Jump to content

Martin Håndlykken

Members
  • Content Count

    98
  • Joined

  • Last visited

  • Days Won

    6

Everything posted by Martin Håndlykken

  1. This is because the Speedbooster is designed to expand full frame lenses to a S35 sensor to get a full frame "look". The Sigma 18-35 is not a full frame lens, it's a S35 lens. Therefore it will vignette when used on a Speedbooster. It is not designed to work with a Speedbooster. The Sigma 24-35 is full frame and will work with a Speedbooster.
  2. I always advocate that whatever is good for you is good enough. People have different needs and budgets, that's fine. That said, lighting is one of the things that if done poorly on set, can't really be fixed or remedied.
  3. @bumsted The 18-110 is a great lens, for what it is. A cheap ENG-style-ish lens. If you're used to working with proper Canon or Fuji B4-lenses it's pretty trash in comparison. I really miss the front audio can controller when shooting ENG on anything other than an ENG-camera. Small thing, but makes a massive difference when you need to quickly adjust your input. Ergonomics sure is important, and the Z450 was when I used it very, very good. Pretty much my favorite ENG-camera to-date. I did not mind the placement of the screen, even though I'm used to the Panasonic which sits in the middle more. The Z450 also just feels more solid and compact. It makes a big difference when lugging around the camera all day in harsh environments. The Z450 did pretty well in low light my opinion. I shoot with it for only a month, and I shot a lot of winter sports indoors and out where there is a lot of lighting, but I did shoot in instances where we were I gained 6db or 9db. It's a very modern backlit sensor that in my opinion performs very good. The Z450 also had excellent battery consumption. I'm used to hauling around 6 150wh batteries for the HPX3100 to get through a full shooting day. With the Z450 we actually were delivered brand new IDX ENDURA E-HL9s. We were only given four batteries and a quad charger. I said it might be too little considering we would usually shoot all day. I was pleasantly surprised that I could usually get through a day with only using two batteries. That's shooting with the on-camera light (Litepanels LED Brick) a lot as well.
  4. Welcome to the forum! I've owned the FS7 since 2015, and have used it for pretty much everything. I've used the Panasonic HPX3100 for a number of years, and in 2018 I shot ENG for Eurosport in the Winter Olympics with the Z450. I think the choice of camera is an interesting one, as both cameras are pretty capable. Personally, I would choose to own an FS7 over an ENG-style camcorder like the Z450 any day of the week. It's just more flexible and more attractive to own. In the commercial and corporate world the FS7 is well regarded and camcorders like the Z450 doesn't give you the "cinematic" look like the FS7. In your position though, if you aren't shooting things demanding the S35 sensor more than 60-70% of the time, I would stick to an ENG-style camera. The Z450 delivers very good IQ, and you can even shot LOG to get extra dynamic range and better options in grading. It shoots to more robust (in my opinion) SXS cards, and is all round a much more solid piece of kit. The FS7 is a workhorse, sure, but with the build up kit I feel it gets somewhat tedious. Adding on the B4-adapter also means you need to go into S16 mode on the camera, losing the full S35 sensor. A lot of add-ons makes for more points of failure. I've shoot ENG with the FS7 before, and it's never as convenient as shooting with a ENG-camcorder style camera. The Z450 is just solid, and the new EVF is killer. Same EVF as on the Venice and it's really brilliant.
  5. @Australian Image (Ray) Definitely! I think people who actually make a living of creating visuals need to think about their purchases more like a business decision, and I think most do. I have no one in my close professional circle who buy especially into the "hype" of new kit, and no one commenting stupid things like "ahh why doesn't the A7sIII have 8K?" "I want 8K RAW no buy" "Sony sucks" "Canon sucks".
  6. The IBIS should work, yes. If the adapter don't communicate the focal length to the camera you can manually select it. This was how it worked with the A7sII and I don't see how the A7sIII should be different. The menu on the A7sII was not as bad as people say it is in my opinion, and it looks like the menu on the A7sIII is even better. I would not worry.
  7. @WaldenThhree This is definitely something I do think people need to think more about when buying a new camera. What kind of return on investment are you getting and more importantly what ROI are you looking for or wanting? Cameras these days are so good you'd get a good picture for most things with anything. In my opinion, specs alone isn't what's important when buying a new piece of kit. How it fits into your workflow, how it fits into your clients workflow, how it fits into your market and how it will benefit your clients are much more important questions. I see a lot of people comparing the A7sIII to the FX9 and C300MKIII. "Why buy a cinema camera when the A7sIII has as good specs or better?". When people ask that question it really shows you that those people don't really know what they are talking about. In my opinion of course. It's just two completely different tools that work very differently and fits into very different workflows. I own a lot of cameras which I use, and every camera I own because it fills a role that I need it to fill. I own an Amira and FS7 for my video and cinema work, and two 5Ds for my stills work. I'm not pre-ordering the A7sIII right now, but I'll probably get one down the line. Why? Because I'm missing a small capable camera which I can use for an extra angle, use in special situations, easy gimbal work, travel camera when I need something very light, BTS-video etc. I had the A7sII for a few years along side the FS7, and it worked great as a small B-cam. It had some limitations as the codec did not match the FS7, and it lacked a few features etc. The A7sIII is a definite improvement and it looks like it internally can record something that looks as good or even better than the FS7. It's probably going to be a great addition to my kit, but not a replacement to anything I already own.
  8. Personally I often rent out some of my kit, and sometimes I rent additional kit for some of my bigger jobs. The Teradek 500 XT has become industry standard here in Norway. It's easy to get an additional receiver and the SmallHD monitors with Teradek built in works excellent with the 500 XT as well. I think it's the overall best solution. The 500XT kit was on sale for 1499USD a while back, I bought it last year at that price too.
  9. Martin Håndlykken

