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  1. Yesterday
  2. I go between x mount lenses for small jobs, and PL glass on bigger ones.
  3. An update to anyone interested, check out some of the cool submissions: https://motionarray.com/learn/motion-array/on-my-desk-contest-submissions/
  4. What lenses are you folks using? My brother has an XT-3 that I've poked around with enough to make me consider purchasing one, but the X mount makes me hesitate.
  5. Hi Everyone. I've been scouring every corner of the internet for days now trying to figure out which camera to go for and I'm pulling my hair out. I'm looking for a versatile mirrorless camera for a mix of documentary and narrative work. I'm confident that all the options I'm looking at are suitable for the kind of narrative, commercial and music video work I do. However I also need something that I can use for documentary work - largely handheld. Sometimes filming actuality, following subjects around. Sometimes nice cinematic b-roll. I like to keep DOF relatively shallow. My priorities: - Good IBIS - Good lowlight - Ability to record and monitor audio - Good for photography - A good native zoom lens for general documentary work Secondary considerations: - 10- bit internal would be nice - Autofocus - AF is something I've never used in the past. Being trained in natural history filmmaking a decade ago - the idea of using AF for video was laughable. I'm unsure whether I'm missing a trick here. Is some AF now truly good enough to accurately track and keep focus on subjects at shallow depths of field? Right now it's a real toss up between the Panasonic S1, Nikon Z6 and the Fuji XT4 For a while I was pretty set on getting the Panasonic S1. I like the idea of a bigger camera for handheld work and the IBIS looks great. Internal 10 bit also appealing. But once I add the costs of the firmware upgrade and an expensive L-series zoom, the whole kit will cost around €3200, instead of around €2300 for the XT4 or €2100 for the Z6. I considered the Gh5 and A7iii too but I'm leaning away from them because of the bad low light and m4/3 mount on the gh5 and the lack of 10-bit recording (even externally) on the a7iii. I'm leaning towards full frame options for what they offer in terms of shallow DOF and low light capabilities. I have a set of old Nikon AIS primes which I love using and plan on adapting these to whatever setup I have. Any help here would be much appreciated!
  6. Hi everyone, I'm just an arts hobbyist who tried filmmaking last year by making a short about my depression. Feeling the itch of having another go after focusing on my music since the film. Here to learn more about the craft and equipment, won't probably write so much, mostly here to read and listen 🙂 Short here if anyone want's to see it:
  7. Very excited to share the news that MZed has just launched a new masterclass with Oscar-winning editor, Tom Cross ACE. This course has been a very long time coming after our partners New Studios in China filmed his masterclass in Beijing and we're excited that it's reaching an international audience. Over eight hours Tom breaks down what is required of an editor working in Hollywood today, and how he approaches narrative editing through deconstructing several scenes from Whiplash, La La Land, First Man and Hostiles. https://www.youtube.com/watch?v=EoktkCDMMb4 You can watch the first module free here on MZed.com or in our iOS app. The course is $249, but you can also bundle it with an MZed Pro membership for $399 and save $149.
  8. Canon doesn't sell one? That seems like an oversight. Or do they have one coming at some point?
  9. Last week
  10. You should be able to use a V-lock charger that has a 4-pin 16.8V XLR output as well if you can't find a dedicated power brick as it's an industry standard.
  11. I have the above setup and works really well, but I need some support because I literally can only hold it for 90 seconds 😓. Would prefer something that won't break the bank and easy to put on/take off. What do you like to use for similar setups?
  12. Hi all Unfortunately the C500MKII doesnt come with an AC power adapter, unlike the C300MKII and C200 it takes an XLR power connector. Looking to get one so that I can power the camera using AC power for longer interviews but not really sure if there are particular models I should be looking for. Thought Id throw this out there in case anyone a bit more experienced with XLR power has any idea. Thanks!
  13. Mark K

    Sony PMW-F3

    Ergonomically it's not great, but if you setup your preset white balances with a bit of forethought, you can make it pretty painless to switch between a range of WBs (not just Daylight and Tungsten), and if you can find one with the Element Technica Body Armour and the RGB 4:4:4 upgrade - it gets much better to use. As a sensor in a box it's pretty terrific. Here are a few shorts I shot on the F3:
  14. Looks like you left out a link? It's a weird time to build at the moment. We're at the end of a cycle at the moment with Ryzen 4000 series releasing soon with B550 motherboards arriving in the next month. 10th gen Intel has also just arrived. All of this with the impact of covid has meant high prices but I am starting to see component prices coming down in the recent week or so. There are also supply shortages for power supplies, and a few other components.
