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New Camera Sony a7s

FEATURE

12.2-megapixel 35mm full-frame Exmor™ CMOS sensor
Wide ISO Sensitivity (ISO 50 - 409,600*2) and impressive dynamic range
World’s first full-frame sensor capable of full pixel read-out without binning process for Full HD/4K video output*3 *4
Pro-Quality video functions such as Picture Profile, S-Log2 gamma, time code & more
BIONZ X™ image processing engine
High-contrast, high-resolution XGA OLED Tru-Finder

*1 Amongst interchangeable-lens digital cameras equipped with a 35mm full-frame image sensor, according to Sony research as of April 2014
*2 Standard ISO range: Still 100 – 102400, Movie 200-102400; Expandable ISO range: Still 50-409600, Movie 200-409600
*3 When used in 4K(24p/30p), HD(24p/30p) movie setting
*4 4K movie recording requires a 4K compatible recorder.

Low Noise,
Extreme Clarity

The α7S offers wide-ranging visual expression in a lightweight body with a newly developed 12.2-megapixel 35mm full-frame Exmor™ CMOS sensor. Its latest advances in sensor technology helps improve the sensor's dynamic range. Expect richer tonal gradations, unprecedented sensitivity and exceptionally low noise to both still images and movies with every snap.

Sony is the world's No. 1 manufacturer of image sensors for digital cameras and video recorders (based on Sony research from April 2012 to March 2013 that shows Sony has a 50% market share).

Unrivalled

Low-Light Performance

With a high dynamic range and an unrivalled ISO sensitivity range of up to 409600*, you will be able to shoot extraordinary scenes in precision like never before. Additionally, the light concentration technology and photodiode expansion technology increase the amount of light collected and size of the photodiode at every pixel, raising the camera's sensitivity while maintaining low noise. From capturing stars in the night sky to moving objects in a dimly lit room, the α7S opens the door to image expression not possible with other cameras.*

* Standard ISO range: Still 100 - 102400, Movie 200 - 102400;

Expandable ISO range: Still 50 - 409600, Movie 200 - 409600

Full Pixel
Read-Out Movies^*1

Its accelerated image sensor dramatically improves movie performance and functions by reading out image data from every pixel, even during Full HD and 4K*² movie output. The world's first full-frame sensor capable of doing so, you can be sure of shooting high image quality movies with fine details, less moiré and fewer jaggy edges.

*¹ When used in 24p/30p(25p) movie setting
*² 4K movie recording requires a 4K compatible recorder

Video Functions For Smoother
Workflow

The α7S is equipped with a suite of advanced movie functions to support a professional workflow. Fine-tune the look of movies by adjusting gradation and colour before shooting with Picture Profile, experience wider dynamic range for low noise image and super rich detail with S-Log2 gamma setting, shoot at 120fps in HD resolution and work in ease with an embedded time code used in standard commercial video equipment.

Extraordinarily
Realistic Detail

BIONZ X™ used in α7S been optimised through deployment of Sony's latest image processing technologies to make the most of the high sensitivity of the newly developed image sensor and the optical performance of the α series lens lineup. The result is astonishingly high-speed processing capabilities as well as faithfully reproduced textures.

Faithful, High-Resolution
OLED Display

The viewfinder faithfully displays what will appear in your recording, including the effects of your camera settings, so you can accurately monitor the results. You'll enjoy rich tonal gradations, faithful colour reproductivity and high contrast. High-end features like 100% frame coverage and a wide viewing angle are also provided.

Fast Intelligent AF

Fast Intelligent AF provides extremely fast AF performance despite the employment of a full-frame sensor, achieving top-level AF speed in the full-frame category through the support of BIONZ X™, high-speed full-frame image sensor output, and a Spatial Object Detection AF algorithm. Furthermore, α7S's significantly higher image sensor sensitivity helps dramatically boost AF performance in low-light environments (in light as low as EV-4), making it possible for the AF system to function even at an EV-4 brightness level.

Magnesium Alloy Body With Dust And Moisture Resistance
With lightweight, high-rigidity magnesium alloy used for the top cover, front cover and internal frame, the α7S is strong yet light enough to withstand the demands of professional use. It is also installed with comprehensive dust and moisture resistance measures that prevent waters and dust from entering the body, allowing for carefree shooting in tough environments.

