Cinoflex is shooting a commercial for Chevrolet. And this is how they have “packed” the Sony A7s 🙂
Don’t worry, you can also use a more “Portable” set:
This is what Cinoflex thinks about the A7s:
The tests are very good. Everything you would expect from this camera. Our specific tests we’re focused on lens fall-off and sensor reaction. The DR was also very surprising, great tonal rendition in the shadows. For this camera the biggest challenge is the infrastructure (for lack of more familiar terms THE RIG). It is important for professional camera crews to use this camera (or any camera) in a traditional fashion, the CINOFLEX, gave the SONY A7S camera that ability. Truly a WOW camera for the quality of the sensor and ability to capture lens fall-off, focus cylinder moves, and the full frame quality image. We are shooting anamorphic Panavision tests soon, that is the true test to see how this camera can make a difference within the marketplace.
This is what we loved about the SONY A7S Camera. Details about this video grab: Camera: SONY A7S PP: SLOG2 Lens: 200mm Stop: T3.1 Color: 3200K SS: 1/50 ISO 3200 ————- so we shot directly into a light to desaturate the image and lose any detail, then we overexposed by 4 stops. The ungraded image is on the right, the graded image is on the left. With very little effort or manipulation we found good contrast, detail, shadows, highlight control, and sharpness was easily recovered. The lens fall off was also very pronounced and truly magnificent.
Sony A7s store links:
Sony A7s preorder in USA/CA at Amazon, Adorama, BHphoto, Sony USA, Sony Canada.
Sony A7s EU pages: Sony DE, UK, ES, FR, IT, NL, BE, AT, CH, SE, NO, FI, PL. And Wex UK.
A7s Gariz leather case in [shoplink 27569 ebay]Black (Click here)[/shoplink], [shoplink 27570 ebay]Brown (Click here)[/shoplink], [shoplink 27571 ebay]Red (Click here)[/shoplink] and [shoplink 27572 ebay]Orange (Click here)[/shoplink].
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“This is what Cinoflex thinks about the A7s: The testes are very good.” either they like it way too much or its a bit of a balls up.
not sure whether to giggle or roll my eyes. in any event you deserve a thumbs up! :p
Exactly the stuff I need to shoot my kids playing at the beach !
Don’t lie – you want to film the hot chick in your neighborhood when she’s dropping her clothes. 🙂
Hey look! This guy here thinks sexual harassment is funny.
It would be sexual harassment unless he asked her to drop her clothes. He would simply be taking advantage of an opportunity.
get a life! get a sense of humour!
Hey look! This guy here has no humor and no clue of what sexual harassment really is.
Honestly, you should think more carefully about what you tend to write.
Sexual harassment is severely criminal and you should avoid unnecessarily defaming somebody for such actions.
How do you know MikeAubrey wasn’t being funny too?
Assumed, based on his overall style of posting here.
And for my taste anything offending is not kind of funny.
No ! With such gear I’ll simply pretend I’m a film maker ;o)
Sure the A7S looks a little bit lost in that environment.
However it once again shows that for semi-pro to pro videographing the camera price is just a piece of the whole equipment budget. (fingerpointing at the too-expensive-naggers, when knowing that for 4k rec you need an external recorder).
If you are no hollywood film maker but pro, and you can’t efford 60-100k for a high end set up, then I think it is worth to have such a solution available for the A7S.
If you can afford that much, then buy a real camera that doesn’t need rigging like this.
I get what you mean, but please be honest.
(Not talking about this crazy stuff on top with the big Nikon gun)
The A7S including this rig and an appropriate cine lens will be roughly around 10 maybe 12k.
Maybe I missed something, but what real camera not needing a rig is available for that price level as a complete set?
I misread his original post. Thought he meant rigging out an A7S with 60K worth of kit.
But the new BlackMagic camera is full-sized and ready for shoulder work. That new Aja camera is even better looking. 6K and 10K respectively I think.
BM URSA (6k body only) and Aja Cion (11k body only) are indeed close by price wise. However, for both you need to add accessories and the lenses, too, which then again makes them much more expensive.
And you would need to compare to an A7S without the rig. Lets say 2.4k for the A7S, 2k for the ext recorder, 600 for an appropriate mic, and 1k for an appropriate lens. That’s 6k for the complete hand held option.
Sure it will not be that convenient to use compared to shoulder work as with the Aja, but for roughly half the price.
In the end I think it is depending on your needs. If your primary work is pro video, I would agree that one of these two might be more appropriate.
But if you are looking for a camera having the abilities to server pro needs, and in addition being a fantastic stills camera, you may go for the A7S.
All good points.
