A7s sample footage

jayhawk30 said:
Really great work. I'm new to the forum but I've caught a few of your videos via Vimeo. Would you mind sharing a bit about how you capture, sort, and edit audio in your videos? More your creative approach to it rather than technical. Thanks!
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Hi Jayhawk... sure. I am always trying to get as much sound as possible when I am shooting. Monks chanting, birds chirping etc... I use this as ambient noise on almost every clip then I fill in what is left. I either find my sounds online at freesound.org or I record my own. I have started to do that myself more and more for sounds that I can't find.

I guess that was more technical :)

Creatively. I look for tracks and sounds that will stick out over a soundtrack. It's hard to hear a car rumbling if the soundtrack has a ton of bass guitar playing. Hope that helps!
 
nyvz said:
Your link seems to measure only subjective "useable DR" not absolute DR from white clip to noise floor. From what I've seen it is possible to see 14 stops from white clip to noise floor. If you measure to an arbitrary and subjective noise level you will get arbitrary and subjective measurements.
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(off topic)
I also measure absolute DR ("if there's a signal, it counts"), but it's basically useless. That measure tells me that my NEX-5N and my a7S+slog2 have exactly the same DR, which anyone that has used both knows it's definitely not true. So, subjective it is.
 
Hmmm, video is nice, but that's sort of an anti-ad for the nebula4000. Based on the extreme footsteps, if that's a typical result, I'd say it's not usable for most work.
 
Samuel H said:
sgamut is awful no matter what gamma you pair it with (the only way to make it work is by using official LUTs in post, which will deal with the color nonlinearities and "fix" the problem)
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Hey Samuel, what LUTs are you referring to specifically when you say "official LUTs" for s-gamut?

I've mostly been using "pro" color matrix but I want to learn more about using s-gamut on S LOG 2, so I'd be curious to know what LUTs you recommend...

Speaking of the "pro" color matrix, here's a saturated-color still life I just did to test out a few of the LUT options I've come up with for kholi pic pro.
 
Well, I don't use any LUTs (other than my Premiere curve presets), so I don't know where to find them: I just shoot with a profile that gives me a nice image out of the gate (Flaat) (wow, shameless plugging here...).

But I've read comments by knowledgeable people saying Slog2 is fine as long as you follow the right LUT-based workflow. And it makes sense that a good LUT would solve all the sgamut issues, so...
For me, sgamut on the a7S is garbage, but some people say there's a way to make it work, and that's what I was passing on. No idea where they found their LUTs, maybe they are LUTs for the FS700?
 
"GO CUBA" is RiDONKulous!

Off the hook man!

The Cine4 profile seems to create a little more of an "artful" look. Sure- not so much pure-realism, but more pleasant to look at to my eye than much of the S-LOG2 stuff I see.

Highlight handling seems really just as good. Perhaps there's a little too much rush to go straight to the S-LOG2.
 
Here is my first video using the A7s and A6000. A few weeks ago I traveled to Guatemala to work with a non-profit there that provides prosthetics to those in need. This was just a quick edit I tossed together for them to use as a thank you to all the donors that made this volunteer trip possible. I have some more polished videos to edit from this same trip when time allows. Used Kohli Cine 2 Pro Pic for A7s and I believe Samuel H's Flaat setting for A6000. Basic grade with Film Convert. I tried to use some of the themes from mojo43's work but not sure how effective I was.

I'm not a super active poster but I did want to thank all of the regular contributors on this site over the last few months as I transitioned from Canon to Sony. I learned so much about these cameras in a very short amount of time and I do appreciate it.

 
shoot an imagefilm with the a7s + metabones speedbooster + canon 24-105


all shot in slog2.
but i switched now to cinegamma 4 because it is easier if you can switch to iso 200 :)
 
First test run of a7s and Ronin

First test run of a7s and Ronin

Hi,

This is my first test with the a7s and ronin. Used Metabones EF adaptor and Tokina 11-16mm F2.8. Shot in SLOG and graded in Resolve using Alister Chapman and Impulz LUTs.

https://vimeo.com/124197193

Any comments or crits gratefully accepted.

Cheers
 
I'm contemplating coupling an A7s with my LOMO lenses (not anamorphic), has any of you used this combination already?
Thanks!
 
This was shot using an older Carl Zeiss 50mm Planar *T 1.4 and an old Canon 100mm 2.8.
PP 6/ Pro Color - arri 650s.
Let me know what you guys think of the grade. I'm really not completely satisfied with the 'look'.
After the first shot I tried to shy away from any sort of stock film approach, but found it difficult to get the footage to feel natural.
I wish there were a setting for Canon Standard =]

https://vimeo.com/124321290
 
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I shot this video part as a favor to the dancers, and part as an exercise for myself: I made a shot-by-shot copy of the original dance video.

This is the original video (probably shot on an EPIC, given the budget these Korean idols have):
https://www.youtube.com/watch?v=xo-Gz8EN6Sw

This is our cover (shot on an a7S with Sigma 19mm f/2.8 and 30mm f/2.8, on a Nebula 4000 for most of the time, and a Flycam Nano for the shifted-horizon shot and a couple of close-up shots):
https://www.youtube.com/watch?v=-skPoFdI2Fs

And this is a side-by-side comparison (you'll see that I went for a grade with slightly greener shadows; totally intentional):
https://www.youtube.com/watch?v=9OYXERA6DX0



I didn't nail the camera position (it's usually lower in the original video than in mine), and I didn't have coverage for some of the shots (so the edit is not completely identical shot-by-shot), but I'm pretty happy with the exercise (it looks great, and I learned a lot about how they made and edited the original video).
 
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PTRush said:
This was shot using an older Carl Zeiss 50mm Planar *T 1.4 and an old Canon 100mm 2.8.
PP 6/ Pro Color - arri 650s.
Let me know what you guys think of the grade. I'm really not completely satisfied with the 'look'.
After the first shot I tried to shy away from any sort of stock film approach, but found it difficult to get the footage to feel natural.
I wish there were a setting for Canon Standard =]

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I think it looks great :) Could you describe how this could be more natural???
 
Ívar Kristján Ívarsson said:
I think it looks great :) Could you describe how this could be more natural???
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Well, one problem I was having in post is getting the magentas to 'calm down'. If you pay attention to the pure whites (not the of whites, for instance, of the little cream pitcher), you'll see that the skin tones are very orange.
I feel like a lot of the picture profiles have this same problem. I have since started to experiment with creative stiles in camera like the 'light' setting with contrast and sharpness turned down- and DRO at level 4.
I hope this fixes that problem for me. I just can't get passed some of the color renderings on the sony a7S. I used to have a similar experience with the FS 100/700... reds were just too velvet, and distracting of my likings.
 
PTRush said:
Well, one problem I was having in post is getting the magentas to 'calm down'. If you pay attention to the pure whites (not the of whites, for instance, of the little cream pitcher), you'll see that the skin tones are very orange.
I feel like a lot of the picture profiles have this same problem. I have since started to experiment with creative stiles in camera like the 'light' setting with contrast and sharpness turned down- and DRO at level 4.
I hope this fixes that problem for me. I just can't get passed some of the color renderings on the sony a7S. I used to have a similar experience with the FS 100/700... reds were just too velvet, and distracting of my likings.
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Ok, interesting. Do you agree that this is subtle, only for colorist to quickly see? Is it not possible to isolate that magenta with HSL Color Correction? What would be downside of doing that? Am I talking out of my ass here? ;)

I'm not a colorist, still learning that part, personally I think as a DP you have to have some understanding of what is possible in the post workflow. right? :)

But thanks for sharing your video and your response :)
 
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