Brought the A7S III to the Jack & Jill Stone Mountain Chapter shoot and it did exactly what it always does: it handled the room. Mixed lighting, no reshoot, no excuses. I was running S-Log3 the whole night and pulling detail out of corners where most cameras would've just gone gray. I wasn't thinking about exposure. I was thinking about the shot.
The Ronin RS4 Pro was underneath it all night. Two hours in I genuinely forgot it was there, which is the whole point. It balanced the A7S III well even with the 28-70 mounted (that combo isn't light), and the motors handled quick direction changes without any fight. A good gimbal disappears. This one disappeared.
I shot most of the night on the 14mm. Wide enough to put the whole room in frame, f/1.8 so it's pulling in real light. When I wanted some compression or needed to isolate a moment from the background, I switched to the 28-70mm. You don't want to be swapping glass mid-event, so having those two ranges covered by one zoom while the 14 handles everything wide is the setup that makes sense.
Everything went to CFexpress Type A. Shooting 4K at those frame rates, you need cards that keep up. Running dual-slot means there's a live backup going the whole time. Events don't get second chances, and neither do cards.
Ready to Talk About Your Production?
Events, galas, milestone celebrations. Let's see if we're the right fit.
Start the Conversation