/p/

Not in terms of sales.

So, rather than trying things out yourself and making your own decisions, you let the online mob vote which the gear and apps to use?
Fascinating.

I tried out both FCPX and Premiere Pro

Your reading comprehension may need practice :) I look to both the online community and community around me when making such decisions.. The issue was others dropping FCP and switching to Premiere, only one of the companies out of several that I worked for upgraded to FCPX all the others switched to Premiere..

I'm really just curious which is more popular between premiere Pro CC and FCPX..

What made you choose one over the other? Have you tried them both? If you aren't using one of these two.. Why aren't you? What are you using and why?

I used to use FCP7, when I wanted to upgrade to something newer I tried out both FCPX and Premiere Pro and if I'm completely honest I didn't mind FCPX but negative reviews of X (and positive reviews of Premiere CS6) pushed me towards Premiere.

For some unknown reason, this last week I'v decided to give FCPX another go, not particularly sure why though (I did currently have some issues with Premiere.. Probably my own user error) or maybe I'm just tired of the subscription service.. Either way I'll now be giving FCPX another go for a while.

I just sold my BMCC.

 

I hope people support kinefinity.. I'd be interested in buying something from them but I don't need anything at the moment... Maybe in the not too distant future..

What on camera LED's are you guiz currently using? I plan to mount it on some Canon DSLR's for a doco project we've got coming up.

PRICE REDUCED: $3,400 Neg.

 

Finally got around to taking a few pics.

 

Can you use the 3.2" Z-Finders on cameras with 3" LCD's and vice versa?

Why do a lot of run and gun reality shows strongly prefer the 5D Mark III? I've never seen a job posting saying they are shooting on a GH3. If I can get work by purchasing and learning a 5D Mark III then it seems like this would be a good decision in the long run.

If you go here and filter by Camera Operator it usually lists the cameras required for the gig.
http://staffmeup.com/jobs

 

Just get a 5D3 then..... Honestly. If that's what you think will get you a foot in the door (it won't) but if you think it will go for it. There are reasons why 5D3's are recommended and it's usually down to ignorance (MOST -not all- of the time it's due to someone heard "this camera is gud".. NOT because it's regarded as the pinnacle of DSLR video performance............) In some cases people are still shooting Canon due to the popularity of the 5D2 (why change when you already own gear?) Canon also offers very good upgrade path with the Cinema EOS system.

 

It's not like you're going to be covered in jobs just because you own a 5D3 (in-fact I'd say you'd be lucky to even get 1 job just because of the gear you own) That said, a good "camera operator" should be able t shoot with a whole range of cameras, any decent job will supply you with cameras and anyone hiring that has slightly more knowledge than just a consumer who's best friends uncles pro videographer buddy told him "this camera is gud".

That is quite a big jump. There's some packages on B&H that includes a lens.

 

Body + 24-105mm $3,899

Body + 24-70mm $4,199

 

24-105 is a better run'n'gun lens due to IS (unless you plan on investing on and using a rig) but it's f/4 not f/2.8 like the Pana.. The 24-70 is f/2.8 but no IS, not an issue with a RIG but you are increasing size drastically with a rig and cost. The 12-35 is the best of both worlds being f/2.8 and having IS.

 

For the price of one of those kits you can get a GH3 kit with 12-35, 35-100, GH3 battery grip and genuine spare battery............... You would still need a loop for the 5D3...

I said RAW wasn't a run'n'gun codec... Not a 5D3 isn't a run'n'gun camera. 5D3's native codec ISN'T VERY GOOD! I mean just look at Andrew's original 5D3 review, it was unimpressive even when it first came out............  With magiclantern you gain some decent features but you're still stuck with either native type codec i.e. shit codec to be blunt or RAW which will eat up memory like no one's business (like 64GB in about 12 minutes?) so not exactly "run'n'gun" (not to mention the cost of these cards)..

 

The 5D3 is a FINE camera.... But at least IMO it's silly to buy one over a GH3 which is better out of the box let alone a GH4 which has again improved codec and features.

 

By all means, buy a 5D3 if you will think it will suit your needs best, but if you are comparing cameras/features out of the box (even if you include magiclantern.. which you kind of need to if you even want a 5D3 in GH3 league) then GH3 still dominates it.

 

You will be spending more money for an inferior setup. I've owned both, GH3 is better.

Hmm something to think about.

 

Consider the following..

