{"id":6039,"date":"2016-02-12T23:07:55","date_gmt":"2016-02-12T23:07:55","guid":{"rendered":"http:\/\/www.icgmagazine.com\/web\/?p=6039"},"modified":"2016-02-24T00:43:09","modified_gmt":"2016-02-24T00:43:09","slug":"mirror-mirror-off-the-wall","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/mirror-mirror-off-the-wall\/","title":{"rendered":"Mirror, Mirror Off The Wall"},"content":{"rendered":"

Local 600 unit still photographers break down the hottest new trend in set photography \u2013 mirrorless cameras. By\u00a0Pauline Rogers.<\/strong><\/p>\n

Shorter working hours, tighter sets, complicated setups, and no time for compliance all conspire to make today\u2019s unit stills position a very challenging one indeed. So making an investment in a tool that may (or may not) make the job easier is a dicey decision, at best. If creativity and efficiency rise in equal proportion, why not take a leap?<\/p>\n

Such is the big question surrounding today\u2019s hottest trend in new technology for Guild set photographers: mirrorless cameras. And in reaching out to Local 600 members for their feedback, the first priority was to separate the wheat from the chaff, i.e., camera manufacturers are all striving for mirrorless (and therefore silent) systems, but not all mirrorless cameras are equal, or at least being embraced at the same rate of popularity.<\/p>\n

For example, the name Hasselblad<\/em> has always been associated with quality in the worlds of commercial, fashion and portrait photography, and the company\u2019s Lunar is being touted as \u201cmirrorless.\u201d But we couldn\u2019t find a single Guild member using it on set. Likewise for big-time consumer brands like Olympus, Canon, Samsung, Nikon, who are all trying to go mirrorless (with varying results). Even the classic brand, Leica, is touting its new SL camera as mirrorless, even though it\u2019s not totally silent.<\/p>\n

According to the working stills photographers with whom we talked, there are two main mirrorless units impacting the film and television industry: the Sony A7s and the Fuji XT1. What sets them apart? And are they worth the gamble?<\/p>\n

\"Unit
Unit still from Chicago Fire \/ Shot by Elizabeth Morris on Sony\u2019s mirrorless A7s<\/figcaption><\/figure>\n

Hopper Stone emphatically describes the cameras in the Sony A7s<\/strong> line as \u201cgame changers.\u201d He\u2019s covered The Boss<\/em> (Universal) and Ghostbusters<\/em> (Sony), as well as one-third of New Line\u2019s Vacation<\/em> with a A7s, using Canon lenses with an adapter. It\u2019s silent, compact, lightweight, has great image quality and can see in the dark.<\/p>\n

\u201cIt will go to 12,800 ISO without breaking a sweat,\u201d Stone describes. \u201cYou can go higher than that, but then you have to get under the hood with some good noise reduction to work on the files.<\/p>\n

\u201cOn Ghostbusters<\/em>, Production had me print up 50 photos to 11-by-17 inches for a presentation to the Foreign Press,\u201d he continues. \u201cNone was shot below 3200 ISO, several were shot at 12,800, and the image quality never looked worse than 800 ISO negative. The image quality at as low as 100 or 200 ISO is mind-blowing.\u201d (The A7sII will go to 25,600 with the same image quality as the A7s.)<\/p>\n

For Stone and many others, the absolutely silent mode is key.<\/p>\n

\u201cAn actress actually asked me to say, \u2018Click, click\u2019 when I was doing a prop still with her so she would know when I was shooting,\u201d he laughs.<\/p>\n

\"Dress
Dress rehearsal for Tosca at the New York City Opera, performed at the Rose Theater at Jazz at Lincoln Center \/ Photo by Sarah Shatz taken with Sony A7s\/ Sony FE28mm F2 lens \/ ISO 2500<\/figcaption><\/figure>\n

Elizabeth Sisson works on Chicago Med<\/em>, a show that takes place in an ER with very tight spaces. \u201cThe sound guy would give me the stink eye even with the blimps on my Canon,\u201d Sisson recalls. \u201cSo when Elizabeth Morris, on Chicago Fire<\/em>, told me about the new Sony, I put a bid on it at AbleCine Tech and won! The first day I used it on set I was in a very tight and very quiet room, and the ISO was over 800. The sound guy didn\u2019t say a word, and the actor didn\u2019t even notice I was in the room!\u201d<\/p>\n

