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Category: Sony a7S

08 January 2022

Rigging the Sony a7 IV: Tilta cage, Rode VideoMic NTG, A-Cup, Zacuto Zarn & top handle

Written by Paul Moon

The Sony a7 IV has finally arrived, after its announcement mid-October.  It could have taken longer, given the vague (excu$e of?) manufacturing and shipping delays these days — and it could have felt revolutionary like last time, when Sony priced their a7 III for the masses.  But Sony hasn’t felt the heat these days, and they want all your money.  It’s still a damn great camera (I’m all-in for 10-bit 4:2:2 30p at 140Mbps).  In my kit, it still can’t hold a candle to formal shooting in BRAW on my Pocket 4K and 6K Pro, but when I want to fly on a gimbal with auto-focus, there’s nothing better.  And I was happy to spend one grand less than the overall inferior a7S III (always a hard pass for me).

CAGED UP

Time to rig up!  That usually starts with a cage, and oddly enough, the world has boiled down to two close competitors:  SmallRig and Tilta.  SmallRig used to be the affordable option until they got greedy, and then Tilta came along, categorically besting SmallRig.  Even if Tilta’s “Tactical” packaging has got that sexually insecure Oakley bro vibe, at least its logos are less obvio vis-à-vis SmallRig’s Sanrio.

What’s more, as seen in the above package contents, Tilta is simply more generous.  Their new Sony a7 IV Full Cage at $69 includes a Manfrotto plate if you don’t prefer the cage’s integrated Arca-Swiss plate, along with a lens support bracket, additional adapters for anti-twist connections to a7S III and a9 bodies, and several extra screws and hex wrenches.

I love how the Manfrotto quick-release plate can stay permanently attached to the bottom of the cage, providing access through a middle opening to the screw that lets you remove the camera body from the cage at any time.  Well, not so fast…

In the first of the above pictures, you can see Sony’s slightly improved neck strap lug.  Lord knows, I’ve got tons of steadicam footage with the a7 III’s lugs audibly clanking around, but these stay stiff.  However, don’t get used to it!  The Tilta cage (SmallRig too) demands that you remove the left-side lug, to prevent the body from twisting inside the cage along its single bottom screw axis (this is something that CAME-TV always got wrong).  In fact, you can’t install into the cage without this removal.  It’s easy to do, as seen in the middle picture (just like a keyring), and then you need to screw Tilta’s included miniature hex bolt through the a7 IV’s bracket, locking the whole thing onto the cage through an upper bolt.  As mentioned, Tilta also includes a bracket spaced for the a7S III, and for the a9 — so despite what the packaging says, this cage works for more than just the a7 IV.

But the good news ends there; if you ever need to take the camera body out of the cage (e.g., to fly on a gimbal without the weight of the cage), this is a huge hassle  — and again, it’s not optional.  If you don’t have that ultra-tiny hex wrench with you, you’re “screwed.”  Tilta didn’t even create a molded magnetic seat at the bottom for the hex wrenches to always be handy, compared to other cages.  And upon finally removing the camera from the cage, you also need to reattach lugs if you want to sling the camera from a shoulder strap.

I’m not a fan of the Multi Interface Shoe because its proprietary Sony accessories are overpriced and they underperform, so my preference would have been to further secure the camera through that camera body hotshoe — after all, you still get two more hotshoes on the cage itself, as seen above.

But there’s still a lot to love about Tilta’s design, including side NATO rails as seen in this side view, along with clear access to the camera’s ports, and an ARRI-style rosette.  In lieu of the shoulder strap lugs now removed, Tilta gives you slots on the cage for a shoulder strap (or, for most of us these days, Peak Design Anchor Links).

TOP HANDLE & EYECUP

Some minor gripes include the fact that there are no 3/8″ screw holes, and that the dead-center hotshoe prevents a NATO top handle from taking that prime spot for secure center of gravity.  On the other hand, as seen below, the center of gravity may get offset anyway once we rig it up, and so I’ve added my trusted Zacuto top handle onto the top NATO rail a bit off-center.

I’ve also added an underappreciated, extremely critical tool for adding a third point of contact with your face, via the indie product A-Cup by Miller & Schneider.  There have been subsequent alternatives by Hoodman and Vello, but none of them are big enough to fully simulate a proper cinema camera eyepiece.  However, since fitting onto your face is really subjective, it might be worth a try sampling a few options to see what works best for you.  One drawback of the A-Cup is that it blocks the automatic presence sensor, shutting off the rear screen.  On the other hand, Sony has improved the tight fight of the eyepiece bracket, adding confidence to taking off and re-mounting this bigger eyepiece whenever you need it.

