Leaderboard

Total continuous 4K recording time, brand new Sony factory battery fully charged: 1 hour 20 minutes. Number of overheat events, 74F ambient air temp: 2. First overheat event shut off camera. 2nd occurred as battery was nearing empty: displayed temp alert (orange thermometer + triangle), battery drained before shutdown. Camera must be restarted every 29m59s to perform this test. I never used the A7S this way, and will never use the A7S II this way, as I tend to turn off the camera between takes to save battery power. In a hot environment this could be an issue. The improved color and 5-axis stabilizer makes the A7S II worth the upgrade even if not using 4K. Given the heavy macroblocking, the best results for 4K must be done with an external 4K recorder. For indie projects, this is a decent camera. For a paid, higher end shoot, a pro camera with 10-bit and higher bitrate is needed for 4K. We're looking forward to the C300 II production version reviews.

I'm still waiting for the first example of a truly natural grade from the A7sii s-log3. All the graded footage so far looks like the instagram-filter s-log footage I really dislike (ymmv). For me the natural look is the acid test of a camera's capabilities. Washed out artistic grades hide a multitude of sins.

Slog3 isn't usable any time there's a relatively continuous color/luma, such as indoor paint/walls, etc. However, there's an easy solution that looks pretty good. Use PP9, which is Slog3 and SGamut3 (not usable for anything, way too wide a color space), change SLog3 to Slog2, then change SGamut3 to SGamut3.cine, use any of the ARRI LUTs in PP CC, or just using a curve to pull the blacks down and pull up the mids a bit, add saturation, and it looks very similar to the ARRI LUTs. SLog3 + SGamut3.cine (JPEG on this site looks worse than in PP CC: click on the first image and view full size for better results): SLog2 + SGamut3.cine: Another look for SLog2 + SGamut3.cine: SLog2 + SGamut3.cine with Alexa DCIP3 LUT (+ other Lumetri panel tweaks): I think the camera did reasonably well for these bathroom lights: CREE daylight 100w eq. LEDs, with a strong green spike, mixed with incandescents. After I've shot with models in the studio with the high CRI Light Storms, I'll post some images.

You do realize the poster you're replying to is the guy in the video? And that a Loxia would also fit on the A7S, which they used to shoot that part of the video?

Chris Oh's post #2. Sity University PLEASE READ BIG DISCOUNT SIGN UP NOW

B&H: A camera is manufactured in China by a person that needs food and energy. It is flown to America by a plane and pilot and then offloaded by some people who all need energy. It is transported and then packaged into a warehouse in Brooklyn by people and trucks that use energy. After I have placed my order it is transported back to the airport by people and trucks consuming energy. Flown to Sweden by planes and people. Delivered by a truck to my town by trucks and people. I walk to the post and pick it up. LOCALY: A camera is manufactured in China by a person that needs food and energy.It is flown to Sweden by a plane and pilot and then offloaded by some people who all need energy.It is transported and then packaged into a Store in my town.I walk to the store and pick it up.

Just walked into Samy's on La Brea and picked up an A7S II and 24-240 FE lens. While it looked like they have a bunch in stock, there may be a waiting list, so perhaps call before heading over. The A7SII+24-240 lens replaces the A7S+18-200 as our small run & gun camera. The new combo is quite a bit heavier and the zoom ring is very stiff- not clear yet if it will get smoother with some use. The body did start to get hot after a few minutes of 4K use- haven't used it long enough to check for overheating. Quick 4K test in PP CC: colors in Slog3+SGamute3.cine looked better than SLog2 on A7S, though I did see some banding on a gray background. 4K resolution and detail: will need to do more tests however it appears the GH4 provides more actual resolution. Additionally, PP CC can play 4K GH4 in real-time while the A7SII 4K required 1/2 resolution (12 Core Mac Pro, 980ti GTX, dual 4K displays). Stills- skintone colors appear a bit better than A7S (non scientific test). Will test MB IV adapter with Canon L lenses next.

Yes I think that's a nice example of the teal and orange look, but it's still - to my eyes - a very definite stylised look. I do like the way it deals with the highlights in that footage but the skin is a strange and unnatural shade if you're looking for naturalism. Looks like one of those Osiris LUTs which makes this difficult to judge. Sickly skin is the one thing I want fixed in the A7Sii. If that's fixed over the A7s then I'm onboard.

Cool. I've never been a fan of Sony but I'm gonna rent this one and try it. The image looks great, and the features are just too good to pass up.

Not sure if this is natural enough for you, but I found this on Vimeo yesterday and thought it looked really really nice - especially given that the camera has only been out a few days. https://vimeo.com/142764518

The only safe long-term storage would include several methods (SD, bluray, hard disk, usb stick, cloud) in several physical locations.

He said in the video that it was been filmed with the first A7S, take a look again.

Agreed, but when you know that your story is the type that demands that sort of treatment, then you make the decision to go that route. Thus, your main consideration begins with the story --and not the fact that you just bought a cool anamorphic lens and need to figure out something to make with it.

Start with your story. It flows out from there. That's the fountain. If you know you have a good story, then you do the things and make decisions to make sure it stays a good story. As a documentary guy, I've shot things more or less identically for a film with dry information vs. a film with emotionally resonating stuff. And a good compelling story always elevates the production. I don't think it works too well in the other direction. You can decide to begin with awesome gear and base a production around what the technology offers you, but I just don't see that being the smartest way to approach a creative endeavor.

