Thread: The first Hollywood movie shot on A7SII

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  1. #21  
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    The finished product will be interesting to see on the big screen. I've shot 2 reality series on A7s2's. It took a minute but after kitting them out you get use to them. I did have issues with shutdowns in the Georgia heat but the images cut well with Fs7's at UHD. It's a good trailer and I think the viewing audience won't care what it was shot on. Indeed, use whatever tools you want. Just get it done.
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  2. #22  
    Senior Member Patrick Tresch's Avatar
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    Quote Originally Posted by Keith B Plummer View Post
    Indeed, use whatever tools you want. Just get it done.
    The fuss is all about the camera. Not the job done.
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  3. #23  
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    Well I feel this was also just a gimmick, seeying how this film flopped big time. Good commercial for sony though. But honestly they had budget for decent camera's, they rigged it up as regular camera's, I dont see any valid point on shooting this on 8bit highly compressed codec cameras.
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  4. #24  
    Hello Thai,

    thank you for your message! Very happy you enjoyed it. You are completely right, that was our director's request too: if we don't have much budget, let's focus everything we can on giving the actors space and time, keep the technical aspects as light and simple as possible. I operated and pulled focus on camera A on both seasons just to speed up things and get a nearly documentary pace on set.

    Season 2 has been released on Belgian TV, episode 9 and 10 are aired next Sunday. It should be aired by RTS in Switzerland sometime in the future. The US Netflix release has not date yet, probably sometime in 2019. That said, it's already on not-so-legal streaming sites ;-)

    Thanks again, all the best,

    Olivier
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  5. #25  
    Senior Member Jacek Zakowicz's Avatar
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    Quote Originally Posted by Joe Cage View Post
    Well I feel this was also just a gimmick, seeying how this film flopped big time. Good commercial for sony though. But honestly they had budget for decent camera's, they rigged it up as regular camera's, I dont see any valid point on shooting this on 8bit highly compressed codec cameras.
    So you think it would not flop if it was shot on RED?
    Jacek Zakowicz, Optitek-dot-org, jacek2@optitek.org
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  6. #26  
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    Quote Originally Posted by Jacek Zakowicz View Post
    So you think it would not flop if it was shot on RED?
    No they should have spend the money and time on a better script and actors instead of focussing lets do something with a A7S.
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  7. #27  
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    The A7SII is a nice camera for when you want to shoot low-profile or in dimmed enviroments, but when you're used to RAW or proper mezzanine codecs with some bit depth it's a lot of work to get the colors right. For run and gun news work, just shoot Rec.709 and downscale it to 1080p and you're okay.
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  8. #28  
    Senior Member Thai Christen's Avatar
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    Quote Originally Posted by Olivier Boonjing View Post
    Hello Thai,

    thank you for your message! Very happy you enjoyed it. You are completely right, that was our director's request too: if we don't have much budget, let's focus everything we can on giving the actors space and time, keep the technical aspects as light and simple as possible. I operated and pulled focus on camera A on both seasons just to speed up things and get a nearly documentary pace on set.

    Season 2 has been released on Belgian TV, episode 9 and 10 are aired next Sunday. It should be aired by RTS in Switzerland sometime in the future. The US Netflix release has not date yet, probably sometime in 2019. That said, it's already on not-so-legal streaming sites ;-)

    Thanks again, all the best,

    Olivier
    Hey Olivier,
    I think the whole crew maxed out what was possible within this budget for "The Break". I believe even if you had the budget to opt for Arri/Red, the show as such wouldn't have turned out better because it is already so good story wise that better gears wouldn't have made any difference.

    I stopped watching classic TV (and banned TVs all together) since I got my US Netflix and HBO Nordic subscription back in 2011 respectively 2012. So I guess I have to wait for Netflix to release season 2, though.

    Best and happy shooting!
    Thai
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  9. #29  
    Quote Originally Posted by Jacek Zakowicz View Post
    So you think it would not flop if it was shot on RED?
    I think you have the separate the film from the production. The success of the film has nothing to do with the camera (which is what you're saying)

    My point is that the A7sII does not neatly fit into post pipelines and it actually produces a really difficult image when moving. So if there is *any* tracking work, any vfx work going on then the extra post costs would be enormous - whereas a decent camera shooting it in the first place would be more cost effective overall. Shooting on a prosumer camera is a false economy, i've been there.

    So

    - No meta data with A7sII files (lenses, slates, etc,.)
    - No time code sync (production audio, multiple mikes and so on)
    - Rolling shutter making simple tracks, especially 3D tracks very difficult
    - Extra work in post creating rolling shutter to comp

    The codec is good, but it's a consumer codec. There is banding when pushed, there are noise issues and there are plenty of compression artefacts. I would assume they're external recording though but that's another headache right - simple HDMI connectors (which is perhaps why they're swapping entire cameras for different lenses)

    I think for an indie feature, with limited budgets and a production where they don't have access to cinema cameras or will shoot over a long period - it makes sense. You have more work to get it to work, but it can be done. But a film with a budget? That's crazy land...

    cheers
    Paul
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  10. #30  
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    Quote Originally Posted by Olivier Boonjing View Post
    Hello!

    Of course it was Sony sponsored... I can't understand how swapping the whole monitoring and wireless setup (unless they had tons of those) can be faster than swapping lenses. And Hawk lenses were probably the only choice the cinematographer found to make the image of the A7s2 interesting for this story (and an expensive choice). To promote a project based on the camera it was shot on is never a good idea, no one cares.

    That said, I like the A7s2 for what it is. For some projects, it can be a good solution. I shot a TV series with the A7s in Belgium that was later released internationally by Netflix. It's called "The Break". Here's a link to a small dop reel I edited: https://www.olivierboonjing.com/tvseries

    We shot UHD Slog2 to Prores422LT on Atomos Shogun recorders for an HD release. Why? Because we had only 250K USD per episode and needed 3 cameras (two for the main set, one for second unit) for a period of 4 months. I wanted UHD so the editors could reframe and animate zooms, I could stabilise,... Back then (summer 2015), it was the cheapest 4K solution available and we needed a very light sensitive camera because of our small lighting package (we shot nights in forests with only battery powered LEDs). We didn't use fancy lenses either, mainly Tokina zooms (28-70 and 80-200) and Nikon AI-S primes.

    Color grading was more difficult than with an Alexa or Red. Everything went through denoising (with Neat Video) and a little grain was added.

    For season 2, we went for Sony FS5 in RAW to Prores. It they ever do a season 3, I hope we'll move to Red Helium, fingers crossed.

    Many nice looking and interesting movies were shot with lower end cameras (Frances Ha, Upstream Color, Tanjerine,...) but usually they had at least one good reason for it. Usually it's budget of course or more precisely the choice of putting the money into what's in front of the camera and decent salaries. Sometimes it is to be more discreet,... but for this movie, I truly see no reason. And by the way, who puts top 19mm top rods on an A7S2? That rig is huge ;-)

    Olivier
    Cool gonna check it out this weekend if its still available in Belgium :)
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