Focus Magnifier And Peaking Function
Focus Magnifier enlarges the portion of the image automatically on the screen, making it a snap to obtain razor-sharp focus. Peaking function highlights the sharply focused areas in the scene by high contrast color to assist precise manual focusing in DMF or MF mode.

Wi-Fi And NFC
You can instantly transfer a photo or MP4 movie to your Android™ smartphone or tablet by simply touching it with the α7S - thanks to built-in Wi-Fi and NFC™ (Near Field Communication)*. Once transferred, you can upload content directly to your favorite SNS with ease. Touch your mobile device with the camera to activate Smart Remote Control, which is pre-installed and lets you control the camera's shutter release from your smartphone or tablet. To set up, simply download the free PlayMemories Mobile app.
* Requires NFC-compatible Android device.

PlayMemories Camera Apps
Personalise your camera and discover new creative directions with Sony's PlayMemories camera apps. Capture the perfect shot and create stunning artistic photos with our suite of apps, then share them to your social networks via Wi-Fi.*
*If the mobile device is not compatible with NFC, the camera can still connect via Wi-Fi.

A Wide Selection Of Interchangeable Lenses
Enhance your photographic enjoyment with our range of 54 interchangeable lenses, including a growing assortment of E-mount and A-mount options. Adding on an A-mount adapter lets you use Sony α system A-mount lenses with your E-mount camera. Discover high-quality lenses to suit any shooting situation.

Zebra Function For Exposure Check
The Zebra function highlights overly bright areas with stripes in the LCD screen and viewfinder during recordings, empowering users to adjust brightness and prevent whiteout when necessary, especially on the subject.

A Wide Range Of Memory Cards
Storing and sharing information have never been more convenient with Sony's range of memory cards.

For more information about Sony a7s visit :

a7s specifications

Digital E-mount 12.2 Mega Pixel Camera Body

model:

ILCE-7S

Best Film of Sundance 2015

Here are our ten favorite films from Sundance 2015.

10. Welcome to Leith Directors: Michael Beach Nichols, Christopher K. Walker

This documentary begins with a nightmare scenario, then forces us to carefully consider the path the nightmare must travel. The tiny town of Leith, ND, population 24, enters turmoil when white supremacist Craig Cobb decides to buy land there and turn it into a haven for white power groups. The townspeople naturally react with anger, knowing that the hate groups could easily obtain a voting majority due to Leith’s rather meager population, and are further antagonized by Cobb, who seems to revel in aggravating them. Things come to a head when Cobb and his companion, shotguns at the ready, walk through town “on patrol,” hoping to provoke a reaction.
With intimate access to parties on both sides of the battle, directors Michael Beach Nichols and Christopher K. Walker constantly challenge our initial impressions and feelings. The townspeople’s fight against the hate groups has shades of anti-immigrant activities, as they try to drive the outsiders away. And yet, when you remember that they’re fighting against Nazis who want to take over their town, it’s hard to argue that they should be more relaxed. Welcome to Leith never offers explicit instructions on how to think, it just quietly observes, leaving the audience to grapple with bigger, more complex questions about assumed belief and deep-seated prejudice. —Jeremy Matthews

9. Last Days in the Desert Director: Rodrigo García

There have been many attempts to humanize Jesus in film, but in Rodrigo García’s arresting Last Days in the Desert, Ewan McGregor manages to bring both humanity and deity to Christ. There are only five characters in this gorgeously shot imagining of Jesus’ time in the wilderness, meaning a tremendous amount of the film’s burden lies on the McGregor’s shoulders, but thankfully he’s up to the task as both Jesus and Jesus’s foil, the tempting Devil. It’s a quiet, contemplative movie—Jesus looks for purpose and clarity among the messiness of humanity and all its shortcomings—a rare religious film that is relatively faithful to its traditions but more questioning than dogmatic. —Josh Jackson

