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
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
Sony Ambassador Chris Schmid – photographer, filmmaker and cinematographer – takes us to the Serengeti with his a7s III.
I’ve been on a lens buying spree since pre-ordering the a7s III: first, the sensational 20mm f/1.8, then the massive 135mm f/1.8 and today, the Sigma 85mm f/1.4.
For the first time ever with a Sony Alpha camera, the Imaging Edge mobile app allows focus pulls and real time tracking by tapping the screen on your mobile device and an icon appears confirming your selection. Skip ahead to around one hour to see the demonstration.
It’s no secret that one of my biggest disappointments with Sony choosing to go with ProRes RAW for the a7s III was that critical information stored in the metadata was inaccessible in Final Cut Pro, meaning that it did not have the true flexility of RAW. All that’s changed now, with Apple announcing the ability… Read More
I’m sharing these videos by Austin Black because (1) he talks about the differences between shooting with the a7 III and the FX9; (2) they demonstrate the natural, lovely-looking skin tones the FX9 is capable of; (3) he shares impressive examples of S-Cinetone, difficult to find online and; (4) he uses LUTs designed to mimic… Read More
I’m speechless after seeing how effortlessly the a7s III handles those skin tones in direct sunlight. I can’t recall ever seeing anything quite like it. And that 1080p!
Endeavoring to reassure his followers understandably in a state of panic that the a7s III will render their cinema cameras obsolete, Sony Pro Alister Chapman claims that ergonomics guarantee their relevance, arguing that ILCs require a truckload of ND filters, bulky external monitors and cages, an external power supply and heaps of rigging to make… Read More