  15. Thanks for the help all. I went with the Luxli Taiko and am a very happy camper!
  16. No whispers, no. But lots of speculative discussion online. There have been several long discussions about this on the F5/55 Facebook group here: https://www.facebook.com/groups/829126787140230/ I personally believe that it's highly unlikely we'll see a new camera between the FX9 and VENICE any time soon., if ever. They're just too similar already. I mean... obviously very different in many ways, but the overlaps/similarities are significant enough that anything in the middle would likely have a negative impact on sales of the models either side. That's me with my "marketing hat" on. However, from an operator perspective, I absolutely feel there is a place for a model in between. Also, there are a lot of things the F5/55 can do that the FX9 can't do (yet?), and/or things that are just (IMO) better about the F5/55. Maybe some of these will be added in firmware updates... but some will likely never happen again. Such as: Ability to use the CA-4000 etc for live OB environments. Perhaps this just never became popular enough so Sony have canned this, leaving it to their systems cameras (after all, one of them now has a Super35 sensor!). Or maybe they'll bring some of those features to the VENICE? Ability to use an RCP (see above). Much tidier ENG back option. PL mount with electronics and lens metadata. Shutter sync for 3D work (again, BENICE territory, and I guess just not very popular these days). Global shutter (F55). VENICE sensor readout speed is very fast, so somewhat negates the need for this, but I've heard the FX9 sensor readout speed isn't so great. AES/EBU digital audio (ok, the FX9 has the Mi-shoe... which is quite good, and clearly Sony want to keep people in their product ecosystem there, but I personally use digital audio when working with Sound Recordists, and it'd be a shame to loose it). Class480 XAVC. Definitely a lacking feature from the FX9, imo. Ability to use 2K OLPF. I've seen countless conversations about how footage from the FX9's 2K scan mode is practically unusable... this is probably why: no dedicated OLPF. Ability to use the AXS-R5 and AXS-R7. It's weird that the VENICE is the only current generation camera that can use the R7! Side display panel. I like that the FX9 (and FS7 before it) have more physical toggle buttons, but I find the side LCD invaluable. Ability to use Sony's flagship EVF (DVF-EL200). So yes, lots of things lost here.... but maybe Sony just don't feel those things are significant enough. @Warren T yes, I've seen conversation from people who have tested it. It's a Super35 sensor true 4K Alexa Mini. let's see if it actually happens...
  17. Hi everyone, I'm Richard. London/Essex based, I am a lighting cameraman / camera operator. Looking forward to learn and exchange ideas. https://www.richardkangethe.com/
  18. Given how large of chunk of the "mid" range the FS7 has taken (and the FS9 lives in the same space), it may be that we won't necessarily see an in-between camera from them. Just Venice at the high-end, FS5/FS6 for the low-end, and FX9/FS7 for everything in-between. Which I get. It's hard to squeeze something in-between the FS9 and the Venice without treading on the Venice's toes. A new S35mm sensor for the Venice (at a lower price-point) would be the obvious option (and an excellent way to spread the Venice's uptake across different sections of the industry). Something that people are less likely to add the R7 recorder too, and will live more in XAVC480 world.
  19. With the updated design, you can quite quickly remove the side plates and just leave the top plate & baseplate. They don't weigh much though. One important part that the sidesplates do is add rigidity to the camera build and takes any stress from the top handle. If you're just going lightweight, you may even choose to take the camera out of the cage if everything is clipped on, without rods as you don't need to disassemble the cage to remove the camera
  20. Hi all, As SONY has released the PXW-FX9, i am wondering if anyone has heard any whispers about a F5/55 coming out next year? Apparently ARRI has a new sensor due next year too!
