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Posts posted by Gregormannschaft

  1. 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.


    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.

  2. I might be a little late to the party but I just upgraded to the a7s from a Canon 5D and 60D. I did a lot of research and figured that would be the best decision for my style of filmmaking. But my head is spinning with all the info out there about exposing for certain IRE values and customizing picture profiles, etc..
    My question is- I'll likely be shooting most of the time with Cine Gamma 4 or 2, so is exposure as tricky as it is with Slog 2? Can I do the typical thing of exposing to the point of clipping highlights, and then backing down? I don't mind spending time in the grade, but the 3200 ISO of slog 2 is a bit much and rather noisy when used indoors.

    Also, does the color mode have any impact on how you expose? I'm probably going to be using Cinema. Sorry for bringing up an old topic, but there's just so much different info out there, hoping you guys can narrow it down a bit. Thanks!

    If you're using the Cine profiles you can pretty much just expose as usual, around 0,0 depending on your taste and the scene at hand. There are topics on dxuser about using Cine 4 and severely underexposing and bringing it up to push the dynamic range but I haven't tried it and I've gotten good results from the normal way of exposing.

    There's a good run down of profiles here: 

    Either way, you won't go too wrong with the default settings for Cine 4 and 2. Just drop the detail down to -5 or -7.


  3. I'm looking to spend a little of my training budget at work on brushing up my After Effects skills. I'm normally pretty happy with learning as I go, but I have a little cash to burn and would love to do a course in London sometime in November. 

    Could anyone here recommend a training centre based in London at all? Ideally it would be either a full day course or something like 2-3 days.

  4. I found it very odd that the noise was significantly higher in 1080p compared to 4k modes either FF or S35. Seems it is a completely different readout mode and not a downsampling of the 4k image, which is super clean at the same ISO ratio.

    Oh really? That's doubley bad news. I was hoping this would be something to replace the A7s and 5D so I have one body for stills and video but looking currently like this is a no go.

  5. They were honest when they said the A7s couldn't record 4K internally due to heat issues. So why would they be able to solve that in the next A7s? With the A7rII, their latest just released camera that's substantially bigger and heavier and has better heat management they still can't record 4K in it due to heating issues, which makes it pretty clear it's simply an impossibility to physically be able to record 4K from a FF sensor with IBIS inside a body of the A7 size. It'd be pretty strange if they found a magical solution for overheating in the next a7s. That's why it's almost clear to get FF 4K from Sony with IBIS (the camera we wanted from the A7rII and A7s/II) the body will just have to be bigger and have a larger heat sink and larger heat management system. Not an A7 series style body. 

    Notice how Canon in the XC10, which has a 1" sensor recording 4K internally has vents and an actual fan, a pretty big heat management system, therefore it's reliable to record 4K continuously forever while on an RX10 (1" 4K also) without that heat sink and fan and vents has overheating issues when used for extended times, the RX1000 records for 5 minutes and needs to cool down a while before starting again!

    Also remember the recent Masaya Maedya (High end Canon JP. guy) where he said they can't implement 4K in the 5D due to heat management issues and that they're still ''working on it''. And also note how the 1DC, even with it's huge body, required a large heat sink to be modified from the 1DX to record 4K internally reliably. 

    It's obvious that recording internal 4K ''reliably'' from a larger FF sensor (and even smaller 1" -RX10, RX100, XC10) for non-restricted professional-ready use introduces a major heat issue that's present for all camera manufacturers, it's just some companies take it more lightly that others in terms of overheating and recording reliability. It's the reason why all professional video camera, FS7, FS700, F5, F55, C300II, XC10, C100, Varicam, Scarlets, Alexas have huge fans and vents and major heat management systems, to be able to record 4K reliably forever. 

    The thumbs up here goes to Samsung, the only people who could record 4k internally from a large s35 sensor in a standard consumer DSLR/M size body without heat issues and without fans and vents, it's probably due to their cutting edge technology knowledge, and also the thumbs up goes for Panasonic although to a lesser degree as it's a 2.4x crop 4K sensor in the GH4, but it's not a small sensor and it records 4K internally forever in a small body. 

    I always thought overheating was just a marketing thing to delay features, but now I believe it's true, these companies just CAN'T make a 4K 5D or a 4K A7s/r, they have to go bigger. I quite understand the reason why the a7r overheats now and don't blame Sony as much as at first glance, they just should have mentioned that recording 4K for more than 20 minutes can cause overheating before people buy the camera and shouldn't have marketed it as a professional 4K video camera. 

    Yup people on DVXuser tried it and it doesn't fix it, doesn't make a difference unfortunately. 

    However they found a real fix, the Shogun records continuously just fine (but as long as you press record on the shogun and not trigger it from the camera, which in the A7s introduced face softening and selective masking issues when used that way so it might even not be a fix if the a7rII acts as the a7s in standby while sending an HDMI feed)

    Well this is one big hot mess.