 

>GH4 $1,698

>12-35 $1,104

>35-100 $1,275

 

>5D3 $3,299

>24-70 $2,299

>70-200 $2,499

After talking with a co-worker it seems like we might split the cost of a Canon 5D Mark III. Reason being the full frame sensor. The mini HDMI outputs a clean feed so I'm happy about that. Seems like whenever I see camera operator job postings a lot of the time they request the 5D Mark III, so I figure it would be good to learn for future gigs. There's some body + lens bundles on B&H we've been looking at it. Any thoughts on these?

 

GH3 dominates Mark III (I imagine the GH4 will do so even further lel).. You will have disagreeing on the basis of >magiclantern.. However, even with magic lantern you will only have 1 subpar codec which the GH3/4 destroys and complete overkill RAW (it has it's place, run'n'gun IS NOT IT lol)

 

Bad move IMO, more expensive =/= better, FF =/= better.

I don't get the 1 system at all..... 120fps is cool I guess................... I don't think it will be long till Panasonic offers the same framerates though.

I think if I'm going to spend that much on a lens it's going to be 1 or the other for right now. Can't really afford to get both.

 

Then I would recommend the 35-100.. You said you shoot concerts so I'll base my recommendation off of that.

 

The main reason being f/stop.. Lenses always get darker at the telephoto end, since you are shooting concerts (generally all sorts of lighting conditions) then a low light telephoto lens is pretty much a must. But the 35-100 will let you zoom in too 200mm equiv and shoot at f/2.8.. 70-200 lenses are pretty much the best choice for most concerts 24-70 just won't be tele enough if you're anything other that first row.. and even then.............

 

However the 35-100 isn't the most versatile being that it starts at 70mm equiv.. you will need another lens, HOWEVER if you can afford a 12-35 that's no prob.. You can get something cheaper to accompany the 35-100.. even the 14-42 BECAUSE when it's at its wide end you can shoot at 3.5 (which isn't great but it isn't bad).

 

If you get a 14-140 you will have a more versatile lens in terms of focal length however like all lenses it will get dark at its telephoto end if you're in dimly lit situations f/5.6 just won't be enough.

 

Atleast with a 35-100 you have decent telephoto low light performance and your cheapo companion lens will be decent enugh for wide low light until you get a 12-35.

Just get the 12-35 and 35-100 if you can afford them? These are professional quality lenses, constant f/2.8 with IS..

 

These are really just the best and most convenient choice.. Some people may recommend things like older Nikkor AIS manual focus lenses etc and they are GREAT but seriously if you're just started out (and even when you're more experienced) the pro pana lenses are extremely useful and great quality.

Looking to sell my BMCC, it is in excellent condition and comes with all original packaging and accessories

Also included - All in excellent condition

m4/3 to Nikon F Speedbooster
ViewFactor Contineo cage and top handle + ViewFactor IDX V-Mount Battery Plate and Zacuto 12" female rod set
OWC 120GB SSD
Digistor 240GB SSD

rrp: 4,400+
Looking to get $3,600

Bank deposit or pickup in Brisbane area only. Buyer pays postage.

Pm for details.

What would be the best setup (let's say under $5,500 for shooting weddings with the current cameras on the market? Curious as to what people would choose..

 

Cameras and lenses only.

I just want built in ND's and 4k.. :(

Strange request sorry...

I'm looking for a video from one of the MOVI copycats but can'tremember the company.. Basically it was just one of the guysfrom the company walking around their factorywith the MOVI type stabilizer, It was posted in one of the threads a while ago but I can't Find it.. I thought someone else might be able to remember it.

Thanks.

I dream of built in ND's.

So SONY have dropped "NEX" but are still supporting the E-mount system.. But will the updates for the FS100/700 still utilize the E-mount?

 

The prototypes shown at NAB last year (keyword being prototype) seemed to have (PL/FZ-mounts?) with A-mount adapter.. Could they drop the E-mount for their FS video cameras?

 

 

Do people still care about what Canon are/aren't doing? The 5D3 really only remains a competitor thanks to ML (let's be honest the 5D3 without ML isn't that great compared to other cameras on the market that don't need to be hacked)..

 

SONY is FAR more exciting

 

Also

 

FS100 > C100

FS700 > C300

F5 > C500

 

Highly anticipating SONY's next announcement

 

If you expose for blown out highlights, push shadows, clean with neat video, you can capture just as much dynamic range from the GH3 as you can from Magic Lantern RAW.

 

https://vimeo.com/76030718

 

This doesn't exactly give you the "cinematic" look.... It looks like a .jpg that's been molested by Trey Ratcliff in Photomatix.

I like SONY