But the A7S cannot be handheld as easily as a shoulder cam, really. So touchy, and so much rolling shutter artifacting.
why do people who have never used the camera talk? I shot this Sony A7s Basketball Footage, that too full frame in the lesser 60p mode… learn how to handle movement and there is no rolling shutter. Unless on a whippan rolling shutter is an operator error… – Movi M5 Sony A7s 60p: http://youtu.be/Ae8u4aS6xQc
+1
Only Black Magic if you want the cinematic look… And that too you have to rig. Since straps for cameras are based on their rifle (shooting) counterparts – you’re basically suggesting buying a gun for war and not buying bullets, straps, quick reloaders, grip, accessories, cleaners etc…. won’t work. Rig prices are added to most any camera system. Except maybe Arri, but then we are talking 100,000 or more dollars.
All cameras with set-ups like that will be rigged. It’s just that A7S takes up less space.
However, if the point is that the A7S isn’t ergonomically designed for full-on production video use like this, then fair enough. But that rig wasn’t designed for the A7S – it will have been used with plenty of much large cameras.
People over-rig production cameras, imo.
But I misread your original post, sorry.
People do not use expensive cameras to shot car commercials WITHOUT all the things in that rig. Chevy and their agency are not going to be shooting car commercials without computerized focus, heavy lenses, external recorders and external batteries. What’s interesting is that they chose the A7S this time.
oh yeh….my perfect rig to shoot cat videos
minipixels.net | Automotive Photography
Can I strap this to a helmet?
If your neck and shoulder muscles are tough enough – yes 🙂
Funny how Sony spends MILLIONS trying to reduce the size of the camera and then these bods build a whole frame around it to make it as big as possible! 🙂
Agree it looks amusing, but, keep in mind a big camera can only be used in certain situations. A little camera is more versatile – and can be used in any situation.
Good point! Flexibility!
The point to keep in mind is whether it is your day job to shoot video (or images) or your unpaid hobby. And if it is paid, how large your budget is. If your budget stretches to ten people and three cars full of gear, the difference in size between an A7 and a 5DIII or even a RED is a small minor detail (it can still play a role if you need to shoot from a difficult location).
Hello from Cinoflex,
We try read all comments, questions, and
estimations about the Cinoflex. We use all this information to design,
build, and manufacture a camera systems for users in the professional
motion picture world. Yes cameras are small, Yes they are getting
smaller, Yes they are less expensive, Yes there are new ones every few
months, and Yes the image they make is truly astonishing. BUT, BUT, and a
very big But———————-a camera needs to be balanced
well-fore to aft, needs to have a mass with low center of gravity, needs
to have mounting options for the camera department, needs to have one
central power source for all items, needs to adhere to the Panavision
and Arriflex standard of spacing and heights, and and and and and very
important, needs to adhere to the tradition and fashion that camera
operators, camera assistants, and camera technicians have been accustom
to in the last 40 or so years. The Cinoflex was designed from the ground
up, to emulate and respect the traditional form of the best film
cameras, form the ARRI 435 to the PANAVISION Millennium XL.Camera
departments constantly request some form of standardization and
regulation with all the new products being released, the CINOFLEX is
doing this!
see us on facebook:
https://www.facebook.com/pages…
The rigs were also originally designed for larger cameras, over time if the likes of the Sony A7r, take over video, the rigs will be adjusted to take that into account. But no rig with a 600mm lens is going to be small.
You understand that operators hate small cameras. You want balanced and heavy weight on your shoulder. Saves a lot of back pain and makes for smoother handheld work. I want the rig in this article (it’s one of the best I’ve seen).
Finally someone that speak the truth~ Every time when camera/lens manufacturer comes out with a new body or lens, they usually rant about their size portability~
Actually, we all know that body/lens that have certain size and weight contributing to a better stability and ergonomics~
As a small person, I still feel comfortable with a camera like my A850 with a grip and it did provide stability and overall usability~
Hello from Cinoflex,
We try read all comments, questions, and estimations about the Cinoflex. We use all this information to design, build, and manufacture a camera systems for users in the professional motion picture world. Yes cameras are small, Yes they are getting smaller, Yes they are less expensive, Yes there are new ones every few months, and Yes the image they make is truly astonishing. BUT, BUT, and a very big But———————-a camera needs to be balanced well-fore to aft, needs to have a mass with low center of gravity, needs to have mounting options for the camera department, needs to have one central power source for all items, needs to adhere to the Panavision and Arriflex standard of spacing and heights, and and and and and very important, needs to adhere to the tradition and fashion that camera operators, camera assistants, and camera technicians have been accustom to in the last 40 or so years. The Cinoflex was designed from the ground up, to emulate and respect the traditional form of the best film cameras, form the ARRI 435 to the PANAVISION Millennium XL.Camera departments constantly request some form of standardization and regulation with all the new products being released, the CINOFLEX is doing this!
see us on facebook:
https://www.facebook.com/pages/Cinoflex/151047361682392
Thank you for the reply. What is the msrp for the type-a7s and how will it handle different cameras in the future?
$2495.00
It’s a great rig, though at car commercial budget levels I’m surprised they didn’t go with an Arri Alexa, Red or Sony CineAlta.
Exactly… Why go through all this? Only for the “full frame look”? And how do they deal with the rolling shutter?
