Hi, this is Jay P. Morgan. Today on The Slanted Lens, Kenneth is back and we’re reviewing and comparing the Sony a7R II (https://bhpho.to/2f3PnfV) with the Atomos Ninja Flame (https://bhpho.to/2gHvX1P). We typically shoot using the Atomos, so I was very curious to see how they would stack up. Have a look, and leave us a comment letting us know what reviews you’d like to see as well.
Keep those cameras rollin’ and keep on clickin’.
-Jay P.
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![WAR DAS HOVERBOARD SKATEBOARD KAPUTT? [Update Balance Surfer Review]](https://img.youtube.com/vi/4Pl-lIoL7rA/0.jpg "WAR DAS HOVERBOARD SKATEBOARD KAPUTT? [Update Balance Surfer Review]")
Can we have a crack at some of the raw footage? Please!! I am sure many would like to compare
well why would you use a7R 2 if you worry about grain? Try a7S 2
The fact that you can view your footage with a lut and apply that baked in lut from the recorder. That saves crazy time in post.
I’d love to see / hear about your storage process and how you go about long term storage. thanks keep up the great work !
Possible fix for recording through HDMI externally in slog from Cinema5D.
https://www.cinema5d.com/lut-slog-problem-fix-sony-a7s-sony-a7s-ii-a7r-ii-a6300-external-recordings/
With that applied, the contrast and the highlights clips now match the internal slog from the camera.
This guys explains it better than I do. Here’s a link: https://www.youtube.com/watch?v=TJ2WSspv_tc#t=28.725515
Hope this information helps. Love your review!
Why are you not called the Dutch angle?
yeah… you guys did this review wrong.
The 700mbit bitrate is probably what’s causing the extra sharpness :p
why would you use and external recorder? how about being able to record all day with no heat issues, maybe?
When importing slog2/3 from an external recorder into your NLE you need to change the clip manually so that you access 0-255 instead of 16-235.
In Resolve you simply highlight the clip, choose clip attributes, then Video … then set Data levels to FULL instead of auto. This will flatten out your footage significantly and pull the contrast out of the midtones and shadows.
🙂
Also to add on to the geeky side of things, even though its recording more data, since it’s in pro-res, your video editing box will crunch it much faster, using the GPU instead of the CPU for decoding and rendering with H264/MP4
The time lapses are massive on the atomos! Just to add a feature they didn’t breach…
For me it seems Sony A7R II + just good external monitor would make more sense than extrenal recorder. Or I’m missing something? 🙂
Can you do a review on the Nikon Coolpix B500 vs a canon
Actually to correct what Sully commented, the HDMI is NOT broken.
The problem is with the NLE (Premiere, FCPX, Resolve) incorrectly interpreting the external footage due to it not having any camera metadata embedded in to it.
Here is Cinema5d’s article which covers the problem and how to address it:
https://www.cinema5d.com/fix-crushed-blacks-on-sony-a7s-and-a7s-ii-external-recordings/
Also, I believe the skin smoothing effect has already been fixed in a firmware update. I may be wrong.
Anyway, sadly this review is a bit flawed due to the potentially incorrect handling of footage and consequent output of said footage (your results). For example, the external footage may have been more grainy on the external because of it’s ‘crushed blacks’ mentioned in the article above. Furthermore, the differences in color you saw perhaps may have been result of the differences in contrast. Filmcovert could have dealt with colors differently since each signal had a different tonal range. Lastly, I know it’s true with FCPX and Resolve but when you apply filmcovert to any footage, it immediately coverts the signal to legal range (0 – 120 IRE). Meaning that if you were to do anything more than light grading after the film convert plugin, you wouldn’t be grading your full signal since you lost all of your full range data (-20 – 120 IRE).
I hope this information makes sense. This video may be harmful in further spreading incorrect information about the differences between recording external vs internal with these awesome Sony cameras.
Cheers.
That sharpness difference isn’t there when shooting in super 35 mode.
I don’t know if this is the YouTube compression, but I’m seeing the highlights on the young woman’s face totally losing their detail and turning an ugly shade of yellow whereas the highlights on your guys’s skin are more natural and just go to pinky-white. What do you think is happening? And what kind of cam do you shoot your discussion with?
fugi xt2 quality is great !!!!
Great comparison overall, thanks for doing it! A big miss for this camera comparison was using the aps-c crop mode especially for the sharpness comparison while knowing that’s the best mode to record video on a7r II. Would love to see that in a follow-up!
You got a colorchecker, why do you not use it? With 3 klicks you matched the colors in resolve and than you are able to compare the quality…
Hey The Slanted Lens (Jay) if you’re getting so much data rate, i think it’s worth it due to how gradable that is. Higher depth = more play in post yeah? Im actually not sure, what have you guys experienced?
The Sony A7R II only outputs 8 bit 422 not 10 bit!
The a7r II can’t output 10 bit to an external recorder if that’s what you’re saying at 10:30.