Alpha 7S III

Filmmaking Tips from @jacques_crafford | Featuring the Sony FX6

geraldyeong — Thu, 26 Oct 2023 08:04:12 +0000

Filmmaking Tips from @jacques_crafford | Featuring the Sony FX6

geraldyeong Thu, 10/26/2023 - 13:34

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Tips

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Alpha 7S III

Lens Category

FE 24mm F1.4 GM

Jacques Crafford

South Africa

With a penchant for the great outdoors, film director Jacques Crafford specialises in capturing breathtaking landscapes through his lens, turning them into cinematic masterpieces. He has been shooting with the Sony FX6 for over two years, with a focus on tourism, travel and adventure films.

Ahead, Jacques shares tips on how filmmakers can create visually impactful scenes using the FX6. He goes into detail on the various set-up, shooting and usage techniques to help you achieve the maximum performance out of the camera.

A surf film by Jacques Crafford, shot on Sony FX6

This is a short film shot entirely on the Sony FX6, featuring the top surfer in South Africa, Adin Masencamp. This captivating piece showcases the FX6's ability to effortlessly capture action sequences, delivering smooth and dynamic footage when using the right cinematic settings.

Wondering how to produce professional-looking videos on the FX6? Let's dive right in.

Status

Pending Approval

At a glance

FX6 Introduction

Cine EI and S-Cinetone

FX6 Introduction

Chapter 1: The FX6 at a glance

In the first chapter, you will learn how to navigate the menu and choose the right codec for the camera. You'll also be introduced to the various shortcuts as well as a brand new feature—the internal ND.

To start off, the FX6 is a great option for aspiring filmmakers due to its compact and user-friendly design. It also comes with advanced capabilities that makes it suitable for professional use. What Jacques really likes about the FX6 is that it’s capable of recording in XAVC-I codec, which can accommodate higher bit rates and larger file sizes.

Status

Pending Approval

Navigating the FX6 is effortless—simply press the menu button to access the status menu, allowing you the option to change your most frequently used settings. Jacques’s go-to function is the slow & quick (S&Q) mode, which he uses specifically for fast and slow-motion shooting.

He explains, “Sometimes you want to see the real speed at which a maneuver happens, and sometimes slow motion just makes it more interesting to watch.”

The built-in variable ND filter is also a game-changer, as it enables you to shoot with a wide open aperture to maintain greater depth of field. You can switch the filter to auto mode for a more seamless lighting transition, perfect for continuous shots in changing exposure conditions.

Cine EI and S-Cinetone

Chapter 2: Understanding Cine EI and S-Cinetone

Now that we've covered the basics, let's take a look at the Cine EI mode and S-Cinetone preset, along with tips on how you can correctly expose S-Log3 on the FX6.

Cine EI is one of Jacque's go-to modes – it utilises the full capabilities of the camera to record in S-Log3 with the most optimal dynamic range. When working with this profile, it’s important to apply a LUT. A LUT can be used to enhance the image for on-screen monitoring, without affecting the post-production output.

Status

Pending Approval

If your goal is to shoot and deliver footage straight out of the camera with minimal post-production adjustments, the S-Cinetone profile is your best bet. Designed for quick turnarounds, S-Cinetone lets you achieve a cinematic look with little effort. However, it’s worth noting you’re not likely to get the same performance as compared to S-Log3.

Autofocus

Chapter 3: Navigating the autofocus

In this chapter, we take you through everything you need to know about autofocus.

Jacques recommends using the original Sony lenses for optimal focus performance. There are two different options for toggling between manual and autofocus: the camera itself has an AF-MF switch on its front panel, while the lens comes with a dedicated button for this purpose.

Status

Pending Approval

The FX6 has several focus modes, such as the wide mode that comes with real-time eye autofocus. This ensures that your subject’s eye is always in focus, no matter how shallow your depth of field is. But there are limitations when it comes to capturing subjects with alternative focal points. And that’s where real-time tracking comes in.

Focus tracking is Jacques’ preferred autofocus method, and it works amazingly well in scenarios where the eye isn't visible to the camera. For example, if your subject is facing away from the camera, you can select a reference point anywhere on them and observe how the focus still remains consistent regardless of their movements.

The FX6 also features a hybrid focus mode with custom transition speeds and subject sensitivity. To do this, simply keep the lens’ AF button on while switching to manual focus on the camera. This mode allows accurate and precise focusing in all modes and frame rates.

