Placing my order for the Fuji X-T2 was a no-brainer. After cycling through multiple platforms for the last four years, I was finally ready to settle down with just one. For some time it looked like that would be the Sony a7R II, but I just could not bring myself to pull the trigger on it for a number of reasons. Then, Fuji announced the X-T2. On paper, it checked off every item on my list.
There’s no question that if you’re looking to do a shoot lit only by moonlight, then the a7SII is going to trump its high-megapixel sibling. We wanted to see if there was a massive and substantive difference between the two in normal shooting conditions.
The Sony a7SII has a couple of neat features that make it a worthy upgrade over its predecessor. It still has the same class-leading low-light performance but adds in-camera 4K recording and a new S-Log3 shooting mode – something that’s typically found on Sony’s more expensive video cameras. This clearly makes the Mark II version of the a7S as a very video-centric ILC, so we took it out to see just how different the S-Log3 mode was from the S-Log2.
The field of film emulation software has some pretty well-established players in both the video and stills worlds. On the still photography side, there’s Google’s Nik Collection software, VSCO’s Film Series of plugins, and a variety of others. On the video side, however, things are… somewhat more complex (as all things video generally are).
For this shoot, I decided to start simply. I began with one light, a Paul C. Buff Einstein light inside a large umbrella. We were shooting in a relatively small studio, however, so the light didn’t completely wrap around the model, leaving a shadow on the wall behind. We wanted almost no shadows – just enough, in fact, to bring out the texture on some of the clothing. The single light delivered a bit too much of a shadow, so we added additional lighting.
There are more than a dozen Neutral Density filters available under the Video section of our website, ranging from screw-on fixed-value ND filters to high-end Schneider rectangular filters for matte box stages. In this video, we walk you through why you’ll want an ND filter when shooting video and what your options are.
As they prepare to discontinue their “classic” line of ZF and ZE lenses, Zeiss have released the “Milvus” line of lenses to replace them. I took the 85mm f/1.4 Milvus out for a try and came back much more impressed than I have been with their older ZF/ZE lenses, which have begun to show their age.
SD. HD. Full HD. Quad HD. UHD. 4K. DCI4K. Something-point-something-K. Video resolutions are confusing enough for consumers but as a content creator they are even more confounding. Here at BorrowLenses, we carry cameras that shoot everything from 720p HD all the way out to 6K. That variety can be somewhat confusing when you’re trying to sort out just which camera you need to rent and what resolution to actually shoot at once you’ve rented it. And that’s before you begin diving into the world of aspect ratios, too.
Zeiss expands its lineup for Canon and Nikon mounts, gimbals get even smaller, and in a shocking move, Sony reveals new gear! It’s that time of the month again folks: here’s the latest edition of all the fresh, new gear that arrived at BorrowLenses in October!
For professionals and hobbyists alike, photo books are usually on our to-do list and get postponed because they’re often expensive, take time to build, and the quality is unpredictable.