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Finished just in time for October... BURNT POPCORN! A dark little ditty, a silly little skiffle, a twisted little tale about a woman (Amber Marie Bollinger) who loves her ricecakes, but hates the oppressive smell of, well, you get it. Shot on the Sony A7s and RX100 iv on an assortment of Nikkor and Rokinon glass (and stock lens on the RX), as well as a Fujinon A18x85 BEVM-28 for those zooms. Cut and colored on Premiere CC and VFX done in Blender and After Effects CC. Enjoy in either youtube or vimeo flavors:

Hi Friends. I have made this spec ad with a Sony A7s, Gopro 4 and Lumix LX100. Hope you enjoy it.

As part of my MA program we were asked to create a short clip that tried to capture the experience of getting lost in thought staring at something. Here's my take, filmed with the Sony A7s in SLOG2 and using a DeLUT from James Miller. I'm pretty stoked that I'm finally getting the hang of SLOG2. It's not great to use in low light situations, but I nailed a sunset at the very end of the video, something I'd been trying to do for ages after watching Ed David's Kholi footage a while back.

Hey guys, Here is a link to a short film a friend and I made: I'd appreciate any kind of feedback from you guys concerning the film. "Death is an appointment we cannot avoid. The one we most regret." - Unknown Directed by: Jesse Tugas Cinematography: Gino Woulard Actor: Mitchell Camps Equipment: Sony A7s DJI Ronin Tokina 16-28mm f/2.8 Rokinon 16mm f/2 Zeiss 50mm f/1.4 Canon 40mm f/2.8 Special thanks to Dan Harris ** Academy of Art University Flashpoint Film Festival Cinematic Storytelling Winner

I shot a music video on the a7s for a friend over the holiday. A few weeks ago I finished the edit and I'm looking for feedback. This was really the first time I've attempted a music video and the first time I have ever really played with speed ramping and I had a blast doing it. I would really like to do more of these.

I own both the A7S and the A77II (which just received XAVC-S in the 2.0 firmware update last week) so I shot a quick comparison today. Download the master in ProRes LT to really pixel peep. To make the playing field as level as possible I used the same A-Mount lens on both cameras and also set the A7S to APS-C mode, which I use quite frequently in the real world. Picture profiles and other details are listed at the end of the video. I didn't have a lot of spare time today, so excuse the less-than-awesome slider shots. Shouldn't detract from the results.

It is occasionally handy to use a field monitor for still photography. It is difficult to find info about the functionality of field monitors for still photography. I will appreciate if somebody can assist me with the following questions: 1. What is the functionality of a field monitor on the sony A7s in still mode ? 2. Does monitor/recorders like the Atomos range work in still mode ? ( not necessarily as a recorder but as a monitor )

B&W made in post from A7S color footage.

I did some tests with the intelligent digital zoom on the a7s and I'm pretty convinced it's some kind of sensor crop. My theory is that the processor is cropping into the 4k video to get the zoom as opposed to cropping into the 1080p video. So the video quality is actually really good. Here's a video showing some tests I did with it.

Here's my first run-and-gun video event with the Sony A7S. Overall, very happy with the capabilities of this camera. In shoots following this one, I've noticed a significant improvement in video quality when using 30p vs. 60p. Note that footage in this piece was filmed at 1080/60p and super-slomo was filmed at 720/120p. Final file was edited in a 1080/30p timeline and exported as a 720/30p. No, I will not make the master available for download so you can pixel peep at it. ;) Lenses include the Tamron SP f/2.8 70-200 in A-Mount (with the LEA4) and Sony Zeiss FE f/4 24-70 (stabilization off). Sound courtesy of a Rode Videomic. Since filming this I added a Tamron SP f/2.8 24-70 to my kit so both lenses will focus the same direction (you can probably tell I missed a few because of this.) I did quite a lot of this video with the 70-200 handheld on a small Jag35 rig. One major annoyance is that the record button is too easy to inadvertently hit while filming. I missed a couple shots because of this. It should be placed where the C2 custom button is located (like on the A77) or I should be able to remap record to the photo trigger (duh.) Rolling shutter wasn't an issue. Here's the video: http://dspor.tv/1uvZRGm Alternative link: http://www.dailymotion.com/video/x2291i5_sideways-in-seattle-formula-drift-round-5_auto

I, like everyone else saw the Sony A7S videos, and was completely blown away. While it is superb strategy for Sony to COMPLETELY handicap the camera, despite its insane potential. I believe Sony will introduce this sensor in its 'F' range as well as 'FS' range of cameras, which will see its full potential. While the GH4 sensor is nowhere in the league of the A7S's, Panasonic has not purposely handicap its potential to 1/10th, to make way for its professional range, which is both respectable, as well as sensible. Right now, the A7S is something that could have killed the entire 'C' range of Canon (C100, C300 and C500), as well as many other cameras which use the small form factor. I am quite unsure of why this ridiculously unfriendly anti-workflow monster has been created. I think Sony needs to seriously re-consider undoing the handicaps.

A "tech geek's" comment inspired by the Sony A7S release... I appreciate the quality of codec/bitrates of the new Panasonic GH4 (there are several first examples available online), the maturity and all-round versatility of the system, as well as its plethora of great improvements (like the “depth-for-defocus†contrast-detection AF). However, there is one thing on GH4 I have never found to be the most elegant technical solution. Namely, it is rather high megapixel score (16MP). I do suppose for a motion-stills/video oriented micro 43 camera the optimal resolution would be 12+MP. The arguments are straightforward: 1. 12+MP on a micro 43 sensor is a “native†resolution for the academy DCI 4K standard (4096×2160 pixels). On GH4, DCI 4K is supported in the crop mode (x2 vs x2.3), owing to the higher horizontal resolution of its 16MP sensor (4608 pixels). To note: x2 vs. x2.3 crop is noticeably less pleasant for a video maker (!). 2. Higher continuous shooting rates for stills: 30% speed-up in the continuous shooting does matter (!). 3. Slightly lower ISO noise (and slightly higher dynamic range) in the video and pictures’ modes. For the motion-stills/video-oriented cameras (1) and (2) is much more important than extra 4 MP in stills. B.t.w, I lived a quite happy stills’ live with my G2 – just be thorough with composition and no need to crop :). There are well-known successful examples of the strategy (“less MP = more speed/IQâ€) in the DSLR world (Nikon D4 (16MP/FF), Canon 1D (18MP/FF)… And now – “suddenly†appeared at NAB, the first 4K mirrorless full-frame Sony A7S. As compared to the GH4, A7S has lower bandwidth/processing power (50 Mbps vs. 200 Mpbs for 1K, UHD (3840×2160) vs. DCI resolution, 4:2:2/8 bits vs. 4:2:2/10 bits etc.) with the advantage in the high ISO of course. Note that A7s has also 14 bit RAW for stills. However I would rather applaud Sony for limiting the sensor resolution by 12MP. It is a very harmonic engineering solution for the motion-oriented hybrid camera. Dreaming forward about 4K on micro 43… I would like to see two lines of Panasonic sensors: 16MP for the stills-oriented cameras and 12MP for the motion-oriented ones. For that I would gladly pay extra. Apparently, Panasonic thought about it more than me. Sadly, they do not follow this path likely due to the high financial burden for maintaining the two lines of the "perfect" sensors on one consumer’s products line. This is in contrast to Sony which always seem to have enough cash to sit on several sits (e.g. A7, A7R, A7S, NEX, ... )… PS I do not intend to compare 4K/micro 43 vs. 4K/mirrorless-FF as systems themselves here: the pro/cons are be basically the same as for the stills’ counterparts. Stay tuned, ZZ VISUAL