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Mark K

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Mark K last won the day on August 6

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  1. Mark K

    Sony PMW-F3

    Thanks for the kind words guys 👍 Joeri, Colony we shot on a Sigma 18-35mm T/2 and the Red 50-150mm T/3. And The Good Wild Man was shot on the Zeiss CP.2s.
  2. The power for the SSD unit is already routed internally, it's crazy to not include internal routing for the data connection as well. Honestly, I think it's something you guys should think very seriously about revising before release. The SSD unit makes the CFast limitations a non-issue. But the external USB connection (even with mounting screws) is just way too vulnerable. Route the data internally, and you eliminate everyone's concerns about recording.
  3. Mark K

    PMW F5

    I don't know that there are any (or at least, any that you'd want to mount to the camera). The SDI ports are 3G-SDI, so you need to run 4 separate BNC cables to get 4k 60p out of the camera externally. I think that would be crazy. The XAVC 4k upgrade gives you the option of XAVC Class 480 (which is a solid codec). And you can pick up an AXS-R5 Raw Recorder for fantastic prices at the moment. It'd be silly to muck around with external recording when you can get 16-bit 4k raw INTERNALLY for practically the same money or less.
  4. The greater highlight latitude means you can get away with less power in your key light and still hold hot windows. It can also save you from having to bring in grad NDs or netting windows to balance your exposure.
  5. The added time/effort required by needing more batteries for the Amira, is easily compensated for by the reduced time/effort required to light subjects you're shooting with it (in order to hold more highlight detail).
  6. I'd steer clear. They're simply rehoused XEEN lenses, with the "18.5mm" being a rehoused 20mm Sigma Art prime. They're out of business now, so there's no one to source parts from for repairs - plus I'd just be cautious in general of a company whose people can so confidently lie directly to people's faces (which is what happened when I asked the owner about the optics when he brought the lenses down to Australia on a "road show"). You can get the same glass in Xeen's new (and improved) carbon fibre housings, for equally cheap money (and for even less money if you go with the original housings) - with the benefit of having an actual source for service and repairs down the line.
  7. I'm very intrigued to see what the sensor tech can do (currently the 16.3 beta crashes instantly on my machine if I go anywhere near the 12k sample clips). And I agree that the 12k is kinda irrelevant (given that you can record "native" 4k or 8k if you wish). To me, the issues that do matter are the continued use of CFAST cards (which requires splitting recording across multiple cards to access full frame rate options), and the alternative (the SSD recorder) having to be externally plugged into the camera's USB-C port (an incredibly dangerous prospect for recording - since the connector is so fragile). All the cameras make fine images these days - so it really is the functionality, ergonomics and feature-sets that set the good ones apart. And they've made a couple of really unfortunate choices on that front.
  8. I love my Think Tank stills gear, and wanted their big Video bag (the 24 I think). But their bags were a little too short to fit a conventionally rigged camera (the top handle made the camera too tall to fit). In the end I had to settle for a Sachtler Doctor's bag (No. 5) instead. Which has the size right, and is well made. But has an incredibly irritating top access that doesn't hold itself open.
  9. It's a little bit hefty, but there's so little extra gack you have to add to it (compared to rigging other cameras) that the total weight isn't as bad as it sounds on a spec sheet.
  10. I'd expect some significant advantages for the larger sensor camera, especially as it has effectively the same pixel-pitch as the C300iii but is then downsampling a 6k version into a 4k final image. What I am very interested to see though, is how much the DGO in the Canon helps it keep up with the larger Sony in the deepest shadows and brightest highlights. Also it would be great to see how well a really pushed grade (with mattes and secondary corrections) holds up on the smaller sensor with raw, versus the larger sensor at 300mbps 4:2:2.
  11. I did the math for how long it would take to charge them via a 12v accessory output on a motorbike (for an expedition doco that ended up not happening) and it wasn't great. At 12v the recharge for 98Whr was something too unsustainable (I think it was around 10 hours or something per battery). With a transformer to bring the 12v up to 16.8v (in order to use a more conventional DTAP cable charger), that dropped back down to a more manageable 3-4 hours. I think USB-C charging does become viable when you're using a beefy charger like a Macbook 90w PSU. But any USB output will charge the batteries, it's just a question of how long they'll take depending on their output.
