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Category: Camera User Groups

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
29 June 2017

Full-frame cinematography: Sony says they’re all-in, but it ain’t so

Written by Paul Moon

Sony proclaims that they are all-in for full-frame cinematography (e.g., the video heading up this post). But what Sony needs to do first (and should have done last year), couldn’t be simpler. They almost nailed it with their NEX-VG900, putting a full-frame sensor in the proven/award-winning/ergonomically fantastic VG-series camcorder body. But the VG900 was barely too early for the market, and it aliased like a 5D Mark II. The sensor wasn’t purpose-built for video. Yet, how easily folks have forgotten that the NEX-VG10 was absolutely revolutionary when it arrived! Just speaking for myself, it was my entry point into filmmaking, and around it, I built my first camera user group that eventually became this community.

 

Sony’s auto-pilot, pernicious behavior is to fiercely defend its professional camcorders that are at the highest profit margins, amounting to impossible options for independent filmmakers, and what they’re cooking up next will be no exception to that corporate universe. Yet their debacle of overheating in the a7 series, and obvious dissatisfaction from creatives who want bare-minimum-quality audio inputs, manual controls, etc., is easily and quickly addressed by simply putting the a7S II sensor into the VG form factor. They can (and need to) do this without charging much more than a grand as a premium, on top of what the a7S II costs. Even that is a largely artificial expense. Sony doesn’t know how to read supply-and-demand curves. An a7S II sensor in an affordable VG camcorder body would sell extremely well.

It will take some thinking outside the box, ruffling old-world hierarchical feathers overseas, but it needs to be done. Think of how Blackmagic upended the camcorder world, with the aim to democratize technology instead of penny-pinching that’s practiced by protectionist mid-level accountants from Ivy League schools of theory. The best technology evolutions are always bottom-up, not top-down. Time for Sony to wake up.

June 29, 2017 FocusPulling Original, Sony a7S, Sony CineAlta F3/F5/F55, Sony NEX-FS100, Sony NEX-FS700, Sony NEX-VG10/VG20/VG30, Sony PXW-FS5, Sony PXW-FS7 Leave a Comment
02 March 2017

Introducing the Blackmagic URSA Mini Pro

Written by Paul Moon

Blackmagic Design just introduced their new URSA Mini Pro, expected to become available on March 9 via this link in the United States, and/or this link in Europe. It combines their prior URSA Mini 4.6k with more broadcast camera features, and more manual controls. Here’s a summary of its key additions:

1. Three built-in ND filters
2. PL, B4, Canon EF and (coming soon) Nikon lens mounts
3. Physical on/off toggle switch
4. Auto white balance mode
5. Black-and-white LCD on side panel
6. Still frame capture and audio channels 3 and 4 functions coming after beta testing
7. Redundancy for many of the most important buttons
8. Both CFast and SD dual card slots (total of 4)
9. Costs $5,995 and is available now
10. URSA users can upgrade to this camera for $3,495

My initial thoughts:  these days the trend is towards continuously adjustable electronic ND filters, but having at least three neutral density choices in this camera is a nice feature (and seems more reliable as a physical element).  Apparently the Nikon mount will come mid-way into this year, but it’s an interesting new addition to the Blackmagic camera line-up to those who swear by that lens format which has direct aperture controls, and a flange distance that’s maximally compatible with other cameras.

I love the clever idea of adding an old-skool physical toggle switch for power!  It’s true, especially as these cameras get more sophisticated, you don’t want to hold down buttons and wait to confirm that the power-up sequence is really happening:  you just flip the URSA Mini Pro’s switch, go do other stuff, and rest assured it’s gonna get there!

That full-blown color LCD panel on the side of prior models always seemed like overkill (and sucking more battery life away, for minimal gains).  A monochrome LCD panel, which also can be seen in more lighting conditions including bright sunlight, is a great design evolution.  Back to the basics!

Adding two additional audio channels (3 and 4) will be a welcomed feature; not sure why they claim it needs “more beta testers,” but when it arrives, that will keep pace with the URSA Mini Pro’s competitors, including the Sony PXW-FS7 — while there’s a strong argument to be made that Blackmagic’s color science, and actual dynamic range in practice, are the best in the industry, especially better than Sony’s.  Also, a still frame grab button feature they mentioned in association with the forthcoming 3rd and 4th audio channels will be nice too, but nothing you can’t simply do in post where you’re more likely to do it with one click.

Blackmagic seems to want to carve a niche for itself as making the most durable cameras, including an all-metal design, and I like the thought of making multiple buttons control a single feature, for purposes of redundancy just-in-case.  This is the first time I’ve seen a manufacturer tout it as a feature, and literally deliver on it.

Because I’m a cheapskate and stubborn about adopting new standards when they’re unnecessary, perhaps the most exciting news (in comparison to the URSA Mini and URSA) is the addition of dual SD card slots, as an alternative to the still-bloated cost of using CFast cards (though they offer dual slots for that too).  Blackmagic Design warns that you’ll need UHS-II speed ratings for SD cards, and 4K RAW won’t be possible onto SD cards, but (let’s be honest) most Blackmagic users in practice actually shoot in ProRes, so the cost (and storage) savings of now being able to use SD cards for 4K-UHD is killer.

I wasn’t an original URSA buyer, but it seems really generous to me that Blackmagic offers this new $5,995 camera to verifiable URSA owners for only $3,495.  Blackmagic says that this camera is “available now” — a huge paradigm shift from prior behavior, when we waited for months! — and this B&H link says expected availability is March 9, so you can pre-order now to get it earliest; or maybe Adorama will deliver first; will see.  (European customers can order from CVP.com at this link.)

Keep watching our Blackmagic Cinema Camera User Group on Facebook and on Twitter @bmccusers for more information as it arrives!  Here’s the official page for the product at the manufacturer’s website.  And here’s my gallery of pictures from their live presentation:

March 2, 2017 Blackmagic Cinema Cameras, Camera User Groups, FocusPulling Original Leave a Comment
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