ZARN SIDE HANDLE

Another must-have rigging accessory is this deceptively simple “Zarn” by Zacuto.  Instead of the typical bulky, vertical rectangular handle, this little thing behaves like a ball joint in your arm, helping you elegantly twist and turn into stable positions across a shot.  You’ll believe it when you try it, and you’ll never want to go back to a clunky grip.  When you’ve got this wider berth of left-side/right-side grips, combined with the third point of contact from an eyecup, it’s an altogether stable rig for running-and-gunning.

SHOTGUN MIC

Finally, there’s one more must-have when you’re rigging up your Sony a7 IV:  the Rode VideoMic NTG.  The moment when this thing hit the market, it obliterated all other options.  It combines the performance of Rode’s professional NTG shotgun lineup, with a strong pre-amp to feed the camera’s mediocre microphone-level input (recipe: set the Rode high, set the Sony low), with an excellent Rycote shock mount, and a versatile USB computer/smartphone connection option too.  It also lets you record a safety track at lower amplitude to the other of the stereo recording tracks, in case of clipping.

OMISSIONS

Normally, a guide to rigging a new camera comes with tons of anxiety about battery power and storage media.  For a few reasons, that just doesn’t apply here.  Firstly, once the NP-FZ100 battery standard arrived (compared to the weakling NP-FW50 used in the a7S II), our power problems diminished.  So long as you buy OEM (or third-party equivalents that have at least 2250 mAh capacity), a single battery gets you through a few hours, and when that runs out, you just toss in another.  They’re cheap.  Meantime, it doesn’t get better when you try to power from the USB-C bus, or even from a fragile “dummy” battery:  that’s ironically worst-case for overheating into shut-down, since the camera holds out longest (given its high-temperature setting) from the internal battery, after the rear-panel LCD stays swung away from the body.

Sony also stubbornly refuses to allow external media storage via the USB-C port (compared to, e.g., the Blackmagic Pocket line of cameras), so it all comes down to internal SD cards.  Ignore those overpriced CFexpress Type A cards, because you wouldn’t need them for anything but the creepiest Bridezilla mode (and please, stop obsessing over slow motion already).  For maximum versatility, it’s gotten cheap to invest in V90 UHS-II SD cards, and my favorite so far is the Lexar gold label marked “2000x” (we all know that’s a fake number).  But you can also get by with V60 for almost all of the recording modes — and anyway, you won’t want to shoot in the all-intra XAVC S-I, format because there’s no visible difference, and your editing program won’t notice the difference either.

January 8, 2022 FocusPulling Original, Sony a7S Leave a Comment
28 July 2020

Sony a7S III: Ignore the Hype

Written by Paul Moon

Does hype sell you on stuff?  Sony spends a lot of money making sure.  Just this past week, they paid off the Associated Press to go all Sony, all the time, crossing an ethical line in journalism (besides simply looking tacky).  And we see how most every hyper-enthused “vlogger” about cameras and lenses — ogling maximum view counts with rapid cuts flailing around — is in the bag for Sony.  How many videos have we endured, watching them get flown out to expensive cities, hotel stays, and gang-bang shoots of waif models for camera launches?  “This is an independent review and I was not paid by Sony!”  Sure, whatever.  Maybe this year, cuz ‘rona.

Today is the same old stuff.  You need to scrub the ‘net hard to find any nuance on Sony, while they’re launching the new a7S III (in large part, a GH5 with a full-frame sensor — and that $1.3k camera launched just yesterday, or was it way back in January 2017?).  Sony has summoned their entire army to raise fists in the air, calling it unanimously “uh-ma-zing.”  The phenomenon actually creeps me out.  Imagine going to Rotten Tomatoes for movie reviews, and finding some mediocre movie that everyone only loved or hated — no diversity.  Suspicious?

I pledged my allegiance to Sony a long time ago (and I’m still cheering for them); it started with the NEX-VG10 and just kept getting better from there, on to the NEX-FS100, then the a7S II, and currently, the a7 III.  That last camera remains my go-to for flying on gimbals, because the auto-focus nails it pretty much always.  (When I can stay locked down, though, it’s Blackmagic and Z CAM all day long.)  Sony has had zero competition in full-frame cinematography for many years, too.  So yeah, when this sort of thing happens, you get stuck:  I bought tons of active E-mount lenses, and now what?  They don’t attach to anything but Sony.  (Not so for EF mount — because of flange distance — which is practically on its deathbed now that RF mount is taking over.  My order of the new Canon R5 is arriving any day now…)

So I was among those schmucks anxiously awaiting the arrival of the a7S III, and Sony dragged their feet for almost half a decade.  Now that it’s finally arrived:  how does it feel?