8. Sleeping With Other People Director: Leslye Headland

The romantic comedy is a genre crying out for an update. We’ve had a few worthy entries in the 21st century—the imaginative Amelie, the clever and quirky Silver Linings Playbook, even the irreverent Knocked Up. But none of those films embraced the genre and all its tropes quite like the latest from Leslye Headland does. With her third film, which is little more than 90 minutes of sexual tension building between two friends, Headland has managed to create a direct descendent of Frank Capra, Billy Wilder, Rob Reiner and Nora Ephron—and make it just as uproariously funny as its forebears’ best works. Sleeping With Other People pushes at every boundary without ever feeling unnecessarily tawdry; it’s the Cards Against Humanity version of When Harry Met Sally (there’s even an “I’ll have what she’s having” moment involving a bottle of tea). Alison Brie could be our decade’s Meg Ryan, and Sudekis could be our Hanks—but there’s no doubt that Leslye Headland will keep making us laugh for years to come. —Josh Jackson

7. Me and Earl and the Dying Girl Director: Alfonso Gomez-Rejon

Each year, the Sundance crowd favorite either inspires a lot of laughs or packs a big emotional punch. This year it did both, picking up the U.S. Dramatic Grand Jury Prize and Audience Award in the process. In Me and Earl and the Dying Girl, Thomas Mann stars as Greg, an awkward high school student who befriends Rachel (Olivia Cooke), his classmate dying of cancer. Though he and his friend Earl became Werner Herzog-loving cinephiles at a young age, spending their formative years making childish parody-homages (Senior Citizen Kane) to the art they adore, when Greg is forced to confront some deep emotions, to express something truly personal, he has no idea where to start.
The film runs the risk of depending too readily on a garish barrage of indie quirk, but its characters and performances are so rich and likable, and Alfonso Gomez-Rejon’s direction so energetic, one has little option to do anything with it but to fall in love. —Jeremy Matthews

6. James White Director: Josh Mond

As intuitively as James White captures its title character’s rage, aimlessness and confusion, writer/director Josh Mond ’s true achievement is in his ability to afford multiple dimensions to characters who only have one or two scenes. Christopher Abbott (Girls, Martha Marcy Mary Marlene) confirms his talent in a big way, playing James, a quickly aging New Yorker still lost in a world of clubbing, casual sex and even more casual drug use. He finally begins to find purpose in caring for his sick mother (Cynthia Nixon—also great) as she suffers with cancer; one scene in particular, in which James helps his mother to the bathroom, then tries to comfort her as best he can, is a perfect encapsulation of the movie’s strength, and already feels like one of the most powerful cinematic moments of 2015. —Jeremy Matthews
5. The Nightmare Director: Rodney Ascher

Proudly proving that Room 237 was no fluke, documentary filmmaker Rodney Ascher returned to Sundance with this gripping portrait of sleep paralysis, a strange condition in which the sufferer is neither asleep nor awake, tormented by visions but unable to move. Much like Room 237, which listened in while conspiracy theorists explained the “real” motivations behind Stanley Kubrick’s The Shining, The Nightmare begins with a clever hook but soon dives deep into its subjects, showcasing a cross-section of humanity whose bedtime hours have become a perpetual terror. In a way similar to Errol Morris, Ascher is fascinated by seemingly ordinary people: how they tick, how they cope, how they make sense of their lives. Incorporating recreated scenes of his subjects’ dark dreams, Ascher makes life itself seem strange, vivid and powerfully intense. —Tim Grierson

4. Cartel Land Director: Matthew Heineman

Twenty minutes into Cartel Land, I leaned over to my filmmaker friend and whispered, “We have GOT to get the rights to turn this into a scripted feature.” Half an hour after that, I leaned over again and whispered, “Never mind.” She nodded, knowing exactly what I meant—a scripted feature would be superfluous after the incredible storytelling already present here, plus we’d never be able to find actors as compelling as these real life figures. Cartel Land is incredibly gripping from the very first scene, in which director Matthew Heineman interviews cartel members as they are cooking meth under cover of darkness. Believe it or not, the tension actually escalates from there: Heineman begins to follow two vigilante groups—one in Arizona, one in the south of Mexico—who are fighting a grassroots war against the cartels. The results are astounding. Cartel Land is staggering, stunning. The best documentary I’ve seen in a very long time. —Michael Dunaway

