

A poster on another forum has spoken to Sony and has been told by an Engineer that the HDMI is in fact 10 bit.

For Jib use mount the camera upside down. Undersling it and you'll have no problem seeing the LCD from below. Then just flip the image right way up in post.

You can get f2.8 mount zoom lenses already, just use an adapter, however, just don't expect them to to be 10 to 1 zooms, more shorter zoom ranges. Examples are the RED zooms which are 18-50mm and 50-150mm. People are using stills lens zooms on the RED, so they'd be the same ones you'd consider for the FS 100.

A non aperture ramping f2.8 10 to 1 Super 35mm zoom,is very large and you'd be attaching the camera to lens rather than the other way. I suspect the front diameter of the lens would be over 140mm

Agreed,

I don't think any expects a 10x 2.8 zoom.

17-50
24-70
70-20

all these are common with 2.8 aperture. You certainly do not need the expensive RED zooms. We will have e-mounts with OIS at a fraction of the price.

Obviously in the meantime the sony 18-200 is in fact excellent if you have light, and the nikons and sigmas already adapt for MF and manual aperture work.

The mechanics can be a down side to stills zooms, that's why the cine zooms are expensive.

I was looking for a new camera after my EX1 and I think that will be this one. Hope my EX1 will stays alive until next summer !
I'am a photographer too and I hope that I'll be able to use my nikon lens on the NEX-FS100. If i get it right S35mm is more or less like APS-C so my 50mmm 1,4 will behave like à 75mmm, and my 14mm 2,8 like a 21mm.
I like the small form factor too, good thing to cross borders.
I still do not have a slider travelling - I am living in Sénégal - but I really want one ! Will anyone gave me an advice on a good choice for that ? Which one is use in the video ?
Thanks

Agreed,

I don't think any expects a 10x 2.8 zoom.

17-50
24-70
70-20

all these are common with 2.8 aperture. You certainly do not need the expensive RED zooms. We will have e-mounts with OIS at a fraction of the price.

Obviously in the meantime the sony 18-200 is in fact excellent if you have light, and the nikons and sigmas already adapt for MF and manual aperture work.

I have a VG10 with the Sony 18-200 lens and it is a very good lens. By itself it runs about $800. Not the fastest, for sure, but Sony sells an a-mount adapter for about $160. With that, a whole family of lenses become available, including some really nice Zeiss lenses:

α (alpha) Lenses | Sony | Sony Style USA (http://www.sonystyle.com/webapp/wcs/stores/servlet/CategoryDisplay?catalogId=10551&storeId=10151&langId=-1&categoryId=3770)

I'm sure there's some useful lenses in that selection.

Here's some footage from the camera

vimeo.com/21461116

Here's some footage from the camera

vimeo.com/21461116

I love the sunset shot!

And this was shot with a relatively slow zoom lens, f3.5 - 6.3. Imagine it with a fast prime.

if I were to purchase this camera and a Sony EX1, would I be able to cover most of the variables necessary in shooting a movie (yes, I am very much a novice)

in the first picture at the top of this page is the camera configured with a rail, matte box and an impressive looking lens. What is the approximate total cost of this setup minus the monitor?

NEX FS 100…Sony’s affordable version of the F3, first footage | Philip Bloom (http://philipbloom.net/2011/03/23/nex-fs-100-sonys-affordable-version-of-the-f3-first-footage/)

I don't know which lens is being used, although it looks rather like a RED zoom which costs $6000.

Matte boxes, rails and follow focus, you could use a bundle for the Af100 at approx $1900. You can easily get much more expensive in that department

I have a VG10 with the Sony 18-200 lens and it is a very good lens. By itself it runs about $800. Not the fastest, for sure, but Sony sells an a-mount adapter for about $160. With that, a whole family of lenses become available, including some really nice Zeiss lenses:

α (alpha) Lenses | Sony | Sony Style USA (http://www.sonystyle.com/webapp/wcs/stores/servlet/CategoryDisplay?catalogId=10551&storeId=10151&langId=-1&categoryId=3770)

I'm sure there's some useful lenses in that selection.

there is no video continuous AF with A-mounts, hence they are not worth the trouble, IMHO

Are people still actually using autofocus for video? That's a massive surprise to me from this thread about so-called pro camcorders.

I can well imagine that there is probably a lot of feverish development going on at all of the camera and lens manufacturers in the realm of autofocus for large sensor video cameras. What worked for still cameras will not work for continuous shooting; what worked for small sensors won't be accurate enough for large.

Maintaining focus on moving objects will continue to be a challenge for everyone embracing these cameras, especially for those who cling to the notion that shallower is better.

Maintaining focus on moving objects will continue to be a challenge for everyone embracing these cameras, especially for those who cling to the notion that shallower is better.

I agree.
Looking at the FS100, I'm seeing a camera that looks mostly suited for set-up shots, studio/sound stage type shooting, and perhaps close to hopeless for ENG, documentary,and run n' gun shooting.
With lens, hood, battery, etc. it's about the same size and weight as an EX1, but seems far less versatile.
Unless you absolutely need the shallow DOF, I can't really see it replacing the EX type cams.

Perhaps suitable for a certain style of shooting documentary, although those tend to be the ones that the F3 would be used for.

Not the best choice for ENG or the run & gun style of film making.

Here's an example of the F3 being used, although it doesn't look that much different to 2/3" if you kept the lens aperture wide.

Japan Earthquake, Natori on Vimeo

I can well imagine that there is probably a lot of feverish development going on at all of the camera and lens manufacturers in the realm of autofocus for large sensor video cameras.Not just large sensor video cameras either. It seems that the R&D being done for consumer cameras is being used in prosumer cameras. There is some very clever stuff done with face recognition & autofocus which has been developed because consumers want simple point & shoot camcorders to take video of their kids & have it stay in focus. This sophisticated technology can be found in the Canon XF305 & Panasonic AG-AF101 & does a pretty good job which is almost spookily acurate at times.. The "Intelligent Auto" mode on the Panasonic GH2 does a damn fine job in most circumstances of taking good pictures with no skill from the photographer other than pointing & clicking. This level of smart automation can only improve with the passage of time.