    PMW F5

    I was just about to write that I don't think the F5 supports 4K output, so external recording would be 1080p only. In that case you can use any external recorder from both Atomos and 7Q. It would work great for instances where you need long record times (conferences, speeches, etc) where quality isn't that important. That way you could save money on SXS cards.
  10. I'd consider stepping up to the Sachtler 18 if you're putting heavier loads on it from time to time. As Nezih says, the OConnor is the superior system, it's just is. But the Sachtler is a solid choice and an industry standard in broadcast for a reason. Buying a new system also gives you some peace of mind in some ways. Personally I would go with a Sachtler that can take most of the loads you're working with. I tend to rent a bigger Oconnor head (2575) for those jobs that require that.
  11. This is what Arri has said isn't it? I thought I read an interview somewhere. Wether we'll se a direct replacement for the Amira in the near future is unlikely in my opinion. The Amira still fulfills it's market very well and so does the Alexa Mini still. As long as both those cameras are widely used in production both will continue to be very popular.
  12. My sentiment is the same as Mark's. Even if they were still in business the lenses are far from anything special. I've only encountered them in production once and I don't feel they're anything special. Investing in a lens set where the manufacturer is out of business does not make sense if they're not popular and widely supported by service providers.
  13. Linus from LinusTechTips tried to back up his library to Google Drive. They throttle the upload speed after 1000GB or so, making it very slow to upload. The download speed is also not that good. I've used Jottacloud before (Norwegian service, where I live, don't know how international performance is) and they provided unlimited space. You do however need to have the drives connected and Jottacloud only makes backups of the specific drives. A little fiddly, but fine. I've kinda given up on a cloud backup option as it's too expensive and too slow.
  14. @Australian Image (Ray) From what I've read, some BM customers are irritated that BM are still launching new cameras when their older cameras still lack support. I am not a BM user myself, but I've read some still are waiting for updates for the 4K and 4.6K Ursa Mini and Mini Pro for problems that still are unresolved. But as I said I'm not a user so can't say. I do know they left the original Ursa in a ditch and left it to die a slow death though... I admire BM for launching this camera, and their approach to BRAW is great. People need to stop complaining - but they do every time. If it's not for you, don't buy it.
  15. I admire Blackmagic for their guts, always has. They've been a big part of driving the prices down and coming up with new tech that benefits a lot of content creators and filmmakers. I personally do not need this kind of resolution, but for those who do or like having more Ks this is a great proposition. Price is very good compared to other high resolution video cameras.
  16. Some say all Sony cameras are counter intuitive by nature.
  17. https://www.newsshooter.com/2020/07/17/the-long-awaited-sony-a7siii-officially-has-a-release-date-of-july-28th/ In light of the upcoming announcement of the long awaited A7sIII, I thought I could open a thread here and discuss it. Looking forward to seeing what Sony has come up with. I know a lot of people in the pre-order line for this one...
  18. @Nezih Yes, that is true. *irony on* This is why I usually just shoot without looking at a monitor and EVF. I just measure the framing, focus and exposure with my eyes and set the right settings. This is the way Sony intended it to be! *irony off*
  19. This is why I use the stock monitor or EVF as it makes that change automatically. I also output to my monitor with the built in LUT.