The unit\u2019s size, weight and speed are all key factors for early adopters like Stone and Sisson. Carrying a Canon Mark IV D, for example, with long lenses and a large blimp, can get heavy. \u201cI\u2019ve been having significant back pain while shooting 16-hour days,\u201d describes Elizabeth Morris. \u201cSince I switched, my back pain is almost non-existent.\u201d<\/p>\n

\u201cIt can be tiring holding a blimp all day, especially during long takes and setups that require long lenses,\u201d admits New York-based shooter Sarah Shatz. \u201cThe Sony body is light and the lenses are fast. Even with 70-to-200\u2013millimeter zoom at F4, the camera is like a computer, so it doesn\u2019t really matter. Changing lenses is no longer time consuming. So we can work quickly on the set.\u201d<\/p>\n

Flexibility also comes into play with Sony\u2019s unit. Morris shoots one-handed<\/strong> while utilizing the LCD screen\/monitor. In addition, the LCD screen can move, so she is able to adjust if she is shooting high or low and can still see the screen. Morris says she\u2019s getting a lot of one-handed shots unavailable to her before.<\/p>\n

Stone has learned a great trick for his one-handed work. \u201cI\u2019ve added a vertical grip that holds two batteries,\u201d he shares. Like Morris, he loves the LCD rear screen that flips out. Stone often operates from the screen, hiding around corners, holding the camera out a bit. \u201cIf the film cameras are smashed together, I can usually squeeze my camera in somewhere and just shoot by looking at the rear screen,\u201d he adds.<\/p>\n

\"Elizabeth
Elizabeth Morris setting her Sony A7s mirrorless system on set for Chicago Fire \/ Courtesy of Elizabeth Morris<\/figcaption><\/figure>\n

Many Guild photographers are hooked on the unit\u2019s low-light capabilities. \u201cTwelve megapixels allows for extraordinary low-light shooting,\u201d Morris adds. \u201cThe ISO range is significant and has allowed me to shoot coverage I otherwise would never have been able to capture.\u201d The camera has one more stop of usable low light, allowing shooters to go as far as ISO 25,6000 before having to perform massive noise reduction.<\/p>\n

Add image stabilization and an impressive amount of megapixel storage in RAW, and you\u2019d think you\u2019ve got everything. But there are still drawbacks \u2013 Morris says battery life is so short, she has to keep numerous backups on hand. [Sony reps say battery consumption has improved for the A7sII, and they\u2019ve added a USB cable to either run the camera or recharge batteries on the run.]<\/p>\n

But, Shatz, laments, \u201cthe digital viewfinder feels like I\u2019m staring at a tiny computer, so there is more eye fatigue. Working in silent mode you can\u2019t do continuous shooting, which is essential for action shots, and helpful in general, when you can shoot only a limited number of takes. Also, in silent mode, the camera can\u2019t handle the buzz of LED lights, so in scenes lit with LEDs, the pictures come out with striated lines.\u201d<\/p>\n

Stone has a few other issues. \u201cThe auto-focus system is not as good as Canon\u2019s or Nikon\u2019s, although the A7sII has shown a definite improvement,\u201d he says. \u201cThe standard zoom lenses for this camera are F4.0. And, like other Sony cameras, regardless of the model, they all generate the same file names \u2013 so if you are shooting with two bodies, it can get a bit challenging when you are downloading the files into one folder. A firmware update that would allow the user to generate custom file names would be very helpful.\u201d<\/p>\n

All of the Guild shooters using Sony\u2019s mirrorless system have similar problems in Lightroom, where the canned color profiles for image processing aren\u2019t great. Stone has resolved this by creating custom profiles using an X-Rite ColorChecker Passport.<\/p>\n

\"Guy
Guy D\u2019Alema on location with Fuji\u2019s XT1 mirrorless camera system<\/figcaption><\/figure>\n

\u201cIt\u2019s a tedious process, which luckily you only need to do once,\u201d he explains. \u201cAfter that, I have my defaults in Lightroom set to automatically apply the profiles upon import. I supply the profiles to whichever lab is doing the asset management. This way the colors carry over.\u201d<\/p>\n