Rigging setups

Chapter 4: Choosing your rigging approach

The FX6 is highly adaptable and ideal for a wide range of configurations. Ahead, we delve into the different types of rigging setups when it comes to filmmaking.

The FX6 boasts a standout feature of being operational straight out of the box, without the need for extensive setups. Its ergonomic design makes it incredibly flexible for smaller productions, with just enough bulk to place it comfortably against your body. This works well for slight movements or static shots.

Status

Pending Approval

For more dynamic movements, you can use the side handle for handheld shots and the top handle for low-angle shots. A shoulder mount configuration can also be helpful in providing an anchor point for extra stability.

When mounting on a tripod, finding the camera's centre of balance is crucial in preventing any unwanted forward or backward tilts. To counter this, consider adding a V-Mount battery system at the rear to restore equilibrium and reduce micro-vibrations. Doing so will help you to achieve more fluid movements.

Likewise, you can also integrate the FX6 with a gimbal, but keep in mind that you won’t be able to record high-quality audio with this configuration. To capture top-notch audio, have off-camera recording ready when using a gimbal setup.

Firmware Version 4.0

Chapter 5: New Firmware Version 4.0 updates

Here, we will introduce the new features that come with the latest firmware update. One of the biggest improvements is the option of autofocus in S&Q mode, which allows you to choose any frame rate you want regardless of your base frequency.

Status

Pending Approval

Another exciting addition is the de-squeeze function that lets you properly display anamorphic lenses on the viewfinder and HDMI output. It works just like a monitor LUT, which means your footage in post remains untouched the way it's supposed to be.

Version 4.0 also supports new shooting modes in S-Log3. On top of Cine EI, there are now two additional modes to choose from: CineEI Quick and Flexible ISO. These modes enable you to capture the highest dynamic range from the camera and are great for users who desire more control over the exposure.

A & B cams

Chapter 6: A & B cam combinations

In the final chapter of this series, we explore the various ways the FX6 can be used in unison with other cameras in the cinema line. Despite their differences, these cameras are all capable of producing beautiful imagery with the same colour performance, making them ideal for seamless integration.

Status

Pending Approval

For filmmakers with a budget, one tip is to utilise smaller bodies as an extra B-cam next to the FX6. For the surf film, Jacques had a FX30 on standby for those quick handheld shots without having to remove the FX6 from the tripod. He adds, "This helps for those unpredictable moments where the only thing that matters is getting the shot. Having the same colour is a big win!"

Overall, the FX6 makes for a versatile tool for both seasoned and aspiring filmmakers. If you're looking for a compact yet high-performance camera that delivers top-notch cinematic action, this is the one for you.

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FE 24-70mm F2.8 GM II | Shoot clear and focused images from a distance | Review by Gary Wong

Harriman — Tue, 23 May 2023 05:54:11 +0000

FE 24-70mm F2.8 GM II | Shoot clear and focused images from a distance | Review by Gary Wong

Harriman Tue, 05/23/2023 - 11:24

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Reviews

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Alpha 7S III

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FE 24-70mm F2.8 GM II

Video Name

World of Film 2022-2023 | Happy Taxi

Short film: Happy Taxi Day

This short film puts viewers into the shoes of Lam Kin Wah, an aging taxi driver who is lamenting over his son’s decision to immigrate overseas – taking his beloved granddaughter away from the familiarity of home, and away from him. As he reminisces in his cab, a bubbly young girl hops into his taxi unexpectedly and asks him for a ride home. The weary taxi driver reluctantly agrees, and the pair end up spending a very special day together.

Shot with the Alpha FX3 and Alpha 7S III cameras, and the FE 24-70mm F2.8 GM II zoom lens, this heartwarming drama takes audiences on an unforgettable taxi ride – and a journey that will undoubtedly leave more than a few eyes tearing with its emotional conclusion.

Dive into the mind of filmmaker Gary Wong in our in-depth interview. Learn about his filmmaking influences, challenges and ambitions – as well as the one story that he’s still mustering up the courage to share with audiences.

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Filmmaking

FE 12-24mm F2.8 GM | Trusted choice for capturing fast paced visuals | Review by Sofashiba

Harriman — Tue, 16 May 2023 09:53:24 +0000

FE 12-24mm F2.8 GM | Trusted choice for capturing fast paced visuals | Review by Sofashiba

Harriman Tue, 05/16/2023 - 15:23

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Reviews

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Alpha 7S III

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FE 12-24mm F2.8 GM

The ideal equipment for capturing high octane racing

One of my favourite videos involves a car racing down the streets, both at night and during the day, which I shot in collaboration with Sony. When selecting my equipment for the shoot, I chose my trusted Alpha 7S III camera and FE 12-24mm F2.8 GM zoom lens.

