Sony a7SIII Work Flow Process - Fashion Video Shoot

[@AdemVessell]

Best video on this cam yet. Brilliant work BTW. Purely excellent!

[@vistek]

Thank you so much Abu! Very kind comment!

[@JonJakubcin]

Loved the emphasis on preproduction testing

[@vistek]

Thanks Jon!

[@JoeMustang99]

Fantastic KZbin video on the actual use of the A7siii. Thanks a bunch.

[@vistek]

Thanks Joe!

[@LionRoar-sq5we]

The commercial is enough for me to follow you life time man! this is an ass kicking work! thumbs up!

[@vistek]

Thank you 10x!!

[@JonPais]

The production camera second native ISO for s-log3 is 12,800. Great fashion video and super useful advice about trying out the various profiles on each shoot before deciding on one!

[@vistek]

Thanks Jon!!

[@joshantolin]

Great amazing shots! Clean crisp colors!

[@vistek]

Thanks Josh!

[@OnIcePerspectives]

Thank you immensely for this!

[@vistek]

Thank you O.I.P.!

[@Flowmi]

Yes this was amazing! Please keep making more videos! 👽

[@vistek]

Thank you!

[@petersigma]

What is the "standard" picture profile that you are referring to at 4:11?

[@storybookfilms944]

Yes!!!! Love this review. I should be receiving my 3 cameras in a week and I can’t friggin wait!!!!! Wonderful video.....

[@vistek]

Thanks a tonne! Really appreciate the comment!

[@jonathanmoydevitry2912]

Super helpful tips. Reassured me a bit on my A7 SIII preorder because until now I hadn't really been impressed with much of what I had seen shot with it...

[@vistek]

Thanks Jonathan!

[@tvbeatsthenightmareking7984]

One of the dopest videos i ever seen good work

[@vistek]

Thank you so much TVBeats! Really appreciate the support!

[@tvbeatsthenightmareking7984]

Vistek | Your Visual Imaging Experts im an S1h user this was jus super inspirational

[@JohnJonesRocketCity]

Man, I was going to watch to see the fashion video shoot because I figured it would be dope. Well... it was very DOPE! But now I'm messed up because you mention 4k 120p @ 16,000 iso and that makes me want to buy this thing lol! That has always been the issue for me when shooting @ 120p which is the loss of light. The 4k 120p is what is making me actually consider getting this camera as well as the great color compared to the A7III I own. The BMPCC line is still on my radar but this is just checking way too many boxes. It almost makes it to where you can't deny it. Btw you addressed some very important issues in this video. Great work!

[@vistek]

Thanks Johnnie!!

[@madacenyc]

Very thorough analysis. Thanks man!

[@vistek]

Thank you Madacenyc!

[@spatzilly]

ok i gotta echo everyone else and say THAT COMMERCIAL WAS FIRE!!!! omg. one of those things that makes me ashamed but aspirational. i need to learn gear and tech like you...auto sub

[@vistek]

Thank you Burning Stew! Very much appreciated. I don't know if you caught it, but I kind of f'd up the colours in this video by accidentally applying a desat setting just before export/upload. If you want to see the proper graded version it's here: vimeo.com/455585749

[@adamjrichman]

A rare useful video about the a7s3 that isn't just listing off the specs from the B&H page; thanks mate!

[@vistek]

Thanks Adam! We do our best, and I think everyone's voice is equally important. Sometimes all people want are specs (though I'm not a spec kind of person myself).

[@markoboychuk]

Very thorough and in depth real world review. Thank you!

[@vistek]

Thanks a ton Marko!

[@robchado]

Stunning images! Great work.

[@vistek]

Thank you Robert!

[@GilbertTV]

awesome work

[@vistek]

Thank you GilbertTV!

[@patli778]

amazing fashion film man

[@vistek]

Thank you! (the colours of the film portion were weirdly off in this export. If you want to see a properly coloured version it's here: vimeo.com/455585749/e67f603b95)

[@jayvelasquez8036]

Amazing! So helpful and to the point

[@vistek]

Thanks Jay!