When Frank Masi started researching his move to mirrorless,<\/strong> he talked to shooters like David James and Scott Garfield. \u201cThey both told me how beautiful the glass was on the Fuji XT1,\u201d Masi relates. \u201cTo me, lenses are more important than the body. The lenses, after all, are my eyes!\u201d Barry Wetcher, who recently started using the Fuji XT1 on Dreamworks\u2019 The Girl On the Train<\/em>, agrees with Masi. And he loves Fuji\u2019s zoom lenses, \u201cwhich open to 2.8.\u201d<\/p>\n

Heartened by the Fuji recommendations, Masi chose to use the new camera on The Circle<\/em>, which comprised \u201ca lot of shooting inside small spaces, mainly offices and cubicles,\u201d he describes. \u201cI started Day One with one body and two lenses. After the second day, I quickly stopped by Samy\u2019s Camera and bought a second body.\u201d For Masi, two bodies with a 16-55\u2013mm F2.8 (equivalent to 24-70 mm) and 50-140\u2013mm F2.8 (70-200\u2013mm) lens allowed him to dance around the intricate moves that cinematographer Matthew Libatique, ASC, had designed.<\/p>\n

\u201cThe XT1\u2019s feel like they weigh about three pounds each \u2013 and with a BlackRapid Camera strap, you don\u2019t even know they\u2019re on your shoulder.\u201d<\/p>\n

As with any truly silent mirrorless system, the lack of a blimp offers instant results. \u201cAt first I was a little concerned about not having the blimp to hide behind and the actors having full view of me, but I quickly realized this was not an issue,\u201d Masi admits. \u201cTom Hanks quickly noticed that I was shooting without the blimp. I showed him the camera and let him fire off a few frames, and he seemed to think it was pretty cool.\u201d<\/p>\n

Clearly, mirrorless cameras allow for more intimate shooting. \u201cThe electronic shutter\u2019s complete silence has enabled me to shoot an extremely quiet and emotional therapy scene that normally might not be possible due to sound coming from the blimp,\u201d Wetcher recalls.<\/p>\n

\u201cThe greatest feature of the Fuji XT1 is that I can shoot with the camera to my eye and see the stop change in the viewfinder as I open up or stop down,\u201d Masi adds. He shoots everything other than his focus manually. He changes F-stops and shutter speeds constantly. And, of course, not having to open the blimp throughout the day is a plus.<\/p>\n

\"Melissa
Melissa McCarthy on set of The Boss \/ Shot by Hopper Stone on the mirrorless Sony A7s<\/figcaption><\/figure>\n

Guy D\u2019Alema says exposure adjustment is easier on the XT1. \u201cCoverage we did on Containment<\/em> called for an interior scene where the talent went from standing by a window to the back of the set with minimal lighting,\u201d D\u2019Alema recalls. \u201cWith a camera in a blimp I would have to have made two passes \u2013 one set for the brightly lit part of the set and then the second for the darker part.\u201d<\/p>\n

The tilt-out monitor provides a distinct advantage. \u201cThis was a major plus, as I was able to match a floor shot of the talent without having to lay on the floor and try to see through the blimp,\u201d D\u2019Alema adds. \u201cI was able to comfortably sit on an apple box and shoot the floor shot that matched the camera angle they were shooting.\u201d<\/p>\n

While many new users of the Fuji camera choose to use Fuji lenses, some add an adapter for a wider range of brands. \u201cI use a Metabones Speed Booster Mount, so I can use my Nikon lenses,\u201d D\u2019Alema continues. \u201cI get a full range of lenses without the 1.5 magnification factor that the camera sensor creates, and it adds one additional f-stop to the lenses. So, the 70-200\u2013mm F2.8 operates as a 70-200\u2013mm F2.0 lens, maintaining the focal lengths and increasing one stop of light \u2013 helpful on low-light sets and night exteriors.<\/p>\n

\u201cWith the Metabones Speed Booster I have to focus manually, so critical focus within a scene is more reliable than the auto-focus options on most still cameras,\u201d he adds. \u201cIt allows for \u2018focus peaking\u2019 much like the first ACs use on the production cameras for critical focus situations.\u201d<\/p>\n

