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The New AKIRA Firmware Update for the MōVI

Everyone loves a good firmware update and Freefly Systems did not disappoint with the newest Akira update. New features and incredible improvements make up the newest download. The MōVI camera stabilization system has already offered up amazing opportunities for filmmakers, and the gifts keep coming.

Movi-Firmware-Akira

 

HiPER STABILIZATION: This new feature (more of an improvement) is the shinning star of Akira, in my opinion. Stabilization performance of the MōVI has increased, resulting in images that are much more stable and stronger overall. Longer lenses, focus, iris, and zoom setups can now be achieved more easily with incredible results.

TIMELAPSE MODE: The possibilities seem endless when working with the MōVI and now, with Timelapse Mode, yet another door has opened. Creating your time-lapse moves with this new software is literally a dream come true, so GO OUT AND MAKE NEW IMAGES!

TARGET MODE: GPS position locking and follow mode! Oh, this is getting fun now! When working with the MIMIC, transmitter operators and DP’s can introduce a “chase cam” look — seamlessly.

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Improvements all around and new added features make up the Akira update. I didn’t even mention the new user interface for the mobile applications. Oh, and there are even more goodies to be found. Ok, enough reading! It’s time to put Akira to the test.

We sell and rent a variety of Freefly motion tools. Please contact us at answers@rule.com or 800-rule-com (800-785-3266) for more information.

Dylan Law, QC/Logistics & MōVI Tech, law@rule.com

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First-time clients get 30% off your first rental during the month of September!

CONTENT CREATORS! Going back to work just got more exciting during the month of September. We are offering all first-time clients a 30% rental discount on your first rental during the month of September.

Whatever your project, we’re here to help. Our Rental Agents are here to gear you up with just the right audio, video, lighting and editing equipment for your most critical projects.

If you’re one of our regular customers, we’ve got something special for you, too.

Reach out to Rule Rentals by email or phone at 800-rule-com.

BtWHomePage

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The Sony PXW-Z150

  Sony_PXW-Z150 There’s a lot to be said for a good camcorder-styled camera — a format that, in recent years, hasn’t been given the love and attention I feel it deserves. While not the most exciting camera, more often than not (and especially for event and corporate shooters) — it is by far the most practical. The market was given a glimpse of the future late last year, with Panasonic’s release of the DVX 200. The camera provided a Micro Four Thirds imager, with a camcorder-styled body and attached zoom lens. The idea being that run-and-gun shooters needn’t compromise on depth of field any longer. By using the larger sensor, shooters could finally get images that rivaled those of their DSLR counterparts in the sub-$5,000 market. It’s a need that won’t be going away any time soon, either — producers and content creators have come to enjoy the shallow depth of field “look” that one gets from large imagers (the Canon 5D Mark II is probably to blame). But, rigging these small cameras with external recorders, audio interfaces, shoulder mounts, top handles, and shotgun mics was never the end-all, be-all answer shooters needed (although the DVX 200 delivered on these issues). Enter the Sony PXW-Z150, Sony’s newest offering in the PXW line, sitting happily alongside the popular FS5. At a little over three grand, this camera packs a punch. Its imager is slightly smaller than that of the DVX 200, but compared to the ⅓” and even ⅔” sensors of the prior generation of camcorders, the Z150’s 1” sensor adds just enough depth-of-field options to feel very versatile.   z150-medium In addition to its sensor, the Z150 has a few more tricks up its sleeve to bring it in line with its fancier, smaller counterparts. Sony has built the foundation of the camera’s acquisition on the now tried-and-true XAVC-L codec. While it’s not as dense as the FS7’s XAVC-I, it’s a huge improvement from the price-comparative a7SII (XAVC-S). The Z150 records a UHD 4K image internally, using the same SDXC cards as the FS5. It also has the ability to overcrank to 120fps in HD formats. Slowmo seems to be the new battleground for this market, and it’s great to see that Sony has matched the challenge. Perhaps the most interesting feature, for a humble colorist to appreciate, is its ability to record 10 bit HD. Traditionally, any camera under $10,000 recorded 8 bit images internally. To see a camera like this recording a nice and dense 10 bit image is a huge improvement. This camera has far more in common with an FS7 than an EX1. After that, the features meet all the new standards easily — built-in ND filter, a powerful autofocus and full auto mode, and XLR inputs. Run-and-gun shooters will feel right at home with the familiar Sony layout, and even though they’ve simplified the menus — I don’t find myself wanting anything extra. A common criticism of Sony’s latest camera lines is how complicated their menu structures are, so to see things paired down a bit in this camera is a welcome addition. It’s slightly disappointing that the Z150 doesn’t include any LOG gammas, but the normal picture profiles fill any creative gaps you may have. I don’t foresee many people shooting LOG on a camcorder, but with 10 bit, my question is ‘why not’? I would love to use the Z150 as a B camera to an FS7. Those are small potatoes, though, and I find myself very satisfied shooting with the Z150. For folks who are comfortable with the EX1 or NX cameras, this is, most likely, the 4K upgrade you’ve been waiting for. We are currently selling and renting the PXW-Z150, please contact us at answers@rule.com or 800-rule-com (800-785-3266) for more information! Alex Enman, Engineer, enman@rule.com