  21. Specs-wise this thing is just incredible. It's practically everything I've been asking manufacturers for, for years (and a number of cool things that would never have occurred to me). - Unibody design (but still tiny) - Internal NDs that allow for precision in exposure (so no big 2-3 stop jumps in density) this is a HUGE time saver - All the Prores flavours/framerates + all the downsampling options you could want - Internal scratch mic (for audio sync) - A couple of different compression options for the raw recording - Affordable media (though you'll want to stick with Samsung "PRO" NVMEs for the MLC Nand - to deal with continuous 8k recording) - Integrated V-mount plate (so you're not having to worry about power cables as a point of failure/snag point) - The added option of integrated BP-U batteries will be terrific for times you need to jam the camera on a car's dashboard (or similar tight spots) - TRUE 12-bit 4k 4:4:4 RGB recording, downsampled from 8k (I'm pretty sure this is the first camera to ever offer this) - Clear manual controls, and control screen (I don't know what Kinefinity menus are like, but if most of the essentials can be adjusted from the main screen, life should be fairly easy). - True flexibility in sensor windowing and squeeze ratios (like the Mini LF), so that whatever image format, aspect ratio, lens type, anamorphic squeeze, or final deliverable you're working to - you can set it in camera, and don't have to rely on bringing in specific external monitors that have the controls you need. - Good variable framerates - Built-in power outputs, so you don't have to be adding additional power plates just to get your basic accessories running. - Enough monitoring outputs to make life easy - Dual Base ISO - Two proprietary video outputs (for running a Kinefinity EVF and Monitor at the same time) - TAKE NOTE CANON! - A "Lens" cable port at the front (which I'm hoping is going to be capable of powering FIZ motors (and not just conventional servo motors). This could allow for a SUPER-tidy camera build with RF-integrated motors like the Cforce Mini RF. - A super-easy, super-flexible base lens mount, that can be adapted to basically anything you need/want - Extremely fast sensor readout, for minimal jello skew. I keep trying to think of what else I'd want to add to a camera, or a physical build-layout that I'd prefer, and I keep coming up blank. An integrated EVF/Monitor like the Arri's new one for the Mini LF (so the operator can instantly move between the two) is perhaps the only thing that comes to mind (and that's certainly an accessory that Kinefinity could build down the line). The camera simply sounds pretty much perfect for my needs. The one spec question I do still have is boot-up time. The Sony Venice and Canon C500ii (with their 4-5 second boot times) have really set the standard here. So I've got fingers-crossed the Edge can manage sub-10 seconds at least. Warranty repairs/support is a concern (I'm in Australia and I don't know what the Kinefinity situation is like down here). Image-wise, I've seen gorgeous stuff produced on the Mavo LF, so I suspect this will do fine on that front. The Mavo LF's highlights do seem to clip a little harshly, but that's about the only imaging concern I have at the moment. What an incredibly exciting camera. I no that no Producer is ever going to ask for it (which is a concern), but I can see this camera genuinely making my life on set easier. And that's a big deal. I'm sorely tempted to put a pre-order down.
  22. How necessary do people think the side panels of the cage are when using the cameras with a fairly lightweight setup (PL-mount primes, matte box, v-mount and Teradek out the back)?
  23. As I can't comment on the Newsshooter website because Disqus won't work for me (on any forum), I thought I'd make a few comments on the review of the optical viewfinder (loupe). First off, I've used these types of loupes (Hoodman) on DSLRs and mirrorless camera and have found them really awful to use. There's simply no way around it, these are a complete kludge and, when it comes to the likes of the BMPCC4K/6K, I think they are even worse. The physical size is simply outlandish. As for fitment, the BMPCC6K is exactly the same as the BMPCC4K, other than the lens mount, so there should be no fitting issue. But on a completely different note, I think these comments are becoming tired old memes that really are unjustified: How many film makers go about filming with their Panasonic/Canon/Nikon cameras without any accessories whatsoever, just a lens attached? I suspect very few. Who really wants to do any sort of filming without a decent monitor attached? What about a microphone? Matte box? Why do accessory makers of all brands make accessories that enable you to rig these cameras up like a cine camera? Is it a reflection of poor usability when film makers attach cages, plates, handles, monitors, EVFs, external batteries etc onto other cine cameras such as C500s, FS7s, Arris etc? Just because the BMPCC4K/6K has some resemblance to a DSLR/mirrorless camera, it's not a DSLR/mirrorless camera. It really a cine camera that can be used in many ways and allows more user options and customisation than possibly any other cine camera. And when it comes to battery life, is this example really that much better: https://wolfcrow.com/important-quirks-and-features-of-the-panasonic-s1-for-cinematography/? The S1 gets 75 min when shooting 1080p and less when shooting 4K. I can get 50 mins shooting 4K DCI with just an OEM Canon battery in my BMPCC4K. A lot of people say that DSLRs/mirrorless cameras get battery life that's streets ahead of the BMPCC4K, yet when it comes down to actual real world use, that's usually not the case. The problem is that these sorts of comments are not helpful at all to those who don't know much about cine cameras and are looking to up their game from a less capable camera.
  24. I was interested in the newer mini V-lock batteries with the dummy V-lock plate, but when I compared them in size to my NP-F setup, they were still larger and had much the same capacity as the 6 cell NP-F. What I like about this setup is the fact that I can choose what sized NP-F to use. My other camera uses a regular V-lock and powers much more than just the camera and monitor. I also prefer the longer style for the second rig than going up in height,
  25. We have our Pockets setup with a dummy v-mount battery plate and a d-tap splitter, its been a pretty solid setup for us but works best with slim style v-mounts otherwise the rig gets a little to tall.
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