  20. @Graham Kay I think you'll be able to work with SLOG3 just fine. Yes, it might not be as easy as say CLOG1, but that curve is very mild and only offers 12 stops of dynamic range. If you're using the 709 LUT as a base then you can get great results very easy from there. I actually often just throw on the Arri 709 LUT on FS7 footage as it works fine as well, since the LOG-curves are so similar. I own and shoot on an Amira and I use the FS7 as B-cam all the time. As to Robin is saying, working with CIne EI is very different from a regular video camera. It's difficult to get your head around and I think the best way to learn is to listen to Alister talk about it in a video. Think there is some on YouTube, but I forget. What I usually do is to shoot at 1000 EI on the FS7, as that makes me overexpose the image when looking at the image in the monitor. The FS7 in Cine EI-mode always records at 2000 ISO, which is kinda weird if you're not used to it. When you learn it though at get used to the workflow it's quite simple. I actually prefer to shooting this way as it makes it easier since you don't have a lot of options.
  21. @Australian Image (Ray) Distribution is definitely a problem for new brands like this. I usually order for B&H or CVP for stuff like this and super happy with the service and shipping from them. Don't know how your situation is in Australia.
  22. It's difficult to give general advice when I don't have any context to what you are doing or what you're trying to achieve. Since you're saying you're new to SLOG-2/3 I guess maybe you're new to grading LOG in general? Sure, there are obvious differences between the different LOG-profiles, but color correction and grading is all about color and the result you get. So the starting point often is not that important. I've worked with my FS7s SLOG3 for five years now and think I've got a good grip on it on how to make it the way I want. I usually I just use a REC709 LUT from Sony and use that as a basis for the grade. A lot of the time the client just want a natural grade, so in that case I don't do a hell of a lot of grading. I find that shooting S-Gamut3.Cine/S-Log3 is the best LOG-profile and color space to shoot if you're doing your own grading. It makes the color space more uniform to REC709 so that when you add contrast or saturation the image responds in a more "natural" way, if you could call it that. Alister has some great info at xdcam-user.com. Don't know if he's on this forum, but he's quite active on Facebook in the Sony FS7 and FX9 user groups.
  23. @Dave Yoder I can't imagine it being worse than the A7s. Than one skewed like crazy and I lived through it!
  24. @Nezih Each for their own, but I agree with everyone. They're not "exciting" by any means, but they're cine lenses with all the perks that has. Sure, there are other options out there, but at the price they're now at it's hard to find anything close. I think this set is totally fine for a lot of people. There are of course better options, but not at that price. I myself really like the Sigmas when I need crisp and clean glass, but even they crave a price of around 20k USD for a set. Xeens are cirka in the same range, but for the price I'd rather have these. The Tokinas I haven't used, but I hear they're fantastic. Around 30k USD? Canon CN-E are just as old, but with 1.3 or 1.5 lenses in there. Big advantage for some. Still around 15-20k USD for a set? I'm not gonna compare Xenons vs Sumire. CP.3s are solid, but in my opinion just as "boring". Around 18k USD for a five lens set. Other than that you could possibly buy a used set of CP.2s for the same amount of cash. Sony CineAlta set also could be bought used, they are great as well, but perhaps quite similar to these? Only S35 as well. Red Primes used? Don't like those at all, but I'm sure workhorse lenses for some. Which I think the Xenons also could be for plenty. Anything I'm missing?
  25. @Nezih Shooting on prime in docu-work and similar is hard. Though, I like to have it in my kit for those times it's warranted. Considering drawing some cash from my savings to get these, have to be a good investment anyhow.
×
×
  • Create New...