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Showing results for tags 'a7s'.
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Hi Peoples, We shot the following for the Cinema5a challenge which is taking place at the moment. If you like it PLEASE tick the thumbs up on youtube and feedback is very welcome.
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Hey folks. Last year I travelled to Sri Lanka for four weeks, hopping about the place and pulling all kinds of strange poses in the name of having a totally not relaxing vacation. But it's what happens, I guess. I edited together all the footage I collected and I'd love to hear any kind of feedback you might have. In hindsight, I wish I'd collected more footage, but I hope that doesn't shine through too strongly. Edit wise, I dabbled a little with the fast zooms that have become so commonplace in this genre over the past few years but wanted to restrain myself so to not go too overboard. The Watchtower of Turkey style isn't really my thing, as much as I appreciate it, but I wanted to steal a little of that energy films like this can generate. Cam wise, I used my Sony A7SII, GFILM colour profile, Canon 24-105 and an old Zeiss Jena 35mm that I absolutely love. No rigs, no stabiliser.
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Hey guys, Just wanted to share a promo I just made for DKNY with the Sony a7S. This was made as a tribute to my beautiful wife, Kari, whom passed in August 2015 from Cystic Fibrosis - a chronic illness with no known cure. Every shot but the New York B-roll was with the a7S (recorded in 4K by the Atomos Ninja Flame), and graded with FilmConvert. I hope you enjoy the video. Please let me know what you think! Best wishes, Bradley
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So we shot this one saturday afternoon, mostly 5d mark III RAW uprezzed to 4k and a bit of Sony a7s ii and a6300 shots thrown in (all 4k). A couple of DJI shots there too. This time our plot was excellent. -
A link to footage I shot of the aurora in Saariselka (Lapland, 3rd Jan 2016). Not claiming it's cinematic or has any artistic or technical merit. But the A7S impressed me. Unfortunately the Manfrotto video head froze (-28) so the camera movement isn't great. Slog at 25/40k iso recorded in Shogun with Samyang 24mm T1.5. All realtime and graded to look as it was. https://click.email.vimeo.com/?qs=ff270841caf6f31e744cb88599a9d8de085489b11b5dbc3463e3bbbeb700f83f45a0e34df8e2abf53c8965fc89d1490a
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So we shot this, nothing mayor, playing with the boys. Used the totolovision profile on the a7s (surprisingly good, really recommend it!)
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I had a great / weird trip to Croatia last month. I was psyched to get out and film and capture some of the beautiful scenery there, but when I arrived I was kind of devoid of ideas and inspiration. I guess work, the bad kind of work, can do that to you. When I got back I had a bunch of footage, didn't really know what to do with it, how to tie it all together and decided (after watching a few Brandon Li videos on holiday with my girlfriend) to try and capture some of his energy that he creates so wonderfully with camera movement and sound design put together in post. And this arose. http://www.vimeo.com/138451703 I kind of like the finished result. It's not my favourite travel thing I've ever done though. Or, who knows. Probably now just need some distance. Any feedback is welcome as always. Oh, and Sony A7s + Cine 4 modified by Kholi (sorry Mr Reid) + 24-105mm L + a couple shots from my new Carl Zeiss Jena 50mm lens which for some reason I only used at night in slow motion. Wish i'd used it during the day.