Alpha 7S III

My first introduction to Sony's Alpha series of cameras was with the Alpha 7S II, the predecessor to the Alpha 7S III. I was deeply fascinated with the camera's high ISO and low noise, which made it seemed like the camera was “born for videos”.

So, when the Alpha 7S III was launched with features that included 4K 120p shooting with 10-bit 4:2:2 colour depth and a highly accurate focus system, I was all on board! These are movie-level specifications that allow creators to be completely immersed in our craft, without worrying about hardware limitations.

FE 12-24mm F2.8 GM zoom lens

For a high-speed, action-oriented video like this, your choice of lens is crucial. Some questions I asked myself were:

Can the lens properly showcase the vehicle and scenery?
Will the lens express a thrilling sense of speed?
Is F2.8, the quality of the bokeh, and light intake ideal for this video?
Does the 12-24mm lens give me the flexibility I need?

I've been filming racing-themed videos since the early days of my career, covering D1GP professional drifting events in Japan. In my experience the FE 12-24mm F2.8 GM is a lens I can count on to create an inspiring sense of space.

Creative effects: Deformation and first-person perspectives

The FE 12-24mm F2.8 GM's ultra-wide angle focal length and its ability to capture fast moving backgrounds produces a surreal “deformation effect” when the vehicle is in motion – and especially if it's performing an overtake or leaving the frame.

For this video, in addition to the usual perspectives, I also included a first-person perspective to enhance the richness of the scenes. I found that mounting the camera and lens on a helmet gave audiences the feeling of driving the car themselves, thanks to the first-person view. This effect was possible because of the ultra-wide angle of the FE 12-24mm F2.8 GM lens.

Setting your aperture

When focusing only on the car, when the aperture is sufficient, it isn't necessary to open the aperture to the maximum. But if the background is also an important part of the scene, you can narrow the aperture and set the shutter speed to record at twice the frame rate (of 30 of 60fps). This produces better motion blur, creating a dramatic sense of speed.

On the other hand, when shooting at night (or in darker places within the car), F2.8 comes in handy. You won't even need to adjust the ISO on your Alpha 7S III to get ideal lighting results when shooting.

In cases where the conditions in the background aren't so favourable, shooting the car with a 24mm focal length and large F2.8 aperture could blur the background further and increase the sense of compression – making this zoom lens far more flexible than any fixed focal length lens.

Getting the best picture quality

When it comes to picture quality, some questions to consider when choosing your lens are:

What is the lens resolution and how does the lens perform at that resolution?
Is there edge distortion suppression?
What is the performance of the lens under backlighting (often created by car lights)?

This is where a high-resolution lens really shines. During the editing process for your shoot, many scenes will need to be enlarged and cropped – and secondary composition will be necessary to achieve the appropriate lens position of medium and close-up shots.

Generally, enlarging your images and videos also sacrifices their quality – but thanks to the outstanding resolution and imaging capabilities of the FE 12-24mm F2.8 GM zoom lens, the clarity remains fantastic even all throughout the editing process!

How edge deformation creates a sense of speed

The edge deformation seen with the FE 12-24mm F2.8 GM is absolutely perfect – not too exaggerated like a fisheye lens, but enough to give viewers a feeling of grandeur from the panoramic effect.

When the car is about to overtake the camera vehicle and leave the frame, the slight distortion on the edges truly captures the tension of the moment – and creates a sense of speed that will leave your views on the edge of their seats.

Keeping your shots perfectly in focus, even at high speeds

Focus is extremely important when shooting fast-moving cars, so your equipment selection is key. Here's an interesting fact: This shoot was done on a day with a typhoon, which brought about variable weather that shifted between cloudy, sunny and rainy – making focusing trickier, but still very possible with the chosen camera and lens.

Once you've picked capable equipment, all that's left to do is to trust your equipment.

The key to captivating car videos: Creative shots

For this video, we took on the challenge of shooting exclusively with the Alpha 7S III and FE 12-24mm F2.8 GM zoom lens. In addition to getting low angle shots and shots that followed the speeding car, we also used a variety of new camera positions that the team had never attempted before – like shooting directly above the tyres or capturing the steering wheel from a first-person perspective.

Creative shots like this can add challenge to your shoots, but the reward is surprising viewers in interesting ways. Just remember to get permission for these shots from the vehicle owner prior to shooting, and choose a camera and lens that you trust!

