Archive for the ‘Film making’ Category

Differences between the Sony FS7 and FS7 II

Monday, May 8th, 2017

 

Subject

FS7

 

FS7

FS7 II

sony fs7 ii 500

Changed ND filter ND filter with 4 levels Electronic Variable ND filter from ¼ to 1/128
Changed E Mount Standard E mount E mount locking mechanism
Improved Colour space Rec 709 Rec 2020 (same as F5) so get better colours
Added Power LED NA Above the on off switch to show if the camera is on
Thumb Screw on grip arm extension Required a screw driver No screw driver required to control
Assignable User buttons 6 10
Changed Recording card holder Sticks out 4.3mm more for easier removal
Changed big viewfinder loupe One of the two flimsy loupe attachments has been removed. They also added a nice foldable sun hood as an alternative to the loupe when using the LCD in sunlight.
Changed LCD attachment The round rod with a square one, so the LCD doesn’t tilt so easily.

What hasn’t Changed

Super  35 sensor, 4k DCI resolution upto 60fps, internal Slo mo till 180 fps,

Electronic Variable ND filter

While the FS7 has 4 levels of ND, The FS7 II gets the an electronic neutral density filter which is continuously variable from 1/4 to 1/128 strength. It can also be completely disengaged when unneeded and is automatically replaced with a clear glass.

 

The Electronic ND works in 3 ways

1. You can preset the four-position filter wheel to whatever fixed discreet levels of ND you want – in a similar way to the way you can assign values on the gain switch on other models. This allows you to work in much the same way as you would with a conventional ND filter wheel, with rapid ND changes if you need them.

2. Alternatively you can use a thumbwheel to vary the ND continuously, through seven stops of correction. This is essentially a better version of a front mounted variable ND filter, but without the drawbacks.

3. You can use automatic ND for auto exposure without varying f-stop, gain, or shutter speed. The electronic neutral density control doesn’t affect the color the way a regular ND fader filter on the front of a lens does, and it quickly becomes your primary exposure control, allowing you to work at a constant aperture in almost all situations.

E mount locking Mechanism

 

The innovation about the E-Mount Lever Lock mechanism makes it very similar to the PL mount system used in cinema productions: instead of turning the lens you now turn the collar.

 

This helps lock lenses more tightly and is ideal for large camera setups such as when you have a matte box and follow focus setup, as you don’t need to twist the lens.

This mount is ideal for cinema, large lens setups and also when the camera is on a tripod but could be challenging to use single handedly.

 

Tool-less operations

The FS7 II’s “tool-less” mechanical design lets users make on-the-fly changes to the camera’s set-up and operation. For example, no tools are required to adjust the Smart Grip or viewfinder positions

 

Changed Microphone mount

 

The microphone mount is now runs on a 15mm rod, rather than being fixed on the rod as on the FS7. The mount has been modified for better noise isolation from handling. The new mount allows you to use a microphone either on top, or slightly underslung closer to the lens.

 

Changed View finder mount

The viewfinder mount’s front and rear adjustment has been changed from a round rod, to a very slightly longer squared-off tube that will ensure that the viewfinder stays in a horizontal orientation. The earlier circular rod has been provided for users preferring the old one.

 

In the nutshell, a few changes making it primarily useful for feature film makers. Documenatry and smaller film crews will continue to prefer the older version

 

 

Sony E mount 85mm G master Block lens

Thursday, September 1st, 2016

1454514360000_1222775     tumblr_o2u8utiuBw1riqz0xo1_500

 

Lens Sony 85mm Block
Mount E mount
F 1.4
Min focus distance 80cm
Blades 11

 

Overall

Sony E mount 85mm G master Block lens gives great sharpness and Bokeh & capture great details. So it’s a great lens.

 

Advantage of Sony E mount lens

-          Native AF system.

-          Benefits from all of Sony’s features including Eye AF

-          Works perfect with Sony A7s II, Sony A7R II, A7R, A7s etc.

 

AF / MF switch

-          AF/MF switches

-          Programmable Fn button (defaults to Focus Hold).

One can set the button to activate Eye AF for natural and easy access to the setting during use.

 

Operations

-          Rubberized focus ring helps you operate the lens smoothly

-          Improved focus-by-wire system helps these lenses to have a more natural feel does not seem to ramp up or down in speed depending on how fast you turn it.

 

Aperture ring

-          The integration of a physical aperture ring, allows to be clicked or de-clicked with a switch which makes it a great option for video shooters, as well as photographers.

 

Physical details

-          The small ridge on the bottom of the lens ensures that the lens’s aperture and focus rings are not lying directly on any surface when the camera is laid down.

 

Some Cons

The lens is slower than other native options due to the use of an older, and louder, Linear SSM system to move the large elements precisely, which could be changed by using the Direct Drive SSM available in many current models.

 

Chromatic Aberration at F1.4

There is a noticeable amount of chromatic aberration on high-contrast edges at f/1.4 which could of course be easily corrected in post

 

Tips : It gets better as you stop down, peaking at about f/4-5.6, where it will optimize the performance. Vignetting is also very well controlled and flare is nonexistent.

 

Focus Ring

There are still no witness markings on the lens and no hard end stops which makes them less appealing for use with follow and remote focus units.

