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Andrew Reid

Grading the Sony A7S with S-LOG 2 and some EOSHD cinematic looks for download

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Argh. I want to like this camera so much but the colours are still bothering me a lot. This footage is some of the punchiest/most saturated I've seen but the colours do not imo come close to 5D RAW. They look cruder and significantly more artificial.

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EOSHD Pro Color for Sony cameras EOSHD Pro LOG for Sony CamerasEOSHD C-LOG and Film Profiles for All Canon DSLRs

I'm using Canon IS lenses with a Gorilla pod ...

 

First of all, thanks for your post and your generous sharing of LUTs.

 

Quick question if you don't mind:

 

Regarding the Canon IS lenses, do you think their slower f/4 speeds represent an impediment to capturing lower light level environments -- as opposed to their non-IS f/2.8 cousins?

 

I am considering buying new Canon glass for this camera and am torn between the non-IS f/2.8 lenses -- versus the IS f/4.

 

Thanks.

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Regarding the Canon IS lenses, do you think their slower f/4 speeds represent an impediment to capturing lower light level environments -- as opposed to their non-IS f/2.8 cousins?

 

Is a long piece of string longer than a short piece of string?

 

Anyway, you could see in the dark with a pinhole on the A7s.

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I just can't find it anywhere, what's the dynamic range rated at in video mode with S-Log2? DxO Mark rated the sensor at 13.2 stops for stills, but does S-Log2 give you all those stops in video too? Has anyone compared it to a Blackmagic camera yet? 

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Is a long piece of string longer than a short piece of string?

 

 

 

Thank you.

 

Maybe an alternate characterization is in order:

 

Is the speed difference between those two lens-types largely rendered immaterial, in the majority of practical lower-light environments, given the A7s' sensitivity?

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Thank you.

 

Maybe an alternate characterization is in order:

 

Is the speed difference between those two lens-types largely rendered immaterial, in the majority of practical lower-light environments, given the A7s' sensitivity?

 

Get the 70-200 2.8 IS and then you have both (for that range). 

 

Also, Sony has a native wide (16-35) that will have OSS announced next month.

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Pocket is a nice bargain for so little money but the A7S gives you far more. Far far more. In some ways $500 on the Pocket is $500 wasted by not getting something better. I had the Pocket on the same shoot as the A7S yesterday and hated every moment handling it. Dreary screen, poor ergonomics, too few features and no full frame look.


i own the a7S and the pocket, and while I agree the pocket is more cumbersome and clumsy, I feel if I am shooting a scene where I have time to set up the shot, the pocket is a great b-cam to the a7S. I've been using the color match feature in DaVinci Resolve 11 Beta and it works amazingly well with both cameras. just wish there was some way the pocket could do a custom white balance before I began recording. but so far even though I can't do that, just using something as simple as a color checker passport completely fixed matching the two. quite a remarkable feature.

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Argh. I want to like this camera so much but the colours are still bothering me a lot. This footage is some of the punchiest/most saturated I've seen but the colours do not imo come close to 5D RAW. They look cruder and significantly more artificial.


that could just be the fault of the grade, not necessarily the fault of the camera

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First of all, thanks for your post and your generous sharing of LUTs.

Quick question if you don't mind:

Regarding the Canon IS lenses, do you think their slower f/4 speeds represent an impediment to capturing lower light level environments -- as opposed to their non-IS f/2.8 cousins?

I am considering buying new Canon glass for this camera and am torn between the non-IS f/2.8 lenses -- versus the IS f/4.

Thanks.


as a a7S owner, the ISO makes up for the slow aperture just fine. I personally use the kit lens from an fs100 on mine and it's my favorite lens. but at its widest it's a f/3.5. I love it so far. can still near see in the dark. but I don't know what I would shoot in the dark. so I would stick to lit situations where my subject is and this lens is amazing. obviously it's up to personal opinion, but a slow lens doesn't hold this camera back IMHO

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I just can't find it anywhere, what's the dynamic range rated at in video mode with S-Log2? DxO Mark rated the sensor at 13.2 stops for stills, but does S-Log2 give you all those stops in video too? Has anyone compared it to a Blackmagic camera yet?


seriously? that's all I can find articles about.

http://www.cinema5d.com/dynamic-range-sony-a7s-vs-arri-amira-canon-c300-5d-mark-iii-1dc-panasonic-gh4/

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I've said it before, the pocket is the perfect camera to learn cinematography on - but you wouldn't want to use it under pressure.


agreed, too clumsy. but I love the image it produces when I handle it properly. in fact I think it's best to force yourself to use it if you are just learning. having those restrictions will force you to learn a LOT! it's not a crutch. it's a crucible. it will be a trial by fire to get what you need if you go bare bones but you will be better off when u get a tool like the a7S

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Get the 70-200 2.8 IS and then you have both (for that range). 

 

Also, Sony has a native wide (16-35) that will have OSS announced next month.

 

Yes, the 70-200 2.8 IS makes complete sense.  I'm a bit more concerned with the wide end.

I believe the Sony 16-35 is f/4 -- and the native lenses might not be appropriate for my application. 

Hence my question about the actual need for anything faster f/4 in the 16-35 IS or 24-70 IS lenses.  

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New guy here!

 

I've had my A7s for a week and totally love the image I'm getting from it.  Hoping to get some advice on glass. As of now I'm using my classic Nikkor primes, but I need a kit with IS.  Was wondering if anyone knows how the Sony 24-70/f4 compares to the Canon 24-70f/4 (with adapter)?  I'm considering a Canon 24-70/f4, 35/2 IS, and 100/2.8 IS for my stabilized kit.

 

Any thoughts appreciated!! :)

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You are talking about a huge REM fan here :) Buck's two latest albums, 2012 and 2014 are certainly worth a listen if you can find them. Vinyl release only!

 

Do you like Jem Cohen's work Andrew? Some of his stuff reminds me of yours quite a bit. His videos for REM (E-Bow the Letter, Country Feedback, Nightswimming) were a major inspiration on my first experiments with video years ago and I still love them (in fact I have a frame from E-Bow as my desktop background!)

 

He's a very interesting filmmaker in his own right. A film called Lost Book Found from the early 80's is his best known piece I think. He used 16mm and Super 8 a lot back then. I don't know if he's "gone digital" now or not. He recently released a feature set in Vienna Kunsthistorisches Museum that I intend to watch soon - looks like it could be good. I think he also shot the video for REM's 'Oh My Heart' there.  :)

 

Sorry, I know this is all off-topic.

 

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so question for Andrew Reid. if you were to update the video camera image quality pecking order chart you updated back in February, where would you place everything now? would the a7S qualify as tier 1 to you? or tier 2? thanks.

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New guy here!

I've had my A7s for a week and totally love the image I'm getting from it. Hoping to get some advice on glass. As of now I'm using my classic Nikkor primes, but I need a kit with IS. Was wondering if anyone knows how the Sony 24-70/f4 compares to the Canon 24-70f/4 (with adapter)? I'm considering a Canon 24-70/f4, 35/2 IS, and 100/2.8 IS for my stabilized kit.

Any thoughts appreciated!! :)


have u thought about the tamron 24-70mm stabilized lens? Tamron has gotten some good reviews for that lens

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