REFUGE // A Moonlit Short Film from Sam Shapson on Vimeo.

Sam Shapson sent me this mail to share his first narrative film shoot in moonlight with the Sony A7s:

My name is Sam Shapson, and I’m a young director with a new project I’m really excited to share online this Tuesday. I saw your article for Carbon Studios “Moonlight” on your website, and I’m thinking my project might just be up your alley.
Its a short film called Refuge, and its the first narrative film ever to be exclusively lit by moonlight.
My team and I shot it over two nights deep in the mountains in the dead of night. With the Sony A7s set to 51,200 ISO, I was able to capture a 6 minute Scifi Thriller set against the ethereal misty mountains of the Angeles National Forest.
I was blown away by what the guys at Carbon Studios pulled off with their “Moonlight | Sony A7s” video and I felt compelled to apply what they’d accomplished to narrative. Working with my good friend and AFI Grad, Derek Stuckert, we developed a story that called for a visceral, otherworldly experience that I believe made the most of the technology. Meanwhile my DP — Barry Elmore, a fellow Columbia College Chicago alumn — went out with me for test after test to see how far the technology could be pushed while staying pure to our goal. After concluding that we would bring no lights, we found that large bounce cards would be absolutely key. This allowed us to literally bounce moonlight to fill in the deep shadows cast on the talents faces.
So then, after tracking the moon and weather for several months, it finally came time for production. Lemme just say that while producing a low-budget, two night shoot in a remote location is one thing, doing so without allowing ANY light spill whatsoever is something completely different. Miraculously, my team and I managed to get everything we needed while avoiding any light from astronomical twilight, city spill, or our flashlights — which we generally discouraged using to keep our eyes dilated. It was seriously an incredibly thrilling experience that I’ll never forget.
I’m hitting you up because I’m looking for journalists whose reader base might dig this kind of thing. If you’re at all curious, I’d be willing to share a private pre-release link with you to take a look for yourself!
Let me know what you think. And either way, I appreciate your time!

Sony A7s store links:
Sony A7s in USA/CA at Amazon, Adorama, BHphoto, Sony USA, Sony Canada.
Sony A7s in Eu at 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].

In an interview at Dpreview Sony said they are working on:
1) Telephoto FE lenses
2) Fast FE primes
3) f/2.8 zooms

So, let them now on out comment system what are the three FE lenses they should come up as next! I will sum up your suggestions in a POLL to be posted in 1-2 weeks.

I will be the first to start with my three suggestions:
50mm f/1.4
150mm f/2.8
24-70mm f/2.8

Diving in Komodo National Park onboard Alexa – Sony A7II (via SonyAlphaForum).

For German readers: at 10:00 you have a Gold Box on the Rokinon 8mm E-mount lens in Black (Click here) and Silver (Click here).
Year of the Alpha (Zeiss Blog).
Hands-On Review: Sony FE PZ 28-135mm f/4 G OSS Lens (Explora).
Sony A7II w/ Olympus 100mm f2 (SonyAlphaForum).
Sony Ultra Wide Converter SEL075UWC Review (ePhotozine).
4K Battle: Sony FDR X1000V Vs. GoPro Hero 4 Silver (Actioncamerarumors).
Sony Fisheye Converter SEL057FEC Review (ePhotozine).
Sony RX1 – Maintaining its Relevance (SonyAlphaForum).

Dpreview posted the full interview with the Sony Senior General Manager of the Digital Imaging Business Group Kimio Maki and Sony US manager Mark Weir. Here are some of the key info:

—-

1) Sensor:
To create a balance between resolution and ISO sensitivity. Usually, if you increase resolution, you have to sacrifice sensitivity. To achieve both we created a full-frame back-side illuminated sensor. We needed resolution of 40MP+ and we also needed ISO sensitivity greater than 6400, and in order to achieve that balance, this [BSI CMOS] technology is necessary. Once you’ve gathered the light, improving processing speed is an important issue, so we changed the wiring inside the sensor from aluminum to copper, and reversed the structure. So we’ve improved the resolution and the ISO sensitivity over the original a7R.

2) About the Canon 5ds:
We wanted to overcome the idea that has been prevalent since as long as there have been digital cameras, that you can have one virtue [resolution] or the other [sensitivity] but you can never have both. Look at the Canon EOS 5DS. A maximum ISO sensitivity of 6400, and crippled movie capability. Canon says that it intentionally created the camera to fit the requirements of certain photographers, and [has thereby demonstrated] that the material science of their device technology [cannot] accomplish both objectives. 

3) About the RAW compression:
Right now it is the same, yes. We’re still working on it. In the future we may change the software but that’s not completed yet. We have consumers who require 14-bit etc., and we’re considering [how to deal with it]. 

