TomTheDP

Shot this with the S1 in 1080 25p. 

Really happy with the visuals. 

The LUT is made so you expose at normal exposure. Exposing higher will result in cleaner footage though I would say it’s not necessary like it was on Sony cameras with Slog. 

There are exposure conversions for -2, -1, -.66, -.33 and the same with overexposure. Of course you can expose lower it just doesn’t guarantee the same color accuracy. 

If you want to match your camera to an Alexa it’s the best tool for that job. I personally love it on my Panasonic S1. Makes saturation and highlight roll off really pleasing.

Shooting S16 is a pain in the ass 😅

I am so spoiled I'd rather just use my S1 with the internal stabilization as gimbals and tripods are too tedious to have to carry and I don't want to have to rig anything up besides putting in a battery and SD card LOL

That was my conclusion after filming a short on a C300 rigged up. My take away was I think I could have been quicker and actually got a better image off the S1 without any rigging. 

Pondering cameras 

I won’t be shooting another film without it 

Netflix's requirements is not only about having a minimum fidelity to the image, or even making it strictly easier in post, but having a standard workflow. They need to be able to send any one of their productions to any one of their post houses and have it be immediately workable, and that if that team gets shifted to a different project midway through, they can send that half done project to another post house and have them pick it up immediately, no questions. They've decided that TC is a mandatory element to their workflow, from capture through post. To be honest, if I were Netflix, I would specify a lot more of the technical and metadata requirements for my productions just to ensure that every piece is compatible across their entire billion dollar post workflow.
On a much smaller scale we do the same thing at my work (outside the film industry). If the designer for one project is out sick and the client needs a change, other people on the team have to be able to open it up and immediately know how to make the change. We adopt standards, some of them because it's the easiest way, some picked randomly just to make sure we're all on the same page.

If you want to match your camera to an Alexa it’s the best tool for that job. I personally love it on my Panasonic S1. Makes saturation and highlight roll off really pleasing.

I won’t be shooting another film without it 

I won’t be shooting another film without it 

Have thousands and thousands of clips to sync with tight deadlines and I bet you'll start to think of TC as being "mandatory" too. 

The LUT is made so you expose at normal exposure. Exposing higher will result in cleaner footage though I would say it’s not necessary like it was on Sony cameras with Slog. 

Thank you!!!
And just so I understand, is it suggest that one DOESN'T overexpose as they normally would with LOG footage? Or is it still suggested to overexpose when using LOG to avoid noise?
I guess in certain situations you have to over or under-expose...

There are exposure conversions for -2, -1, -.66, -.33 and the same with overexposure. Of course you can expose lower it just doesn’t guarantee the same color accuracy. 

If you want to match your camera to an Alexa it’s the best tool for that job. I personally love it on my Panasonic S1. Makes saturation and highlight roll off really pleasing.

I am not sure I understand what you are talking about. The A7s3 uses noise reduction at all ISO's and regardless of the lighting situation. Look at the comparisons between the native footage and prores RAW, even in daylight situations you'll see a difference in the noise. 

Of course for people who don't want much post workflow and want a super clean looking image this could be a good thing. But noise reduction is not something you'll see on a RED or Arri. There is also no reason why Sony shouldn't give us the option to turn it off as you have on their FX6 with the same sensor. 

The S1 stabilization doesn't require any external processing though as it quite amazing. It is also a much more capable stills camera. 

But yeah the video specs on the A7s3 are definitely impressive. I just wish they'd give an option to disable the heavy handed noise reduction. 

Shot this with the S1 using emotive color LUT. 

Shooting S16 is a pain in the ass 😅

I am so spoiled I'd rather just use my S1 with the internal stabilization as gimbals and tripods are too tedious to have to carry and I don't want to have to rig anything up besides putting in a battery and SD card LOL

That was my conclusion after filming a short on a C300 rigged up. My take away was I think I could have been quicker and actually got a better image off the S1 without any rigging. 

Shooting S16 is a pain in the ass 😅

I am so spoiled I'd rather just use my S1 with the internal stabilization as gimbals and tripods are too tedious to have to carry and I don't want to have to rig anything up besides putting in a battery and SD card LOL

That was my conclusion after filming a short on a C300 rigged up. My take away was I think I could have been quicker and actually got a better image off the S1 without any rigging. 

I mean the Alexa comes close. RED Komodo is global shutter. 

I do think the Alexa surpassed film. It has great color rendition and amazing latitude. 

What I was saying is that there hasn't been a digital camera on the market that has matched the look of film in all its complexities. Of course shooting on an Alexa you can mimic it with post processing due to the flexibility of the files coming off that camera. Same goes for anything that can shoot RAW. 

I am not sure I understand what you are talking about. The A7s3 uses noise reduction at all ISO's and regardless of the lighting situation. Look at the comparisons between the native footage and prores RAW, even in daylight situations you'll see a difference in the noise. 

Of course for people who don't want much post workflow and want a super clean looking image this could be a good thing. But noise reduction is not something you'll see on a RED or Arri. There is also no reason why Sony shouldn't give us the option to turn it off as you have on their FX6 with the same sensor. 

The 1DC is nice but I wouldn't say its on par with film. The color science is nice but its not mimicking any certain film stock. It also won't respond like film does to under or over exposure. Over exposing the 1DC will result in a digital clippy mess. 

I think it basically means there is more dynamic range and less noise than there would be on a non dual native ISO. 

The lower base ISO will always be cleaner. Even in the case of the A7S3, I think the reason the 12,800 ISO is so clean is because of heavier noise reduction. The S1H uses less noise reduction so the comparison between 640 and 4000 iso aren't as dramatic.