The short expedition setup sequence was shot on an A7ii, everything else FS7:
https://vimeo.com/169846070
https://vimeo.com/169846070
FS7: Short doc, shot in the Arctic on an FS7
- Thread starter bengiles
- Start date
Thanks Mark. Yes, I waited around on polar bear duty. I was fine - the camera was a different story. I lost 3 other time lapses to the cold. The file headers just wouldn't close. But that was a particularly cold day, at around -50C on the skidoos.
bill totolo
Veteran
Did you use a gimbal on the boat sequence?
No. Just old school, lock yourself into a corner with your legs and use your core. Then throw up.
Actually, this time I just went a peculiar shade of green - but I was always a wuss on boats and choppers.
One other note - all handheld material was shot on the 18-105 with IS activated. Much hated by internet chatters and lots of blah blah about pincushion distortion.
But for me, it has proven to be a thoroughly respectable workhorse lens, it's worked in all sorts of conditions, gives good results in 4K and I just can't bring myself to replace it with anything else. Also, the new firmware has made it feel more like a regular mechanical lens.
Ben.
ben-
congrats on a lovely piece.
good to know you enjoyed the sony 18-105mm.
it is always hard to separate reality from web reviews.
if i may ask, what lens did you use for the interview?
(i'm guessing somewhere round f2.8-4?)
slog2? slog3?
did you rely upon an external monitor in those conditions or did you feel like you could trust the fs7's lcd screen and/or viewfinder?
thank you in advance for any of the above info.
again, thumbs up for good work.
be well.
rob
smalltalk productions
congrats on a lovely piece.
good to know you enjoyed the sony 18-105mm.
it is always hard to separate reality from web reviews.
if i may ask, what lens did you use for the interview?
(i'm guessing somewhere round f2.8-4?)
slog2? slog3?
did you rely upon an external monitor in those conditions or did you feel like you could trust the fs7's lcd screen and/or viewfinder?
thank you in advance for any of the above info.
again, thumbs up for good work.
be well.
rob
smalltalk productions
Ben.
It's a lovely lens, so much so that I gave up using my Nikkor 50/1.2. And that's a goodun, given personally by the then president of Nikon to my grandfather, along with a rather nice Titanium F3 body that sadly now sits in my cupboard.
Great work! I really liked the tones you got in the wides.
Im intrigued by the 18-105 lens you use, seems like a good zoom for handheld and range if you can live with the focus. Have you tired to use it with a FF? I usually always have a FF attached for handheld. Also, does the camera do some distortion correction on the lens? I rather it didnt since I want the same look in all modes from hd to 4k. And the rocker on the fs7-handle works with it?
thanks!
Im intrigued by the 18-105 lens you use, seems like a good zoom for handheld and range if you can live with the focus. Have you tired to use it with a FF? I usually always have a FF attached for handheld. Also, does the camera do some distortion correction on the lens? I rather it didnt since I want the same look in all modes from hd to 4k. And the rocker on the fs7-handle works with it?
thanks!
Funnily enough, I've ordered an Edelkrone FF, as I do feel I'm wasting shots occasionally, trying to pull focus, and getting too much lens wobble. I'll post my findings when I've had chance to use it in anger.
Cam can do distortion correction for 1080P, but at the expense of monitor LUT, so I don't bother with it.
Rocker operates zoom quite happily.
rob norton
Veteran
Beautifully shot Ben.
Did you do sound too?
Did you do sound too?
Thanks Rob. Yes, it was a solo effort. No other human beings were harmed in the making of this production.
Yes, you're referring to the section shot on the A7ii. It was quite a good reminder of how 8 bit video just doesn't have the latitude to grade. I did overexpose it a bit as well - that sequence was an opportunistic grab and I was only carrying my stills cam at the time.
The rest is all FS7, graded in Prem Pro, using the Sony-provided 709A LUT as a starting/normalisation point. Nothing particularly exotic - with occasional secondary corrections with a luma curve and power window.
The rest is all FS7, graded in Prem Pro, using the Sony-provided 709A LUT as a starting/normalisation point. Nothing particularly exotic - with occasional secondary corrections with a luma curve and power window.