[@TheGlassEyeTV]

What an amazing breakdown! Thank you. Without custom LUTS in camera and the need to overexpose SLOG3, seems you need an external monitor to correctly monitor log footage. Unless I’m mistaken and you can upload custom LUTS in camera?

[@vistek]

The The Glass Eye! And, yes correct. Custom LUTs are typically the domain of cinema cameras.

[@RonaldReidJr]

Love this video and how you went into detail keep it going!!

[@vistek]

Thank you Ronald!

[@leadingfilms3395]

Well done! Very educational.

[@vistek]

Thank you Leading Films!

[@sonicneutronic]

Ordered mine from Vistek within the first hour of going live.........And shipped today Oct 5 - thank you.

[@alex.muntean]

Cool video. Have you tried HLG3? Also, what crane/arm is that that you were using for the shoot? Thanks!

[@thoughtprovoking001]

Super informative video! Many thanks!

[@vistek]

Thank you so much!

[@Ronbc000]

Nice work, mate. Thanks

[@vistek]

Thank you Ron!

[@akpevbe]

Brilliant...What filter do you have attach the the lens at 6:00

[@vistek]

A broken one. ;)

[@timpolster]

Thanks for sharing so much info!

[@vistek]

Thanks Tim!

[@vincentsaldell5188]

Man, I saw you video on C-stands and started following you at once! Great content! Great knowledge! A big bonus is that you talk very fast. Many times I end up setting playback speed to x1.5 or x2 - no need for that here! :)

[@vistek]

Thank you Vincent! Really appreciate the comment and the support.

[@surrogatemarker]

Philip Bloom just put our a video two days ago with a production unit and Sony changed SLOG3 to hit its second base ISO at 12,000 changing it from the pre-production model’s 16,000.. Either way it looks super clean at 12,000 or 16,000.. Great shoot BTW.. awesome video production.

[@noahyv]

But for Standard creative style it's actually ISO1600. Gerald and Philip Bloom both only dealt with SLOG3 since that's the way to get the most out of the camera, shoot SLOG3 and stick to ISO640 or ISO12800 and maybe up to a stop above those or else you're throwing out a lot of dynamic range and really taxing the highly compressed codecs with coarse noise.

[@slicktoroid]

Damn good insight! Would love to see more videos like this. Amazing how much you can pull from the standard profile.

[@vistek]

Thank you Slicktoroid!

[@jolyoncox]

Really creative AND really thorough! Fantastic work. Really appreciate the level you pitched this at. Thanks.

[@vistek]

Thank you Jolyon!

[@DavisInDuval]

Really loved this, thank you for taking the time to produce it!

[@vistek]

Thanks Tracy!!

[@markshirley01]

Hi - almost completely shoot 1080p for social media projects. Is it worth using 10bit 422 on those jobs. Amazing video - geat work 👍

[@vistek]

Thanks Mark. 10/422 is about colour science and compression and is agnostic to resolution. So it's valuable if you plan on doing any grading or need to shoot in a log profile. If you don't do any of that, you will see very little advantage to going with a 10 bit camera. People may argue that the quality is apparent, but I think it is for shooters, but not for the general public.

[@markshirley01]

@@vistek thanks - just more information to play with then.

[@bentheremedia3011]

Man really glad I found your channel! Appreciate you taking the time to put this video together and beautiful editorial work as well! Do you have anymore BTS footage from that shoot? Curious to see what you put in front of the lens for that shot with the green light.

[@vistek]

Thanks Ben! I don't have any more BTS - but i can just tell you that I put lots of things in front of the lens. Pick a glass object any put it in front. In this case it was an (intentionally) broken lens filter.

[@guerrerosdigitales]

When you said to drive up the exposure to the zebras clipping point for slog3 which is 94 and then dial down, how would you suggest is the best way if we want to stay at either 640 or 16000 ISO? because from what I undertand we want to stay at the base ISO which is either 640 or 16000. I am sure we need to use an ND filter, but what about if still does not let us dial up the exposure perfectly at 640 or 16000? is it OK to use another ISO level?