They would work well with smaller handheld gimbals rather than larger Steadicams and gimbals

 

Canon 5D Mark IV – Unconfirmed Specs

Friday, August 19th, 2016

Canon-EOS-5D-Mark-IV

Sensor : 30.4 mp or is it 28 mp

Frame rate : 7 fps

4K at 25/30 fps (120 fps at 2K)

Processor : Digi 6+

Dual Pixel Raw AF

4:2:2 / 500 mbps

So after seeing the success of Sony A7S ii, has Canon fallen back in the race ?

The basics of 360 videos

Thursday, August 4th, 2016

 

360 degree videos are moving well in a big way globally, across social media platforms, video channels, industries, and just about anywhere else videos can be used. Giving viewers a immersive viewing experience of 360 degree videos. They can be used anywhere from face book to YouTube, editorials to businesses, the world has turned to 360 degree videos to engage audiences in an interesting way.

 

 

1

 

Kindly click on the image above to get an idea of creating a 360 degree videos at a glance.

 

 

Popular 360 cameras

Today, several amateur cameras are available to capture 360 degree videos such as the Ricoh Theta, Samsung 360, Kodak SP360, Bublcam, Nokia OZO, Giroptic 360cam, or one could use the professional set of six GoPro cameras. (see image)

360 Degree Gopro Rig By Accord

 

How are 360 Videos shot

360 degree videos are video recordings of a real-world panorama (wide-angle view),one can record views in every direction at the same time, and shot using an omnidirectional camera or more than 1 camera. It’s like a virtual reality (VR) video except that you need a VR headset to view VR videos whereas you don’t need a special headset to view 360 degree videos.

 

360 video output

Most amateur cameras shoot and create 360 videos on their own, however if you use the professional gopro setup or any other multi camera setup then it would need professional post production before uploading on different medias.

 

How 360 videos are viewed

360 degree videos can be played on a computer; the mouse is used to pan around for a 360-degree surround view and a 180-degree vertical view

 

Examples of 360 videos

 

A 360 surgical training video demo

https://www.youtube.com/watch?annotation_id=annotation_4243919275&feature=iv&src_vid=VAUbacNs4MQ&v=n7ALZkPoTYQ

 

A 360 tourism promotion video

https://www.youtube.com/watch?v=aq9nXIVTkug

 

A 360 film promotion Video

https://www.youtube.com/watch?v=A6aRkhlqWuE

 

They are lately being used in…Virtual product demonstrations, Virtual site inspections, Event marketing etc

 

 

 

 

 

Canon 100-400 mark II – salient features

Monday, July 18th, 2016

Canon-EF-100-400mm-f4.5-5.6L-IS-II

Canon 100-400 mark II

 3 modes of IS

Mode 1 -  Standard IS mode designed for use with stationary subjects when the Canon 100-400 IS ii & the camera is handheld

Mode 2 – is used for panning with a subject. In this mode, only 1 axis of stabilization is provided – allowing a linearly-moving subject to be tracked. Up and down movement tend to be difficult to track

Mode 3 – is great for action photography. In Mode 3, image stabilization is active and ready for use the moment the shutter releases, but actual stabilization is not in effect until that precise time. You are able to follow your erratically-moving subjects without fighting against image stabilization   The IS system auto-senses a tripod in use

Quick Auto focus The zoom is a quick performer, taking about 0.15 seconds to lock onto the subject when mounted on the Canon EOS 5D Mark III.

Focussing

A completely new inner-focusing system has been implemented in this lens.

A 2-position focus limiter switch is provided, allowing focusing distances to be limited to a specific distance range (9.84′/3m – 8) – or to be unlimited (Full). Limiting the focus distance range can improve focus lock times and reduce focus hunting.

This lens is not parfocal, meaning that refocusing is required after zooming. This is especially true at short focus distances where the subjects very obviously go into and out of focus during zooming. Using the near-parfocal feature of this lens is helpful for video recording while adjusting focal lengths. Video shooters will definitely appreciate the fact that subjects do not significantly change in size as they go in and out of focus

Polariser users will be happy that the 77mm filter thread doesn’t rotate on focus.

Decreased Minimum Focus Distance (MFD) This lens has an MFD of 980mm. (earlier lens MFD was 1800mm)

Increased Magnification This lens has a magnification of 0.31x. (earlier lens MFD was 0.2x)

Build –  This is a solidly built lens

The 100-400 II’s front and rear lens surfaces are fluorine coated to reduce water droplet, dust and fingerprint adhesion and to ease the cleaning effort required. This coating works great – the difference is noticeable.

Push Pull Zoom replaced with rotational zoom -  The rotating zoom ring gives more precise adjustment between focal lengths. The ring comes with a zoom torque adjustment ring allowing you to set the zoom ring from “Smooth” to “Tight” to suit your particular way of shooting.

The final control on the lens barrel is a focus mode switch with the usual AF/MF settings. Note that this lens usefully offers full-time manual focusing even when AF is selected.

Lens elements It has 21 lens elements in 16 groups (up from 17/14) into a telephoto lens design

Air Sphere Coating The new Air Sphere Coating (ASC) had been introduced on this lens. According to Canon: “The new Air Sphere Coating has been developed by Canon to minimise reflections and flare.

In the nutshell : The Canon EF 100-400mm f/4.5-5.6L IS II is a worthy replacement to the original 100-400. Not to forget the original 100-400 continues to be a great lens.