Sony A6300 – First Impressions
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A little bit of personal history to begin with a few observations:
I have been waiting for a camera like the Sony A6300 for a little while. For someone as myself that begun taking pictures and shooting video with analog format (Pentax P30 & Panasonic Compact VHS), the technology behind the Sony A6300 can be simply mind blowing. Its capabilities open the door to endless possibilities, based on its resolution and looks, which can allow sophisticated narrative styles due to its features.
Video Quality of the Sony A6300
First, the image quality of the 4k footage that this camera produces is amazing. It baffles me to think that such a small camera factor can be capable of such crisp and sharp resolution. On the other hand, it’s also astonishing that the footage is actually being captured by the sensor in 6k instead of 4k (although this would only allow you to shoot in 24 frames instead of 30) I don't find this to be an inconvenience in any way. I rather like cinematic look of 24/fps footage produced by camera. Another interesting advantage of the shooting modes of the Sony A6300 is the 120/fps capabilities; I confess that I've yet to use this mode, but knowing that the resulting footage is very usable, it makes this camera a true road warrior, IMHO.
Up until today, we could agree that, in the realm of mirrorless APS-C sensors, the Sony A6300 outperforms other mirrorless cameras (perhaps this weekend's NAB 2016 might share a light in the future of the mirrorless market). Native E-mount lens selection is lacksome, and although new professional lenses are coming out, their cost is beyond what a semi-pro and casual shooter can afford.
Quick remarks regarding A6300 workflow
For me, one of the biggest incentives for acquiring this camera, besides the 4k resolution, was the addition of S-log2 and S-log3 gamma profiles. I still consider myself a complete novice shooting in both picture profiles, but the addition of these two shooting modes open unlimited grading possibilities. This definitive opens the door for ways to reach certain looks and emotions arranged around the careful selection of colors and hues to establish certain mood in the narration.
I’m sharing below a first montage of footage taken with the Sony A6300 while in S-Log3. The footage was later edited in Adobe Premiere CC and Impulz. Eventough this is just a first test, I’m blow away by what this camera is capable of capturing in such a small format.
Rolling shutter is very evident on fast camera movement – every APS-C CMOS sensor is meant to have it, but I might say that it’s more prominent in this camera. If you’re constantly on the move, in a type of run-and-gun situations, this camera might not be the perfect system for you. Still, there are ways to control this such tripods, monopods, gimbals, etc.
The second issue with the camera is moire, but again, this has always been an issue with cameras of this nature. It’s sometimes impossible to ignore it, and even when it happens, many directors and DP decide to simply remove the object causing the moire in the first place instead of changing the camera.
The A6300 is a step up in the development of mirrorless cameras. The variety of its recording modes makes it superior to the A6000 yet not as professional-ready camera such as any of the Sony A7 line. The picture profile modes through S-log2 and S-log3 allows the recording of footage with wide dynamic range for its later color-correction and grading. Its price makes it a very appealing camera for the amateur and prosumer markets trying to upgrade to a 4k hybrid system