The Sony Camera Ecosystem (MMM #21)
Greetings all,
Madeline here for the 21st entry in The Movie Minute. For this entry, we’ll discuss the Sony camera ecosystem and why it’s an essential part of Poor Bear Stories’ arsenal of filmmaking gear.
Why Sony? Not only are they one of the biggest names in the camera market, but the quality and wide array of features is what makes them a must-have when we go out for shoots. So, in this blog, we’ll be focusing on the various models that we have at Poor Bear Stories: some big, some small, but both essential and powerful.
The biggest part of our Sony equipment are the Alpha-type and cinema cameras: the A7IV, A7S3, FX3 and FX30. Much like the GH5 that was mentioned in the very first Movie Minute, these cameras are mirrorless and have the sensor exposed directly to the lens. Due to their smaller size, these cameras are great for run-and-gun photography, While these cameras are pretty similar in form and function, they all have their unique differences. For example the FX30 uses a Super 35 sensor while the rest use full-frame sensors. The FX3, part of the same series, is also considered a more budget-friendly cinema camera compared to other cinema bodies, but remains packed with power and value nonetheless, having even been used in the blockbuster film The Creator.
In addition to the Sony Alpha cameras, we also have the FS7, a cinema camera with an entirely different form factor, being much larger in size. In contrast to the Sony Alpha cameras, which utilize either CFexpress or SD cards for media storage, the FS7 uses a larger and more proprietary format: the XQD card. FS7 footage is also much higher in bitrate, requiring more storage as well as having more audio channels, which necessitates the use of Cineform proxies as opposed to H.264. Despite the additional steps required in post-production, this camera remains an important part of our gear due to its Super 35 cinematic sensor, wide color gamut, built-in ND filter, extension units which enable apple pro res recording, RAW recording and perhaps most importantly, a v-mount battery adapter which allows for exceedingly long recording and days on set.
Despite having notable differences, the cameras have many similarities other than just being manufactured by the same company. All of the mentioned cameras use the Sony E-mount for lenses. If we ever need to use lenses that are of a different mount, a Metabones Speed Booster or similar adapter can be used as well. In addition, these cameras have more unified UI design and color science, as well as a wide array of features that are useful to many different filmmaking scenarios.
While I myself don’t have as much experience with the Sony cameras as my other fellow teammates, I have utilized them on multiple occasions and have been appreciative of its features such as autofocus among others. Here’s what fellow team members at Poor Bear Stories have to say about the Sony camera ecosystem:
“Having started on the Panasonic GH5, I was most attracted to the features in modern cameras and cinema style bodies. The GH5 disrupted the video production market with internal stabilization and the capability to shoot 60 frames per second in 4k resolution. When changing our ecosystem from Panasonic to Sony, we did so for similar reasons. The Sony cameras were known for their auto-focus capabilities, something the GH5 lacked. At first, I didn’t care for auto-focus and appreciated the craft-like feel of manually pulling focus for shots on cinema-lenses. However, autofocus has enabled our company as a whole to elevate our capabilities and be more efficient as a whole. The second major factor in changing to Sony was the low-light capability (something the gh5 lacked as well). Bigger super 35 and full-frame sensors meant more light, opposed to the micro 4/3 sensor in the GH5. As storytellers, these extra capabilities have allowed our cinematography and storytelling efforts to blossom. We don’t believe many camera companies come close when it comes to packing so many high-value capabilities into a single body which is why we are likely to remain in the Sony ecosystem for years to come.” – Jacob Centeno, Creative Director
“The A7S3 for me is the best all-rounder run-and-gun camera that checks the boxes for me. Since I mainly shoot vlogs and podcasts, the camera can adapt to literally any situation ( specially with its insane high ISO ranges, can literally see in the dark) and let’s not forget its tiny portable form. Since using the camera, I’ve focused more on the storytelling aspect of all my productions as I can trust the camera can handle whatever I toss at it.” -Jhoel Flores, Producer & Engagement Specialist
Overall, the Sony cameras make up a significant part of our gear that makes our storytelling mission possible. With the wide array of features and technical capabilities, they have played a major role in what makes our storytelling possible. Even with its learning curve for first time users, the Alpha and cinema cameras are an example of why having high-quality equipment matters when telling military, defense, and intelligence stories in the best and most efficient way possible.
That’s all for this entry in The Movie Minute. Wishing you all the best, and see y’all in 2! -Madeline
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