  12. Size and weight look good, and having dual DTAP outputs is VERY useful (I don’t think anyone one else offers that 🤔). The USB outputs are helpful too. The one thing that I think would make it a little bit more appealing, would be if you swapped one of the USB-A ports for a USB-C port. It would make the battery great for charging laptops on-set (or anywhere else for that matter), which is a big deal for data wrangling in remote locations or while travelling. And it also just opens up more options for charging different camera/audio accessories without having to source a DTAP to USB-C transformer.
  13. In terms of monitoring features, I'm yet to encounter any EVF that is as well setup as the Zacuto Gratical Eye/HD. the 4:3 screen with waveform permanently positioned beneath the image (so it doesn't interfere with framing) is a big deal. As is the fact that you get monitoring of the underlying log signal fed to the viewfinder, and can monitor that log exposure while having LUTs applied on top of it. That does give the Graticals an edge over everything else out there, however there are a few caveats: - 1D LUTs, the Gratical Eye never got it's hypothesised 3D LUT addition in software, so you're limited to 1D LUTs. This is irritating, but the OLED is easy to calibrate - so ultimately it's not that big of a deal, you just have to calibrate the EVF to match the 3D LUTs you have applied to the rest of your on-set monitoring. - Frame LINES. The Gratical doesn't give you the option to use semi-opaque masks for your frame guides (which is frankly ridiculous, as that should be the DEFAULT frame method for ALL monitors/EVFs. Frame LINES are stupid, and points of contrast in the out-of-frame areas can influence your compositions (which is very irritating, and a non-issue when you have masks instead). - 720p OLED whilst plenty sharp, and plenty reliable for focus - isn't 1080p (which some newer ones are). How perceptible the difference between the two at the viewing angles an EVF actually provides, is up for debate. But it's a consideration. For use with a Blackmagic Pocket, I'd have to suggest the Gratical HD as your best option. You get the HDMI input. You get SDI passthrough (so you can easy feed your signal out to a conventional SDI monitor or wireless video TX if needed). And because it can be powered by onboard batteries, you don't have the clutter of a power cable (in addition to the HDMI cable from the camera). So although it's a bigger unit than something like the Gratical Eye, the overall rigging can be simpler and more compact.
  14. They sell the FXLion Nano batteries here in Melbourne, and I'm super keen to pick up a handful of them once work picks up again. They're TINY, and with the USB-C and USB-A outputs build in (in addition to DTAP), they're just so much more versatile than regular v-mounts. You can charge them via USB-C if you need to. You can power/charge Laptops or Phones from them - a huge help if you're data wrangling and need stable power, but don't have generator with you - they're WAY better for little director's monitor setups, or wireless FIZ stations - things that need battery power, but also need to be mobile. For handheld operating, you can instantly reduce the weight of your camera rig by about 500-800g just by switching out to a Mini battery for that. From here on out, I think I'll only be buying either mini/nano batteries, and the big, honking 26v batteries (for powering LED lights etc). Nothing in-between.
  15. All "expanders" are simply Teleconverters. They work by expanding the image circle projected on your sensor - expanding the image circle reduces the intensity of the light coming through the lens (since the same amount of light has to be spread over a larger surface area). Similarly you lose resolution with them, because you're physically the resolved image - so the number of resolvable line-pairs per millimetre will be shrunk by the expander as well. If you use them between a S35mm lens and a S35mm camera, you're essentially just "cropping" (optically) into the glass you put in front of the sensor. Whether it's worth using expanders on S35mm glass (to get FF coverage), is really just something you have to test - i.e. will the gains in image quality you receive from using the larger format, compensate for the losses in image quality that your optics will suffer from - the answer could change depending on the specific lenses, specific expanders and specific sensors in play.
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