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Showing results for tags 'a7s'.
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I just did a test, and I really like the colors I get when turning Picture Profile off and just shooting in Sunset Creative Style. It worked on my old NEX-5n to produce smoother gradients, and it looks like it gives good rich colors on the A7s as well. I think you do lose dynamic range in the highlights, but for medium and low-contrast scenes, I think it's a good way to get punchy yet natural colors. Anyone else tried this? Any thoughts?
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This is a frame taken by my Sony A7s with PP4 25p Full frame Take a look at the tie. The picture speaks for itself. I thought that the A7s didn't have aliasing and moire, at least not in FF 25p mode!
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Testing my Sony a7s with kowa prominar 16 H, Taking lens is a Russian Jupiter-11A
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Some various shots using the awesome FF58 and other with a Voigt 50 1.5 (@2.8) together with the SLR Anamorphot. Yes the low light ability is pretty insane on the camera, I wish I brought my Ninja Blade to record the footage though. Hard to pack everything while on vacation since, you're supposed to be on vacation lol. I hope there will be a 4:3 mode for 2X anamorphic on this camera one day...we can wish :)
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Filmconvert a7s profiles are now available for download: http://www.filmconvert.com/download/Download_camera_packs.aspx. I must say that I didn't like the colors of a7s image at all, but now with filmconvert it looks very good to me. I've made a quick test with all the film profiles except b&w ones, adjusted contrast, raised saturation to 120 and added 30%grain. Also before filmconvert, denoised with Neat Video and sharpened a little bit. Didn't bother to make it perfect, I was just interested to see how the colors look. Here is the link for test video download: https://copy.com/yXnrsf0qmxoZTjbl
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Hi there, How are you rigging up your A7s? I would like to add the XLR-K1M too. Do you think it would be better to go with the old xlr adapter or the new one? The cable could be better for rigging? I'm also thinking about using something like the Zacuto Enforcer but I'm thinking it might be worth having a counterweight. How are you shooting it up with the A7s?
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5dmkIII raw (converted to LOG-C and then rec709): Sony a7s (cine 4 - color, saturation and contrast dialed down -1, then gamma lowered and shadows raised a bit in FCP X): My thoughts are that the a7s can give you some nice skin tones and balanced color if you don't try to do S-LOG 2. I consider midday sun to be a challenging environment for 8-bit cameras, as the color can easily become washed out and desaturated. I find that I need as much saturation from the camera as possible (without clipping) before processing. Then I lower the gamma a bit in post and lift the shadows in order to give it more of a filmic shadow response. What you can't do with the a7s in my experience is extreme shadow recovery like this backlit shot:
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B&W made in post from A7S color footage.
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I've been using the SmallHD DP7 and loving it, but it's pretty heavy. Using it on top of my GH4 with a hot shoe swivel head is clunky. It falls down all of the time. Comes loose. You name it. I searched the market for anything that would attach both sides of the monitor allowing for swivel, and a sturdy grip. Found nothing. I decided to build it myself out of parts found on eBay, and B&H. Here are the links to parts I used: CAGE: http://www.ebay.com/itm/FHUGEN-HONU-V2-0-VIDEO-CAGE-Kit-with-Top-Handle-HDMI-Clamp-for-GH3-GH4-A7-A7R-/231302638084?pt=LH_DefaultDomain_0&hash=item35dab62a04 SIDE RAIL CLAMP: http://www.ebay.com/itm/281056066980?_trksid=p2059210.m2749.l2649&ssPageName=STRK%3AMEBIDX%3AIT 2 PACK OF LONG 1/4"-20 SCREWS: http://www.bhphotovideo.com/bnh/controller/home?O=&sku=920351&gclid=CPqemNGJ1cACFYk7Mgod2EoAfw&is=REG&Q=&A=details 2 LONG BRACKETS: http://www.bhphotovideo.com/c/product/1062515-REG/desmond_d3d_3_mini_stereo_camera_bracket.html This could also be useful for the A7S and Shogun combo. I'll admit that this isn't ideal if you need to mount a microphone, but if you're going handheld for video only it's sturdy as hell.
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This video shows the A7s can recover a lot of overexposure details during grading ,which seems impossible on a camera using 8bit compressed codec,the result looks amazing!
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Can i use my super 16mm lenses on the new Sony a7r? Is there a crop-mode small enough for s16mm in-camera?