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FE PZ 16-35mm F4 G | Create inspirational stories | Review by Tung Jing Yan

Harriman — Tue, 16 May 2023 05:23:51 +0000

FE PZ 16-35mm F4 G | Create inspirational stories | Review by Tung Jing Yan

Harriman Tue, 05/16/2023 - 10:53

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Alpha 7S III

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FE PZ 16-35mm F4 G

Feature film: Push To Inspire

“Push to Inspire” is Jing Yan's debut short documentary, and the 15-minute film takes audiences through one man's inspirational journey of qualifying for the Paralympics in his racing wheelchair. That man is Daniel Lee, a Malaysian athlete who was born with extremely brittle bones, making walking impossible. This heartwarming documentary showcases how one competitor's efforts are also inspiring many others across the country – both disabled and able-bodied alike – and creating ripples of change across communities.

Filmed during the pandemic-ridden year of 2021, the shoots were plagued with logistical challenges. But Jing Yan's passion for the project, and his desire to share Daniel's story, spurred this film to the finish line – and to a winning spot at the celebrated World of Film 2021.

Read about filmmaker Jing Yan's personal journey to complete this award-winning documentary, and learn about his favourite shooting techniques and equipment here.

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Filmmaking

FE 24-70mm F2.8 GM II | Create thrilling shots | Review by Sonder Film

Harriman — Mon, 15 May 2023 12:20:38 +0000

FE 24-70mm F2.8 GM II | Create thrilling shots | Review by Sonder Film

Harriman Mon, 05/15/2023 - 17:50

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Reviews

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Alpha 7S III

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FE 24-70mm F2.8 GM II

Video Name

Alpha Universe | World of Film 2022-2023 | Night Before Midnight

Feature film: The Last Night Before Midnight [午夜前最後一晚]

The Last Night Before Midnight is a psychological thriller, presented in a short 11-minute film that's wrapped in mystery, intrigue and a chilling anticipation of “what's next?” that will leave viewers captivated from its foreshadowing first scene to its dark conclusion.

Taking place entirely within a hotel – specifically, a dank reception desk and a too-small-for-comfort hotel room – the protagonist is greeted by peculiar hotel staff, finds himself in perplexingly discomforting room, and is forced to relive a deeply unsettling secret that was supposed to be locked away.

Uncover the secrets of this mystery-ridden hotel, then get inspired by Sonder Film's filmmaking in our interview.

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Alpha 7S III

Máy ảnh toàn khung hình có khả năng quay phim và ghi hình tĩnh chuyên nghiệp

FE 24-70mm F2.8 GM II

Ống kính Zoom tiêu chuẩn G Master dành cho máy ảnh Full frame

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FE 50mm F1.2 GM | Capture intense scenes | Review by Joni Astin

Harriman — Mon, 15 May 2023 06:55:15 +0000

FE 50mm F1.2 GM | Capture intense scenes | Review by Joni Astin

Harriman Mon, 05/15/2023 - 12:25

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Reviews

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Alpha 7S III

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FE 50mm F1.2 GM

Video Name

Alpha Universe | World of Film 2022-2023 | A Letter To with Joni Astin

Feature film: A LETTER TO

This visually spectacular post-apocalyptic film envisions a doomsday scenario where high radiation levels and unstable temperatures have made the earth's surface uninhabitable, leaving humans to survive in bunkers – without the luxuries and digital communication tools we have become so familiar with. And the only form of communication that remains, is handwritten letters, carried by mail carriers who must brave the toxic environments between bunkers.

The film's dark, gritty and otherworldly atmosphere highlights the predicament of the people living in these bunkers, the grim fate of mail carriers during these times – and one girl's incredible journey to save the most important mail carrier of all, her brother.

Discover the moments that have defined Joni's journey as a filmmaker in our exclusive interview with the prolific cinematographer.

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Filmmaking

Cooking Up Perfect Food Photos and Videos

monika — Mon, 23 May 2022 07:44:54 +0000

Cooking Up Perfect Food Photos and Videos

monika Mon, 05/23/2022 - 13:14

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Featured

Body Category

Alpha 7S III

Lens Category

FE 40mm F2.5 G

Jaegen Tan has been a food photographer in multi-cultural Singapore for the past two years. Passionate about food and travel, he has never missed a chance to taste the local delights. To relive his pre-pandemic travels, Jaegen decided to produce photos and videos to share his experience, thus paving the way to a new chapter in his food photography and videography journey. Read on and discover how you can make your food photos and videos just as delectable!