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Mixing Paint: The Phantom Flex4K

As with all of their products, Vision Research has created yet another high frame rate monster. Shooting RAW or ProRes, the Flex4K can crank all the way up to 938fps at true 4K — and almost 2,000fps in HD. With all that power under the hood, the question now becomes: What are we going to shoot?! It took us a while to come up with a subject that would do the camera justice. Eventually, we had it all planned out – we were going to see if mixing some paint with a huge speaker would produce some cool results. (It did.) First, we knew we needed light. Lots of light. The mid-day sun was our best bet, so we set up outside. To hold our subject, we set up a basic wooden platform, making sure to keep a wide enough base to catch any paint shrapnel. We hooked our speaker up to a receiver, and fed it various tones from an iPhone — apparently, yes, there is an app for this. With our stage set, we then turned to camera settings. We decided that shooting the true 4K image would be best – 4096 x 2304 at 938fps. If we had chosen a standard UHD 4K recording, we could have shot even faster. For paint, we went with a water based children’s finger paint – in hopes that maybe we could salvage the speaker, and our clothing. The water based paint would also mix better – a latex paint would mix slower, but may have looked cool as colors intertwined more. We’ll give that one a shot next time. We decided to shoot to the ProRes codec, rather than RAW, once we saw the image the camera gave in the standard rec709 color space. The final video color has not been graded in any way, all the footage is straight off the camera. While the RAW files are wonderful, and fantastic for grading – it can become somewhat burdensome with ever shrinking hard drive space. We found the colors to be awesome in the 709 gamma, and very reminiscent of ARRI. There is also the option for LOG. For glass, we chose the Angenieux 25-250, partly to keep our gear out of paint’s way – but also to take advantage of the beautiful lens compression you get on the long end. The focal plane wasn’t too shallow at T4, but the added compression at 100mm and above really brought the image alive. After the shoot, I loaded the ProRes files into Premiere, and we were exporting soon thereafter. For such a high data rate, specialized camera, the workflow all around was relatively simple. Watch the final results: https://vimeo.com/158513325   The Phantom Flex4K is available to rent here at Rule – come check it out! -Alex Enman, Engineer, enman@rule.com

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Lighting Planes, Trains, and Automobiles? I Have Just the Light For You!

This is literally the most flexible light in the world of entertainment lighting! The Bi-Color Flexlite, released in April of this year by Aladdin USA, is a light everyone should be using on every shoot. When I say “literally” I mean the fixture can actually bend to fit the contour of a column or the ceiling of a car. The Bi-Color Flexlite is so light and malleable that you can tape it to a column or to the ceiling of a car without any other type of support. Crazy, right? But “literally” true. Need the light to be daylight balanced to boost the ambient daylight from the windshield of a car? No problem. Switching color temperature is a breeze with the turn of a dial! Use gaffers tape to tape the unit to the ceiling of a car or the inside of a windshield. And don’t worry about power availability — you can run it off a battery. As an LED, it will run for an hour on a 90wh battery or 2 hours on a 180Wh battery. The “flexibility” doesn’t stop there…the accessories available for this fixture can support any situation. Do you need a lightweight lantern in a limited power situation? Just strap on gold mounted batteries and set it up with the custom-built lantern. The lantern just pops open into shape when you remove it from the bag -– it can be set up in a matter of seconds. Don’t have a c-stand or maffer clamp? Hang the Bi-Color Flexlite in its lantern anywhere. The kit comes with a dual magnet mount so it can be mounted onto any metal surface. The kit is full of useful accessories in addition to the dual magnet mount. Included is a baby pin adapter to set it up directly on a stand. Additionally, there is a soft box with no support rods or speed rings – the soft box just affixes via Velcro directly to the back of the light. The front diffusion piece sits approximately 4″ above the Bi-Color Flexlite panel. This creates a beautiful, soft light. Have you been concerned about the green shift in LED lighting? Well, not any more! This light reads  like a dream on the CRI with even, white light – no valleys and no peaks. Check out this photometrics chart from the Aladdin website:

