Thread: The first Hollywood movie shot on A7SII

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  1. #31  
    Quote Originally Posted by Misha Engel View Post
    The A7SII is a nice camera for when you want to shoot low-profile or in dimmed enviroments, but when you're used to RAW or proper mezzanine codecs with some bit depth it's a lot of work to get the colors right. For run and gun news work, just shoot Rec.709 and downscale it to 1080p and you're okay.
    - The "lot of work" part has been already been done, and from this point on can be avoided

    - That colour profile damages some image parameters beyond recovery

    - With a proper setup and workflow, that camera allows achieving top class colour performance

    : )
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  2. #32 Excellent work, Olivier. 
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    Quote Originally Posted by Olivier Boonjing View Post
    Hello!
    I shot a TV series with the A7s in Belgium that was later released internationally by Netflix. It's called "The Break". Here's a link to a small dop reel I edited: https://www.olivierboonjing.com/tvseries

    Olivier
    Loved that series, Olivier. Not only terrific cinematography but a great cast, story and design all around. Very much looking forward to the second season on Netflix. Thanks for your great work.
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  3. #33  
    Senior Member Jacek Zakowicz's Avatar
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    That was a well written show- really enjoyed it. Visually captivating just like it was shot with a bazillion dollar camera. Go figure....
    Jacek Zakowicz, Optitek-dot-org, jacek2@optitek.org
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  4. #34  
    Senior Member Thai Christen's Avatar
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    I don‘t mean to derail this thread, but all those who enjoyed „The break“ should also check:

    Netflix The Forest, The Chalet; both great French Mini TV Series.
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  5. #35  
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    Quote Originally Posted by Olivier Boonjing View Post
    Hello!

    Of course it was Sony sponsored... I can't understand how swapping the whole monitoring and wireless setup (unless they had tons of those) can be faster than swapping lenses. And Hawk lenses were probably the only choice the cinematographer found to make the image of the A7s2 interesting for this story (and an expensive choice). To promote a project based on the camera it was shot on is never a good idea, no one cares.

    That said, I like the A7s2 for what it is. For some projects, it can be a good solution. I shot a TV series with the A7s in Belgium that was later released internationally by Netflix. It's called "The Break". Here's a link to a small dop reel I edited: https://www.olivierboonjing.com/tvseries

    We shot UHD Slog2 to Prores422LT on Atomos Shogun recorders for an HD release. Why? Because we had only 250K USD per episode and needed 3 cameras (two for the main set, one for second unit) for a period of 4 months. I wanted UHD so the editors could reframe and animate zooms, I could stabilise,... Back then (summer 2015), it was the cheapest 4K solution available and we needed a very light sensitive camera because of our small lighting package (we shot nights in forests with only battery powered LEDs). We didn't use fancy lenses either, mainly Tokina zooms (28-70 and 80-200) and Nikon AI-S primes.

    Color grading was more difficult than with an Alexa or Red. Everything went through denoising (with Neat Video) and a little grain was added.

    For season 2, we went for Sony FS5 in RAW to Prores. It they ever do a season 3, I hope we'll move to Red Helium, fingers crossed.

    Many nice looking and interesting movies were shot with lower end cameras (Frances Ha, Upstream Color, Tanjerine,...) but usually they had at least one good reason for it. Usually it's budget of course or more precisely the choice of putting the money into what's in front of the camera and decent salaries. Sometimes it is to be more discreet,... but for this movie, I truly see no reason. And by the way, who puts top 19mm top rods on an A7S2? That rig is huge ;-)

    Olivier
    Great Job Olivier! As Roger deakins would say if the cinematography doesn't get noticed, you did a great job. Watched 4 episodes so far. Did you luck out with the weather in the summer of 2016 or did you shoot mainly in the evenings and mornings, as there is little harsh light in the TV show so far? The tvshow itself seemed to have quite the budget though I reckon they could have given you a better budget for camera's and lights. (as there are a lot of actors, locations, extras). Great job none the less.
    What made you change the camera to the FS5 in season 2?(and not the ursa mini 4.6K, FS7 or red scarlet-w which are still low budget camera's). Is there behind the scenes footage of light setups? Did you use a lot of reflectors/diffusion boards?
    Last edited by Joe Cage; 12-08-2018 at 04:12 PM.
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  6. #36  
    Senior Member Jeffery Anderson's Avatar
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    the color representation is pretty bad

    strange that is a feature film going to theaters and I've seen much better on TV shows. Must be some sort of gimmick they are trying to use for promotion.
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