Jaegen Tan, Food Photographer and Filmmaker

Juicy Cuts Collaboration

Camaraderie and creativity propelled the Juicy Cuts project. It began as a collaboration between Jaegen and his good friend, Chef Ryan Foo. With a chef and a food photographer, the project naturally came down to Chef Ryan creating interesting dishes for Jaegen to capture. Jaegen explains, “These collaborations work by exchanging tips and content. Ryan will create the dishes and I will come up with the story and content. While we plan the cooking and shooting, we think of challenges or elements we can incorporate into the shoots to make them more enticing and exciting for viewers to see.”

Ryan Foo, Chef and Food Stylist

Collaborating with individuals experienced in food styling opens up new possibilities. Chef Ryan understands food and the best angles to capture them, making the process easier. As the one in charge of the story and content, Jaegen aligns his vision for Juicy Cuts with Chef Ryan’s expertise. This way, Jaegen can capture three to five dishes from his vision, instead of a single dish if he had attempted to do it alone.

Taking the Shot

Having a clear idea of the eminent colours and elements of the shoot is crucial in projects such as the Juicy Cuts. The key aspect is to have the shot look appetising enough to have viewers salivating. Visual tools such as colour palettes are used to guide the photographer and stylist to balance and contrast the composition, resulting in food photography that pops. This gives direction to the shoot and helps in the selection of foreground and background props to make the food stand out.

Jaegen usually shoots with natural lighting, and this shoot with Chef Ryan is no exception. Shooting by a window or in an outdoor setting elevates the image to new levels and gives it a more natural look.

“Understanding the direction of the key light source would be something I look out for when shooting food. The direction of the key light will determine if the image will be back-lit or front-lit. To compensate for the lighting effect, external lights will be used for dark areas,” said Jaegen.

However, if both colours and lighting are not working enough for the shoot, the next best thing is to rely on props, which can give an image a more interesting perspective. When combined with an action shot, it creates a more relatable and savoury picture. For instance, a barbeque, just like the photos and video of the Yaki-stew, combines elements of fire and raw ingredients over the grill. Other alternatives to the shot would be seasoning meat over the grill or capturing the slow motion of the sprinkle of pepper and salt. Another example of giving more life to photos through props is incorporating a person fanning the grill, or it could even be as simple as adding a traditional pepper next to the food. Simple elements such as these elevate the moment as people crave to visually experience and relive these organic and authentic instances.

Alpha 7C | FE 24-70mm F2.8 GM | 60mm | 1/1000sec | F1.8 | ISO 1000

Jaegen’s signature style is to keep visuals simple. “A simple photoshoot where the food is the subject, need not have that many props—and this produces a better visual result. Add too many elements and you’ll distract your audience from the subject, which might cause the viewer to lose interest,” he said.

The Right Gear

For food visuals, Jaegen puts his trust in the Alpha 7R III and the Alpha 7S III for cinematic videography. His favourite lenses are the FE 24-70mm F2.8 GM and FE 16-35mm F2.8 GM. For crisp and detailed close-up shots, the FE 90mm F2.8 Macro G OSS and the FE 90mm F2.8 Macro G OSS are usually in his camera bag.

Choosing the right gear is a big tip when shooting food. A great lens is best complemented by the correct settings and gear to bump up the quality of images and videos by a notch. The right combination of lens, settings and gear, provides flexibility to the shoot and is instrumental for Jaegen and Chef Ryan to bring their visions to life.

Alpha 7S III | FE 90mm F2.8 Macro G OSS | 1/100 | F5.6 | ISO 320

Alpha 7S III | FE 90mm F2.8 Macro G OSS | 1/100 | F2.8 | ISO 160

Filming, in particular, is a different ball game. Everything is shot in 50fps to provide the option to render in slow motion. As his usual practice, Jaegen sets the shutter speed to 1/100, and the aperture wider at 2.8. This combination allows a shallower depth of field, and at the same time, permits more light to enter the lens. With this exact setting, combined with Jaegen’s signature natural lighting, the results are guaranteed to produce cleaner and sharper images.

Alpha 7C | FE 24-70mm F2.8 GM | 60mm | 1/400 sec | F6.3 | ISO 320

Alpha 7C | FE 40mm F2.5 G | 1/640 | F2.5 | ISO 1000

Alpha 7C | FE 24-70mm F2.8 GM | 60mm | 1/400 sec | F6.3 | ISO 320

Juicy Cuts Project

To complete the Juicy Cuts project, Jaegen used the Alpha 7C alongside Sony's golden trio of lenses the FE 24mm F2.8 G, the FE 40mm F2.5 G, and the FE 50mm F2.5 G, also called the Compact G Lenses. These were inter-swapped during different moments of the shoots, depending on their respective functions to maximise their best capabilities.