Aladin Bi Flex 50W
60cm/2ft 1m/3ft 2m/6ft 3m/9ft CRI
Daylight  6000K 4200lux 1600lux 450lux 210lux 98
BiColor    4200K 4600lux 1700lux 500lux 230lux 97
Tungsten 3000K 3400lux 1200lux 340lux 170lux 97

But wait, there’s more… I just can’t say enough great things about this fixture. The Bi-Color Flexlite is splash and rainproof too – they have conducted tests submerging the fixture in pools and an aquarium. BUT, do be careful, as the dimmer and power unit are not splash/rainproof and will need to be protected. This light can be used in so many different ways that I wouldn’t want to be on set without at least one of these. Thank you for reading, and, as always, do not hesitate to call me with any questions at 617-277-2200 (or 800-rule-com), or email me HighOutput@rule.com. I look forward to seeing all of you at my next Showroom Demo on Wednesday, September 30th from 12 to 1pm. RSVP: HighOutputEvents@Rule.com. -Alison Cupples, Lighting Specialist, HighOutput@Rule.com

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Sound Advice Tour Recap

The Sound Advice Tour ended its tour in Boston MA and I was lucky enough to go and check it out. Being an audio guy I was really curious how he was going to explain and teach us things about audio for video. In the class there were way more video people than audio people, with all different levels of experience. He first started by showing us clips of different movies he has done and showed us how much the audio impacts the movie as a whole and the slightest sound can change the whole setting. I was really impressed with how much work is really done for a feature length film and by the end you can end up with over hundreds of tracks for foley, music and sound effects. Once we got more into the lecture he talked about how to record foley and what types of microphones to use in certain situations. For example if you are using a Sennheiser MKH 8060 out in the field to record your audio and you need to do ADR in the studio then you should use the exact same microphone in the studio so it has the same characteristics. He showed us a cool technique that when using an omni-directional microphone with a group of people walking and talking in circles around the microphone it creates a cool effect to where it seems like there are way more people in the setting than there actually is. This really blew my mind away, “DOPE”. We did talk a lot about equalization and cleaning up your audio in post. Cleaning up your audio really makes the voice stand out and removing unwanted noise in the background can really make a difference. The thing I was most excited about was learning how to get rid of that unwanted noise that comes from having a microphone on a boom pole. I always kind of knew how to get rid of it but the way he showed us really blew my mind and really helped me out for my future projects. If you don’t have the software called RX4 by iZotope and you are doing audio for videos then I highly recommend you get this. This software’s algorithm is highly advanced and can do just about anything from de-noising, to a simple EQ clean up and even de-reverbing! “WHAT?!?!” Yeah this software can really do it all and will make your films stand out from the rest of them. I went home and bought it that same day because I was so amazed by it. We also learned the three aspects of music that can really help your film because you do not want some horror type music in an epic fight scene it just doesn’t make sense. First you have your rhythm, your fight or flight. Second is melody, the thematic recall. Third you have the harmony, the emotional core of music. Most of the time there are two of these happening at a given time. Another good tip for everyone out there bad foley is better than no foley even if it is recorded on your iPhone still use it, it will help you out in the end. But remember mix it low and give it some EQ because those couple of steps are better heard low than not being there at all. After the whole class I learned a lot and recommend anyone check out Mark Edward Lewis’s class if you get a chance he really explains everything in depth and he really engages the audience. -Scott Pierce, Quality Control Technician, pierce@rule.com

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Fun New Features Come with the Latest Panasonic GH4 v2.2 Update