\"Fuji
Fuji XT1 \/ Courtesy of Fuji<\/figcaption><\/figure>\n

Recently, D\u2019Alema has added the dedicated Fuji glass to the system he owns \u2013 18-55\u2013mm F2.8 and 50-140\u2013mm F2.8. This allows for control of remote features \u2013 even operating the camera from his smartphone (focus points, capture, aperture, ISO, white balance) when placing the camera on a jib or tripod. It also enables the \u201cface detection\u201d feature (for portrait applications) with specific eye focus \u2013 and enables auto focus.<\/p>\n

With Fuji\u2019s XT1, shooters also get high resolution (16-MB sensor) and color and detail every bit as good as on larger file sizes from the DSLR cameras. The dynamic range is impressive.<\/p>\n

But, like any of the new mirrorless units, there is a downside.<\/p>\n

\u201cDon\u2019t drop it,\u201d Masi says about the Fuji, with its super-small footprint. \u201cI was shooting a night shoot in the L.A. River. It was a long day, I was tired and, well, I just dropped my XT1 with the 50-140\u2013millimeter zoom lens. It fell about eight feet, sheared the lens right off the body and destroyed both the body and the lens. It was a total loss that, fortunately, was covered by my Amex protection program. I\u2019d recommend always bringing a non-mirrorless body as a backup.\u201d<\/p>\n

Guild shooters also point to the learning curve with the new mirrorless systems.<\/p>\n

\"Sony
Sony A7s mirrorless camera system\/ Photo by Hopper Stone<\/figcaption><\/figure>\n

\u201cMy experience is that the menu controls on the back of the camera are very small,\u201d Wetcher explains. \u201cI sometimes struggle to hit the correct button when my eye is in the viewfinder. Either my fingers are too big or the controls are too small!\u201d<\/p>\n

And maximum ISO can be drawback. \u201cRAW is 6400,\u201d says D\u2019Alema. \u201cAt full silent. The camera will go beyond, but you have to use the mechanical shutter mode, and it is no longer silent [in that mode].\u201d<\/p>\n

D\u2019Alema concludes about the new mirrorless trend: \u201cIt\u2019s an additional camera body that has specific use and applications,\u201d he reflects. \u201c[Mirrorless units], at this time, don\u2019t offer enough to replace the DSLRs in sound blimps that most shooters have used. They\u2019re ideal for normal lighting situations, and their light weight saves wear and tear on your back and shoulders. But they also still have issues with moving subjects and tracking.\u201d<\/p>\n

Bottom line for unit stills members thinking of taking the mirrorless leap? Invest wisely and always carry a backup.<\/p>\n","protected":false},"excerpt":{"rendered":"

Local 600 unit still photographers break down the hottest new trend in set photography \u2013 mirrorless cameras. By\u00a0Pauline Rogers. Shorter working hours, tighter sets, complicated setups, and no time for compliance all conspire to make today\u2019s unit stills position a very challenging one indeed. So making an investment in a tool that may (or may not) make the job easier is a dicey decision, at best. If creativity and efficiency rise in equal proportion, why not take a leap? Such […]<\/p>\n","protected":false},"author":1,"featured_media":6040,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[2,10],"tags":[72,391,392,390,393,38,394,388,386,389,387],"class_list":["post-6039","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","category-web-exclusive","tag-camera","tag-chicago-fire","tag-elizabeth-morris","tag-fuji-xt1","tag-hopper-stone","tag-international-cinematographers-guild","tag-mirrorless","tag-photographers","tag-photography","tag-sony-a7","tag-stills"],"acf":[],"yoast_head":"\nMirror, Mirror Off The Wall - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/mirror-mirror-off-the-wall\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Mirror, Mirror Off The Wall - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"Local 600 unit still photographers break down the hottest new trend in set photography \u2013 mirrorless cameras. By\u00a0Pauline Rogers. Shorter working hours, tighter sets, complicated setups, and no time for compliance all conspire to make today\u2019s unit stills position a very challenging one indeed. So making an investment in a tool that may (or may not) make the job easier is a dicey decision, at best. If creativity and efficiency rise in equal proportion, why not take a leap? 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By\u00a0Pauline Rogers. Shorter working hours, tighter sets, complicated setups, and no time for compliance all conspire to make today\u2019s unit stills position a very challenging one indeed. So making an investment in a tool that may (or may not) make the job easier is a dicey decision, at best. If creativity and efficiency rise in equal proportion, why not take a leap? 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