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It appears the issue with Slog2 and S-gamut with the A7S is related to the nonlinear S-gamut Color Mode. My current work-around is to use Cinema Color Mode. If there is a significant benefit to using S-gamut, it appears some kind of 3D LUT is needed to fix it. I few years ago I wrote custom software to do 3D color correction (for stereoscopic 3D images). The 3D color cube was directly displayed and could be edited, and it was also possible to render color swatch slices to check for issues with clipping (cube elements outside the unit cube space) or other mapping issues (such as color merging leading to banding/quantization). Color cube display (unedited / unit-normalized cube shown (actual distorted cube for current color correction not shown)): Color swatches (cube slices) showing range/clipping issues: It may be possible to fix the S-gamut color mode issue by creating a 3D LUT which fixes the green/yellow splotches in skintones and perhaps also the magenta splotches in shadows. Since green and magenta are color complements, it kind of has the feel from physics describing a form of instability. That is, the system is stable in a narrow range, and when outside that range it becomes unstable, going extremely green or magenta, depending on which side of the parabolic curve center the color(s) are on. [edit: hosted pics on my server]
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i'm wondering if there is a consensus yet as to whether the A7S's video quality is clearly superior in crop mode vs. full frame - i've been looking for a thorough test but haven't come across any. from what i've observed it seems as though the crop mode is slightly more detailed while being slightly noisier, but it has been hard to judge based on compressed uploads. would love if someone could confirm or debunk this. i ask because i'm trying to determine whether or not it makes more sense to get a speed booster for use in crop mode or a standard EF to NEX to use in full frame mode - quality is far more important to me than rolling shutter issues as i will mostly be using the A7S as a locked down camera. also wondering if it's consistent between video mode and stills mode. any tips would be greatly appreciated!
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I've been using PP7 to take stills with, but when I bring the ARW file into Image Data Converter the Picture Profile is lost if I change any of the RAW settings. I'm wondering if anyone else is having this problem? Is there a setting I'm missing to keep/change the Picture Profile? I always make sure to keep the Creative Style set to Camera, but that won't keep the Picture Profile if I change any other settings.
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Canon cameras sell very well because they make people look great by creating very pleasing skintones. Apparently for technical reasons (silicon sensors, etc.), Canon makes skintones look great at the expense of color accuracy. ARRI is the undisputed* King of Color Science and reading about how to make a C300 somewhat match an Alexa may be helpful in setting up new cameras such as the GH4 and A7S to produce more pleasing skintones (at the expense of color accuracy): http://provideocoalition.com/aadams/story/color-matching-a-canon-c300-to-an-arri-alexa Art noted that digital cameras do the best in daylight (~5500K) due to sensor response to blue. While I too have noticed that Sony, for example, does much better in sunlight, I've found that cameras also do well in Tungsten (~3200K). While Tungsten doesn't have much blue, it is a continuous spectrum light, and that I believe is the most important issue. Cameras have the most trouble in mixed light (fluorescent + incandescent + LED, etc.) or light sources with large gaps in the spectrum (some fluorescent and many LED lights). I had no idea what kind of light this was, however AWB with the A7S wasn't too far off (minor WB adjust in post: still a bit magenta but that's the look I wanted): In the Art Adams article above, he had to make custom profiles (mostly the special Color Matrix) for each desired color temperature (two provided). This makes it clear that getting pleasing (and/or accurate) color for a wide variety of color temperatures and light sources is a very challenging technical problem. Face/skintone detection is one way manufacturers try to deal with the problem (regardless of race, all skintones have similar color properties (along the 'skintone' line on the vectorscope: ). It's not likely there's anything we can do to picture profiles on cameras to improve color performance vs. factory settings for general use. If we tweak colors for a particular WB and light source, it won't be correct for another light source with different spectral properties. Thus, if someone posts a tweaked color profile that changes WB colors or general color matrices, keep in mind those tweaks might not work correctly for your particular situation. * this is the internet, so the likelihood of disputing is much greater than zero. The Sony F35 and F65 can produce great color, and the new RED Dragon and associated color science is looking very good. The camera system most people prefer in terms of color is the ARRI Alexa (now +Amira).