Though I’ve already written about how head-over-heels I am for Panasonic’s overly affordable GH4, I thought I’d take some time to check in with the little wonder, and discuss some of the fun new features Panasonic has included! Earlier this spring, Panasonic released firmware version 2.2, and with it a slew of updates aimed squarely at the most fastidious gear nerds. The Lumix series of cameras have long been championed by a loud minority – people hacking cameras, doing everything they could to squeeze the best possible image out of these cheap mirrorless cameras. With the GH4, that community has grown impressively. A subset of the micro four thirds folks, however, is that of the anamorphic shooters. For years people have been attaching old anamorphic projector lenses to adapters, rigging up double focus systems, and putting themselves through production hell – chasing that anamorphic image. Panasonic has once again listened to their user base, and with their new release has enabled true 4:3 anamorphic recording for 2x lenses. Not something you see very often in price ranges below $40,000! Below is a great lens test from vimeo user Sittipong Kongtong, comparing the lowly GH4 with the RED Dragon. https://vimeo.com/127348773 Here’s another great interview with Panasonic from NAB, conducted by www.nofilmschool.com – giving a bit more insight into how it all works – as well as discussion on the upcoming firmware update that will allow true V-Log recording! V-Log will be coming straight from the Varicam 35, which is a surprising addition to a camera at such a low price point. For comparison, it’s not until the C100 level of camera that Canon offers a log profile. Panasonic continues to answer niche shooters’ prayers. https://www.youtube.com/watch?t=110&v=rzaVp7cSaf4 I will be hosting a Showroom Demo on the new firmware, as well as some color correction techniques for the GH4 on June 10th from 12:00pm-1:00pm here at Rule Boston Camera. Be sure to swing by! -Alex Enman, Engineer, enman@rule.com

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An Introduction to the Sony PXW-FS7

As with all my blog posts, I’m happy to introduce you to yet another camera that’s being called “The Next Big Thing!” I’ve talked at length about the Panasonic GH4, the Sony a7s, and other it cameras that seemed to stir up buzz this past year. 2014 was a great year for new technology to find its way to lower price point cameras, and the culmination of that may be the new Sony FS7. The FS7 was touted as being designed by Sony from “listening,” and I can’t argue with that. Professionals have been asking for an ergonomic, easy to use, high frame rate, 4K camera with built-in ND filters and all the bells and whistles one would come to expect from a professional camera. A large chip, easily adaptable mount – and a high quality internal codec. This list seems long and perhaps unattainable for a sub $10K camera, but all of those features have been delivered and met in the FS7. First and foremost, some specs. The Sony FS7 has a s35 sized sensor, that seems to be almost identical to that of the Sony F5. In my book, this may be the best selling point of the camera. With this sensor, the FS7 is able to not only record UHD 4k to 2 different flavors of XAVC, but it can also shoot up to 180fps in HD. For low light, the sensor has a base ISO of 2000 – with some built-in ND filters to help you out. Standard XLR inputs, and even a nice arri style rosette for the very comfortable and easy to use side handle. This camera will most be compared to the wildly successful Canon C300 – but truth be told, the FS7’s got it beat in features. SLOG3 is available, as well as the highly gradable and precise Cine EI mode. This camera fits in line much closer to the F55 and F5 than it’s namesake, the FS700. Unlike the FS700, the FS7 does not have a 3G SDI output on its standard body. Instead, a rear add-on unit is required to pass RAW out to something like the Odyssey 7Q. While this is sort of a bummer, the rear RAW unit also provides the ability to record ProRes directly to the cards internally – though XAVC is a very high bitrate codec itself. After using the FS7 for a few weeks, all I can really say is that it more or less works as advertised. All the promises Sony made are delivered, and the camera works great. It’s comfortable, but could stand to use an additional shoulder pad to add some comfort. The battery times are very long, and the buttons on the camera are familiar and easy to find. The big credit most users gave to the Canon C300 was it’s ease of use, and good image. The FS7 meets that, and goes beyond. High frame rates are going to be the next big camera battleground in the next 5 years, and Canon’s 60FPS at 720p isn’t holding a candle to the FS7’s 60FPS at 4k, or 180FPS in HD. I’ve run into a few small issues when adapting Canon lenses with the metabones speed boosters and smart adapters – but they are usable. Metabones released a firmware update for the speed booster ultra that seems to have helped it out – though operation still seems sluggish. These are nitpicking details, however. If you’re curious about image quality, you can find plenty of beautiful examples all over the net as the camera is finding it’s way to shooters. And keep in mind, the image quality will be near identical to the Sony F5! Here’s a really great video from vimeo user Joe Simon Films showcasing some of the FS7 abilities. https://vimeo.com/112027631 And here is a beautiful spot shot on the F5 from vimeo user Overseasfilms.com – pretty amazing that this image can now be captured by a camera that costs around 8 grand! https://vimeo.com/85711136 Check out this review from Anticipate Media: http://vimeo.com/anticipatemedia/review/113330848/9d76c28504. We have the FS7 here at Rule to buy or rent, so be sure to come check it out. -Alex Enman, Engineer, enman@rule.com