By not vigorously shaking the camera…..We have been dealing with rolling shutter since the 5DII…It’s not something new…… sheesh!!
Sheesh? Come on. Isn’t the A7S worse than 5Dii for RS? In any case, the point is if you’re shooting a big budget commercial why not just use a real camera instead of this?
I think you are still living in the 80’s where clients were willing to spend money…There is every probability that what they are shooting is not a ‘Brand’ campaign.
Worse than the 5DIII yes. Not as bad a s the 5DII.
Some Al Jazeera Journalists are now using the A7s. Which would include a lot of run and gun shooting. So…you know….Not the end of the world…
The Nikon 600mm lens in that photo alone costs more than the A7S, let alone the rigging. They have 3 of those rigs mounted on a car on their fb page. However tight their budget is, the camera purchase/rental cost is a insignificant part. I’m guessing the real reason they needed A7S is to mount them on a car, not because they don’t live in the 80’s.
Nikon 600mm…..Have you never rented a lens?? Or they may already own the lens…. There is no suggestion the it was purchased for the job…
“The real reason they needed A7S is to mount them on a car, not because they don’t live in the 80’s.”…
Perhaps I will just point you to your own comment…Sounds like you answered your own question…
” if you’re shooting a big budget commercial why not just use a real camera instead of this?”
No its consideredably better actually than even the 1DC, forget about the 5 D II
Hello
Understand that an agency, director, and/or cameraman decide on certain camera formats for different reasons. Some ad agency’s decide they must shoot anamorphic 4-perf film for a mayonnaise commercial, as others believe only digital workflow will work for the limitations of their drug store commercials. Camera format decisions have been a topic for nearly 70 years. Since the inception of VISTAVISION / CINEMASCOPE / PANAVISION / ANAMORPHIC / TV 1.33 / 1.78:1 16×9 / IT IS ENDLESS. THE CHOICE AND POWER TO CONCENTRATE’S THE VIEWERS ATTENTION IS RELIED UPON FRAMING, COMPOSITION, LIGHTING, AND LASTLY CAMERA FORMAT.
ROLLING SHUTTER! ROLLING SHUTTER? ROLLING SHUTTER.
A main feature of the CINOFLEX camera system is the nodal placement of the camera sensor, camera lens, camera body, and camera platform (rig) – in this case the CINOFLEX – this nodal positioning and balance come from a film tradition, this helps reduce rolling shutter and pan to lens ratio blur. The entire 49 epidodes of the FXX television series was shot using dslr cameras 90$ hand-held) and Cinoflex camera systems, how much rolling shutter can you find in those episode?
ROLLING SHUTTER! ROLLING SHUTTER? ROLLING SHUTTER.
WE HATE ROLLING SHUTTER!!!!
CINOFLEX vs. ROLLING SHUTTER
(DEATH MATCH)
A main feature of the CINOFLEX camera system is the nodal placement of the camera sensor, camera lens, camera body, and camera platform (rig) – inthis case the CINOFLEX – this nodal positioning and balance come from afilm tradition, this helps reduce rolling shutter and pan to lens ratioblur. The entire 49 epidodes of the FXX television series was shot using dslr cameras 90% hand-held and car rigs) and Cinoflex camera systems, how much rolling shutter can you find in those episode?
As someone that works on high end commercials, usually with Alexa’s, Epic/Dragons and the usual gaggle of GoPro’s, the main reason I can guess that they would use a A7S is because they are shooting in low light/night exteriors. Otherwise it’s trying to be the first on the block, which DOES impress some agencies and clients. Even with Epics and Dragons we need to add a rediculous amount of GAK. Remote Focus/Iris/Zoom control, CineTape ultrasonic measuring systems, sync boxes when shooting multiple cameras, sound receivers from the mixer for on-board recording, on-board monitors, HD video transmitters and of course battery power. http://public.fotki.com/makofoto/work/miscellanous/epic-cram.htmlhttp://public.fotki.com/makofoto/work/miscellanous/img-2830.html
Hmmm … photo link was cut off: As someone that works on high end commercials, usually with Alexa’s, Epic/Dragons and the usual gaggle of GoPro’s, the main reason I can guess that they would use a A7S is because they are shooting in low light/night exteriors. Otherwise it’s trying to be the first on the block, which DOES impress some agencies and clients. Even with Epics and Dragons we need to add a rediculous amount of GAK. Remote Focus/Iris/Zoom control, CineTape ultrasonic measuring systems, sync boxes when shooting multiple cameras, sound receivers from the mixer for on-board recording, on-board monitors, HD video transmitters and of course battery power. http://public.fotki.com/makofoto/work/miscellanous/epic-cram.htmlhttp://public.fotki.com/makofoto/work/miscellanous/img-2830.html
Photolink was cut off – here it is:
http://public.fotki.com/makofoto/work/miscellanous/img-2830.html
And then…somebody walks on set with their iPhone in video mode. (Just kidding – but classic slapstick).
I will trade my wife for all of this….but not my firstborn.