[@vistek]

ND is your best solution to get you in the ball park. Then I would change ISO. Doing it by one stop isn't going to severely affect your image. Then I would change my shutter speed/angle. Finally I would change my aperture - but if I can, I always try to have my shutter at 180º and my aperture set to where I want it creatively.

[@MagnetiqLabs]

very very nice review!

[@vistek]

Thanks Vlad!

[@ScreenTeamShow]

That's some amazing work, great job.

[@vistek]

Thanks Screen Team!

[@guerrerosdigitales]

@@vistek I hope I can get answers to my two questions above :)

[@CranmanPhotoCinema]

Wow, best results I’ve seen from this camera so far! Looked like a RED or BM. 1. You shot all in standard, and were able to color? 2. What lenses? 3. Pro mist 1/4?

[@vistek]

Hi there and thanks for the great comment! No filters were used, and we just used Sony G-master photo lenses to take advantage of the autofocus.

[@NONE2NONE]

Jesus, I never consider how important lighting is till I see videos like this

[@vistek]

Thanks Mo. Lighting is always important!

[@AGS-8785-D1R]

Love how concise this video is relative to how technical it is. Much appreciated. Would love if you went a bit further on the PP settings as well as HLG compared to SLOG. Either way, great vid, thanks so much.

[@vistek]

Thank you Andrew. Would have been fun to go down the rabbit hole, but it's typically not my jam since it's so specific to your shooting scenario. Plus it would have made the video tirelessly long... I like to get out before people are too sick of me talking.

[@_Sinsear_]

Do the picture profiles and gamut curves apply when shooting in ProRes RAW to the Ninja V? Or is raw video operating irrespective of those settings?

[@adriansalas7122]

Wow! That video looks amazing!

[@vistek]

Thanks Adrián!

[@timg027]

What camera/lens combination was used for the talking head portion of this video? Looks unbelievable in 4k on the iMac.

[@vistek]

A7III + a very cheap Sony zoom kit lens.

[@1939Pictures]

Great footage. When using an external ninja monitor were you able to use auto focus tracking, and other af features? and does the sony camera screen black out the you hit record using an external monitor?

[@vistek]

Thank you 1939Pictures. I had no screen blackout using an external monitor but recording internally. AF has no correlation to recording features. AF is a function of the camera & the lens - so it will always work the same.

[@PedroHofmann]

Fantastic colors - you can ditch the RED and buy 2-3 A7sIII cams for a multicam production. Would be interesting to shoot with RAW on a external recorder like the Ninja V. Did you test it?

[@vistek]

Thanks Pedro. I didn't test it with the Atomos. The update wasn't available at the time of filming.

[@PaulRichards78]

Very well presented and thought out video you dont see often if at all Great, thanks

[@vistek]

I appreciate that! Thank you!

[@JuanMoralesCreative]

Great video!! Really excited to get my hands on this camera... but unfortunately I haven't been able to get any updates on my order from Vistek since I ordered it a while ago and was told it would be 2-3 weeks... A little disappointing considering I chose Vistek over other camera stores to purchase mine, and I'm unsure why I was given such a short timeframe, but I'm sure I'll get mine eventually.

[@vistek]

Hi Juan. Sorry about your experience. I've passed along your comment to our customer service team and they'll be reaching out. I do want to mention that the challenge you're experiencing isn't unique to us. Sony somewhat mis-calculated the demand and it's difficult to get a unit country-wide. The only released a very small block of cameras originally with more coming. I'm certain our CSR can provide you with more information in respect to your camera.

[@dna8269]

Great video! I'm really torn between this and a cinema camera like the BMPCC4K or 6K. Do you think the image stacks up to those types of cine cams? Is there any advantage to going with a cine cam in that $2-4000 range over this?

[@vistek]

I think that's a difficult question to answer, because it comes down to personal taste. I wouldn't consider the BMPCC4K/6K cinema cameras. They offer no functional advantage over the A7S3 when it comes to operation/form factor. It's worth going with actual cinema cameras (like an FX9, BM Ursa Mini Pro, C300, etc) because of it's body and swift operation, among many other advantages (internal ND etc). Choosing between BM and the A7S3 is a matter of personal taste and sensor size.