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Kino Flo Celeb 200 & Celeb 400 LEDs

Kino Flo introduced its first LED light, the Celeb 200, in September 2012, followed by the Celeb 400 in April 2014.  Rule Boston Camera proudly welcomes these two new lights to our inventory!  We love Kino Flo’s products for their light, robust housing, ease of use, and cool, silent, consistent operation.  Kino Flo has incorporated the quality and convenience we have come to expect into their new LED line, and once again dazzled us with beautifully soft, even light and reliable design. The Celebs differ from their fluorescent cousins by offering even more convenience – no external ballast, no head or harness cables, and no bulbs!  One provided AC cable is all you need to brighten up the set (these lights are also capable of running off 24V DC power).  The built-in ballast controls power as well as Kelvin temperature and dimming, while an LED display reads its current values.  The single panel of LEDs has a range of 2700 Kelvin to 5500 Kelvin.  There are five preset Kelvin temperatures (2700, 3200, 4000, 5000, 5500) that correspond to colored buttons on the ballast, or you can save your preferred temperatures to these buttons.  Temperature can be precisely dialed in by turning the knob on the right of the ballast.  Change the temperature by values of 100 degrees, or press the knob for fine values – depending on what end of the Kelvin spectrum you are in, the temperature increases by 10, 15, or 25 degrees.  There doesn’t seem to be any rhyme or reason to the differences in increments, but there are plenty of options along the spectrum to choose from.  To dim the light, from a range of 0 to 100, simply press the Kelvin/Dim button and turn the knob.  Dimming can be changed from coarse (values of 4) to fine (values of 0.4) by pressing in the knob.  The Lock/Reset button will prevent your settings from accidentally being changed, or factory reset the Kelvin temperature presets. The Celeb provides mounting flexibility – both the 200 and 400 come with the center ball mount we all know and love, giving the light a full 360-degree range of motion.  The 200 has a baby receiver, while the 400 has a baby receiver inside a junior pin.  Rule has a wide selection of C-stands and combo stands to choose from.  Both fixtures have molded corners with holes to mount the light with rope, and two handles on the back for safety chains and easy transport. The Celebs come with a gel frame and 90 degree honeycomb eggcrate louver.  Both mount to the fixture with spring-loaded clamps in the molded corners.  I’ve found the spring-loaded mount to be especially convenient.  The fluorescent lights have Velcro mounts that clasp into the eggcrate and often break.  The spring-loaded mount is easier, quicker, and more secure. The Celebs are an energy, cost, and time efficient light appropriate for all of your lighting needs.  Both Celebs boast flicker free operation and consistent color temperature while dimming.  The 200 draws 1 amp, while producing more lumens than a 750W fixture.  The 400 draws 1.8 amps, while producing more lumens than a 1K fixture.   Kino Flo’s fluorescents feature cool operation, but these LED fixtures emit practically no heat!  This means you can pick it up and adjust it without gloves, you don’t need to worry about burning your gels, and you can place it right into the flight case after striking it off. Stop by or call us at Rule to add these versatile lights to your arsenal! Celeb 200 Specs: 24” x 14” x 5” 14 pounds Metal alloy body Baby receiver 95 CRI Draws 1 amp DMX capability Celeb 400 Specs: 45” x 14” x 5” 26 pounds Metal alloy body Baby receiver in junior pin 95 CRI Draws 1.8 amps DMX capability -Grace Deacon, QC Tech, deacon@rule.com

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The Sony a7s: Full Frame, Low Light Monster

