Right dude, like totally morphicing my ana! Looks like the dudes are shooting this with a Black Magic camera... go to the Zylight booth and get yourself a nice on camera light, this muddy picture is a bit too much no film school.

Just saying :)

Actually had the BM 4K, but it murders highlight like no other camera. Got the A7S for two reasons: latitude and sound. With the XLR adapter you get a very small extremely effective little package with a viewfinder that has peaking and zebra. A zoom focus option, the e-mount that lets you use almost every lens, fullframe and APS-C. But with all the things coming at NAB, I'm sure someone will introduce something crazy, and I hope Sony will actually be one of those introducing a A7S II with internal 4K in a month or two.

I use it to shoot interviews, documentary, theater stuff, not having any ND's is sometimes annoying because with the S-log you sometimes need ND's inside if it is sunny outside. But te image is fantastic and yes the light sensitivity is a lot of fun. But I still light my promo work and interviews as usual, the only advantage is you can use less light if you want to show more dark background, or even get some detail in a window outside on a sunny day.

The dynamic range and proper XLR audio is what I like most about the A7S.

It is very tempting, especially with the codec / bitrates but after several sidesteps away from conventional eng cameras (red, BM4K etc. ) I really don't want invest in anything that doesn't have ND. To be honest I'm hoping someone will come up with a simple but clever LCD based ND that can go from clear to 12 stops. BTW I don't think the new camera's use filterwheels like we used to have, I think they are more motorised little arms that flip in and out and can even use two filters at the same time. Probably something that is too expensive for BM to put in any of their camera's. I also have a problem with the additional $2K for viewfinder, shoulder mount and v-lock.

The problem is: no ND and with the shoulder mount / viewfinder / battery option it is another $2K, that is passed the FS7.

Why are so many people busy calling for a "mount"? 28-365 is about as much as you need for most productions unless you are into wildlife / specialised action stuff.
This is a very capable package and I think anyone who needs a "mount" simply doesn't know how capable and easy to use a package like this is. If you are using separate lenses you can't get anything that does more then 24-104 at F4.0, go beyond that and you need a 70-200. It means not only do you need to cary twice the weight, but wasting time on changing lenses, dust, etc. etc. If they produce a camera that has a lens and electronics optimised for each other it should be really nice. The only reason you would need to mount anything is if you want to go beyond 365mm, now you either use that a lot or it doesn't really matter that much.

Having close to 16mm sensor size with a long zoom is perfect for docu and report work. The only thing that has changed is the ability to look beyond what you are used to, a complete package like this is fantastic, nothing has changed, except that shooters now think they are "directors of photography" because thats how a lot of news shooters call themselves. Pretentious rubbish, the only thing I worry about is the bitrate and codec. The joke is we went from camera's like this back to the stoneage because everybody was horny for 35mm DOF, it doesn't change a thing about the usability of a camera like this. It is ok to go back to a camera with fixed lens if it produces the image we want. Interchangeable lenses suck if you are shooting with a small team. In the 35+ years I have been shooting with almost every type of camera the DVX100 was the most perfect package for docu work (except for the shitty iris control)

No ND and weird place for XLR, this is not going to make the sound ppl happy: headphones and XLR too far apart of regular multicable spider.

Interesting camera, I liked the image from my BM 4K, but was not practical and shooting on a Sony for now. The handgrip would need aperture control to be really useful for EF lenses. The FS7 can do 4 audio channels with the XLR adapter, this only does 4 which, to be honest, I think is very weird, by now I would expect at least an extra two drop-in wireless channels receiver options on shoulder camera's.

In that respect Sony seems to be still ahead: ND, and 4 channel audio plus a huge range of lenses you can use on the FS7, it still is the camera to beat, but I do like this camera.