Thread: The first Hollywood movie shot on A7SII

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  1. #11  
    Senior Member Patrick Tresch's Avatar
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    Quote Originally Posted by Hrvoje Simic View Post
    A7SII is far from POS, it has an excellent sensor but crippled by compression.
    Their codec is actually really good. I never had banding with Slog-2. Just don't try to shoot Slog-3.

    Pat
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  2. #12  
    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
    Last edited by Olivier Boonjing; 12-04-2018 at 11:26 AM.
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  3. #13  
    Senior Member Patrick Tresch's Avatar
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    Nice reel Olivier,

    Greating from Switzerland. (I'm a good friend of Robin, wich is actually one of my favorit colorist)

    Pat
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  4. #14  
    Thank you Patrick! Say hello to Robin when you see him.

    All the best,

    Olivier
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  5. #15  
    Senior Member Thai Christen's Avatar
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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
    Hey Olivier,
    I am glad you post this. I was totally hooked up by the show „The break“ right from the start. Love how the story unfolds with many unexpected twists. I watched all episodes on a single weekend, which doesn’t happen often.
    And because I was so soaked in I really didn‘t care what camera or lighting was used. Although I like the color and tone.

    What does that tell me? A good film doesn‘t need fancy cameras, expensive VFX or CGI. Just good story, great acting, dialogue and pace - and solid camera work.

    We camera geeks are often too much bounded in our little tech world that we don‘t see the whole picture.

    Now back to „The break“. When did you finish season 2? Currently Netflix only list season 1. I tried with VPN using proxy in the US, Belgium, France, Switzerland - nothing.
    Can‘t wait to see season 2!! Hopefully it is as good as 1.

    Thanks for sharing!
    Thai
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  6. #16  
    Senior Member andrewhake's Avatar
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    It's always bizarre to me people using mirrorless DSLRs and rigging them up to be larger than a similar cine camera...
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  7. #17  
    Senior Member andrewhake's Avatar
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    Quote Originally Posted by Stephen Pruitt View Post
    And just look at those great reviews!

    https://www.rottentomatoes.com/m/the..._hannah_grace/
    https://www.rottentomatoes.com/m/unsane/

    And 80% score for a filmmaker who actually knows how to make an interesting film and shot it on an iPhone.

    Those horrifically grainy lowlight shots in Interstellar didn't seem to hold it back much either. It's almost like the filmmakers using the tools are more important than the tools themselves...

    Tools are there to make the job easier, not to dictate the final result. There have been absolutely horrific films with large budgets shot on every camera ever made.
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  8. #18  
    Quote Originally Posted by andrewhake View Post
    It's always bizarre to me people using mirrorless DSLRs and rigging them up to be larger than a similar cine camera...
    If it's a serious cine workflow, rig is needed for proper set functionality.

    Mirrorless camera is not a DSLR. Because it's mirrorless. : )
    http://i68.tinypic.com/drcb4y.jpg


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  9. #19  
    IMHO it's nuts to do it for any other reason than they were forced to.

    As anyone who has moved from shooting with low end, prosumer and onto proper cameras can attest the extra crap that goes along with prosumer, both in production and post production is often much greater than shooting with a 'proper' camera.

    I have an a7sII, i've shot parts of a feature with it. It's a lovely (stills) camera but i would never shoot a full feature on it. I've shot a feature on Sony prosumer cameras, complete with years of post on them.

    It such an odd choice, i've not seen the film but the rolling shutter in the Sony is crazy slow. Any post work with a jello sensor is going to be a crazy nightmare. Tracking work, comping work and so on.

    Yes, it's nice in low light but actually my Epic-W isn't *that* far off by the time you go 8k -> De Noise -> 2k and plus there are these things out there called lights.

    So has anyone actually given a real reason for a7sII beyond marketing?

    Anyone have an idea what the post implication was in terms of time/cost?

    cheers
    Paul
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  10. #20  
    Senior Member Jacek Zakowicz's Avatar
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    Maybe Steven Sorderbergh's iphone film was pushing it too far- the quality is not there and the limitations are too constricting to the creativity. The A7S2 however is a different story- you can shoot for TV and even big screen with it and capture the audience just the same. This is fantastic news and fantastic time to be a film maker- only the creativity and the vision (or actually the lack of there off)are the limits and this feature is the proof.
    Congratulations, forget the marketing conspiracies- just enjoy the ride!!!;-)
    Jacek Zakowicz, Optitek-dot-org, jacek2@optitek.org
    Professional Broadcast and Digital Cinema Equipment
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