Exploring My Custom Sony a7c Mark II : The Ultimate Cinematic Setup

welcome back, movie masters! Today, we're delving into the depths of something intriguing. Do you recognize this mysterious setup? It's quite the enigma at first glance. But behold, what we have here is none other than my customized Sony a7c Mark II, now transformed into a true beast of a machine. Join me as I walk you through every meticulous modification I've made and the rationale behind each one.
Now, I could have chosen my trusty FX30 for this endeavor, but intentionally, I've opted to deck out my a7c Mark II. But why, you ask? Well, let's dissect every component here, unraveling its purpose and necessity.
Alright, let's dive in. Brace yourself, because this rig is a powerhouse. At its core lies the mighty a7c Mark II, snugly encased within a SmallRig cage, perched upon a SmallRig shoulder mount, albeit with a slight tweak. You see, I've removed the back portion of the mount as I found it a tad unwieldy for shoulder support. Resourceful as ever, I repurposed spare parts lying around the house for this build.
Moving on, affixed to the rear is a V-mount plate, boasting a formidable Newer 99-watt V-mount battery. And that's not all - strapped onto it is my tank, boasting a whopping 55,000 milliamp hours of power, akin to some car batteries in size. This setup is an absolute workhorse, ensuring uninterrupted shooting sessions. With multiple USB and power options, I've got every base covered.
Now, let's shift our focus to other enhancements. The Rode Wireless Pro for seamless wireless audio, a compact 6-inch Field World monitor for visual feedback, and the recently acquired Hollyland Mars 300 Pro for wireless video transmission, ensuring my clients are always in the loop during shoots.
Ah, but the pièce de résistance - the Sigma 18-35 lens, paired with a Sigma MC-11 EF to E-mount adapter, a match made in cinematic heaven. This lens, coupled with the a7c Mark II's full-frame capabilities, excels in low-light conditions, offering unparalleled performance.
And let's not forget the PD Movie Live Air 3, ingeniously repurposed for zoom control rather than focus, leveraging the stellar autofocus capabilities of both the camera and lens. Topped off with a SmallRig matte box, this setup is as versatile as it gets.
Now, you might wonder why I chose to rig up the a7c Mark II over the FX30. Well, it's all about that extra stabilization - seven stops compared to the FX30's five. This rig is my go-to for extended shoots, offering unparalleled stability and versatility.
Sure, it may look like a tangle of wires and gadgets, but trust me, it's as practical as it gets on set. So, what's your craziest camera customization? I'd love to hear your thoughts. Until next time, keep creating cinematic magic, and don't forget to hit that like and subscribe button. Catch you in the next one!

[@asifaltaf1]

is this shane from Buzzfeed unsolved?

[@at9040]

My exact thoughts 😮

[@Sonymoviemasters]

i guess we look a little similar

[@trowaclown]

An APSC lens on a full frame camera, and then you call it a beast? lol

[@Sonymoviemasters]

I do plan on getting the 24-35mm f/2 DG HSM (Art) which is full frame. I just havn't got my hands on it yet, I did get the other lens for my FX30, but then decided i liked my A7CII better.
If you like i could put one of my many full frame lenses on my shelf on. This lens just happens to be optically great and far more practical with variable focal lengths at a low fstop. Otherwise id probably use my 35mm Samyang t1.5,