First, we need to pull it into focus.  I’ll try.  From here on, instead of dense essay style, best to simply make a list.  Beyond that, it doesn’t deserve much of our time, because the a7S III has turned out to be an overpriced meh.

  1. Resolution: Yes, UHD-4k is enough for a lot of things, but not everything.  Final output resolution, exporting from a full editing workflow, isn’t the issue at all.  The ability to punch/crop/reframe into video footage, that’s really something.  And Blackmagic taught a huge lesson last week (John Brawley, one of those rare writers about camera tech who’s not gullible, explains this fully):  their new custom-built sensor is less revolutionary for its 12k resolution, but instead, literally how that image looks, because of how the sensor gathers light, bayers the image, allocates pixels, and integrates with BRAW efficiency which is by far the best RAW codec in the world (more on that later).  Point being, for a major, long-awaited, over-hyped product launch, Sony’s mere 4K (still incapable of even actual 4K/DCI) is a drag, especially for what the a7S III costs, which leads to…
  2. Pricing:  Sony has devolved into a multinational corporation run by its accounting/marketing department; every time they launch a “G Master” lens, their paid-off vlogger army drools and pretends that they’d have enough money to buy one, let alone the whole product line, instead of only getting temporary loans.  (A delicious sidebar to that, is how Tamron — ironically part-owned by Sony themselves — is beating out even G Master lenses in lab tests, at one-third or less the prices.)  Simply put, the a7S III costs too damn much, even if other cameras cost more (because they do, too).  The last time their comptrollers finally behaved smartly, was when they priced the a7 III as one of the best bargains in hybrid camera history, and it still is — much like Blackmagic priced the BMPCC4K stunningly low.  That wasn’t long ago, and the interim volume of sales spoke for itself:  when you price something smartly, lots of people buy it.  But insult them with price gouging, and they don’t.
  3. CF-express Type A: In a throwback to Memory Stick stubbornness and greed (remember those blue sticks of gum?), Sony wants you to buy their new kind of flash memory card.  It’s capable of up to 700 megabytes per second of write speed, which is the only spec that matters (read speed is irrelevant and always higher).  However, the a7S III is designed with slots that can also take UHS-II cards, having extra rows of contacts for faster speed.  I have a few V90 cards that I used in the BMPCC6K, and that spec means they can guarantee sustained minimum write speeds of at least 90 megabytes per second, which is the same as 720 megabits per second.  The fastest speed of any internal recording in the a7S III is the new XAVS S-I at 600 megabits per second, well below that 720 megabits per second headroom in a solid UHS-II V90 SD card.  Meantime, guess how much CF-express Type A cards will cost?  For the tiny 80 GB card, hilariously $200, and for the whopping 160 GB card, $400.  Meantime, other cameras are almost universally accommodating USB-C docking of solid state drives, that offer terrabytes of storage at equivalent speeds, costing dozens of times less per gigabyte.
  4. RAW: Starting with some facetious background, Atomos is like that last hook-up at the bar who hasn’t scored again, and just before closing, goes home with someone.  It needs the business, somehow, in a post-Atomos age.  They did have a bromance years ago with Panasonic, when they were the only way to record 10-bit 4:2:2 from the GH4 — but when they tried to hook up with Sony for the a7S II, it turned out disappointing, because that camera only output 8-bit.  These days, they’ve put their eggs in the ProRes RAW basket, which might have been alright if Blackmagic hadn’t revolutionized RAW(-ish) technology with BRAW.  You can read more about it (too much to explain here), but the issue for the a7S III is that to record RAW, you’re spending a ton of extra money and adding bulk to your rig that completely defeats the purpose of a portable mirrorless camera fundamentally designed for video capture in the first place.  The best that the new camera can do internally, is just another variant of CPU-taxing HEVC/H.265 compression, compared to — let’s face it — the perfection found in BRAW for smallest file sizes, fastest editing performance on all workstations, and internal recording.  (Also enough for a whole separate write-up is this, in a nutshell:  Sony has been litigation-averse since the surfer dudes at R3D Corporation magically scored a rad patent claiming that any compressed internal RAW recording is theirs forever — like, literally the whole concept of that, and no one else can ever do it.  By not fighting that frivolous patent, despite deep pockets, Sony forces you to hook a huge recorder onto your “portable” camera.  And the recorder doesn’t even exist yet.)
