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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Sony A7S2 or A7R2?

steve green said:
Zeb, I tried it didn't work for me with my very basic FCP7 skills. Am I just not using the most up to date edit and color correction software? Can a real editor deal with slog banding? If so, I'll just stop worrying and shoot (I never edit anything I shoot).
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Not sure what's up. Do a firmware update / camera reset if you haven't already. I have not had that issue with either the 7s or 7R and I shoot underwater where the blue backgrounds are real close in color so are prone to banding. If you are talking about after you upload to Vimeo . . . that's a whole nother kettle of fish
 
My rundown with the A7s II. It's a fun camera. It gets things you can't with any other. It has it's drawbacks. The main one for me are somewhat dead colors in S Log 2 or 3. And of course the rolling shutter. Not as bad as the A7s1. But pulling unbiased and rich flesh tones in S Log is like pulling teeth. Their Cine Profiles, give a much deeper flesh tone.

Professionally on commercials or indies, it's my scout camera or my director's finder, that I can quickly show a director or client the frame. It's no substitute for your Epics, Alexas and F55's but in its little domain, you cannot substitute it for an Epic, Alexa or F55. The big selling points for me are the sensitivity, time lapse and full frame. I'm not a pro photographer but if I was, I think my old 5d III producers far superior stills.

The other arena where this camera sells is discrete footage. If you want to doc and literally shoot from the hip, it's great for not attracting attention. I'll shoot closeups of someone sitting next to me in the subway and they just think I must be reviewing stills on my flip out even though I got them framed up. This is invaluable for verite style shooting or run n gun sans permit.

It also is window for what would be a perfect camera. Something I can put in back pack, full frame, no less than 12 bit, and delivers 120 fps or more. When Sony converges this chip with their variable ND, global shutter and a real codec they'll have a camera that everyone will take notice. Big things in little packages is the future. Their FS5 aside from the variable ND IMO was a step backwards.
 
Love my R2 for what it is, by no means replaces my dragon, nikon or hasselblad but definately has a niche in my arsenal, For $3k a must have. All the A7 models are a great value, all with very slight differences, pick the one that works best for your particular needs.
Aloha
A
 
Ned Wilson said:
... I'm not a pro photographer but if I was, I think my old 5d III producers far superior stills.
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Hmm ... Really? I have both an old 5DMkII and a 5DMkIII and I don't find that to be the case at all. I guess it depends on how you define "far superior stills." Here are some comparisons to a 5DS, a 5DMkIII and a medium format Phase One and Pentax that you might find useful:

https://www.slrlounge.com/sony-a7rii-vs-canon-5ds-a-quick-comparison/
http://www.epicmind.com/blog/2015/1...-one-iq160-the-battle-of-the-young-vs-the-old
http://www.garethiwanjones.com/bris.../sony-a7r-ii-vs-pentax-645z-vs-canon-5dmk-iii

Maybe you got a bad copy or your old 5d III has some sort of super mojo? However, I just realized that you were referring to an A7SII and not an A7RII ... so what you said may have some validity, since the stills capability of the A7SII cannot match the stills capability of the A7RII.
 
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Zeb B said:
Not sure what's up. Do a firmware update / camera reset if you haven't already. I have not had that issue with either the 7s or 7R and I shoot underwater where the blue backgrounds are real close in color so are prone to banding. If you are talking about after you upload to Vimeo . . . that's a whole nother kettle of fish
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That's good to know that its not a known issue that you have to deal with. Strangely, when I look at the slog before color correction as a file right off the card, no banding, even when shooting the sun. But if I try and color correct, banding like crazy. Sounds like its me not know how to cc.
 
steve green said:
That's good to know that its not a known issue that you have to deal with. Strangely, when I look at the slog before color correction as a file right off the card, no banding, even when shooting the sun. But if I try and color correct, banding like crazy. Sounds like its me not know how to cc.
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Throw a troublesome clip or two up on DropBox and we can have a looksie
 
Zeb B said:
Not sure what's up. Do a firmware update / camera reset if you haven't already. I have not had that issue with either the 7s or 7R and I shoot underwater where the blue backgrounds are real close in color so are prone to banding. If you are talking about after you upload to Vimeo . . . that's a whole nother kettle of fish
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With S-Log on 8 bit Sony cameras it's a gamble, depending on what camera throws away. It is more problematic in upper luminosity range where a lot of DR is compressed. Adding saturation in camera helps a bit but does not remove the issue completely. Underwater you are likely to have lower luminance data plus less image detail to capture than exterior shot with skies (both factors combined - image detail > data compression limitation + upper gamma curve range > high DR compression).
Educated guess....
 
