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Eric Westpheling

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  1. The zoom speed can be set to variable, and the fast mode is quite fast.
  2. It was pretty good, I tried following my friend around the block with it. The autofocus was reliable for any sort of wide shot or once you were at f5.6. I needed to use focus peaking for the onboard screen to make it viable at f2.8. I would rather use the graticle or 502/sidefinder to actually see it at high-resolution with a nice contrasty LUT.
  3. Dying to try this out too. I will be able to test this around the middle of next month...it seems like it should, the zoom servo works much better now than the mk1.
  4. My friend took delivery of his RX10mk2 today. I played with it for about an hour. The image quality is superb. Sony has really fixed almost all my issues with the first version. Namely the zoom speed while recording is variable based on how much you toggle the switch- and it can be quite fast if needed. There is a full Picture Profile menu, but with only Cine1 and Cine2 from the cine-gammas. Not a big issue but I will miss Cine4. As for people saying you can't get bokeh with this camera- you can definitely get bokeh and good focus is actually quite critical even on wider shots. I kept the lens at f2.8 the entire time, and it is softer there than say f5.6. The internal ND is helpful but you'll need additional ND 0.6 to hold wide open in direct sunlight at ISO 100, do the math out if you want to shoot Slog2 at 400/800. These are frame grabs from resolve. I shot 1080/24p, f2.8 at ISO100/200, Cine1/Pro, added filmconvert. It is a solid camera and I wouldn't hesitate to take it anywhere. I can see it being a great option for Doc 1-man band shooters, it is quite manageable once you have it programmed. The intelligent-active steadishot was very impressive too. I think paired with a tight little cage to hold the xlr audio adapter and the SmallHD 502/Sidefinder you could really work quite hard with this thing.
  5. ​Here are some graded versions of this footage. A compressed version is available to download from vimeo. Just playing around, but it looks very nice.
  6. The major issue with the RX10 Mk1 for me was the servo zoom speed while recording. It only had one speed- and that was SUPER SLOW. I think it took almost a minute to do the entire zoom range. I am hoping against hope that they have enabled another speed. I also really want to test it with the Movcam A7s LANC cable and the sony RM1BP LANC focus/zoom controller. If that pairing works well it would be a very nice camera to setup with some 15mm rods into a tiny shoulder rig with a Swit BPU battery, SmallHD 502, and XLR-K1M adapter.
  7. ​I've had my Rx100 mk1 from the first day it was available to consumers in 2012. Its been around the world in my pocket and thrown into my bag without a case. It has lost some paint on the edges but it is certainly not a fragile camera. My mother dropped hers straight onto the lens from 5' and yes that broke it, but barring that its as solid as you can get short of a gopro.
  8. This would be near useless for me and most folks I work with. Any modern production lens will resolve enough detail to keep you from getting a pink slip. I wouldn't project some lenses 40' tall but for youtube or even broadcast I would rank a lens' resolution numbers near the lowest of important characteristics for my uses as a cinematographer. The overall aesthetic performance of a lens is what matters, followed closely by ergonomics. The former is not something a lens review will tell you much about. You might be able to spot some bokeh and vignetting characteristics, but short of renting it and pointing it at a person and looking at them in a few sizes you won't know much about a lens. The only reviewer I see doing any work like this is Lloyd Chambers of Diglloyd.com: his in-depth reviews, aperture series, and expert commentary are worth every penny of his subscription costs. When the Sigma art 35mm 1.4 came out I rented it for a comparison to my beloved Zeiss ZE 35mm 1.4, and yes the Sigma could have an edge in resolution in some scenarios, but the Zeiss trounced it in terms of pure image harmony. Switching blind A/B on the monitor my crew all settled on the Zeiss. Just goes to show you DxO mark resolution numbers should not be a huge consideration in your purchases unless you are in the business of photographing and making reproductions of test charts.
  9. I was lucky earlier this week to demo a pre-production PXW-X70 and my hopes are partially dashed- the software on the camera was not the professional style from the other XDCAMs i've used (namely the pmw-200, ex1, ex3, ex1r). I didn't get any information whether or not it was final software, but if its supposed to ship next month I'm not optimistic its going to be hugely changed. My main issue was in the picture profiles: the gamma options were limited to Standard, Cinematone1, Cinematone2, and itu709. I was shocked with such paltry options! Especially annoying was the lack of Slog, especially since it is by design a documentary camera, and with a 10bit 422 codec it would have the data to really shine in grading! For me this camera will be a non-starter without a full paint menu for creation of picture profiles. The A7s has great granular menu options, and the EX1 BBC settings made fantastic video for years! People can forgive poor ergonomics if the image quality is there (namely the FS700). The PXW-X70 as i've seen it (in pre-production state) has great ergonomics, but fails to make itself a viable option simply due to lack of Cine Gamas and Slog. I hope to be proven wrong....there's still time Sony!
  10. I'm a longtime viewer of the forum but have finally needed to ask a few questions: When using the ML raw firmware are you looking at the same video image you would normally see out of the 5d3? Is the monitoring experience changed at all? Also, is 23.98p 1920x1080 recording possible while recording an audio track (for guide) on the Lexar 1000x or Sandisk 160MB/s cards? Anyone have experience with this? Is there any delay between stopping a take and being able to start a new one? Roughly how long does it take to process pro-res files from the DNGs in Resolve or After Effects? I'd like to make dailies overnight from 1-2 hours of footage with a 2012 macbook pro. thanks for any help with these answers!
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