3. The Witch Director: Robert Eggers

Writer-director Robert Eggers’ Sundance hit is built around a simple but powerful concept: There’s something ominous out there in the woods. The Witch plays on all the elegant fears of our childhood—dark and spooky forests, demonic possession, those invisible terrors that are infinitely scarier than some dude with a meat cleaver—for a tale of a 17th century New England family living in a house in the middle of nowhere. On its most basic level, the film is a story of good and evil, but it’s also a petri-dish examination of how close-knit communities unravel once distrust enters the equation. Ralph Ineson plays the hardheaded patriarch, a devoutly religious man blind to his own shortcomings, but it’s Anya Taylor-Joy who’s the breakout star as his oldest daughter. She knows that a witch is responsible for the slow-motion terror descending upon her family, but first she has to save her brood from themselves. —Tim Grierson

2. Mississippi Grind Directors: Ryan Fleck, Anna Boden

At once an offbeat buddy flick and an homage to road movies of the 1970s, Mississippi Grind manages to wring an enormous amount of pathos from its good-time vibe and playful plotting. Ryan Reynolds is snugly cast as Curtis, a young, fast-talking, even-faster-smiling gambler who is seemingly bothered by absolutely nothing, ready with an anecdote for every situation. For his part, Ben Mendelsohn is just plain perfect as Gerry, the long-time, down-on-his-luck gambler whom Curtis befriends suspiciously quickly. When Gerry comes up with a harebrained scheme for the two to gamble their way down the Mississippi River toward a high-stakes game in New Orleans, you think you know where it’s all headed. But there are a good many surprises for both the characters and us along the way. And even if the story doesn’t grab you (which is unlikely), it’s worth the price of admission to see every emotion flicker across Mendelsohn’s magnificent hangdog face. His is the standout performance from the entire fest. —Michael Dunaway

1. The End of the Tour Director: James Ponsoldt

The latest from director James Ponsoldt (The Spectacular Now, Smashed) is about journalist/author David Lipsky as much as it is the late author David Foster Wallace. Adapted from Lipsky’s book about his sometimes-confrontational interview with Wallace just after the publication of Infinite Jest, The End of the Tour raises some of life’s most difficult questions about identity, the perception of others and intellectual honesty. But Jason Segel’s performance as the earnest Midwesterner Wallace is the grounding heart of the film. Wallace’s eventual suicide is a specter haunting the entire affair, but it’s never maudlin or manipulative. Instead, these few days in the passenger seat are welcome, listening to an original man’s original perspective on life and loneliness.

'Spring Breakers' Producers Sued Over Alleged Attempt to Hide Assets (Exclusive)

Muse Productions, the shop behind Spring Breakers, is now defending a lawsuit that contends it has rushed to hide its assets in light of allegedly failing to pay $300,000 on its forthcoming film London Fields, an adaptation of one of Martin Amis' most famous literary creations. At stake could be the sequel to Spring Breakers.

STORY: Inside the 'Electric' 'Spring Breakers' L.A. Premiere With Selena Gomez, James FrancoThe lawsuit was filed on Monday in Los Angeles Superior Court by Periscope Entertainment, which says it agreed to advance money for the development of London Fields, directed by Mathew Cullen and starring Billy Bob Thornton and Amber Heard. It's a film adaptation of Amis' dark novel from 1989 that focuses on the impending killing of Nicola Six, a promiscuous psychic, told by an unreliable narrator who on the opening page says, "This is the story of a murder. It hasn't happened yet. But it will."

The film finally started production last September -- after many years in which such filmmakers as David Cronenberg and MichaelWinterbottom took a crack -- and as a result, Periscope says it attempted to get Muse to hand over $270,000 in owed money.

"Muse, however, failed and refused to pay the money owed to Plaintiff," says the lawsuit. "Accordingly, on September 17, 2013, Plaintiff commenced an action against Muse, by filing a complaint for breach of written contract and fraud and deceit."

Periscope, operated by David Guy Levy (Would You Rather) and represented by attorney Glen Rothstein at Greenberg Glusker, says it was successful there, obtaining a right for the issuance of a writ. In February, the parties are said to have entered into a stipulated judgment of $300,000.

But around that time, the plaintiff says that it learned that Muse had transferred certain of its assets to a company called Nicola Six Limited, controlled by Jordan Gertner, who along with co-defendant Christopher Hanley was a producer on Spring Breakers. According to the complaint, the assets included the right to the copyright of the London Fields screenplay.

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"At no point in time did Muse notify Plaintiff that it intended to or indeed had transferred the Screenplay to Nicola," says the lawsuit, which now contends that this was a fraudulent transfer to evade the stipulated judgment.