[@jamskof]

brilliant. subbed.

[@vistek]

Thank you for the support Newie!

[@briandecasa5444]

When will vistek have stock? I know it says Sept 24 but any chance itll come earlier?

[@guerrerosdigitales]

A few more qustions. 1) I went to my standar profile and it does not let me go down to -7 sharpness, it only let's me go down to 0, where should I change that to -7? 2) If I use standard for all my shooting, including night and day and 120FPS, should I keep my ISO to either 640 or 16000, or in standard it does not matter what ISO I use as compared to S-log3 which you recommended to use base ISO?

[@vistek]

HI there Manny. I don't have the camera in front of me any longer - so I can't speak to your question about sharpness control. Sorry for that. Regarding ISO. ISO always matters. You will need to do noise tests in each ISO level to see where the 0 gain db is for that particular profile. Every profile is different. The only way to answer your question is for you to do the test yourself.

[@redfield8758]

On the production model, the clean ISO switch at 12800 instead of 16000 on the pre-prod ones.

[@stephenkraus2477]

This is great! Love your S1H video too. What lens did you use for these? Also - was dynamic range + highlight roll off in standard solid in your experience? Or compared to Slog 3? Just trying to figure out which profile I’d use in which scenarios!

[@vistek]

Thanks Stephen! Super appreciate the kind comment. I used a few SONY zoom lenses. A wide, mid, and long. Nothing fancy, but all on the higher-end G series. Wanted great optics and reliable AF. Highlight roll off is still going to be much steeper in the hypergammas or std profile than Slog3. Log was effectively created to capture more highlight data. So it will never compete, because it's not designed for that. I always offer log to clients when we don't have control over our DR. Like having a subject next to a window, where we need to see outside, and perhaps we don't have the light power inside. The commercial film industry uses LOG as a safety net. It allows us to work faster in less-than-ideal conditions and give us a bit more creative control in post. But you also have to have a talented colourist. It's easy to mess up log in post. If I don't trust the client's colourist (because they're a smaller outfit without dedicated colourists), then I'll shoot in a cine gamma (or in the case of FX9, S-cinetone). So the question of cine-gamma vs LOG is one of how much time and talent you have in post, and what you can and cannot control in your scene lighting.

[@stephenkraus2477]

Vistek | Your Visual Imaging Experts I feel that! I’ve been grading/my editing team has been grading CLog 2 on the C200, V-Log on EVA1 + S1H, and Blackmagic Film profile/log profile on the Ursa Mini/Pocket 6k’s - but something about Slog scares me a bit, since yeah it seems maybe a bit easier to mess up, and I want to make sure I’m it monitoring well on set!

[@guerrerosdigitales]

@@vistek So for someone like me who is not a commercial shooter and do not have a colorist, standard would be my best option for day or night shooting? and do I need to shoot it like with slog at +2 or just proper exposed at 0?

[@Aviciiz]

Are you gonna compare it to the S1H/S5?

[@findbinnu]

As Philip Bloom demonstrated, the switch over point has changed for the production A7SIII - the second circuit kicks in after base ISO + 4 EV.

[@pimduijf6532]

Nice job! Can you tell me if the 4k 120p 422 material is easy to convert in Davinci Resolve Studio? I don't have a license for Davince Resolve Studio yet so I can't check if I can make Prores proxies in 120p with Davinci Resolve Studio or high-res Prores 120p files. In your video I see, quite briefly, that you are converting the files to high quality ProRes files in 120p. I would like to know if I can create both low-res ProRes proxies 120p (example, full HD) in Davinci Resolve Studio and if I can create high-res ProRes files in Davinci Resolve Studio in 120p? I need that confirmation before purchasing Davinci Resolve Studio. Thank you in advance and this will be a great help for me.

[@vistek]

Hi Pim, i own Resolve Studio and I had zero issues converting my 120fps footage to prores. You could easily export proxies as well.

[@RaphaelRogers]

Looks amazing! What lenses did you use on the shoot? Beautifully done.

[@vistek]

Thanks Raphael! I used sony zooms. 24-80, 80-200, and one wider zoom (but I can't remember now...)