  5. Audio: It’s just a freaking 1/8″ stereo jack giving a bad-impedance, interference-prone, consumer-level microphone input.  Still.  And just like the RAW dilemma, hooking up to their comically waiting-to-crack XLR-K3M at the hotshoe (leaving no room for a RAW recorder too) is embarrassingly nothing more than a Salvador Dali surrealist painting of a pricey contraption held up by a toothpick.
  6. Stills:  12 megapixels is your mother’s purse camera, and your cellphone last century.  Next!
  7. SteadyShot:  This one was a nail-biter.  If they ditched internal image stabilization via the sensor, like Panasonic did for the GH5S, you would have seen two armies line up and face each other down:  the vintage old-timey self-appointed “A.S.C.” wannabes who say I.S. doesn’t matter, versus those of us tired of vomiting in the movie theater every time a hipster lenser says “whatever” to camera stabilization (cuz shaky iz cool).  Meantime, stingy Sony has been systematically removing lens stabilization across the board, to shave pennies off costs for maximum profits, pointing their fingers at I.B.I.S. as the patsy.  Now thankfully, the a7S III keeps sensor I.B.I.S., though it’s widely known as the very worst, even in the full-frame sensor world that has lot more mass to jiggle than crop sensors.  But here’s the thing:  yet another red herring is their so-called “SteadyShot Active” mode, and it assumes you’re just as gullible as GoPro customers.  It uses the same gyroscopic sensors in your cellphone (to play driving games or whatever), recording position and relative movement metadata for further digital stabilization only in post-production that’s already cropping into your image by about 10%.  This is a fool’s errand, and any good cinematographer knows why:  the 180-degree shutter rule is a real thing, and it’s not debatable.  You need proper motion blur on every single frozen frame of video footage, and it needs to blur in the right direction (like, literally how things happen in the world).  What digital stabilization does, is respond with exact opposite force, smearing the motion blur against itself.  It’s noticeable, and it’s wrong, and it’s fake.  What’s more, this “SteadyShot Active” process is a whole generation’s loss of extra encoding, since you need to churn through your footage using a proprietary, separate encoding application, to come up with a digitally stabilized source file.  It’s not lossless like Adobe Warp.
  8. S-Cinetone-ish:  This is a sneaky way of saying, if you’re too lazy to drop a free LUT onto properly captured log footage (which dates back to the earliest days of cinema), this is the best Sony can do, so far.  S-Cinetone is not a log format; it’s just REC.709 (standard video color space) that looks decent.  It started with the VENICE, continued in the FX9, and Sony wants you to think it’s incredibly generous for them to put a version of it into this little spy cam instead of charging thousands of dollars for a firmware update.  But the S-Cinetone improvements (really, bug fixes from historically awful Sony color science) are absent in S-Log2 and S-Log3.  Anyone spending this much money on a camera, shouldn’t lower their standards by reducing dynamic range and skipping log formats, so S-Cinetone is irrelevant.  And no matter what mode you’re in, “the low light king” (even so, just barely more sensitive compared to competing dual-ISO cameras) is only for a worst-case scenario:  color rendition is terrible because of low light physically, so you shouldn’t be shooting in the dark unless you absolutely have to.  Just examine the sample footage yourself:  a7S III color looks much worse at the highest ISOs.
  9. Minimum ISO:  Speaking of log, they always say, if you don’t have anything nice to say, don’t say it at all.  So I do have one nice thing to say about the a7S III:  Sony finally came to their senses (read: finally ignored angry Alister) and lowered the minimum ISO in log mode from sometimes thousands, down to 640 and even 160 in an “extended” mode.  Hooray.  We’ve actually had that on other cameras for years (e.g., Blackmagic).  It has a huge impact on controlling depth of field and shallow focus, avoiding ND filtration at top limits that severely compromise quality.

Even in quarantine, I’ve done a poor job writing posts routinely here, but among some more “recent” ones (on building an editing workstation), a big theme was how Intel got its asses handed to them by AMD who are now killing it in the CPU world with their 7nm process (no matter what Puget Systems tells you), and Intel is still years away from catching up.  As a parting thought:  this is exactly what’s happening to Sony.  Like Intel, they ruled the world for a while, but got cocky, and greedy.  This whole rant has taken a renegade tone simply because it’s too noisy out there.  Caveat emptor (“buyer beware”) has never hurt anyone who didn’t deserve to get hurt.  Make up your own minds, and ignore the noise.  Ultimately, it comes down to how good you are behind the camera, and whether you can see the difference in A-B testing between this new thing, and the last thing.

