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  1. Wait, so this is the second camera you've had replaced due to accidents? Just since the A7Rii came on the market? How'd the first one get killed? Just curious. Like Touko, I'm also a little surprised they keep giving you coverage.
  2. Sure thing. Yeah, the 90 isn't quite as quick as the 55, but pretty quick focusing. Craaaaaazy sharp. Also, can't stress enough how amazing it is to have so much freedom in cropping with the 42MP image. I like to focus on actors' faces, and used to shoot a lot more with my 70-200 than I do now. One of my big adjustments has been training myself to shoot a little wider than I used to, because frankly, you can make so many more composition choices in post when you're working with images this big.
  3. I do a lot of pro (and college) theatre production shooting (my other most frequent niche is portraits/headshots). Came from a Canon 5D3 over to the A7Rii. At first, I shot both side by side to see how the A7Rii would fare against it, but I ended up selling the 5D3 once I'd fallen in love with what I was getting out of the camera. This was a pleasant surprise, because theatre was one area where I had feared the Rii wouldn't be able to compete. I'd heard bad reviews of AF in low light, and as you know, there's a lot of low light in theatre. Turned out not to be the case. I tend to shoot wide open most of the time (unless I'm getting wider shots for scenic designers), and I never shoot with a lens slower than f/2.8. What I've found is that the A7Rii's AF is excellent even in low light situations if you're shooting at wide apertures. At 2.8 and wider, it does great, even when it's pretty dark. For this reason, I'd be leery about the FE 70-200 f/4. In low light, the AF system sometimes struggles at narrower apertures. If anything, you might want to rent it for a shoot before taking the plunge on purchasing. My most frequently used glass for theatre... in order of frequency of use: Canon 24-70 f/2.8Lii Sony Zeiss FE 55 f/1.8 Sony FE 90mm Macro f/2.8 Canon 135 f/2L Canon 85 f/1.2Lii Canon 70-200 f/2.8Lii ...obviously, the canon glass is all adapted, using Metabones IV And I'm looking forward to trying out my new Zeiss Batis 85mm f/1.8. It's been amazing in portrait sessions over the last couple weeks, and will have it's first go at live theatre tonight. Silent shutter can be amazing for theatre, with one caveat. I've shot a couple shows entirely in silent mode, and the actors really appreciate it. All they hear is your footsteps as you move, no clicks. BUT, in a couple instances I've noticed banding from LED lights. So tread carefully with silent mode.
  4. I'm curious about your reference to the camera crashing. Several times now, but only when using the Metabones IV, when trying to take a picture the screen goes black, and the camera remains unresponsive for about 10 seconds, at which point the camera boots back up and then I can continue as normal. This has not happened while using native lenses, as far as I remember. It doesn't seem to be linked with a specific lens, because I've had it happen with both the Canon 24-70 II, and 70-200 II Is that similar to what you experienced? Have others noticed this as well, found any solutions?
  5. Sure, you can review images in the EVF. You look kinda weird doing it... heheh. "why is he pointing his camera at that wall?" ha
  6. fyi - I came over from Canon 5D3. only will address areas that Yali didn't, or have more to add 1) I've only used in camera B&W once, for a strobe photobooth type area at an event, but they ended up looking amazing 2) There is no med raw setting. It's either full size raw, or JPG (JPG does come in various sizes) 3) as yali says, MF is VERY good. Peaking or magnification in the EVF makes it a breeze 4) IMHO, turning settings off isn't just emulating an OVF - it's better. In low light, you can see your subject better than you would be able to optically. This is VERY helpful in strobe sessions where you've only got dim modeling lights. Situations where I used to have trouble acquiring focus with the 5D3 are easy with the Sony
  7. Aw, come on. Nitpicking grammar and spelling? His English is better than your French, I'll bet. (his street photography site is a .fr) Just saying
  8. You might give Canon or Nikon a try. From what I understand, when someone posts a list of desired changes on a support forums, they always make it happen. Sarcasm aside, I do understand the frustration, and you have my sympathy. For years I (and tons of other users) bemoaned the fact that my 5D2/5D3's metering system was not linked to the focus point. We screamed for AGES about getting clean uncompressed output via HDMI, and although that finally did happen eventually for the 5D3 (like the 14Bit RAW update for Sony), they didn't also release the same change in firmware for every other Canon camera in the lineup. A sad fact of life is that huge corporations like Sony (or Canon, or Nikon, etc...) rarely react to consumer requests unless it is something that is causing an actual product defect, or if there is overwhelming consensus and vocal support for that issue... AND it relates to a current model.
  9. This is confusing. You realized something was drastically wrong with the camera the first time you used it, so why not just return it to the store where you bought it? Zero return policy? Or did you just not use the camera at all, for more than a month, after purchasing?
  10. The bulk were actor headshots, with a couple corporate clients mixed in. Corporate clients aren't picky, usually end up with 30-50 shots for them to choose from, sometimes as few as 10 if they really don't like being in front of the camera. Actors are extremely picky, as they rely on good headshots to land jobs - they usually end up with 300-400 shots to choose from, but I only edit a few of their top picks.
  11. In Silent Mode, supposedly it drops to 12-bit. But that said, I did a lot of back-to-back testing between Silent and non-Silent during the first show I shot with it, and really couldn't see any visible difference between the two. I think if you're planning to push levels VERY hard in post, you'd probably see a slight disadvantage with the 12-Bit files, but in my typical use, I couldn't find any. Actors are SO appreciative of hearing nothing but my foot steps, it's worth it to me to lose those 2 bits. I say you probably wouldn't want to use it for ballet, primarily because aside from 12-bit, it also has a slightly slower sensor readout which can result in rolling shutter (not a huge deal with an actor who's just talking, but a dancer leaping across the frame could likely end up looking distorted) Yes, it's possible to turn off the LCD at all times. You can also reprogram a button to turn it off at will
  12. Have you updated the Metabones firmware? (and is it the Mk IV?)
  13. Regarding feel and battery life... I added the Sony grip, and I love it. I have rather large hands, long fingers, and without the grip, my ring and little finger were always curled under the edge of the bottom. With the grip, it's a much more comfortable feel especially for longer shoots. Also helps to balance out larger lenses. Add to that the extension of battery life, it's a win. This last Saturday I was shooting a string of portrait sessions most of the day, took 1489 shots, and never had to change batteries in the grip (although by the end of that, the second battery was down to about 10%). A few days earlier, I shot a theatre production in silent mode (which would not be good for ballet due to the rolling shutter of silent mode) and got 1525 shots with about 50% of battery 2 left at the end. People will say you can only get 300 shots on one battery, but that's not totally accurate. It has less to do with the number of shots, and more to do with the length of time - and how much you use the rear screen.
  14. A commenter on SAR said the EF 135/2 L AF works That's fantastic news to me! Looking forward to try it myself. Would be a huge win if 70-200ii now works well at 200mm
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