richg101

IMO, the '1/50th rule' is a greatly overrated rule.  And taken far too seriously in the dslr film making world.  I have no problems with shooting 1/25th of a second if I need the extra stop of exposure.  for those pedantic about following a rule, but not with the fortune of shooting with controlled lighting or an alexa, 1/40th is gonna yield much better results than 1/50th IMO

give the crew a $60k budget to shoot, and a $20k budget to pay for the edit/post for a promo video for the nex5n and the results would be just as awe inspiring.  The level of production value on this video makes it impossible to judge the camera because in real instances with these budgets they'd just add another $2k for the rental of an Alexa Mini for the couple of days of shooting.     $80k for 8bit acquisition and a lens mount incapable of using real cinema lenses, or $82k for arriraw acquisition and the ability to use cooke s4's..  
Nothing more annoying than consumer advertising techniques selling a dream to people that they'll be using a dslr to shoot these types of projects.

A bad workman always blames his tools...  inproper wb settings and poor exposure.  get them right and you wouldn;t have had a problem

Die Hard With a Vengance is probably top for me for overall entertainment.  But films like Predator will always stay close to my heart

Hey guys,
I recently moved from my Canon (EOS 5D MKII) to Sony (A7R2), and I got quite upset, that I could not use the VisionLOG profiles on my RAW files in ACR/Lightroom anymore to grade my stills in Photoshop by using LUTs. I couldn't find a alternative on Google - so I found a way to modify the original VisionLOG files to go with the SONY A7RII. I'd happy to share that with you guys:
https://www.dropbox.com/s/6gul128sjkqozc0/VisionLOG_A7RII.dcp?dl=0
I am very curious how many people there are who were waiting for that. I can't be the only one who grades stills via LUTs.
All the best,
Calvin

IMO it's dependent on whether you;re willing to invest in a speed booster ultra for the a7rii.  if you can handle the extra $500, the a7rii wins for both video and stills unless you;re shooting 6400iso and higher all the time..
12mpx isn;t quite enough for still photography IMO.  it's ok for shallow dof stuff, but when you want a wide shot with everything in focus I find the 42mpx makes for way more pleasing images - particularly landscapes.  I had an a7sii temporarily and decided the low light advantage and s-log3 wasn;t worth getting rid of the a7rii.  I'm a still photography hobbyist who earns money from selling tifs for prints, and sometimes do wedding stuff, product photography etc.  and for this the a7rii is king.  the fact that the s35mm mode on the a7rii is one of the best internal 4k recording images available is a bonus for when I need to shoot video for the day job
 

tbh for general video use your a7s and a7rii are gonna be hard to beat.  I'd suggest rigging the cameras to add weight and maybe length too - this will drastically affect the motion of the cameras.  the a7rii with the ibis set correctly for the focal length you;re using and some added weight will help motion a great deal.
here is a pic of my a7rii in a birdcage and a chunk of aluminium billet as a riser - perfect height for a 15mm rail mount I made.
 
for out and out stills image quality..  you're not gonna be able to improve on the a7rii.  it is single handedly the best stills camera (other than modern phase one MF cameras) currently available.    

Agreed.  I'd also say that unless you;re shooting on an external recorder, 100mbs simply aint enough for a log profile and the associated hassle.  With so many 'LUTs' being made by people with no understanding of what they're actually meant to do I see most s-log footage being 'lutted' to the point where the original dynamic range could have been 7 stops and the delivered result would look the same.  I don;t think I'd ever select one of the log profiles.  I;d rather shoot in Neutral with the contrast and sharpening dialled down and actually feed the in camera compression algorithm with something nearer the final result so more information is dedicated to detail that'll make it into a rec709 crush down. Let the zebras protect highlights and pull shadows up in post if required!:)
 
 

tbh for general video use your a7s and a7rii are gonna be hard to beat.  I'd suggest rigging the cameras to add weight and maybe length too - this will drastically affect the motion of the cameras.  the a7rii with the ibis set correctly for the focal length you;re using and some added weight will help motion a great deal.
here is a pic of my a7rii in a birdcage and a chunk of aluminium billet as a riser - perfect height for a 15mm rail mount I made.
 
for out and out stills image quality..  you're not gonna be able to improve on the a7rii.  it is single handedly the best stills camera (other than modern phase one MF cameras) currently available.    

