{"id":118,"date":"2018-12-05T12:04:29","date_gmt":"2018-12-05T12:04:29","guid":{"rendered":"http:\/\/widezine.net\/teste\/?p=118"},"modified":"2026-05-29T11:53:39","modified_gmt":"2026-05-29T03:53:39","slug":"sony-shot-an-entire-hollywood-movie-using-6-sony-a7s-ii","status":"publish","type":"post","link":"https:\/\/widezine.net\/pt\/news\/sony-shot-an-entire-hollywood-movie-using-6-sony-a7s-ii\/","title":{"rendered":"Sony shot an entire Hollywood movie using 6 Sony A7s II"},"content":{"rendered":"<p class=\"wp-block-paragraph\">\u201cThe Possession Of Hannah Grace\u201d is a new Hollywood thriller that hit theaters at the end of November 2018. What most theatergoers won\u2019t know is that it\u2019s the first Hollywood feature film shot start-to-finish on a full-frame mirrorless camera, the&nbsp;Sony a7S II.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The film is about a \u201cshock exorcism\u201d that \u201cspirals out of control.\u201d Here\u2019s the trailer (warning: it\u2019s not for the faint-hearted):<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"THE POSSESSION OF HANNAH GRACE - Official Trailer (HD)\" width=\"1290\" height=\"726\" src=\"https:\/\/www.youtube.com\/embed\/RHAgri92JP8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Executive producer Glenn S. Gainor had been looking for gear combinations that would allow the crew to \u201clend power and scale\u201d to images shot on a tight production schedule. He settled on using the Sony a7S II \u2014 which currently costs just $2,200 for the camera body \u2014 and large format Vantage Hawk 65 Anamorphic lenses.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cI knew that Sony\u2019s A7S II had a full-frame sensor and could capture in 4K,\u201d Gainor says. \u201cAnd I knew that we had to make the film in a manner that would fit our schedule and budget. I had a relationship with Vantage, so we put it together and made a motion picture in a way that has never been done before.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"640\" height=\"428\" src=\"https:\/\/widezine.net\/wp-content\/uploads\/2026\/05\/shay-mitchell-4-640x640-1.jpg\" alt=\"\" class=\"wp-image-4756\" srcset=\"https:\/\/widezine.net\/wp-content\/uploads\/2026\/05\/shay-mitchell-4-640x640-1.jpg 640w, https:\/\/widezine.net\/wp-content\/uploads\/2026\/05\/shay-mitchell-4-640x640-1-300x201.jpg 300w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The Hawk 65 lenses apply a 1.3x squeeze to shots, allowing the crew to capture 2.40:1 widescreen images on the 16:9 sensor.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">There were 6 lenses on set during production (40mm, 40mm, 60mm, 60mm, 95mm, and 95mm), and since the Sony a7S II is so cheap relative to the cameras commonly used in Hollywood, the crew decided to keep a separate Sony a7S II mounted on each of the 6 lenses. Instead of lens swaps, the entire camera and lens pairings were swapped in and out.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">We had four or five cameras at the ready at any time, so we were able to pick up and go,\u201d Gainor says. \u201cWe never had to wait for lens changes. I think the full-frame sensor is where the industry is going. Given the trends in digital cameras and the importance of lenses, you could argue that this is the future of cinema.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"696\" height=\"391\" src=\"https:\/\/widezine.net\/wp-content\/uploads\/2026\/05\/sony_a7s_ii_movie-696x391-1.jpg\" alt=\"\" class=\"wp-image-4761\" srcset=\"https:\/\/widezine.net\/wp-content\/uploads\/2026\/05\/sony_a7s_ii_movie-696x391-1.jpg 696w, https:\/\/widezine.net\/wp-content\/uploads\/2026\/05\/sony_a7s_ii_movie-696x391-1-300x169.jpg 300w\" sizes=\"auto, (max-width: 696px) 100vw, 696px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Director of photography Lennert Hillege says the biggest challenge with the a7S II was the compression, but he adds that technical perfection was not the goal.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cThe biggest challenge was the camera\u2019s 8-bit compression,\u201d Hillege says. \u201cIt\u2019s not like the conventional shooting we are used to with ALEXA. There are definitely limitations to be aware of, but the image is spectacular.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"696\" height=\"465\" src=\"https:\/\/widezine.net\/wp-content\/uploads\/2026\/05\/sony_a7s_ii-696x465-1.jpg\" alt=\"\" class=\"wp-image-4762\" srcset=\"https:\/\/widezine.net\/wp-content\/uploads\/2026\/05\/sony_a7s_ii-696x465-1.jpg 696w, https:\/\/widezine.net\/wp-content\/uploads\/2026\/05\/sony_a7s_ii-696x465-1-300x200.jpg 300w\" sizes=\"auto, (max-width: 696px) 100vw, 696px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cIf you work with a director who wants to shoot anamorphic, and we work with a producer who really wants to change the whole vision of how to shoot a cine movie, perfection is not the most interesting goal. It\u2019s how you are telling the story and whether that works.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;<\/p>","protected":false},"excerpt":{"rendered":"<p>\u201cThe Possession Of Hannah Grace\u201d is a new Hollywood thriller that hit theaters at the end of November 2018. What most theatergoers won\u2019t know is that it\u2019s the first Hollywood feature film shot start-to-finish on a full-frame mirrorless camera, the&nbsp;Sony a7S II. The film is about a \u201cshock exorcism\u201d that \u201cspirals out of control.\u201d Here\u2019s [&hellip;]<\/p>","protected":false},"author":2,"featured_media":4756,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"video","meta":{"footnotes":""},"categories":[19],"tags":[],"class_list":["post-118","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-news","post_format-post-format-video"],"blocksy_meta":{"styles_descriptor":{"styles":{"desktop":"","tablet":"","mobile":""},"google_fonts":[],"version":6}},"_links":{"self":[{"href":"https:\/\/widezine.net\/pt\/wp-json\/wp\/v2\/posts\/118","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/widezine.net\/pt\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/widezine.net\/pt\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/widezine.net\/pt\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/widezine.net\/pt\/wp-json\/wp\/v2\/comments?post=118"}],"version-history":[{"count":1,"href":"https:\/\/widezine.net\/pt\/wp-json\/wp\/v2\/posts\/118\/revisions"}],"predecessor-version":[{"id":5642,"href":"https:\/\/widezine.net\/pt\/wp-json\/wp\/v2\/posts\/118\/revisions\/5642"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/widezine.net\/pt\/wp-json\/wp\/v2\/media\/4756"}],"wp:attachment":[{"href":"https:\/\/widezine.net\/pt\/wp-json\/wp\/v2\/media?parent=118"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/widezine.net\/pt\/wp-json\/wp\/v2\/categories?post=118"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/widezine.net\/pt\/wp-json\/wp\/v2\/tags?post=118"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}