Bill Sepaniak said:
Hmm ... Really? I have both an old 5DMkII and a 5DMkIII and I don't find that to be the case at all. I guess it depends on how you define "far superior stills." Here are some comparisons to a 5DS, a 5DMkIII and a medium format Phase One and Pentax that you might find useful:

https://www.slrlounge.com/sony-a7rii-vs-canon-5ds-a-quick-comparison/
http://www.epicmind.com/blog/2015/1...-one-iq160-the-battle-of-the-young-vs-the-old
http://www.garethiwanjones.com/bris.../sony-a7r-ii-vs-pentax-645z-vs-canon-5dmk-iii

Maybe you got a bad copy or your old 5d III has some sort of super mojo? However, I just realized that you were referring to an A7SII and not an A7RII ... so what you said may have some validity, since the stills capability of the A7SII cannot match the stills capability of the A7RII.
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A7s II. I prefer my 5D stills. Better skin tones.
 
steve green said:
Great idea! Thanks for taking a look at the test for me.

https://dl.dropboxusercontent.com/u/11365638/C0086.MP4
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I looked at the file . . . there is something seriously fucked with that camera or settings. You should be able to get this:

Out of camera:
iPmfqu.png


After basic grade:
UUouxk.png


Take it to your local camera shop and get with an expert
 
Try to hold off for a bit, with the 5D mark IV coming out and an a7III. If you need a cam now just rent one from lens rental. :)
 
I also disagree and have used both - got rid of the 5DMkii after shooting side by side.
Only plus wit5DMkii is autofocus / ease of use for backfocus button, etc.
And your really prefer OLPF and 5K vs no OLPF and 8K on A7Rii I respectfully doubt
 
Here are some tests I did with A7s II of different profile settings. This made me decide S Log is dead to me with the camera but the Cine Profiles look great.

https://vimeo.com/151486315
 
i have both R and S and i shoot on Slog2 for a few reasons.
Slog2 i have yet to have banding and gradation issues.
i dont record internal 4k with either profiles. Ive had issues with it.
no problems with either cameras in 2k with either profiles.
I have a pixe-5 that i use when i do UHD which ive had no issues in both Slog 2 and 3.
for what it is (dslr with video mode) im very happy.
im not expecting it to rival the alexa or red
 
if anyone needs a original sony battery for one of these cameras I have one from when I returned my a7sii, only charged once ;) serously though, would sell for the cost to ship plus a beer
 
The slate is wrong. All the S Log's are 1600. You're right that the S Logs hold the highlights better. No doubt about that. I personally can't stand the skin tones in S Logs. I'll sacrifice DR for good skin. I guess that's why we test.
 
Ned Wilson said:
Big fan of the A7s II. That said, an A7rII with a Speedbooster will get you close to the A7s II effective ASA but also have the benefits of better facial detection and close to Full Frame optics.

I use the A7s II as a scout camera, doc work, personal projects, etc. It's not ready for high end client, unless they love the look. The S Log on both cameras is dead to me. A hot mess of noise and skinny flesh tones. I stick with the baked in Cine Profiles for better results. I lift the toe on the contrast if I want a more log style grade. Turn detail all the way off - always.

Here's a no budget short I made in the Blizzard of 2016. From learning of a storm approaching to wrap we had 72 hours. We had a window of 12 hours of snowstorm to shoot it in. With a skeleton crew and no lights, the A7s II made it possible. Could not have been done on a Red, Alexa, etc.

https://www.youtube.com/watch?v=FStP14syyS8
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That was really good! And I liked the opening. Those shots set things up perfectly. And I like how you held the shot of them walking toward camera. Keep going with the directing!
 
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