SONY α7s: “over hedge and ditch”
This is literally my 1st project i used the brand new SONY A7s only after one hour (or so) “playing around” with it.
The weather was not good at all at the start (raining), so I could not use my rig the 1st few hours… so just the cam it self. After that sun came out but also clouds changing light conditions every minute it seemed … and with a not yet perfect “tuned” external EVF sometimes it was tricky to get the right exposure. … more details and stuff after i get back from the one week shoot i’ll start tomorrow.
Oh btw there are a few shots in that edit made with the Canon 60D from a shoot last year at the same location … can you spot them?
This is the “unofficial” shorter version of the original edit for the client
Used the Canon 24-105mm F4 L with the Viltrox NEX/EF II adapter and the WalimexPro / Samyang 14mm T3.1 Cine with native Sony FE mount.
All shot in picture profile:
Gamma: Cine 4
Back Level: +5
Color Mode: Cinema
Detail Level 0
Codec: XAVX S
1080p25 and 1080p50 all in a ProResLT 1080p25 sequence in PremierePro CC 2014
Color Graded with Colorista 2 + Magic Bullet Looks
H264/x264 encoding for Vimeo using HandBrake
Review: Canon EF-S 10-18mm f/4.5-5.6 IS STM
This is a quick review of the new Canon EF-S 10-18mm f/4.5-5.6 IS STM with some “random” test footage I shot on my way to a client-meeting. Overall a pretty impressive Lens (especially for the Money) on a APS-C sensor like the CANON EOS 70D but also the Canon C100 since the Autofocus really work quite nice and super silent as well. It seem Canon had video shooting in mind by crating that lens.
Its sharp and has a nice overall look, there are no noticeable real nasty unsharp edges or corners like the Canon 10-22mm or the Tamron 10-24mm. The non-constant aperture is not really a big issue it seems, the iris works kinda smoothly. The lens just is not made for low light … thats all ;) Zoom-range is OK, I liked the Tamron 10-24mm for the 24mm but its nothing that i really miss on a super wider angle lens.
- makes optically nice & sharp pictures
- great wide-angle look
- great & silent Auto-focus works smooth in Video-mode
- good Images stabilizer (IS)
- good close focus range … almost macro feel to it
- works good for taking stills
- good price (around 270 EUR in Germany and $299 in the US)
- manual focus ring is small and has no hard stops or markings on it so its a bit hard to manually focus
- non-constant aperture
- built quality is not the best / its not exactly weather sealed
- does not come with a Lens Hood
But thats it … it might not work as good on non auto focus cams and is not as super cinematic as a wide open Tokina 11-16mm f2.8 but then again the Canon EF-S 10-18mm is a pretty nice lens for the money after all.
It also is pretty great for taking stills:
more info on the STM Focus “thing”:
more info about the Lens:
some Canon EF-S 10-18mm f/4.5-5.6 IS STM snapshots … video online soon’ish
this is a great Docu to watch!
INDIE GAME: THE MOVIE, directed by Lisanne Pajot and James Swirsky, looks at the underdogs of the video game industry, indie game developers, who sacrifice money, health and sanity to realize their lifelong dreams of sharing their creative visions with the world. Following the making of the games SUPER MEAT BOY, FEZ and BRAID, this Sundance award-winning film captures the tension and drama by focusing on these developers’ vulnerability and obsessive quest to express themselves through a 21st-century art form.
5 Minutes with: Alëxone (Paris)
In den späten 1980er Jahren entdeckt ALËXONE DIZAC in Paris die Welt des Writings für sich und entwickelt ab 1995 unter dem Namen OEDIPE seinen innovativen kalligrafischen Stil.
Ab der Jahrtausendwende integriert Alëxone erstmals Figuren in seine Kompositionen. Mit seinem überbordenden Universum voller tierischer Gestalten und humanoider Figuren gehört er längst zur Avantgarde der französischen Street-Art-Szene.
Wir haben den Künstler in Paris getroffen und über Graffiti und die Vergänglichkeit der Straßenkunst gesprochen. Und darüber, warum er froh ist, dass viele seiner Bilder in den Straßen nicht mehr zu sehen sind. Er spricht von Berufung, Inspiration und seiner Zukunft in der zeitgenössischen Kunst, „der Kunst des Jetzt“ wie Alëxone sie nennt.
5 MINUTES ist ein Projekt von ilovegraffiti.de in Zusammenarbeit mit ARTE Creative
Kamera/Schnitt: Estelle Beauvais