Once again, here we are with me talking about a new small camera that everyone in the indie shooting world seems to be going bananas over! Similarly to when the GH4 launched (of which you can read my latest blog post by clicking here) — there has been an extreme amount of chatter about this new Sony camera. Is it worth the hype? Upon launch, it was touted as the end-all-be-all of DSLR cameras (yes, I know it’s not technically a DSLR!), and a direct competitor to Panasonic’s GH4. Both cameras are mirrorless, seem to have more than a few nods to video users, and come in at a fairly affordable price point. After those features, however, the similarities stop. The two cameras are very different animals — both with their own strange strengths and weaknesses. Family Tree The a7s succeeds two other cameras in the Sony lineup that, at a glance, seem the same. The a7, and a7r. The design of these cameras comes from almost a rangefinder idea — a small, street photographers secret weapon. And for stills, no one was going to argue the quality. I’m sure even Fuji was taking notice. When it came to video, however, the quality and feature set wasn’t anything to write home about. While the a7r matched that of the 5dIII in most instances, Canon had already bundled up the market years ago. The a7s, though, has built upon this small form factor and has pushed the video feature set to its ends. It continues with the full-frame-sized sensor, but in this case it seems to be an entirely new chip. Low Light While I’m not in love with the form factor of this tiny camera (I’ve got big, dumb hands), the image quality is staggering. Particularly, with its low-light capabilities. The color and detail data it is able to pull from near total darkness at ISO’s of 20,000 and even 50,000 is unlike any camera I’ve ever seen, in any market or price range. This isn’t just a low-light camera, it’s a night-vision camera. Take a look at this great test from James Miller — that blue sky you see is actually a night sky. Those green bushes? Dark splotches to the human eye. SLOG 2 & Grading Now, we aren’t all nature photographers who need to see into the dead of night all the time — so upon getting the camera in my hands, my first tests were tried and true charts. I was overjoyed to see SLOG 2 and S-Gammut profiles included in the kit. This camera is cheaper than a 5dIII, but it’s now including a log profile that was at one time a paid upgrade to the F3 camera?! Count me in! I set up my chart, brought my middle grey down to 35%, and threw on my SLOG2 luts. You know, the ones I’ve been using for the past 4 years! And wouldn’t you know, it looked… terrible. What?! What happened? Why were my shadows so grainy and noisy? I thought this was a low-light monster! I couldn’t understand it. After some more research and testing, I figured it out. SLOG 2 on the a7s rates the native ISO of the sensor at 3200 ISO – as opposed to say 2000 on the fs700 and f5, or 1250 on the f55. As this is a different sensor, it is handling its color science differently. I found that it is so light sensitive, the sensor prefers to be fed LOTS of light – to the point of seemingly over-exposing the image. I found that middle grey likes to live around 75%, rather than 35%. As the camera only provides zebras and a meter internally for exposure help, it’s perhaps easiest to set your zebra level to 95% or 100%, and ride the high end until right before clipping. Bringing the color and gamma down works like a charm, and in no time I had the chart performance I had expected: So perhaps this isn’t the same old same old SLOG 2 I had assumed – but once I figured out the optimal settings, I was very impressed. The dynamic range on this camera is very high, around 14 actual usable stops. That gets into high-end cinema camera territory. 4K Recording & XAVC-S The last major feature of the a7s is the 4K external recording option. Now, first off, the a7s is using a brand new “consumer” version of the very popular XAVC codec. Internally, this high bitrate and smart compression is very malleable, especially for being at its base an h.264 MP4 file. It sports a very fiddly micro-HDMI port through which it will send 4K, 4:2:2 uncompressed video. The only thing headed to market soon that will handle this in a portable way will be the new Atomos Shogun – delivery date is still TBA. I find time and time again that users can get hung up on external recording solutions. One should always push their internal codecs as far as they can to see where the line in the sand is going to be drawn, and I find XAVC-S and SLOG 2 to be a 1-2 punch when it comes to color grading. Here is a very pretty video from vimeo user Florian Knab — check out how even the 120fps 720p looks great in a web delivery situation. Final Thoughts With SLOG 2, XAVC-S, a full-frame sensor, frightening low-light sensitivity, and an easily adaptable E-Mount – I think the a7s is a great addition to the indie market. I wish it were able to record 4K internally and high-speed above 60fps at 1080 like its mirrorless GH4 counterpart – but even without these features, it’s a pretty fantastic little camera. If you’d like to learn a bit more about the a7s, my post workflow, and other ways to get the most out of it, be sure to check out my Learning Lab here at Rule Boston Camera on 9/24 at 10am.  If you can’t make it in person, you’ll find it on our Learning Lab Vimeo Channel afterwards. -Alex Enman, Engineer, enman@rule.com