[@MrMikePalma]

@@vistek sony 12-24 GM ;)

[@nyambe]

Is this a real ad? It’s awesome.

[@vistek]

It's a model test for Aluad. So yes. A very common format in fashion and modelling.

[@nyambe]

@@vistek Did not know the brand, will look it up!

[@jeff.amador]

Hi there. I just received my Sony a7s iii today (been using an a7iii for the past year+). I hooked up the camera to my computer via USB to transfer some images and video, but I am getting these compatibility errors. Any idea as to what I am doing wrong? I took photos in RAW and videos in various framerates. Neither the Macbook Pro's finder, Quicktime, or Adobe Lightroom will open the files. I was able to open and encode one of the video clips via Sony's Catalyst Browse, but is that going to be necessary for ALL clips that I ever film with this camera? Updated Camera Raw and Lightroom to latest versions.

[@vistek]

I have no idea, personally. I used an SD card reader to transfer footage and my computer had zero issues. I would perhaps recommend calling Sony or the retailer. Perhaps someone else in the comments can also assist.

[@jeff.amador]

Vistek | Your Visual Imaging Experts your computer can open video files straight off of the card?

[@SpryEnd]

I stoped using the slog pp while shooting 120p , on the sony a7 3 for a while bcz of the Bad noise and bitrate stuff going on. I cant wait to go All out with this camera 😍

[@vistek]

Been there. I feel your pain.

[@TyroneLT]

Thanks for this very detailed workflow video. A lot of practical tips included here. 2 quick questions: Did you shoot in ALL-I or IPB? You recommend the Sony Tough G SD cards but from what I remember Gerald Undone had issues recording with those cards. Have those issues been fixed?

[@vistek]

Hi Tyrone. I can't remember - but based on performance I'm going to say it was almost certainly IPB. I had no issues with the cards. Zero. Performed great.

[@adamkozma6962]

Thank you Dale!

[@vistek]

Thank YOU Adam!

[@autonomous9031]

Thanks for the video. What kind of jib / crane is that? Cheers

[@vistek]

Thanks Autonomous. It's a cinevate crane!

[@LionRoar-sq5we]

one more thing, i am budgeting for Canon C300 MarkIII, but i am thinking that this would be an alternative. how do you compare them? i know they are an apple and an orange but in my case, i want to upgrade shortly from the a7iii and i am after a better image quality... i appreciate sharing your experience ... thanks

[@vistek]

very much apples and oranges. The C300 is a digital cinema camera with all the bells and whistles for proper commercial or narrative productions. I don't think they compare in any way - two very different user groups. If you make a living off of video, it's helpful to have a well rigged out digital cinema camera, and a mirrorless for smaller jobs or as a b-cam. But I don't think it's one or the other, unless you mostly do corporate or wedding work. If that's the case, then going smaller is always better (especially for gimbal work).

[@skymakai]

Tons of shadow recovery using the Standard Profile. Why not use the Creative Natural Profile? Seems like a good middle ground... super easy to grade.

[@vistek]

Hi Sky. Valid comment. All picture profiles have their benefits. Not all picture profiles or settings are going to work all the time. Testing your camera and knowing the parameters of your chosen profile is paramount. There is no "good for everything" profile.

[@noahyv]

What ISO did you end up shooting with if you shot in Standard Creative Style? You mentioned you actually shot ISO16000 for at least that one shot, that seems very high considering the high native ISO in Standard mode is only ISO1600.

[@vistek]

Was all over the map but never lower than 640 to my best memory.

[@theroyalmob]

this is such a valuable video. thank you for sharing this info

[@stephenkraus2477]

Hi! Dumb question, but how exactly do you get these in camera profile settings? New to Sony - just got my A7siii - like how do you get sharpening down to -7?

[@vistek]

Hi Stephen, I don't have the camera in front of me any more and I can't remember TBH - but @geraldundone owns three, so I suggest you drop the comment into one of his YT vids!

[@stu9000]

Great-looking film! Thanks for the workflow info. Re: dealing with 60p and 120p files in Premiere - I would just use the Interpret Footage option to change the framerate to 25p or whatever you want and it should work well.