"I love using the 40mm for product shots as it gives me the depth of field so most of the food shots in this video series were on that focal length. As for the 50mm, I use it mainly for portraits to give a cleaner and sharper look," said Jaegen.

Alpha 7C | FE 40mm F2.5 G | 1/400 sec | F6.3 | ISO 320

Paired with the Alpha 7C, a compact full-frame camera, Jaegen was able to snap high-quality photos with vibrant hues and fine details while enjoying flexibility and mobility during the shoots.

"I would definitely recommend these lenses to users who are keen on experiencing the compact capabilities of using the hybrid gear that Sony offers. They complement the Alpha 7C, a small frame camera that offers the best quality of what the Compact G Lens line has to offer. I believe that shooting with a compact setup is something that encourages you to bring your camera and shoot more; as compared to setting up a full gear that requires setup time, and considering the weight and fatigue that comes while and after shooting," said Jaegen. "This provides a really nice balance for hobbyists who are keen to shoot great stuff on a light setup."

Alpha 7C | FE 40mm F2.5 G | 1/640 | F2.5 | ISO 1000

Jaegen has always believed that the Alpha camera series has lived up to its name due to its superior features that make it the ultimate and reliable shooting companion. With his Alpha cameras, switching from photography to videography in a seamless fashion makes it convenient without compromising on quality. Sharing his work the two creative modes, photo and video, he can exhibit a wide array of dishes more creatively and invitingly. This way, he can better encourage his viewers to explore different cuisines and help promote respective cultures.

Alpha 7C | FE 40mm F2.5 G | 1/640 | F2.5 | ISO 1000

For Jaegen, working collaboratively with others should be encouraged. Being able to bounce ideas and get instant feedback is invaluable. With the right gear, props and team, cooking up a mouth-watering photo and video portfolio like Jaegen’s is made simpler. In the end, the medium needs to tell a story, and often, the process, passion and perseverance are laid bare for all to see.

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FE 24-70mm F2.8 GM

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FE 90mm F2.8 Macro G OSS

Ống kính chụp cận cảnh G Mid-tele để chụp toàn khung hình

FE 40mm F2.5 G

Ống kính prime chuẩn dòng G dành cho máy ảnh Full Frame

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Filmmaking

Food

Ryoya Takashima’s recipe for a delectable cooking vlog

monika — Wed, 27 Apr 2022 06:25:10 +0000

Ryoya Takashima’s recipe for a delectable cooking vlog

monika Wed, 04/27/2022 - 11:55

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Alpha 7S III

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FE 35mm F1.4 ZA

‘To create food that is good for all people and the environment; encouraging viewers to live consciously and sustainably’. This is the philosophy of Peaceful Cuisine, a widely popular vegan cooking YouTube channel run by Chef Ryoya Takashima. Known for its unique, calming style, viewers keep coming back to the channel due to Ryoya’s professional and artistic way of presenting his recipes. Founded in 2010, Peaceful Cuisine aims to please not only the taste buds but also the eyes of its viewers.

Ryoya was 22 years old when he got his first camera. That was when he started shooting photos and embarked on a journey as a photographer. He would then publish his photos on his blog, where he would also share his own plant-based recipes and other cooking tips he learned from his macrobiotic cooking class. Several years later, he would then get his first video camera, which opened the doors for Peaceful Cuisine.

“Back then, I felt that there was a lack of high-quality vegan cooking channels on YouTube, so I decided to start it myself. I shifted my content from blog posts and cooking classes to videos because I thought that it was a more efficient avenue to convey my recipes. Also, I had a feeling that video content would be a major thing in the future,” said Ryoya. He was right! Video content is well-received by different kinds of audiences from across the globe, and he is now reaping the benefits of his future-forward, creative thinking.

A day in the life of content creator Ryoya Takashima

Ryoya’s recipes are inspired by his travels. Whenever he tries different cuisines from the countries he visits, he recreates them at home and films his original recipes to share with Peaceful Cuisine viewers. Having done cooking vlogs for more than a decade, creating content has now become a part of Ryoya’s lifestyle. A typical shooting day for him starts early in the morning to catch natural light and ensure that he finishes before the sun sets.

