A7s sample footage

wallrc said:
Fantastic. I really don't care for a lot of the Impulz LUT posted videos - all teal-y, but this is not. Nice use of one of the creative styles. What made you choose to use the Autumn Leaves?
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Autumn Leaves just gave me the punchiest/warmest color in-camera. I assume it just pushes the saturation in the warm tones and lowers the gamma a bit...but it was hard to replicate those colors in any other creative style or picture profile.
 
I shot a lot of 60p today and yesterday, and I did it with a speedbooster too, not because of the rolling shutter, but because 60p is full of aliasing/moire in FF mode but very clean in APS-C crop mode.
 
Short piece here for FoodieTV about lion fish in Jamaica. Much of the footage with the fishermen (such as the opening sequence) I shot on the A7s in low available light on a DJI Ronin. -Andrew

 
Akornylak said:
Short piece here for FoodieTV about lion fish in Jamaica. Much of the footage with the fishermen (such as the opening sequence) I shot on the A7s in low available light on a DJI Ronin. -Andrew

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That looks fantastic. What were your settings and how did you grade?
 
My first video using sony a7s. Quite risky cause never do test and familiar with my a7s before shooting. Just put the skin tone around 55-70% IRE and it turn out quite well for me. 8bit is a bit limit to do color correction vs 10bit, but as long as in correct white balance and exposure, it just give good result.
[video]http://vimeo.com/alantjspace/love-begins-here[/video]
 
Nowadays, there are lots of cameras that are great all around (D750/D810) and even some that add some particularly strong points (color in the 5D3+RAW, sharpness in the GH4, DR in the a7s and the blackmagics). Any of those should be perfectly good for almost everybody; you may prefer one over the others, you may care more about ergonomics and have a budget for more expensive options, but it's not like any of those cameras are going to limit you in a significant way.

In particular, about the a7s+slog2, I read lots of complaints about skin tones and noise, but I really don't see any issues in my footage. Just avoid sgamut and overexpose a bit, and it's all more than fine:

140921_JapanWeekend.jpg
 
-“Spectrum of Lights” - my son at Zoolights.. thought you might enjoy.

https://vimeo.com/115936793 - d/l 4k

https://www.youtube.com/watch?v=slGr9Nmfen8 stream in 4K

This piece primarily designed to test the Sony A7s and new Atomos Shogun in very low light. However it also has a personal meaning that any parent with a child (especially one with special needs) will understand. Note the title and the subtle meanings buried within the imagery in this piece.
Filmed at the Stone Zoo “Zoolights” experience in Stoneham MA.

Techie details:

I took out the Sony A7s out with a Sony Zeiss 24-70 F4 OIS lens with the Atomos Shogun slapped on top recording 4K and film at stupidly high ISOs. All hand held, with the camera strapped to my neck and the Shogun on top of the camera with the excellent Manfrotto 492LCD heavy duty ball mount. While you can get away with this, I recommend using a cage for any real length of time.

This was an extremely low light situation, and honestly I don’t think 4K helped much here as the detail in the recording was reduced due to the low light. I shot this anywhere from 12,000 to 80,000 ISO, at F5.6 or F4.

Neat Video noise reduction was applied to many of the shots. Graded with Filmconvert, which I might add can be quite slow in FCPX with 4K ProRes on an 8-core D700 Mac Pro. The actual rendering isn’t slow, but the UI slows way down once the filter is applied if you try to edit anything. I will be transitioning to Resolve for CC in the future.

One of the issues with filming at such insane ISOs is that any light source will blow out when you are trying to capture the shadow detail. The 422 high bitrate ProRes from the Shogun helped in this regard, but you can only push 8 bits so far. And over-exposed is over-exposed. Situations like this really scream for more bits.

The opening shot had blinking of LEDs that I could not tune out, but was left in as a story element. Note too how the blue LEDs clip badly, but you need to pixel peep for that.

I had one “blue frame” on my shots (see the Atomos community boards for info about his horrid bug).

For the rest of my Atomos Shogun review - the bad and the ugly and the good, see this post: anticipatemedia.com/blog/2014/12/24/atomos-shogun-4k-recorder-review
 
I found a few minutes today to play with the A7s and the Amira.
So I decided to put them together and see how different they are. Turns out that with this lighting conditions they're not far off!
The workflow was as follows:
Amira - 50mm Sony 4K cinealta lens - shot 2K - prores4444 - Davinci resolve - Alexa to 709 LUT - exported as 1080p
A7s in Slog/cinema - nikon 70-200 - shot at UHD on the Shogun - proresHQ - Davinci resolve - data levels - My personal Slog antiLUT for the F35 - exported as 1080p



Have in mind that the A7s was on a magic arm attached to the Amira (which acts as a spring), that explains the jerky bumps (rolling shutter artifacts apart).
 
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macgregor said:
I found a few minutes today to play with the A7s and the Amira.
So I decided to put them together and see how different they are. Turns out that with this lighting conditions they're not far off!
The workflow was as follows:
Amira - 50mm Sony 4K cinealta lens - shot 2K - prores4444 - Davinci resolve - Alexa to 709 LUT - exported as 1080p
A7s in Slog/cinema - nikon 70-200 - shot at UHD on the Shogun - proresHQ - Davinci resolve - data levels - My personal Slog antiLUT for the F35 - exported as 1080p



Have in mind that the A7s was on a magic arm attached to the Amira (which acts as a spring), that explains the jerky bumps (rolling shutter artifacts apart).
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Really interesting hearing from you Macgregor. I thought you gave up on the a7S?
 
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