Whilst looking for something else, I found this thread, on Cinematography.com, that talks about shooting Anamorphic on S16mm film & about half-way down this comment pops up: "the Kowa 16H and Moeller Anamorphics might be appealing. The focal length starts somewhere at 25mm on these lenses. When you have a S16 gate the right squeeze for scope would be 1.33 so you could also try this or similar stuff from Century. The best choice between trashy 50s glass and video adaptors could be a Iscorama 1.5x with a 54 rear diameter. " Here's the link for the thread: http://www.cinematography.com/index.php?showtopic=45187 Now, with an Iscorama 54 you can go wider than nearly all the other anamorphic adaptors. But with this S8/x2 I think its safe to say that 24mm will be the widest on the BMPCC - you could try to find a cheap 20mm & try that.

Threw a grade on these, looks really nice colour wise, even with Berlin's limited colour palette. Couple of mixed Impulz Luts and then a few with FilmConvert.

Just did a long 4K recording run to test for overheating. Inconclusive as the battery died at 28mins Will try again tonight.

OK, to keep confusion to minimum: The opening shots from 0:45 to 11:35 are all shot on the A7S II. The talking heads before and after that are shot on the original A7S. This might not be an ideally shot and graded video, but we only had production model A7SIIs for the one night and a half hour in the morning. Editing was obviously hurried as cameras are shipping right now. While it may not be our best looking work, I tested everything pretty extensively to make sure all our findings were accurate.

speak for yourself. i've been hiding under my desk since last night.

I love my Moeller 16/32/1.5 that much, I might be buried with it. You can keep your Iscos thanks.

It's probably organized by ISIS. They hate Jews right? The "just get another job" comments floor me. You guys need to start living paycheck to paycheck for awhile.

It's sort of like voting. Of course your one vote doesn't change the outcome but you're making a public effort to change something.

I feel like the people in this thread that are in denial about worker exploitation are the same people that gave Philip Bloom the benefit of the doubt over his domestic abuse. The world doesn't always adhere to your majority view. It's a deeply unjust place.

Haha. Not much to shoot in a coffin!! By everything I mean... not quite everything I'm working on a list with pics, next week will start blogging the gear I am selling. There's a ton of it.

We don't lose clients, that's the way things are...... You can deliver on time with an average product or off schedule with an amazing one..... NO company is doing what Blackmagic is doing/done, sit back and relax. Blackmagic has SEVERAL amazing cameras out right NOW, when their new models are ready that's when they will be in our hands. I currently am looking to buy a Micro and an Ursa Mini, till then I will shoot on an A7s......

Same here, shop locally when I can. And I use one of the smaller online stores that are based in small towns Sweden. Good for the home economy and better for the environment.

ISCO x1.33-16:9 PACKAGE STILL AVAILABLE ! FREE SHIPPING FOR EUROPE! (remember, this is temporarily on sale for € 2590)

Islamic site? Aljazeera is one of the least biased news corporations worldwide. http://www.democracynow.org/2015/10/12/headlines/nyc_warehouse_workers_launch_campaign_to_unionize_b_h_photo_video https://en.wikipedia.org/wiki/B%26H_Photo_Video Its not about religion. Its about companies abusing workers.

B&H and Adorama, and many other stores, are run by Orthodox Jews. It sounds like the warehouse workers have grim work, but so do most Jewish workers in these stores. They are bused from their communities in Brooklyn and live very spartan lives, which is why these stores succeed (lower prices). You read about "tribes" in the Middle East but don't need to travel there to see one in action. Go to B&H. Then go to Williamsburg, Crown Heights or Borough Park. You won't see a lot of money flowing about. Yet they gather round and protect their own. I find these communities creepy. Then I remind myself Park Avenue is just as creepy in its own way too. There are no easy answers here, like boycotting a store. The truth is, wherever you live, if you weren't born into money getting work is very difficult--especially if you're an immigrant. In that story the only job many of those workers could get was at B&H. Again, believe it or not, B&H doesn't treat its own Jewish workers much better. The difference is that the Jewish employee believes in something more than money. Or maybe they're too scared of raising prices (to pay workers more) and losing their customers to Mormons.

Is that vignette from the lens? It looks great! No shaming, It's what you do with the tools that counts! 2X anamorphics are very sensitive to tilt distortion. Keith Richards: Under the Influence is full of just that kind of distortion. It's not always a huge problem.

Francois, to my untrained eye, the footage looks good! What resolution are you shooting? Instead of expanding footage horizontally, have you tried squashing footage vertically to compare results? Are particular prime lenses more troublesome than others? How do you have your Schneider mounted? This is my approach: Build a dedicated 15mm rail platform for each anamorphic lensTest (and re-test) alignment & focus for each platform in a controlled environment using a high-detail test patternMark the positions on the anamorphic & its platform for future reference, and lock everything downDifferent positions/markings may be required for each taking lensKeep in mind I am a novice, and others out there almost certainly have better methods (and will hopefully share them in this post). I must be really annoying folks with all my posts, then I've watched a lot of test footage, some using film anamorphics which resulted in mediocre footage, some using projection anamorphics which resulted in fantastic footage. What counts is the final image, it doesn't matter how you achieve it in my opinion. Hope this helps, and keep on shooting! Cheers, |. . | .|