“I usually start preparing from the day before. For example, when creating a cooking video, I’d prepare a recipe the day before and start shooting it in the morning the next day. I like shooting in natural light, so I normally get up a bit earlier than usual and finish shooting before sunset,” the chef-vlogger said.

Ryoya has always relied on daylight as his lighting equipment. “Shooting in natural light is something that has never changed from the beginning. I don’t use electric lights because I want my footage to look as authentic as possible.”

Believe it or not, most of his videos, as cinematic as they are, were shot from his home kitchen, using only minimal equipment.

“Something I intended when creating videos would be to make it attractive to most people, regardless of their diet or lifestyle. I hope that will influence those who are not interested in healthy food to be interested and/or try cooking healthy food without even realising that it is vegan.”

Alpha 7S III helps achieve the cinematic nuance of Peaceful Cuisine videos

Alpha 7S III with Distagon T* FE 35mm F1.4 ZA

Ryoya has been a long-time Sony user. “Alpha 7 II is my first full-frame camera. Then I bought Alpha 7R II, Alpha 7S II, and Alpha 7 III. There are several reasons why I’m still using Sony cameras. First, it’s very compact. Second, the battery life is excellent, you can even keep recording while charging through USB,” he said.

Currently, his go-to camera is the Alpha 7S III, which he bought since its original release and has been using it ever since. Among the key reasons behind this is the high sensitivity of the gear that can capture precise intricate details and accurate hues. “You’d be surprised at how clean the footage is from this camera,” said Ryoya.

He partners this with the Distagon T* FE 35mm F1.4 ZA (SEL35F14Z) lens, shooting at 4K/24 frames per second with a shutter speed of 1/50 and an aperture of F2.0. The beautiful bokeh of this lens adds just the perfect allure that makes his food even more aesthetically inviting. This exact setting, complemented by the right amount of natural lighting that enters his home, makes his videos cinematic

SEL35F14Z

Alpha 7S III

“Shooting on 24fps is something I really need for my cooking videos. 24fps is basically the same frame rate as used in cinema. It looks like cinema. If you shoot on 30 or 60fps, it will look too smooth and realistic, therefore it's quite hard to get a cinematic feel,” he said. His usual setting is to fix the lens aperture at F2.0~2.8 with shutter speed of 1/50 and an ISO that is usually set to ISO1600 or to as low as possible. Ryoya also establishes that an ND filter is among the essentials to making the footage look more cinematic. The ND filter allows users to have a wider aperture to help capture footage with more bokeh, producing a more artistic output.

Ryoya uses a monitor to check and ensure the accuracy of exposure, since it’s difficult to adjust it when referring to the camera screen alone.

He also takes advantage of the S-Log3 setting to find the right balance between highlight and shadow, and to make color grading easier to adjust. “Shooting with Log profile is a must for me. Color grading the Log footage is tricky but it's worth the effort. You will love the color you get from it.”

“Before, when you can only record on 8bit, colour grading was super difficult. I don't want to do that again. Now, with the Alpha 7S III, it's super easy to colour grade,” he added, elaborating how the Alpha 7S III allows for 10-bit recording, which produces high quality videos when colour grading with S-Log3.

“Creating videos is like creating art. There is no right or wrong in how you make them. I want people to explore their own style and be creative. While there are a handful of techniques that I do, I don’t believe they are for everyone. Exploration of one’s own style is still important,” said Ryoya.

“All you have to do is to try your best to express your style through the camera and show your audience how you see your world. I believe Sony is one of the best camera brands for videography—that’s why I have been using Sony for several years now. The most important thing is how you create your videography, and how the camera gear you use can further elevate your skills,” Ryoya reminds budding and aspiring video content creators.

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How Director Curt Morgan Is Pushing Creativity Forward With the New Alpha 7S III

Aysu — Wed, 29 Dec 2021 13:01:26 +0000

How Director Curt Morgan Is Pushing Creativity Forward With the New Alpha 7S III

Aysu Wed, 12/29/2021 - 18:31

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When Curt Morgan directed “The Way Forward,” shot on the new Alpha 7S III, he wanted it to celebrate creativity and the excitement in facing your fears as a filmmaker. We spoke with Morgan to learn more about the story behind the film and the importance of creativity progressing forward while using technology that’s doing the same.

"We’ve all been through a challenging handful of months,” explains Morgan, “and with this video we really wanted to celebrate and respect the creative mind. I think that creative problem solving is more important than ever right now, and we wanted to include just how important creativity is to all of us in the story. We called it ‘The Way Forward,’ because we have to come out of this in a positive direction. That's our only option.”