4) About the competition:
As you know we don’t have the same history [as some of our competitors] in the camera market, so if we just did the same thing as Canon and Nikon we’d lose. Because we don’t have the same brand image as a camera maker. So we have to think about what the consumer needs.
The customer’s voice is the most important data for me, when we’re creating a new product. Of course when we create a new camera we look at competitive products as a reference, but the most important thing is the voice of the customers.

5) DSLR advantage over mirrorless:
That advantage is getting smaller and smaller. I don’t know when we will [surpass] that technology but we will do our best.

6) Lenses:
Our lenses have to be better than Canon’s. That is my mission. We have already made a 35mm F1.4 and 90mm macro – both were based on customer’s requirements, and also we have a full F4 zoom lineup, so our next lenses will be at the upper end of the lineup. And also aperture. A F2.8 lineup is necessary, and brighter [primes].

—-

To sum up the good news: Sony is likely listening to the customers and that means that better RAW files, faster primes, telephoto lenses and f/2.8 zooms. It’s also important to underline how Sony is sure that Mirrorless will soon close the gap with DSLR cameras. Which also means their A-mount system would become “redundant” when this happens.

A7rII and RX camera preorder list:
In USA:
A7rII at Amazon, BHphoto, Adorama, Uniquephoto.
RX10m2 at Amazon, BHphoto, Adorama, Uniquephoto.
RX100m4 at Amazon, BHphoto, Adorama, Uniquephoto.
In Europe at:
A7rII at Sony DE, FR, IT, ES, NL, BE, CH, AT, SE, FI, NO, PT. Wex UK.
RX100m4 at DE, FR, IT, ES, NL, BE, CH, AT, SE, FI, NO, PT. Wex UK.
RX10m2 at DE, FR, IT, ES, NL, BE, CH, AT, SE, FI, NO, PT. Wex UK.

Let’s catch up with some Sony A7rII related blogger posts:

Interesting insights into the new Sony A7R II and RX sensor technology by EosHD:

All this hybrid stills / video technology is in stark contrast to Canon with the 5D S which practically gives up on video, with Canon’s representatives recommending filmmakers use their other cameras instead of it. I am sure this A7R II sensor will end up in a video camera from Sony. (Though hopefully not a VG series one, but something more like a full frame FS7). With the film and video industry finally beginning to wake up to the benefits of full frame and 65mm over Super 35mm, the timing could be quite apt.
Finally it’s worth giving some praise to the behind the scenes organisational rejig that Sony have accomplished here. I don’t know all the details of what went on but it is obviously paying dividends. Sony’s imaging division has never been more productive, it seems.

Sony Artisan Brian Smith posted a new A7rIi field test and writes

In brief tests with Canon EF glass using Metabones, FotodioX and Viltrox Smart Adapters, AF is considerably faster than previous a7-series cameras. Not only is Continuous AF-C tracking possible with the lenses I tested – it’s fast! I’m waiting for a production a7RII with release firmware before I run more extensive tests to update my Canon EF Smart Adapter Compatibility Guide.
Unlike previous a7-series cameras that each have particular strengths or features, the flagship a7RII does everything well. Unless you need to shoot in near darkness where Sony A7S still has an edge at extreme ISOs, the a7RII would be my choice for everything I shoot.

Sony interview: Stills and video are “converging” (TheVideoMode).
Dominance and Submission: Sony delivers the ultimate mirrorless political statement (Eyesuncloudedphoto)
Sony A7R II Preview (Photographyblog).

A7rII and RX camera preorder list:
In USA:
A7rII at Amazon, BHphoto, Adorama, Uniquephoto.
RX10m2 at Amazon, BHphoto, Adorama, Uniquephoto.
RX100m4 at Amazon, BHphoto, Adorama, Uniquephoto.
In Europe at:
A7rII at Sony DE, FR, IT, ES, NL, BE, CH, AT, SE, FI, NO, PT. Wex UK.
RX100m4 at DE, FR, IT, ES, NL, BE, CH, AT, SE, FI, NO, PT. Wex UK.
RX10m2 at DE, FR, IT, ES, NL, BE, CH, AT, SE, FI, NO, PT. Wex UK.

Sony A7 Firmware 1.10 vs. 2.00 startup time comparison

As you know the A7/s/r and A6000 cameras got a firmware update. Here are two new testvideos. The one above shows the very small start-up time improvement on the A7. While the video below shows what could be a slightly autofocusing improvement in low light (too difficult to say if it’s a real improvement or just a wrong feeling).

Sony A6000 UK Firmware 2.00 Low Light Focusing Test using Sony 50mm F1.8 Lens

[shoplink 37546 ebay][/shoplink]

This happens when a A7 gets run over by a car. It suddenly looses one space dimension :)
The owner still managed to sell that [shoplink 37546 ebay]2D A7 for $20 on eBay (Click here)[/shoplink]. Chapeau!

Thanks Alex for sharing this :)