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day2 - 100mm T2.8 nikon macro APS-C Slog2 !,3Gb h.264@50Mb/s https://mega.co.nz/#!FssRxYKL!Ffx8viKEa0r8AJAI2W2puIzAznNo6Ie3dmFaabnd72E still frames are @25p everything else is 50p and the kids from the other half of the video are 120p. with i had follow focus... day1 - 50mm T1.8 nikon FF Slog2 700Mb ProResLT https://mega.co.nz/#!AwcVlAyS!Zw2kzA6L0KYRO0z38cbIh58hTxd9OA59PnC-2fd802s this is what i show on my way home from the store where i finally got my SDXC card. turns out you can't shoot 60p indoors in EU. Thank god i waited for the PAL version. neatvideo is as important as ND for slog. now it's time for some cine4/sgamut/saturation+15/black level+10 low iso tests -J-
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We just got footage back from our first A7S shoot and all of it is coming in at 29.97, despite the camera being set to 60p and the shutter at 1/60 or faster. None of us have enough experience with the A7S to understand what happened. Also I want to make sure the issue isn't with how I'm bringing in the footage. I'm navigating to Private>M4Root>Clip and bringing all the MP4 files into premier or after effects. Does anyone have an idea what we're doing wrong? Thanks!
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Just a request to any A7s owners out there - if possibly, and time permits, could you please do a comparison of dynamic-range and noise of A7s in Full-Frame mode vs APS-C mode. Would be forever grateful! :)
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Hi all, I'm moving from the BMCC MFT to the Sony A7s. The BMCC all rigged up is just too much for me as a one man band, too heavy and too many pieces to put together and keep track on. The pay off (the image) is worth it, but I feel it's limiting me creatively in a bad way. I also want to get back into still photography (Never had full frame before, this should be interesting). That's also why I'm getting rid of my Nikon AI(s) primes. I want zooms. Not because they're better, but more convenient, I got more of a "on the go in available light" kind of style. Nikon mount is great with adapters thanks to a click-less aperture control, but it would be nice to have autofocus as well (apparently that's a no go with Nikon according to my googling and forum reading skills), but everything Canon leaves a bad taste in my mouth (well.. not really, I'm just as skeptical as any other DSLR shooter who started out on Canon and saw them staying behind on purpose). I haven't found a good affordable alternative to Metabones yet. Likewise with native Sony FE mount. Full frame also use all of the glass, so I'm being more careful about the quality in the edges this time, nothing I had to worry about before, really. For 1080 video I guess it's alright, not really noticeable, but when taking stills and maybe later 4K video... What is acceptable? Not asking for perfection, I got more of a "on the go in available light" kind of style. I really like to film/photograph people in their surroundings. Sláinte!
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Hello! I'm a video producer and i'll be getting a new camera anytime soon but i can decide on wich camera to buy or if i'm supposed to wait for a while. I'm trying to decide between a GH4, A7s, 6D, 5D3, and some others, more expensive like the C-100. Everyone of this cameras concerns me about some things. The GH4 concerns me about the lenses, the MFT mount. I have some canon lenses, nothing great or expensive, but i know they are easier to find, more versatile. And when i wrote to Metabones, asking about the speedbooster MFT-EF, they answered pretty rudely (i guess they get that question a lot). But i understand the superior image quality. The A7s, to me, it's one of the better cameras around, for it's price. I've been watching some "raw" footage of it, but i've been reading some bad reviews about it's color log and the workflow of editing/grading, regarding it's formats. On the other hand, i love the HDR and ISO. Regarding the Canons, i personally think they're more versatile cameras, but the image quality is getting ofuscated by these new cameras, maybe because it's been 2 years since Canon doesn't make any announcement on new equipment. Sometimes, i'm more inclined to buy a Canon for it's flexibility, a GH4 for it's easier workflow, and now, i'm kinda blind by the A7s. But always something turn me down, idk what to do, if i buy one of these, if i wait for any announcements, i'm getting crazy! What you guys think? What would you guys buy today or why wait a while. Thanks!
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What is the best way to deal with potential banding from the A7s and from other cameras that produce 8-bit files? Here is an example of banding that appeared in A7s footage after pushing it in post. Thanks! -
Our first shoot with the Sony A7S. Shot 1080p60 1/60th shutter with Picture Profile 7 (Slog2), with Color Mode changed to Cinema. Graded in Premiere Pro CC using color curves and saturation, the same setting applied to all clips. The goal was to see how well the A7S handled skintones under very challenging, changing lighting conditions: low light, multicolor spots, etc. NR was only used on the first clip (very very low light). Shot handheld using the Sony SEL18-200mm APS-C lens (FS700 kit lens), AUTO ISO, AWB, AF (center spot focus area), IS, manual zoom, built in mics. With this lens and settings, the A7S makes an excellent low-light live/event camera.
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Hello! Just got my A7s over the weekend and would like to know how everyone's converting their MTS files to their favourite gradable file format. At the moment i'm doing Adobe Prelude to Apple ProRes 422 but somehow the output is much worse after transcoding. Most likely something i'm doing wrong in the code settings! Cheers Shaun