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I recently filmed the Northern Lights just outside Elk Island Park in Western Canada. It was a truly magical evening--I've never seen them so bright or full of energy before. Not sure if it because of the recent solar flares interacting with the atmosphere or what. http://dcbrandonproductions.com/elk-island-northern-lights/
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HUF heads to the summit in our latest "Ascensions" film After kicking the Ascensions Series off with up-and-coming streetwear brand THFKDLF, we now turn our attention to established streetwear imprint HUF. Each video in the series is shot amid a vast natural landscape, with the intention of representing a brand’s rise toward the summit in their field. Since beginning as a small shop in San Francisco in 2002, HUF has turned into a strong name in the skateboarding and streetwear worlds. Donning the brands spring and classic garments, the model heads through an abandoned quarry and up to the UK’s largest drop waterfall, showing off both the clothing and landscape to full effect. Video by: Naive Studio <iframe width="560" height="315" src="https://www.youtube.com/embed/b0khwTN4XNY" frameborder="0" allowfullscreen></iframe> http://www.highsnobiety.com/2015/08/06/ascensions-huf-video/ Filmed on the Sony Nex-FS700 Timelapse: Sony A6000 Lenses: Zeiss Touit 12mm f2.8 / 32mm f1.8 1920 x 1080 HD / 16:9 / 240fps / 24fps Music: Wife - Shards From the Album: Stoic EP Label: Tri▽angle Motion Titles: Yoke Creative yokecreative.co.uk Still Image: Benjamin Moore @photographmoore Love to know what people think! Kindest Regards Jonathan Edwards naivestudio.co.uk highsnobiety.com
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People! This is my first post to the group but i have been a lurker for some time. Last weekend we shot a short "The guy with the bow tie" in 48 hours for a competition. We now just need people to watch it and give us a vote by clicking like on youtube - Easy! Please could you watch the film (written, shot and edited in 48 hours) and give us a like please. All feedback is welcome! Richard
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Hey fellas! Recently ditched my 5D3 for A7s. Mostly because of low light stuff but also for better slomo capabilities. Yesterday I tried 120p for the first time but I totally forgot about the flicker and WB was on auto so it doesn't went too well. Any tips on shooting extreme slomo indoors?
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Eye candy from the largest mall in the world, Dubai Mall. Shot on Sony A7s in Autumn Leaves creative style (-3,0,-3) and then processed with Impulz LUTs in FCP X
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Some lowlight action with A7s. Lots of 120fps and shot in very, very low light (when the sun went down, that was it. You can see stars in the last shots) Also youtube link, though the vimeo one is better quality:
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Hi folks, As far as I know, very little has been said about this. However, Convergent Design has recently stated that Sony has the A7s HDMI port locked to a gamma curve that is closer to REC 709 than true SLOG-2. It's true, I have tested this myself and the A7s destroys it's SLOG-2 gamma curve on it's HDMI port. Here is what happens: 1.) Record a SLOG-2 internal XAVC-S file. 2.) Record via HDMI to any recorder that you have. 3.) Compare both files on a scope...you will see that the SLOG-2 gamma curve has been stretched and "damaged". (compared to internal file's "proper" curve on the scope) The histogram does not lie either, it CLEARLY shows what Sony is doing to cripple it's HDMI port. (hopefully this is a Sony oversight and not a "surprise...gotcha!" stunt. Sony markets its A7s external recording HEAVILY against the GH4 and it's a big selling point for the A7s. SLOG-2 in general is a HUGE selling feature of this camera. Now, if Sony chooses to cripple SLOG-2 over the port and trap it inside it's internal 4:2:0 codec,...that is perfectly well within their right. (No doubt at all) However, Sony needs to state this is being done in it's marketing and sales materials!! Sony needs to be upfront about it when they push it's external recording capability! Statements like: * "SLOG-2 has been removed from any external recording" or * "What is displayed on the camera monitor (gamma curve) is NOT what is actually output over HDMI. This would be the FAIR way to treat Sony's customers. This is a huge problem and I hope Sony fixes this soon. Am I the only A7s owner that is concerned about this?
