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_letter-from-agave.webp "Promotion video for health foods 'Letter from AGAVE'n健康食品「アガベの便り」のプロモーション用に制作nhttp://sxs-online.comnnClient: Sound by SnDirector: Kenji SatonMorion Graphics: TO-FUnnMusic:")
_f3-amp-c300-selects-from-mazda-shoot.webp "Here are some selects from a shoot I did for Mazda.We had the F3 on the Technojib for the exterior car shots, recording internally to SxS cards.nnI had just finished the cross Canada tour with Canon for the launch of the C 300, so I was able to get a pre-production camera that we used for the interior car shots on a Cinevate Atlas 10 slider.nnTechnojib owner operator:www.gekko.can7 ton package truck: www.pixrperfect.comnnI edited in FCP 7, grading with Magic Bullet looks 2ntwitter: @nigelaka")
_in-flight-interview-with-sxs-cp-alev-hottin.webp "The interview I made with Captain Alev Hottin of SunExpress Turkey, first female commercial pilot in Turkey, for my presentation on Pilots' Day at ITU School of Aeronautics and Astronautics.nnWith thanks to SunExpress Turkey, dear Captain Alev Hottin, F/O Barbaros Oz and cabin crew.nnThis video is taken with Nikon D5100 + 18-105mm VRnnFlight Number: XQ7528 nCallsign: SXS9PF nRegistration: TC-SNJ nAircraft Type: B737-800")
_sony-ex1-native-vs-nanoflash-video-comparison.webp "Here is a video comparison between native Sony EX1 video and the nanoFlash video. The same footage was captured at the same time on the SxS cards in the camera and also on the nanoFlash using HD-SDI.nnVideo was edited in FCP after converting both footage to Apple's ProRes 422 (HQ) in full resolution.nnWell. As you can see, the outcome yields minimal difference really. nanoFlash was used with Long-GOP 180Mbps. The dark shots was before I upgrade to the BETA2 new firmware and therefore you can see")
_sony-f55-raw-amp-hd-workflow-editing-footage.webp "One ofthe big advantages of the Sony F55 is its ability to record both RAW and HD at the same time (this is true of the F5 as well). When paired with the Sony AXS-R5 recorder, the F5/F55 can record 16-bit RAW data to AXS media cards, and HD video (MPEG2 or XAVC) to SxS cards. This gives you an easy-to-use offline editing format as well as an extremely high quality online Raw format at the same time. Workflows like this are used all the time these days, but the F5 & F55 make it particularly")
_pmw-f3-cinegamma-1-and-s-log-comparison.webp "Here's a short little sequence comparing the S-Log and Cinegamma recordings from a PMW-F3. Not very scientific, both shots were exposed by setting the iris so that peak white was just below clipping. With so much white in the end part of the shot the S-log looks really overexposed until you grade it. The striking difference though is how much more detail is resolved in the dark parts of the shot with S-log showing a clear dynamic range advantage. I have also include a graded cinegamma clip where")
_sony-pxw-z280-low-light-test.webp "XAVC - I1080-50p- Edius 7 Timeline 1080-25pnnRoom lighting - Two 15w up lights + one small 5w cabinet light.nnThe room lighting would be similar to your average UK night time wedding reception. nI'm also using the old SXS cards, so no 4K for a couple of weeks.")
_livewire-feat-jim-jones-amp-fred-the-godson-out-of-style.webp "I'm just getting this up and running on my vimeo account. We shot this back in March, the day before Amatus's 'Messin' video, which was the day my son Tyler came along.nnThis was a fun shoot w/L.I.V.E.wire. Jim Jones and Fred the Godson were both really cool guys.nnThis video is dedicated to the memory of Elizabeth Johnson who we lost a few days after the shoot.nnShot on Arri Alexa on sxs cards.nnDirected by @Ash_Innovatorn*Production Company: Smith Hage Productions - www.AshleySmithFilms.comn")
_alexa-xt-prores4444-vs-sony-f55-sr440mbps-in-green-screen-test.webp "Recently, I had tested Alexa XT in ProRes4444 1920x1080/60P compared to Sony F55 new firmware updated to record HDCAM SR Codec 1920x1080/25p at 440 Mbps to a new high speed SxS card.nThe result was so interesting. The HDCAM SR Codec was so powerful enough for any purpose use.nnI did not make any correction or any adjust to these clips. I just imported original footages from Alexa XT and Sony F55 directly into PremierePro CS6 and applied only Ultra Key, then saw the result.")
_sony-f3-comparison-test-with-s-log-and-other-video-gamma.webp "I just recently had a quick test the Sony F3 with the new firmware upgrade with S-Log and Dual Link Uncompress 4:4:4, 4:2:2 out put. It was very interesting to me that the F3 could handle high light with more latitude comparing to various normal video gammas.nI could not record to the external recorder to get the full potential of the uncompress 4:4:4, but I recorded the S-Log signal to SxS card with a maximum bit rate of 35.nIn Thailand now I could not find the new Gemini 4:4:4 or the Cinedeck.")
_sony-f55-raw-amp-hd-workflow-camera-setup.webp "One ofthe big advantages of the Sony F55 is its ability to record both RAW and HD at the same time (this is true of the F5 as well). When paired with the Sony AXS-R5 recorder, the F5/F55 can record 16-bit RAW data to AXS media cards, and HD video (MPEG2 or XAVC) to SxS cards. This gives you an easy-to-use offline editing format as well as an extremely high quality online Raw format at the same time. Workflows like this are used all the time these days, but the F5 & F55 make it particularly")
_voor-2500-mensen.webp "This was my first time with the F3. Speaking ergonomics still a bit awkward, but with the right rig and the right lenses this will be a hell of a camera, quality/pricethat is. 99% of the shots are hand held, only availlable light. Default profile, shot on the SxS cards, so 4:2:0. Underexposed shots or shots with an extreme light difference could be handled very well during a simple grading process with Colorista II in FCP. Biggest problem will be the correct way to hold the camera and the lens")
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