NAB and IBC have been and gone. No A7S III. In Sony’s most recent marketing presentations, they outline a three-pronged strategy for cameras – “Basic”, “Resolution” and “Speed”. This is a change from the previous strategy of “Basic”, “Resolution” and “Low Light + Video” and with the A7 III having such good low light and video capabilities, will Sony bother with an A7S III?
One of the most common problems with S-LOG 3 is that it’s very counter-intuitive to expose it! Harv Video/Audio Stuff on YouTube says he is getting far better results with far less noise in the shadows with his technique, shown in the video above.
I highly recommend trying it yourself.
Above: EOSHD Pro Color 3.0 and Pro LOG comparison shot on the Sony FS5 by Ethan Alexander
These magic settings are a MUST HAVE.
Don’t take my word for it though. I am biased! Other filmmakers and Sony users have been busy shooting with EOSHD Pro Color 3.0 and Pro LOG. It’s interesting to take a look at some of the reviews, tests and films shot this way.
Before my full review, I can give you an initial brain-dump of what I have noticed so far.
Timelapse photographer and EOSHD Forum user Davide Roveri has shot a revealing low light test of the new A7R II.
We decided to shoot a live video of the recording which would then be synced up perfectly with the final mix of the tracks in post.
The Sony A7S in this shoot is graded using the lovely “Manchester” LUT from James Miller’s Deluts pack. But there were 6 other cameras backing it up. Can you tell which is which!?
In my opinion these are some of the best adapters currently on the market for Canon & Nikon glass.
They take a normal Canon or Nikon lens and turn it into a PL mount (positive locking) with no play between the mount and lens.
Before the GH4, NX1, A7S and Shogun can you remember what we did for 4K on $1500-$2000 interchangeable lens cameras? No neither can I! 2014 has been a great year with some great technology.