I’ve been going through a lot of different themes and trying to organize the site so it’s as clutter-free and usable as possible, including eliminating all the distracting widgets in the right sidebar and adding category menus for quick navigation of the blog. I’m also slowly going through my old posts, particularly the post-production workflows… Read More
a7s III: Fashion Shoot + Workflow
In one of my favorite a7s III videos yet, Dale Sood takes us through his thought process and walks us through his workflow for making the fashion short ALUAD. Remarkably, after watching Brandon Li’s “Crossroads” video and testing out the camera’s profiles to see how the skin tones responded to each of them, he decided to… Read More
Rant: 16-Bit RAW
I’ve already made my aversion to external recording solutions known in plenty of previous posts: they add bulk, require additional power solutions, cables, SSDs, magic arms and a cage – unless you’re one of the cool guys willing to gamble on mounting one directly to the hot shoe of the camera! Firmware updates to older… Read More
a7s III: Why No 16-Bit RAW?
Atomos explains: Now, when it comes to some cameras, why do we record 12-bit log from them? Isn’t 16-bit linear better? Well, not really. The distribution of stops in code values is fairly inefficient with linear data. Log data makes much better use of the available code values and distributes the stops evenly across the… Read More
Atomos Ninja V Update: ProRes RAW for a7s III
First, the good news – Atomos has issued a firmware update for the Ninja V allowing ProRes RAW recording via HDMI. Here are the details: Available functions: ProRes RAW Recording: – 4.2k • Uncropped metadata mode 4264 x 2408 at 23.98p, 25p, 29.97p, 50p, 59.94p • Cropped metadata mode 4240 x 2385 at 23.98p, 25p,… Read More
Sony a7s III ‘Dual Native ISO’
It was Gerald Undone who ‘discovered’ that the a7s III image suddenly became much cleaner when jumping from ISO 12800 to 16000 in S-log. Sony informed Philip Bloom that the point at which the image becomes less noisy in the production model is different from that of the pre-production unit, so naturally, he just had… Read More
MicroLED Is A Pipe Dream
For a while now, any time OLED television sets are mentioned, online commenters raise the spectre of burn-in and suggest waiting for microLED, which they insist is just around the corner. Like OLED, microLED is a self-emissive technology capable of true blacks, infinite contrast and outstanding viewing angles but with a brighter output than OLED… Read More
a7s III: Stan Moniz Shoots the Surf
Sony Ambassador Stan Moniz, an ocean and adventure photographer, put his a7s III into an AquaTech underwater housing and shot the surf at 120 frames per second, using the Zeiss 55mm f/1.8 and 24mm f/1.4 G Master lenses. He also shared a few great photos taken with the camera. Long battery life, a new passive… Read More
Sony a7s III ProRes RAW Support in Final Cut Pro (update)
I was really excited to learn that Apple had finally enabled white balance and ISO adjustments to ProRes RAW in Final Cut Pro and was looking forward to trying it out when my a7s III arrives in a few weeks, but Jordan Drake just brought to our attention that ProRes RAW WB and/or ISO adjustments… Read More
Sony a7s III – Controlled Tests & Low Light Footage
CVP performed a number of comparisons between the Canon R5 and the Sony a7s III, including low light tests and evaluating latitude in post. Not only does the a7s III perform better than the R5 in low light, it also has greater latitude in post. As expected, the a7s III does suffer from some aliasing,… Read More
Canon 8K HDR PQ Sample Footage
After weeks of grumbling about the lack of interest in HDR PQ, a forum member over at DPReview took pity on me and shared a brief clip shot with his EOS R5 – and it really looks great! Too bad Sony doesn’t have such a feature on the a7s III!