For many photographers and filmmakers, creativity is as natural as breathing. And no matter the challenges and fears creators face, Morgan thinks continuing to push the limits is the only way to satisfy a creator’s hunger to tell stories, and an audience’s hunger to view them.

“I think a big part of filmmaking is overcoming fear,” says Morgan. "It’s something that you just have to face head on. If you’re not going to take risks and push things a little bit, then you’re just going to end up with the same old stuff and most likely will never be truly satisfied with your work. I think that calculated risk-taking and becoming OK with failure is very important in filmmaking. Once you can accept that you will occasionally fail, the fear tends to fade away and that deep-rooted inner creativity can flourish. With this film I started designing the story and shot concepts without knowing if the camera could actually keep up with the vision for the end result, that required real trust and I knew we would be taking some risk."

As a filmmaker, Morgan has experience using all types of tools to create. He typically makes films like this with larger cinema cameras, but he was up for the creative risk of filming the entire thing using the smaller Alpha 7S III.

"In my head, as I was planning out this film," he explains, "I was dreaming that many of the key scenes would be shot in the dark or near dark. So it was a little nerve-racking not knowing for sure if the technology would be able to keep up with the dream. When I finally got the camera, I took it out on my street on a pitch black night. I turned it on and I could see a coyote in front of me that I couldn’t see with my own eye. The image was clean and the colour was almost day like. This sparked a bit of a fire, I had to take it out and test it on the night sky so I raced out to the desert, I needed to see how it performed on its home turf. To start, I decided to take a one-second exposure handheld of the Milky Way and it worked. I honestly couldn't believe it. This would typically be a 15-20 second exposure on a tripod if not more. That was when I realized that we could do just about anything with this camera. With the technical fear out of the way we were left with a tool that was more powerful than many large cinema cameras in low light, yet was so light and nimble that we could get it into almost any scenario imaginable."

The impressive capabilities of the new Alpha 7S III aren't the only reasons Morgan is excited to be using the Sony system.

"For me, shooting with Sony cameras is about more than just the tech. It’s the family. Being a part of the Sony culture and community, getting to know the team and seeing the passion behind the people at the company has made me feel more and more excited to go out and tell stories. Surrounding yourself with good people and sharing great experiences with game-changing tech, that’s what it's all about. For me, that’s my way forward.”

This article was originally published on alphauniverse.com

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Just Released Adventure Film “Moonwalk” Shot Entirely With the New Sony Alpha 7S III

Aysu — Wed, 29 Dec 2021 07:56:28 +0000

Just Released Adventure Film “Moonwalk” Shot Entirely With the New Sony Alpha 7S III

Aysu Wed, 12/29/2021 - 13:26

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After travelling to Moab, Utah to test out the new Sony Alpha 7S III, Sony Artisan Renan Ozturk shared his thoughts on the camera. “It was like having night vision,” he said about using it to document the thrilling art form of climbing and highlining, all while in the darkness. Now the video he created with Sony Artisan Taylor Rees, shot entirely with the Alpha 7S III, is complete and ready to be watched. See it below and learn more about how they used Sony’s new low light master to bring the project to life.

Adventure filmmakers Renan Ozturk & Taylor Rees release "Moonwalk," a short film shot entirely with the new Alpha 7S III.

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Moonwalk: A Sony Alpha Film | Sony a7S III

“This whole project is a tribute to the art forms of climbing and high-lining," said Ozturk. "We’ve shot many different high-lines in this same valley before, however have never been able to capture anything at this level, in complete darkness. To be able to realize our full vision, we needed to show our friend Andy Lewis (@sketchyandylewis) on the line, in front of the full moon, with the magnitude of the landscape included as well. That’s where the dynamic range and low-light capability of the Alpha 7S III really started to shine – it was like having night vision."

Using the new camera to capture such intense footage allowed for Ozturk, Rees and team to really push the limit, both technologically and creatively.

"This art form has progressed over the last 10 years to some of the most incredible places. It just comes down to where you can imagine these lines and where you can set up these art installations. We wanted to use the greatest technology we could get our hands on and were lucky to use the Alpha 7S III. It took a lot of preparation and planning to line everything up the way we wanted."

"We had guys just running through the desert with no actual stabilization on the camera with the moon up there. It was the type of situation that would accentuate camera shake, but you can really tell the lack of rolling shutter. You just don't see it that much which was pretty cool. You also couldn't run through that kind of terrain with a larger camera."

This article was originally published on alphauniverse.com

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