A7s sample footage

Viscount Omega said:
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Thanks for listening. Stuff like this comes with the territory, I guess.

Chris

p.s. I know I'm getting old because I look fat and I don't really care.
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hey me too man, fat and old. i really enjoyed watching yours, the building is cool and i think it shows what the sensor is capable of in a richly detailed, high contrast environment like that. as far as feeling more dynamic with the "power-zoom-pan-tilt-rack-focus-sliding", you're absolutely right, but we do what we can with the time we have. you could always add a little push/pull/rotate/slide in post if you feel you're missing it.
as for figuring out your grading preference, my personal recommendation with slog2 is find a pre-made lut you like and start from there (even starting your shoot with that lut in mind). use the lut to get to a good working space, then get creative by adding film looks or creative styles.
that method helps me at least get to a place where i'm starting to feel comfortable.
looking at mine i know a professional colorist would be able to do greater and better things, but we try anyways.
 
caseywilsondp said:
some really cool pieces, thanks for sharing guys.

here are a few clips from a promo i shot a few weeks ago:


slog2/sgamut 4k onto shogun recording dnxhr
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Nice. You get some of the best stuff I've seen out of the A7s. I would never know its such a tiny camera with those images.
 
Casey, thanks for the tips. I just unboxed a Ninja Star last night and shot some s-log2 in Prores HQ and I'm seeing more contrast overall (which is ok) but less dynamic range in the highs coming straight off the sensor. I know you have the Shogun but have you noticed a drop in DR on light sources compared to the internal codec? Anyone?
 
Viscount Omega said:
Casey, thanks for the tips. I just unboxed a Ninja Star last night and shot some s-log2 in Prores HQ and I'm seeing more contrast overall (which is ok) but less dynamic range in the highs coming straight off the sensor. I know you have the Shogun but have you noticed a drop in DR on light sources compared to the internal codec? Anyone?
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it's pretty well documented that its a signal issue (going from 0-255 to 16-235) with prores. the information is still all there when you pull it into your coloring software of choice, it just looks more crunched to begin with. a simple fix in premiere is to add a quick color corrector and change your output signal to 16-235
 
I recorded both internal X-AVC S and external ProresHQ files 1080p at the same time. Exposures at 0, 1 stop and 2 stops over. Then in Sony Vegas 13 I've been playing with turning on and off the convert Studio to Computer 16-235 RGB switch and I see the difference. Prores looks flatter than it was but it still looks like the highlights in the Prores files are a half stop hotter and start to break about a 1/2 stop sooner. I checked the histogram and the Prores files are a little brighter overall too.

Not sure what's going on. I'm used to the internal s-log compression and ETTR about 2 stops. With this ProresHQ I might have take it down a stop. Anyone using Sony Vegas with Prores?

Edit: It's not just me. I found this thread describing the highlight clipping also: http://www.dvxuser.com/V6/showthread.php?332210-A7S-Internal-1080P-vs-Odyssey-7Q-ProRes-1080P

I think I get it now. Sony has a "Levels" plug-in that can correct prores.

Edit: Doing more tests today. internal vs. external s-log. I'm noticing while grading the footage that after I "get where I want to be" (adding film gamma, reducing highlights, etc..) I wind up with about the same image.

So far, the external has better skin tones, slightly better overall color and objects seem to have a more 3D dimensionality to them. Need more tests.

I think it boils down to editing and monitoring in the same color space that the final outcome will be, that way there are no big surprises later on.
 
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An epic collaboration with amazingly talented friends.


Song By: Nick Cave & Warren Ellis
Talent: William Harris III and Samuel Tucker Young
Shot By: Chad Mahadevan and Mike Lloyd
Edited By: Chad Mahadevan


Shot on: Sony A7s w/ 50mm Zeiss 1.5
Graded with FilmConvert
 
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