P.S.:  Remember when Sony’s loyal army of vloggers defiantly insisted that overheating Sony cameras was a non-issue, because real filmmakers never keep shots running that long?  My, how the tide turns, when the holy dictate needs to come up with something to boast about…

July 28, 2020 Sony a7S 10 Comments
12 January 2018

Sony a7R III: Interactive Menu Guide, Samples and Review

Written by Paul Moon

The headlining video for this page runs 1¾ hours. It is the most comprehensive guide to the Sony a7R III menus available anywhere. For your convenience, the below interactive guide breaks this video down into organized sections, taking you directly to a discrete explanation of whatever menu page you’re interested in. Just click it, and a video will play back with a detailed explanation. Use the top index to skip around between menu tabs and pages.

I got inspired to throw this together after creating a menu guide for the Sony RX0 recently. Now, after lessons learned from an ongoing trans-media creative project of mine (www.95thesesfilm.com/concordance), combined with a full test run using the Sony a7R III to create www.scroogeopera.com last month, I’ve combined sample footage from that project with observations about this camera (triggered by explaining its menus), resulting in a hybrid resource of: product tutorial, review, and footage samples.


SONY a7R III MENU INDEX

tab1 : PAGE   1    2    3    4    5    6    7    8    9    10   11   12   13   14
tab2 : PAGE   1    2    3    4    5    6    7    8    9
tab3 : PAGE   1
tab4 : PAGE   1
tab5 : PAGE   1    2    3    4    5    6    7
tab6 : PAGE   1


TAB 1/PAGE 1 — manual and automatic selection between full-frame mode, versus APS-C/Super 35mm “crop” mode:

video
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TAB 1/PAGE 2 — on leaving things alone at the acquisition stage:

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TAB 1/PAGE 3 — dual memory card slots:

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TAB 1/PAGE 4 — (not relevant):

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TAB 1/PAGE 5 — auto-focus modes:

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TAB 1/PAGE 6 — auto-focus face priority:

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TAB 1/PAGE 7 — (not relevant):

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TAB 1/PAGE 8 — (not relevant):

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TAB 1/PAGE 9 — ISO/gain, arbitrary minimum ISO in S-Log:

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TAB 1/PAGE 10 — (not relevant):

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TAB 1/PAGE 11 — (not relevant):

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TAB 1/PAGE 12 — white balance, picture profiles/S-Log:

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TAB 1/PAGE 13 — peaking:

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TAB 1/PAGE 14 — (not relevant):

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TAB 2/PAGE 1 — movie file formats, fast-slow motion, proxy recording:

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TAB 2/PAGE 2 — auto-focus responsiveness, audio recording:

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TAB 2/PAGE 3 — wind noise reduction, display markers:

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TAB 2/PAGE 4 — accommodating non-native manual lenses, image stabilization:

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TAB 2/PAGE 5 — zoom and ClearImage Zoom:

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TAB 2/PAGE 6 — on-screen display, zebras, rule-of-thirds grid line:

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TAB 2/PAGE 7 — (not relevant):

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TAB 2/PAGE 8 — custom keys and menus (and avoiding the temptation to over-customize):

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TAB 2/PAGE 9 — turning off the beeps:

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TAB 3 — viewing/controlling from smartphone or tablet, absence of applets:

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TAB 4 — playback:

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TAB 5/PAGE 1 — gamma display assist:

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TAB 5/PAGE 2 — overheating, world camera, cleaning the sensor:

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TAB 5/PAGE 3 — touchscreen, say-no-to-timecode, wired remote control:

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TAB 5/PAGE 4 — HDMI, USB options, tethering:

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TAB 5/PAGE 5 — file naming:

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TAB 5/PAGE 6 — redundant versus overflow usage of two memory card slots:

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TAB 5/PAGE 7 — firmware version, both camera and lens:

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TAB 6 — on being your own star:
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The Sony a7R III is available via B&H for under $3.2k by clicking here. I hope this resource helped! Please share it with other Sony a7R III users.

January 12, 2018 FocusPulling Original, FocusPulling Original Video, Sony a7S 2 Comments
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