jagnje

Andrew, I have been visiting this forum for years now, and It's my go to place to check whats new when buying a new camera or just to see whats up in the dslr industry. I think you are a great reviewer, but stick to that, because filmmmaker you are not.  Please do not take this personaly. 

All of the stated is fine for a cine cam, but this is a photo camera that does video. When will you grasp that idea? Most of the competition that has a cine line has most of those features or similar/their versions of it. As much as everybody would love a 2k€ photo cam that does everithing a pro photo and a pro 10k€ video cam does...you see the conflict of interests here?

I for one would like it the other way around...give me a small camera that does everything SOOC good enough. We need good enough, because face it, if we have the time to hang around here and argue about consumer cameras we most probably arent doing the preproduction list, a paper cut, or a script draft for the next blockbuster. We will post our stuff online only, if even that! it will get views on a phone, tablet(which will have auto beightness turned on), computer screen at most, and we and our girlfriends will be proud of it.

For people that want cheap cine gear we have blackmagic to fill the void, and they're doing a good job.

Fuji is starting to get it tho with their film simulations. The H1,and x-t4, all of them with a gimbal for that matter, is still and will be a formidable weding tool for years to come, and that kind of pro work is the top of the food chain for this kind of cameras.

Face it, most people aren't filmakers, but enthusiasts. And 99% will grade ther raw,log, prores footage far worse that a simple selection of a film simulation would.

So how to battle that moster of a canon? Make it cheaper and easy to use, give it great audio! Make a GREAT app for quick edits and uploads...that I have yet to see from ANY camera company. Apps, apps apps...or maybe corona virus will slow things down for everybody to have the time to work on their lifelong projects in that case I want alexas for a grand(and still somebody will bitch that it doesn`t take photos).

If you need it yes, if you don't that no. Don't get it because it's a good deal.

My submition  I must admit, that it was shot a week or so before this challange was announced, but it was made under the same conditions. Me filming and lighting, my GF dancing in out flat  Music also by my band, so it doesn`t get more one man crew

Loved the stop motion!!

Must it be a narative or can it be a music video lets say? 

12 hours ago, Andrew Reid said:

Would rather have no 6K on the X-T4 than no X-H2.

I'm not so disappointed as long as the X-H2 is coming this year.

Fuji would be stupid not to.

X-T4 is still a very good camera and a good upgrade to the X-T3 which didn't come out so long ago.

One of the best cameras under $2k.

Nice, waiting to upgrade from an unreleased camera to the un-unreleased camera  Al this 6k+ plus talk, while 90% of productions using the 3.2k Alexa mini. 

just get any raw recording camera really. OG pockets have been used alongside alexas since they were made, so were Mk2-3s...as corny as it sounds, it`s not the camera, at least not in these times.

What converters do you guys use for h.265-prores on Win machines? And to which flavour of prores do you convert to?

10 hours ago, IronFilm said:

Eh, an external battery + MixPre3 + VariND is still less hassle, easier to add, and more compact than adding a gimbal to replace the lack of IBIS. (although of course a gimbal would be ultimately more powerful than IBIS) 

 

Yes, so now you have an external battery, a cable to power it to camera and it's a usb one. Then you have a preamp, with it's own set of batteries, cables, and an ND that you can easily drop, break, loose and every single cable will break eventualy.  I'm not trying do argue at all but I've been there and you will not belive what kind of releave it is to have a all in one solution at all times. Would I want ibis on a let's say fs7...sure why not, but if I would have to choose I would pick it last out of all these features. But maybe you have done more docu work than I have, and you prefer Ibis above all of the above feature, and thats fine, I'm just sharing my own experiences. 

Photographers or videographers?

Long battery life, internal NDs, XLR inputs and good overall onboard audio are things that you need for documetary work. Ibis would be least of my concern.

21 minutes ago, Super8 said:

You Tube is a gift and a curse for starting out camera Dads.

I have no problem with your take on camera Dad's or people having talent or not. That's your opinion and thanks for sharing it.  I would rather someone be brutally honest then not comment at all.