    Perhaps this new rumoured A7sII form factor will help with the heat. Shame, as I, like many others, was looking out for a cam that could work for stills and video in one device.

  6. I think it's better to go without crowd funding than with. So yeah, good idea. I think it makes you more creative without crowd funding. I would not use it at all, but I can understand why.

    I don't think crowd funding would work for this project. More likely to get funding through some organisations which is what I'll try to do.

  7. Well the A7S full frame 1080/60p is pixel binned so not so good, Nikon D750 is better for that. Super 35mm 1080p from the A7S is all from a full pixel readout. The A7R II is very unlikely to do 1080/60p better than the A7S, it can't do a 36MP full pixel readout from the full frame sensor at 60fps. The A7S only manages it because the Super 35mm crop portion of the 12MP sensor is extremely low res by comparison. In S35 crop mode, let's see... A7R II has 15MP to contend with, unlike to do 60fps with full pixel readout, maybe in 24p. I'll try it.

    Why is HFR FF pixel binned on the Sony A7s and not normal frame rates like 24/25? I've found FF and APS-C basically the same in quality except for when it comes to low light.

    Any verdict on the 1080p that comes from the A7RII?

  8. If you're not using the mk3 it's costing you money. Every day you loose cash in depreciation. 

    So sell it today, and if you change your mind in six months you can buy it again for less money. So no matter what, selling it will be a win from an economical stand point.

    Thanks Mattias.

  9. Hey folks, this isn't a 'I want to upgrade my camera' topic, more of a 'what should I do with my gear to prepare for a big gig next year' and how do I fund myself topic.

    Next year I'll be in London filming my master thesis solo, a 30min documentary with a mix of interviews and rolling footage from across the city and amongst big crowds. Currently I own a Sony A7s, tripod, monopod, Rode Videomic Pro, Rode Smartphone Lav and a Tascam DR-05. Funding is very limited as I'm currently working and paying off student bills. I have a monthly wage coming in where I use the camera to shoot the odd corporate video with the rest covering the travel for the month or to I'll be working on the doc next year.

    My big conundrum at the moment is this. I have a 5D Mk. III sitting around that I have used once in the last year for stills. I've kept it for the stills but am starting to wonder whether I should sacrifice the stills and cash in on it to upgrade my equipment - get a proper rig, XLR sound perhaps some LED lights.

    What do you think? Has anyone ever filmed a doc solo and could recommend some bear essentials? i should also add, I'm happy with the A7s as an A cam.

  10. Found this on dvxuser and thought it was really interesting. Tells a lot of us what we kind already know but in a lot more depth.

    Article: http://www.inventome.com/Blog/2015/8/a7exposure/Sony-A7s---how-to-expose---cine-or-log?

    dvxuser: http://www.dvxuser.com/V6/showthread.php?339113-A7s-detailed-breakdown-of-the-gamma-curves-slog-or-cine

    Basically, SLOG2 is mostly great but overexposing correctly and bringing it down in post but will generally crush the blacks.
    Cine 1 is great for when you want to retain detail in the highlights.
    Cine 4 is when you'd like to keep detail in the shadows.

    I'm a big fan of Cine 1 for bright outdoor conditions so this makes sense to me, I know a lot of people are also Cine 4 fans. But recently I've been using SLOG2 more and more and the general aesthetics are beautiful.

  11. What is the point of the Sony beating the Canon for dynamic range if they both look shit when you dig that far down? Nobody does that in the real world. It is showing some technical aspect of the sensor and nothing more.

    Also the dynamic range of the A7R II only seems to extend that far in the green channel. May as well be black and white. Where's the colour information gone?

    Did you end up picking one up? Any initial impressions? The tide seems to have gone from huge optimism, to rampant hype, dousing of said hype, to overheating-gate.

  12. We had a lot of fun making this one, three people in crew in total and a £500 budget for all the extras (props location etc) the kit is our own

    Animation took a long time, and VHS style was tough to build! Happy to answer questions on production if anyone is interested!

    Great music video. How did you go about creating the VHS look? The first 15 or so seconds looks brilliant, especially.

  13. I get the feeling you want to see some sexy slo-mo footage as a test, but that really wouldn't tell you much empirically about bit depth, chroma sub-sampling and compression as it affects grading. this test was done with a linear radial gradient that simply changes color.. the color part to test certain colors that don't do so well with compression. it also tests resizing 4k to HD converted to float, to see what that gets you, in addition to various color spaces and codecs. it goes fast so you need to pause frequently and watch fullscreen.  (the preview window lets you see more closely what the artifacts look like)



    This is amazing, great tune. So 10bit, there's still banding, but it's not quite as visible. 16bit, there's still banding (?) but it's almost invisible.

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