Anamorphic Cinematography Series
Shooting anamorphic on the Sony A7s is a bit more challenging than other cameras like the Panasonic GH5, but with the right equipment and setup the camera can excel. Our anamorphic lens calculator can help you find what lens works for an anamorphic lens on a full frame camera.
This video was shot with the A7s and our Isco Micro Superscope setup for a 28mm anamorphic look- which is plenty wide for gimbal work on a full frame lens. Although at this focal length the Superscope will add some barrel distortion to the anamorphic lens, this can be an acceptable tradeoff for gimbal shooting and is one of the characteristic looks of an anamorphic lens setup.
We balanced the anamorphic gimbal and took the setup out on a bicycle. While extended takes more than 2-3 minutes can be difficult, the Sony anamorphic gimbal setup is definitely usable to capture some unique photography.
In post, the anamorphic footage was desqueezed in Premiere Pro by right clicking on all of the A7s anamorphic footage, selecting Modify > Interpret Footage > Pixel Aspect Ratio of Cinemascope. Although footage was shot in 4k SLog3, we created a 1080p timeline for quicker editing, and imported footage. Footage was scaled to 33%, and 2.66:1 bars were added for safety.
Color correction included modifying exposure, highlights, and shadows sliders in Lumetri Color to dial back in the contrast when working with SLog3. Then the M31 Rec709 LUT was applied, and a slight S curve was dialed in. Each shot was then individually tweaked for exposure and contrast.
For a more in-depth article on shooting with anamorphic lens kits on the Sony A7s DSLR camera, check out the Sony A7s Anamorphic Lens tutorial here!