Periscope's complaint also reveals "that an existing lien in the Screen Actor's Guild's favor against Muse exists with respect to the motion picture Spring Breakers."

The lawsuit continues: "Plaintiff is currently and actively pursuing any and all post-judgment enforcement remedy proceedings at its disposal to seek the full recovery of the Judgment, including but not limited to, having recorded applicable liens with, among others, the U.S Copyright Office on all Muse owned and/or transferred motion picture and other titles it has thus far discovered, including Spring Breakers."

If that's not enough, Periscope is seeking to obtain liens on other Muse properties, including Spring Breakers: The Second Coming, which has been in the press of late thanks to star James Franco's dissatisfaction that the sequel is going forward. As for London Fields, which is in postproduction and being primed for release during the film festivals later this year, the lawsuit could impact that film as well. The lawsuit asks for an injunction requiring defendants not to convey assets, including those previously transferred to Nicola.

Cannes Review : Foxcatcher

Foxcatcher,' Bennett Miller (Competition)

'Foxcatcher': Cannes Review

The Bottom Line

A superbly modulated study of a twisted mind with a career-changing performance by Steve Carell.

Venue

Cannes Film Festival (in competition)

Opens

Autumn 2014 (Sony Pictures Classics)

Cast

Steve Carell, Channing Tatum, Mark Ruffalo, Vanessa Redgrave, Sienna Miller

Director

Bennett Miller

ennett Miller's wrestling drama stars Steve Carell, Channing Tatum and Mark Ruffalo.

Mesmerizing in its incremental layering of a bizarre, tragic and thoroughly warped character study,Foxcatcher sees director Bennett Miller well surpassing even the fine work he did in his previous two films, Capote and Moneyball.

Year's FestCentered on an astonishing and utterly unexpected serious turn by Steve Carell, this beautifully modulated work has a great deal on its mind about America's privileged class, usurious relationships, men's ways of proving themselves, brotherly bonds and how deeply sublimated urges can assert themselves in the most unsavory ways. Yet another adventurous, first-class production from Annapurna Pictures, the Sony Pictures Classics release has everything going for it to prevail as one of the major prestige titles of late 2014.

The superb screenplay by E. Max Frye (Something Wild) andDan Futterman (Capote) scores strongly on several fronts: Penetrating the mindset of the uppermost tier of longstanding East Coast wealth, making some very diverse characters psychologically plausible, and revealing in smartly judged stages the sickness of a man mentally ill, emotionally stunted and sexually stunted. In this moment of sexual forthrightness and pride, it's bracing and fascinating to behold such an exceptionally detailed and creepy study of monumental self-repression and the results it can yield.

The story hinges on a shocking murder committed in 1996 by John du Pont, an oddball member of one of the country's richest families, of Dave Schultz, a former Olympics wrestler who ran the titular training program at the center du Pont built on his Pennsylvania estate. It took a long time -- nine years -- to build up to the crime, which seemed so lacking in motive that du Pont was simply declared not to be "in his right mind" when he put three bullets into his longtime associate.

Bennett and his writers have dedicated themselves to detailing what they believe was really behind the sorrowful affair. In 1987, Mark Schultz (Channing Tatum) is a dour young man seemingly at a dead end. He was a gold-medal winner in wrestling three years earlier at the Los Angeles Olympic games, but all he can do now is stare at the medals and trophies in his crappy apartment and try to rouse the interest of elementary school students in sports. His older brother, Dave (Mark Ruffalo), also took home wrestling gold and is Mark's only source of human warmth and love, but he's off in Colorado with his wife Nancy (Sienna Miller) and their young kids.

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Mark could therefore not be more susceptible to persuasion when he's paged to fly for a visit to the du Pont estate -- first-class, of course, with a chopper to bring him onto the estate, a vast property surrounded by woods. When the host finally appears, the man looks like a shrimp compared to his powerfully built guest; he has pasty, colorless skin, a high, whiny voice and posture that emphasizes his pear shape. The only assertive thing about him is his protuberant nose, which he invariably keeps pointed high in the air, as might a king.

Noticing all this, you suddenly do a double-take when you realize that the actor playing du Pont is Carell. Haughty through money and position, he's weak in every other way, also seemingly without friends but with a special loathing for his aged imperious mother (a commanding, still stunningVanessa Redgrave).

