Jump to content

Nezih

Administrators
  • Content Count

    317
  • Joined

  • Last visited

  • Days Won

    19

Everything posted by Nezih

  1. The style is quite slow-burner compared to more "trendy" "upbeat" options... but the quality of conversation and topics covered is very good.
  2. Not yet. It'll be release with the next episode of The Camera Channel podcast: http://www.mjsanders.co.uk/podcasts
  3. Well of course with PAG batteries you can stack them and they all charge... but that's 10 hours per battery... so would take ages to do a few over USB!
  4. FYI, PAG's micro charger can run from USB too. Another good option for emergencies! https://www.paguk.com/landing/PAGlink_Gold_Mount_Micro_Charger "Charging of a 94Wh battery from a 2A USB charger will take approximately 10 hours." Obviously that's ages... but it's a sort of get out of jail free option if you're stuck in an airport or hotel or something and don't have a local power adaptor.
  5. FWIW, although I've seen some lovely demo films with the C300mkIII, yesterday I saw some side-by-side test footage of the C300mkIII RAW Lite vs the FX9 XAVC with the same lens and the FX9 look much better. Better key against green screen, richer colours, and much more detail. Really surprised me how poor the C300mkIII look in comparison in those particular tests.
  6. I have a Steady Saddle made by Bebop. Basically the same thing. The fabric used on the Cinesaddle is a bit softer, and so nicer against the skin (when using it as a brace). The Bebop Steady Saddle is however very durable, and quite water repellant and wipes clean very easily, but it can be a bit abrasive against the skin. In my experience both function exactly the same in terms of support. This is their new version, which I must say looks a bit better than mine. Improved shape: I on occasion use mine over the shoulder as a brace as per that photo above. It does work really well, both for hip level shooting, but also can be used to rest the elbows on to take for arm strain with heavier cameras. The only downside to this is the strap can dig into your shoulder, causing a new sort of soreness. I tried to counteract this by adding a velcro-on soft shoulder pad to my strap. It helps, but still can become a little sore if resting a heavy camera on it for extended periods. Different soreness to just having the camera on the shoulder... as it can yank on your neck a bit. I have an Ergorig now, and haven't tried doing the two together... haven't really needed to yet... but if I find myself on another factual documentary job where I need to have a heavy camera on my shoulder for hours on end, I'll definitely bring both tools (unless renting an Easyrig is more suited to the particular job). I've never tried using mine on a car bonnet... but have used it many times to stabilise cameras on the floor, on edges of walls/ledges/railings, and also on car seats. I've also used it as a pillow when travelling! Though it probably wasn't very clean, haha. Here are a few pics of me using both my Steady Saddle (blue) and a Cinesaddle (brown).
  7. Nezih