My problem with 'seasoned" DP's is the fact that they paid their dues and make a good living in the film industry, that's what we all want, but they do have a secret club attitude about helping other get into the business. I hope I'm wrong about this but I've seen it happen and been told "you have 4 referrals to join the union" but "don't join until you get on a film / show"

How do I get on a film / tv show? "You have to join the union."  It's also "who you know" and not just joining the union. 

I've done my own thing and do my own work and I like what I do. I also like learning a getting better at what I do.

 

 

Honestly, I did the whole series filming, being a work non stop guy, never made it big, maybe because here where I`m from there is no big. But honestly, during my fifth or so 3-4 month strech of pretty much living on set I decieded to quit. Seing that those sets consisted of 80% divorced people (on blow, just to get by) telling themselfs that this it what they always wanted...  I now edit 8h/day film when and what I want, earn about 1/2 of what I did, but being 5x as happy  

Anyway...a bit offtopic I guess  grading is hard yes, buy a Fuji, enyoi straight out of the camera  

10 hours ago, Super8 said:

Don't worry that "filmaker Dad" is the one that's going to hire or fire you.  You do sound like a worried DP that's afraid to share what he knows because he's always protecting his job.  We all know a few of these guys.  Lol.

 

Hahah, belive I'm no woried DP nor don't I see myself ever being fired or hired by a filmaker dad

I have seen bad bad bad footage from every kind of camera, it's not sony specific, and I have seen good footage from most. The thing is that people "need" the latitude to grade their own footage, when most don't have a clue what they're doing. Hell, most tutorials from the people that will make you think they're in the know how are bullshit. No amount od andrews magic plug and play luts will make your footage look good with a single click. It's like buying a pair of sneakers and trying to get to the olympics. 

Oh, and I don't have secrets, nor do I mind sharing anything. In fact, there are no secrets anymore, hell Roger Deakins will tell and show you how he goes about filming. 

2 hours ago, Django said:

Not really. great thing about the FS7 is that in 10-bit Cine EI mode you got all the necessary flexibility, and with in-camera LUT support u can basically get Venice CS SOOC..

Fs7 is a great camera, with good colors. It's not the 10 bit that saves it, it's the person using it, aka not a "filmaker dad" who is also a self taught colorist, and is writing a script for a short movie in which his friend will star, so all he needs now is to complete his contanx zeiss collection which curently consists of a 50mm 1.8 and he'll be on his way to vimeo stardom.

As for sony, I don't know about their latest consumer cameras, but I owned the og a7s and it was fine in natural light, but once introduced to diferent light sources it was shit. I then started to replace and tweak lights to battle it, but soon realised it was way cheaper to buy a better camera

what is she`s pale and has a reddish nose?

disconnect and reconnect the lens /lens with adapter while camera is operating. That usually did the trick with mine.

chromatic aberrations.

On 7/14/2019 at 6:00 AM, Mako Sports said:

I saw a video that was posted by Wex Photo Video and was seriously impressed. I think we have finally made it to true 14 stop mirrorless cameras (in video). The "Varicam Look" is starting to grow on me as well. ?

 Read an article on Newshooter "Panasonic told us at Cinegear that their strategy is to unify the Varicam, EVA1, and Lumix divisions and try and bring them all closer together."

I`m sorry, did not read the whole thread, but this is the video you were impressed with? The pink/green clouds, like crap looking skintones? I mean, this is just about as nasty as a low level ENG camera. I`m sure that its a user error, poorly shot, poorly grade, but seriusly, this clip???

what sd cards do you guys use? 

It has probably been discused before, but I can`t seem to find much on the topic...how is wifi monitoring on andoid phones/tablets? Are there any apps besides the official fuji app?

So you mean just about every camera ever until a few years ago?

Cinematography itself hasn't changed much really. Where I work we for the most part still use gear mostly from the S35 days, all that has really changed is the cameras and we are starting to use more and more led lights. 

I'm not sure how many hours does ours have, but it's been going for about 3 years day in day out without hicups.

Ok, not bad actually then, 120fps to 4K30fps, good enough for my needs.  Waiting for the BMPCC4k to test but so far I`m liking that I`m getting here.

Does this camera do off speed playback? And if so, does it play it out the HDMI?

I forgot to check this while I had it at home. I wonder if you can do what I used to do while I had the fs5, where I would record a super slow motion, play it back at 24 fps and record the playback to the shogun, to get prores on the spot.