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About Marino215

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  1. I love this camera, nice review Andrew. I just wish it excited me more. whats up with the SDI? why cant it send a RAW signal without the breakout box? not a deal breaker but why? why Sony? the fs700 can send the signal, for the price of the fs7 all dressed up I think i'd rather own the F5. But I have a feeling we're gonna see the F6 soon maybe even better than the F55. hopefully canon can answer, at least they stick with their cameras longer than a year 1/2, certainly a better investment.
  2. So you really like the Fs7 Andrew? That says a lot, of course I see why. It's a well made, well thought camera with a proven image. When do you think we'll see the higher end offerings with an a7s type sensor? I have to admit, my brother has the a7s and I see if it had just a little more power, perhaps higher bit depth, faster processor it could far exceed the image coming out of the fs700 and maybe even the F5. Lowlight alone it beats everything else. To me an fs7 type camera with the enhanced dynamic features from the a7s I think would excite me more. And one last thing it would be nice if a camera that didnt need an exspensive break out box to tap Into the RAW signal. Even the fs700 can force a 4k signal straight out of the SDI. For me it was a typical "Sony what the heck" moment. Thoughts? Thanks
  3. The only question I would ask is why dont we have an A7s type lowlight/ low noise sensor that shoots 12 bit RAW ProRes dnxhd, 120 fps 4k camera with built in nd, in an c100 body? Take the best features and wrap it up into one camera. If Red can do it I'm positive Canon or Nikon can do it too for way less money
  4. Is the fs700 still viable? I think so. It's an $7700 camera new. Used $57/6100 plus odyssey 7q $4500. License and media included. That's around $10 grand for 240fps 2/4k RAW, 4k ProRes (soon), 120fps 4k (Burst) with a great monitor. With the f7s you need that interface for RAW and that's $2500 on top of an $8000 camera plus $4500 for 7q. It's $3500/$4000 more than the fs700. It's worth it for better internal codecs, better build etc etc etc but doesn't make the fs700 obsolete by any means. It's still a 4k RAW HFR decent lowlight slog 2 camera. It's gotta be worth something.
  5. very nice, hope its 14 bit out like the f5, dreamy would be 16 bit, but at this price there's a good chance I'm dreaming. I hope it at least has the A7s sensor or close
  6. Very intriguing, can only imagine what Sony has up their sleeve for the big dogs. The future looks bright :)
  7. Would be nice if they can correct the major barrel distortion.
  8. That's why you gotta take what these hired "filmmakers" say with a grain of salt. You'll never get the real low down until someone like Andrew and some others point it out. I got excited too about the A7s too, then I heard it was only 8-bit, then realized it was still only 8-bit even in 4k with a recorder and then a price gets tossed around, $4100.00 USD and now this rolling shutter issue. It's a speciality cam, lock it down and shoot in the dark if you absolutly have to and you'll do fine with it. If you take to heart what these showcase filmmakers say, you'll be kicking yourself down the road. Hey if it was under 2 grand I wouldn't even write this post but after hearing what they'd like to charge I had to chime in.
  9. I guess we gotta wait for the a99 announcement for internal 4k but jeez with 1080p looking that good in the dark i can think of a hundred scenarios where it can come in handy. For Stanley Kubrick lowlight the 7s could be a great specialty cam for extra dark scenes, with ultra fast glass it might be fun.
  10. I agree on DSLRs not having 4k but as far as cell phones go thats called the 4k race to the bottom. I see the 4k consumer trend having small sensors and the pro versions equipted with a s35 sensor. The consumer won't care and but the pro will appreciate it. There's going to be as many variations on 4k as there are with 1080, I wouldn't look to cell phones setting any standards.
  11. Enjoyed the read, well worth the wait. Good info on shooting in video mode, makes sense. Forget the cost, rigged up on a jib or dolly in a studio setting it sounds like it'll be hard to beat. Maybe that's why they call it a production cam, studio production? But with adequate light this cameras a winner in any environment. I like the way images move on this camera, it's very cinematic to me. And for the price, it's certainly something to consider. Not to sound like a jackass but I'm excited to see what BM has up its sleeve in versions II and III. Does seem like there's a lot of room for improvements. Thanks
  12. Oh and that image looks like the Sony 4k fiber link for the f series cameras. https://www.abelcine.com/store/Sony-CA-4000-4K-Live-Fiber-Adapter-for-PMW-F55/ $27000. Lol
  13. This looks like the start of a new bridge where professional grade technology meets the consumer. There has to be a point in time where technology plateaus and all sides meet up with one another. At least in regards to 4k, how much worse do they need to make the consumer version so it won't compete with their high end professional version? As sensors improve the hardware that plays the media needs to improve. I'm not saying there won't be 500 dollar cameras and 20,000 dollar cameras I just wonder will it ever settle like 1080p? The hierarchy is evident now, still no perfect camera but when you want he best we can pretty much figure it out. The new releases coming soon should almost be as good if not better then the best right now, if it's not then why would we buy it? As sensors now can resolve an image better than our own eyes can see, I imagine the new task at hand now is to invent better processors, storage solutions and tv sets. There's a bigger difference in price than the actual image comparing the bmcc to the Alexa. I'll take the image out of the Alexa any day but for a $2000 camera, come on! I guess that's my point, still a ways away but the gap is closing quickly.
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