I'm currently on production in Ireland for a documentary. It's a two camera shoot with a Sony FS7 as A camera and Sony A7S II as B camera. The A7S II is mainly used for a tight 3/4 shot for interviews. I wouldn't try to stack these two cameras, but if a production is set on a two camera interview on a limited budget, a tight 3/4 shot can disguise the differences a bit more especially if you're shooting on the same cinema primes (Zeiss CP2s 18, 25, 35, 50, 85). On our check out day I did a quick camera test to figure out which profile looks to use. The decision I had to make was either to match Slog3 or match the Rec709TypeA. With the A7S II's 4:2:0 color sampling (no external recorder) I figured it would be harder footage to grade. I decided to match the Rec709TYPEA reference on the FS7. It reminds me of C-log for the C300. It has some latitude for the shadows and highlights, but will require less of a grade in post.
Sony FS7 Spec Sheet
4096 x 2160
23.98 fps (mixture of 30, 48 and 60)
XAVC-I > 10-bit 4:2:2 sampling
Reference: Rec709TypeA LUT
Exposing to 1000 EI
3840 x 2160
XAVC-S > 4:2:0 Sampling
Picture Profile Parameters: CP7
Here I am filming with a Priest! Photo Courtesy of: Mike Mazur
My first job in 2016 was in southern India in the capital city of Chennai (formally known as Madras) in Tamil Nadu. I was hired as a Camera Operator and AC for a motorcycle commercial for Royal Enfield. The ad agency was Wieden+Kennedy. Filming internationally is always tough, but luckily the locals hired were incredibly skilled and welcoming. It was an eleven day shoot including travel days, a couple scout days and one day off. Royal Enfield wanted a video to showcase their new off-road bike, The Himalayan. We shot a mix of interviews and broll with a second unit crew in the UK. We filmed on the RED and C300 with Xenon Schneider Primes, Arri Master Primes and a 45-250 zoom. I also operated the Ronin out of the back of a van driving through the mountains. Check out the final video below. Our Director/DP/Producer, Andrew David Watson did an amazing job with the edit and overall scheduling of the trip.
Here are a collection of BTS photos I snapped during the production and on my day off. It was a day before our flight back to the US and I was totally exhausted from our trip and I developed a nasty cough from shooting out of the back of a van on a dusty path, but I wanted to take advantage of my time in Chennai.
On my day off I shot a personal project about a Parrot Astrologer with our Fixer Bala. The story was published on The Atlantic. I had my fortune read and he said that I would have two boys and my future wife (getting married June 18th) would boss me around. He was right about one of those.
The New Yorker
Director: Andrew David Watson
Role: Interview Camera-Operator
This is my first feature film I had the privilege of working on as a BTS Camera Operator. I shot daily broll coverage and interviews with the cast and director. I'm a big fan of these two and seeing them work everyday was a huge thrill.
This is a really great idea for New York City. I worked on this project with Andrew David Watson.
I helped with the color grade on this project for Red Wing Heritage.
Director/DP: Andrew David Watson