From the beginning, you can't take your eyes off Carell; as if by some secret alchemy, the actor makes you believe that his character is an entirely uncharismatic man while delivering a completely charismatic performance. The combination of his thin, reedy voice with frequent heavy silences and odd vocal pacing is thoroughly unnerving. He is so socially maladroit that no one would tolerate him but for his wealth and status, although his speech habits command attention by virtue of their simple weirdness.

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Installing Mark in a sumptuous guest house on his enormous estate, du Pont inspires Mark with patriotic statements, how the young man can help America be strong again and how he wants him to win at the forthcoming World Cup games in France, which he does, and then at the Seoul Olympics the following year, for which more young wrestlers are brought in for Mark to train.

But it also starts becoming evident that du Pont has something else on his mind. He touches Mark, awkwardly and tentatively, whenever he can in a "manly," congratulatory kind of way, and tries to make the young man complicit in his hatred of his mother and her horses. He soon has Mark begin to give him personal wrestling lessons, an obvious excuse for constant physical contact, and begins encouraging him to get out from under his older brother's shadow.

It isn't long before he encourages Mark to join him in taking drugs and the young man's increasing self-disgust brings him to wallow in them. Exactly what goes on between the two men behind closed doors isn't explicitly stated, but it seems quite clear, while Mark's physical condition deteriorates to the point where he can hardly compete anymore.

With the Olympics looming, du Pont suddenly turns on Mark, calling him "an ungrateful ape," and persuades the reluctant Dave to come lead the effort for the 1988 Olympics. Dave, who basically raised his younger brother after their parents died young, is an all-around terrific guy -- great at establishing rapport with others and at teaching the young hopefuls who show up at the big training center du Pont has established. Dave tries to make Mark snap out of his funk and train for the games. For their part, Mark and du Pont are no longer on speaking terms, the latter otherwise occupied in the wake of the long-awaited death of his mother and his acquisition of a prized .50-caliber machine gun.

The dynamics keep shifting from the Olympics and beyond to the entirely unprovoked climax, a very sorry affair indeed. It's a sick, twisted story, which is to the credit of the filmmakers for having made fascinating, rewarding and absolutely worth telling. The thorough exploration of the depths of human nature in this elemental story might have pleased Dostoevsky; there is the predator who overcompensates for physical weakness via psychological and financial power and two very different kinds of victims, both strong in body but one emotionally weak, the other entirely self-confident. Shrinks could have a field day with all the complicated dynamics running though these relationships, which help make the drama such a rich experience.

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Miller gets it all done here; the hushed power of old money comes through loud and clear in the physical setting of the du Pont estate, the manner of the staff and the arbitrariness of the heir's decisions. The quiet rhythms of the story are at one with the ripplings of the nuances between the men; few films are as loaded with, and benefit from, churning subtext such as this one. For a story that unwinds over nearly a decade, the director, along with his writers and three editors, achieve a very fine balance both in the rhythms and overall shaping of the drama.

While Carell dominates with his unexpected performance, he is superbly backed up by his co-stars. Playing a young man who doesn't have a clue how to articulate his feelings and suffers for it, Tatum is a smoldering, festering piece of emotional raw meat, able to be manipulated this way and that by his benefactor. You feel his pain. As the older and exceptionally capable older brother, Ruffalo bestows his character with a profoundly genial nature that suggests that no one could possibly dislike this guy, much less be provoked to murder him. But he had emotional wealth, instant likeability and physical capacity, things John du Pont could never buy.

Production: Annapurna Pictures
Cast: Steve Carell, Channing Tatum, Mark Ruffalo, Vanessa Redgrave, Sienna Miller, Anthony Michael Hall, Guy Boyd, Brett Rice
Director: Bennett Miller
Screenwriters: E. Max Frye, Dan Futterman
Producers: Megan Ellison, Bennett Miller, Jon Kilik, Anthony Bregman
Executive producers: Chelsea Barnard, Ron Schmidt, Mark Bakshi, Michael Coleman, Tom Heller
Director of photography: Greig Fraser
Production designer: Jess Gonchor
Costume designer: Kasia Walicka-Maimone
Editors: Stuart Levy, Conor O'Neill, Jay Cassidy
Music: Rob Simonsen

No rating, 135 minutes

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