[@vistek]

Hi Stu9000. Thank you. Re: interpret footage. Perhaps I wasn't clear. Interpreting the footage is precisely the problem. In doing so, you're asking the NLE to do more complex de-coding above and beyond the HEVC decoding. This is why doing so means the footage does not play. When you record in S&Q your NLE is working with 23.98 (or whatever your base frame rate is).

[@stu9000]

@@vistek Yeah that HEVC format is tough. 120p footage in H264 is playing back with no issues for me once interpreted to 25p.

[@chrisdurrer6508]

Wow, You got my sub

[@vistek]

Thanks Chris! Really appreciate the support!

[@greggreenhaw]

Have you tested the focus speed of EF lenses on the sony yet?

[@vistek]

Nope not yet. Sorry!

[@8KHDRVideoBySittipong]

Nice​ Video.​

[@vistek]

Thank you Sittipong!

[@danielsolano4606]

Ive seen in other videos that the gain change happens at 12800 on production models and the 16000 change was at 16000

[@danielsolano4606]

the 16000 change was at pre-production models***

[@ElijahJacksonPhoto]

what kind of light sticks are those?

[@vistek]

Hi Elijah. Those are LEDGO AltaTubes.

[@MuturiKevin]

Very interesting video! However, according to Sony, a v60 card is all that is required to shoot 4K 120fps, if you use XAVC-S or XAVC-HS. Were you not able to do this? I currently have 4 128GB v60 cards, and really would not be needing to spend another $400 on new SD cards to be able to shoot 4K 120fps 😅

[@vistek]

I never had a V60 card. I couldn't get my regular high speed SD cards to work. I called Sony and the rep told me I minimally need a V90. So they dropped one off for me. That's all I know. Right now V90 cards at Vistek are on sale btw!

[@life_Of_Bowie]

I tried to import clips into resolve and it was not able to read the MP4 files. How are you able to import into resolve? I would love to know.

[@vistek]

Hi Matthew, do you have Resolve Studio or the free version? I use Studio. I believe the free version only accepts ProRes - but also possibly it doesn't accept the HEVC codec? I think you'll probably have to look that up. Good luck!

[@life_Of_Bowie]

@@vistek Yes that is correct. I commented on another video and figured out that is probably the issue. Do you know if resolve studio will except the MP4’s

[@vistek]

Hi Matthew, yes it does. I haven't run into a file type that it doesn't accept.

[@shagral_]

Thanks, very informative! And that fashion shoot - whoa man, that's certainly something to aspire to! Question: would you recommend Sony FE PZ 28-135mm F4 G OSS as a main run and gun lens for someone moving to a7sIII? I'm moving from Canon and need an all-purpose first lens.

[@vistek]

Yeah for doc work 28-135 is a solid range. I prefer something a bit wider like 24-105. I can't think of a time when I would need to shoot at 135. Especially for "run & gun" www.vistek.ca/store/420184/sony-sel-fe-24105mm-f40-g-emount-lens

[@JoeCnNd]

4:30 the camera hated your shirt for a bit.

[@iComplainer]

Welcome to my subs list 😄

[@vistek]

Thank you for the support iComplainer!

[@delachipresents]

Are you going to credit the model/performers?

[@vistek]

Thanks for the comment Delachi. The video was rushed out and I forgot to add that. It's been added into the comment section.

[@Mr_Kenneth]

The Sony A7SIII is truly an amazing camera. If I hadn't just purchased the Canon 90D and sunk a ton of cash for new glass, I would have opted for the Sony. Hmmm then again...

[@Tugela60]

You were working with models....why no PPE?

[@vistek]

We were all wearing PPE. What video were you watching?

[@Tugela60]

@@vistek I did not see any bunny suits

[@vistek]

I think if you actually worked in film & television you would know that body suits are not only not necessary, but are also not required by any government safety policy around COVID protocols. We are making videos, not working in an ICU.

[@CO8848_2]

LOL, 16000 ISO 4k 120P, that's a bit insane.

[@caesarblanko1399]

oh my god i see mask = dislike