    Wake Up

    That's absolutely gorgeous. Pretty moving too! Love the VO and sound design. Interesting grade too... some shots look a little washed out, but some have a real ektachrome late-70s sort of look to them. Nice. Maybe worth entering to: https://www.newsshooter.com/2020/06/16/musicbed-reopen-challenge-100000-cash-in-prizes/
  8. Not much to say really... I trust that any battery from a respected and reliable brand will be just as good in mini form as it will in normal sized form.
  9. Are you specifically looking for more "cine zoom" options (I ask, because you've mentioned Optimos, Aluras, and Canon Cines)? How about the Canon CN.7 or Fujinon XK6? Both really versatile workhorse lenses with a good look to them. I have the Fujinon, and love it. Use it for the majority of my work, and am always happy (as are clients). There's also the Zeiss LWZ 20-100, and the Fujinon MK pair (which I also like a lot).
  10. Reminds me of the very first time I used an F55: (from 55 seconds) A rolling shutter camera (especially in 2013) would have looked a total mess in this environment! Might be a few 5DmkIII shots mixed in there, which may have horrific banding.
  11. It'll be at least a year before that happens I reckon. Also, you say this as if you know there are more global shutter S35 options coming. Where did you hear that, or get that idea? Sony made a big deal out of the VENICE's marketing that the sensor read-out was so fast that global shutter wasn't really necessary.
  12. Agreed, it helps to have something standard/ For my F5 I found one on ebay which was essentially a laptop PSU wired with a 4-pin XLR (I think originally designed for some medical equipment). You just need to make sure it's outputting the right voltage and amps, and the 4-pin XLR is wired correctly (as there is more than one way this can be done). http://mouser.co.uk is a good place to look... once you've found the model you can then look on ebay / other stores.
  13. That'll be because the NUX doesn't supply phantom power. If I've understood what you're saying, that's possibly because of variations in line level and mic level... and what levels are being used... for example, a lot of DSLRs/mirrorless cameras etc actually use "consumer line level", which is lower.... and thus may need more gain added to get back up to where you'd like it... and those potential for more noise. Then I guess it depends on the quality of the preamps/gain structure of the mixer/recorder. @Tom Visser very good. But you forgot to discuss 1-bit ADC/DACs too 😉😉, hehe.
  14. Update BTW, ARRI have confirmed officially they'll have a Super34 4K camera next year.
  15. Honestly, for documentary work, I'd consider something like the Sony PMXW-z280 (or Canon/Panasonic equivalents). You'll find it much more useful, versatile, and pleasant to work with... whilst still getting good looking shots. If budget allows, a mirrorless (maybe APS-C to keep cost down) on the side with one prime lens, or something like the Sigma 18-35 1.8.
  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. @Australian Image (Ray), as far as I can tell, the 48KHz 24-bit specification of the Rode VideoMic NTG only applies if using the USB output (and the internal processing). If you're using the minijack output then surely it's just analogue, and there is a DAC in the microphone converting that digital signal (post the internal processing) that would have otherwise been sent via USB into an analogue signal to go down the minijack? So it goes: Mic capsule > ADC > 24-bit 48KHz internal processing > USB or Mic capsule > ADC > 24-bit 48KHz internal processing > DAC > minijack (analogue) The Rode VideoMic Pro + doesn't appear to have any digital output, so will always be Mic capsule > ADC > internal processing > DAC > minijack (analogue). The USB appears to be only for power. So, if connecting the NTG to your Zoom F6 via USB (is that even possible?), recording at 32-bit is questionable (arguably pointless... I don't know). You may as well keep it at 24-bit. If connecting either mic via their minijack then it's an analogue signal, and so there will be benefits to recording 32-bit float.
  18. Pretty much EVERY microphone is analogue. There are very few digital microphones out there (with ADCs built in), and the ones that exist are usually very expensive. Such as: https://schoeps.de/en/products/shotgun-microphones/cmit-series/supercmit.html which costs over £3000. Battery inside doesn't mean it's digital or there is any digital processing - it's typically just for phantom power. Of course, these days, most wireless packs are digital. But the microphones themselves aren't.
  19. Absolutely. The only significant problem is they playback. I hope they can fix it and regain trust. Because aside from that, feature wise, it's a great platform.
  20. Any analogue mic will be fine. That 32-bit audio is a concept that only exists at the point where that analogue signal is converted into a digital one. That NUX B3 thing look interesting. Tidy. If you really want to get fussy here, you need to understand the quality of the ADCs (analogue to digital convertors) and pre-amps. They will be the bits that make more difference than it being 24-bit or 32-bit, I think.
  21. I discovered because they told me. I'm loosely in touch with their CTO as I helped debug the player a few times. I'm not sure if it's been updated again since. Last time I spoke to him, he did say they were working to be more transparent about the changes... but they don't seem to have added anything here: https://vimeo.com/blog/category/product-news/ or here: https://medium.com/vimeo-engineering-blog I'm not sure if it's just a placebo effect... but it does actually seem to have improved since then. The other day I was able to stream a 4K video with no drop outs... which in the past was usually impossible!
  22. Nezih

    Z Cam E2-S6 vs E2-F6

    I'd like to know this too.
  23. In terms of feature set and specifications, can you link to anything that gives a really accurate comparison of the two? Or provide the same here? Thanks!
  24. Perhaps. A lot of this does come down to the fact that it hasn’t really been designed with the possibility in mind that it might be used on non BM cameras.
×
×
  • Create New...