Leica R - f2 or faster..  native e-,ount and m4/3 lenses will depreciate in value since they'll always be less adaptable than slr lenses.  personally I feel if a lens requires electronic contacts to allow it to be used, it's almost certainly gonna devalue rather than increase.

Nice, a little too shakey in some places for my taste, but the piece as a whole really works.
If the past can teach us anything, its that there are no rules to music videos - everything goes. Its a music video & as long as it keeps your attention for the whole song, then you've done your job.

Leica R - f2 or faster..  native e-,ount and m4/3 lenses will depreciate in value since they'll always be less adaptable than slr lenses.  personally I feel if a lens requires electronic contacts to allow it to be used, it's almost certainly gonna devalue rather than increase.

Leica R - f2 or faster..  native e-,ount and m4/3 lenses will depreciate in value since they'll always be less adaptable than slr lenses.  personally I feel if a lens requires electronic contacts to allow it to be used, it's almost certainly gonna devalue rather than increase.

if I was limited to one lens from here on, it would be the helios 44.  There are plenty of lenses I love.  but only one that I couldn;t do without and that's the 58mm/2.
for a 'working lens' that will deliver almost every conceivable shot I'd go for the summicron-r 35mm/2 on a full frame sensor.  shooting full frame 4k on an a7rii gives you the ability to use full sensor for your wide, aps-c for your normal and crop in a bit more with clear image zoom for a tele.  a lot will wonder why the summicron vs any other 35mm/2..  it's because very few other full frame 35mm/2's deliver good enough resolution and image quality wide open.
 
with a summicron-r the iq is good enough to use wide open on full frame.  using sensor crop of a nice clean 4k full frame area gives similar look to a 50mm at 2.8 when at aps-c and an 85mm/4 when windowed in to just under fullhd's worth of pixels.

Yo Andrew.  Don't be put off by the huge influx of unemployed people who've recently gone into blogging/vlogging in an attempt to make a commercial name for themselves.  The days of celebrities like Philip Bloom are gone - gear nerds literally looked upon him as a god 3 years ago.  Personally I'd like to see you in a permanent product development position at Sony, while still keeping this blog running with details like your beautifully carefully written and informative articles.  I've been hoping to see your response to the Leica SL - I'm amazed you weren;t sent one before the rest of the hopeless 'brand ambassadors' who would sell their mother if it gave them a little more online respect from gear heads.
 
Lots and lots of readers here can focus on things for longer than 5 seconds.  Even a few millenials might be able to keep reading to the end of the article.  Your depth is why eoshd is the best of the lot.  One problem is that since the A7S arriaved, we literally got everything we always wanted.  most of those who are willing to learn how to use a tool are no longer looking for anything else.  I think the acquisition of a a7s and a 1dc makes one less interested in looking for and reporting on better gear - the improvements are so small the other bloggers need to resort to click bait titles.
 
finally, I think a few adverts wouldn;t do much hard to the site.  rather than brands, maybe partner with a retailer?  

it's unfortunate no one has made a focal reducer for the nx1 yet!  vintage olympus pen F lenses would be a very good match if you can ut together some type of cannibalised adaptor.

hahahaha @Tito Ferradans  my thoughts exactly!  Looks like diopters specifically for the iscorama!  In my 7 year love affair with the iscorama I have never once seen these -  a +0.5, +1 and +2 matched set of what look like they may be doublets!

Wow, looks like these lenses will help me make great deals. The best deals. Such good deals you wouldn't believe.

Well then I'm definitely getting a set of these! Since apparently Mexico is paying for them

Make lenses great again!  

I'm fine with perople having access TBH, I think it's poor content that doesn't do a format justice, and that can be created by productions with vast budgets. but I agree that half the adverts shot on anamorphic at the moment look silly. It's really distracting and totally out of context, looks like the DOP is indulging a lens fantasy rather than shooting appropriately for the content. Domestic situation with mum opening crisps IN 65MM ANAMORPHIC!!!!11one!!1

Make lenses great again!  

Make lenses great again!  

Make lenses great again!  

Make lenses great again!