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so the other week i decided to finally shoot something with the a7s (after getting it I'd been too busy to use it) and shogun. this is the result (30 seconds): https://www.youtube.com/watch?v=jJutz_AWErs and my write-up about where i think i went wrong, and what i plan on doing in the future: http://caseywilsondp.com/2015/02/10/sony-a7s-and-atomos-shogun/ (if you don't want to read it, my biggest problem was that I under-exposed too much with slog2 and had to heavily de-noise the night shots)
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Shot in my spare time during a commercial gig. Autumn Leaves creative style, -3,0,-3. Edited in FCP X with Impulz LUTs
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Hello, I have a lot of problems with the preview in adobe premiere pro and quicktime when it comes to color grading. These problems I experienced on different computer running Mac os x and different monitors calibrated or not. The issue is that the footage (h.264 / AVCHD) no matter if it´s from a 5d or a sony a7s looks alway more saturated and more punchy in the preview of premiere then after exporting and opening in quicktime. I think it´s a gamma problem. the thing is when i use magic bullet and the magic bullet looks preview inside premiere, it looks the same then in quicktime. when i use vls to playback the footage it looks the same then the preview of premiere pro. i made an example foto with four pictures. it´s a slight difference but if u look careful you will see it. it really drives me crazy. does anybody have the same experience or a solution? thank you, ben -
Hi, I'm new to this forum, but saw there were a few posts from A7S owners and users on here, so thought somebody may be able to help with the predicament I find myself in. I recently bought a Sony A7S, with metabones EF-E adaptor (Mark IV) and Sigma Art 24-105 lens. I'm having a lot of trouble getting the lens and camera to connect properly - Sometimes, the lens works fine and I can shoot long video clips no problem. However, a large proportion of the time, the set-up has several issues: 1. The aperture randomly jumps 1/2-1 stop either side of my current exposure. 2. The iris won't open and close when I change it in the camera. When it does, there's a 5-10 second delay until the lens catches up with the camera. 3. I have downloaded the firmware upgrade on my macbook, and when I open the app and connect the adaptor, nothing happens. I have also downloaded it on my iMac, and it won't even open, it just crashes straight away. I also tried downloading it on my girlfriends macbook, but it also won't open on there. Any help would be greatly appreciated. Thanks, Andy
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This is something I haven't seen a lot of people talk about, especially in a video/film context. What happens to low light performance when you need DOF that isn't quite so shallow? I'm thinking GH4 vs A7S here but feel free to chime in with whatever experiences you've had. Take the A7S at f/2.8 and ISO 1600. Wonderfully clean image, substantially cleaner than a GH4 at f/2.8 and 1600. But that GH4 is delivering way more DOF thanks to the small chip. So if we equivalence up the shots a bit, our A7S is now at f/5.6 and ISO 6400. Can it still compete with the GH4 on image quality when we're applying a two stop penalty to compensate for depth of field requirements?
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I noticed Jupiter Ascending used Leica lenses. After a little research I found this: http://www.hurlbutvisuals.com/blog/2014/03/why-do-we-want-flat-glass/ The Cooke has distortion and less pleasing bokeh (only 5 blades), however it just looks better ("3D"). Testing cameras and lenses against each other is a useful exercise. I've been testing the GH4 against the A7S in studio lighting and the GH4 is looking better, especially in skintones. I had tweaked the A7S to look similar to the 5D3 and thought it looked pretty good until I did the same with the GH4. Under studio lighting, the GH4 produces nicer skintones and a cleaner image (+ 4K!). In December the Atomos Shogun will bring 4K to the A7S, however the GH4 will get 10-bit 422 4K at the same time (vs. 8-bit for the A7S).
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Can anyone verify that the silent electronic shutter on the A7S is (or is not) available via Sony's Smart Remote Control app? I'm hoping the camera could do double duty for both stills and video, and the silent shutter is a big draw, particularly for up-close (and therefore remotely controlled) wildlife shots. I've done this sort of thing with a blimped DSLR (tupperware and memory foam), which is awkward in the extreme. The A7S sounds perfect, but I've read that operating the thing in silent mode isn't possible via remote. Is that true? Thanks so much.
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A few shots from Abu Dhabi. I really like the way this camera handles nighttime and sunset shots, but I'm having trouble getting satisfying colors in daylight. Would appreciate any feedback: Graded in FCP X with native CC tool, Pixel Studios ProHDR, and Impulz LUTs
