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Laurier

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About Laurier

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    Videographer/CGI artist

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    Male
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    London

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    https://www.lorisaccaries.com
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    https://www.instagram.com/ccinis/

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  1. I m considering getting a ninja V for the a7siii as well, Could you share a small ProRes Raw clip of a challenging condition ? like shooting/someone or something in front of a window, I would like to see how much you can recover in the highlight, if there is a benefit compared to internal recording. Cheers.
  2. Because people using a Venice, FX9, C500 Mk II, C300 Mk II usually know what they are doing . A lot of youtubers have to clue of how to handle footage, the Highlights are clipping hard on a lot of videos and that not pleasing, but I blame the user, not the camera. I shoot all those on a A7rii/A7iii and you can get the skin to look nice , it a bit more work than blackmagic but it s possible and that was all on 8 bits codecs internal ( except the anamorphic one), So I m confidant that you can do even better with 10 bits 4.2.2
  3. You can have the Cinetone colours with Sony official lut when using Slog-3 Sgammut 3. S-cinetone curve + Gammut baked in camera actually have less DR than Slog3 on the FX9
  4. It think it s on the 60fps too, but that line skipped so you get more moiree issues and potentially a less detailed image , it s the same thing on my A7rii, the readout is faster in full frame, but IQ is lower than super 35.
  5. Braw was fantastic when I was using it with my G2, but for the A7siii I will probably record internally and transcode to DNxHR ( the form factor is why I m making the switch ) . I did a few projects with a A7iii shooting HLG and it was very correct in post, so hopefully with the 10 bits 4.2.2 + high bitrate we will be able to correct colour balances and exposure disparities without damaging the images too much.
  6. I actually just got something similar for my Sony kit, DEO-Tech OWL Canon EF Lens to Sony E-mount Drop-In Filter Adapter , Kipon does one too with AF but it s more expensive.
  7. I used a S1h for a project, the only advantage would be the IBS for me. The 6k image is not as good as the 4k image and the 60fps crop is just annoying as it s force you to change lenses to get coverage. The S1H is seriously large for an hybrid. In the end I found it make little sense to use it over a BMPCC 6k.
  8. They are crushing the S1H imo , the S1h crop in S35 for 60fps and don t do 120fps 4k , rolling shutter should be a lot better on the A7siii, it s almost half the weight and much smaller + Good AF
  9. Well the Venice use the A9 sensor so that already few years old and their form factor is built for larger productions with all the require port and connections. But once you remove the large empty space taken by the fans and those ports you can reduce the form factor significantly, so it s all down to thermal management. The FX9 can t even record 120 fps 4k internally and the Venice can only do it in 2.39, they don t have physical IBS , the Venice do not have autofocus, and in low light the A7siii is probably going to be better ( but I would agree than the Fx9 and Venice are alread
  10. It s hard for me to understand why someone who need to record something for more than 30min would need a hybrid camera to start with, I mean that what C100/Fs5 are for and have much better ergonomics for interview/ event coverage.( especially regarding audio recording) They are cheaper as well and have plug and play recording formats. For me the advantage of a good hybrids are to be discreet and offer some help for run and gun situations ( stabilisation, good DR, descent codecs), and easy to carry around. I shoot mostly MV and fashion related work ( did some interviews and video
  11. I think 120fps is internal in 10 bits 4.2.2, If canon can manage 120fps 4k raw internal that possible. I think on the leaked pictures its connected to a recorder just for monitoring. If the rumours are correct we are getting something better than a Venice or a Fx9 in a much more compact package for less money, that quite mind blowing for me. If they deliver, that would actually be my ideal camera, I loved the images from my G2, but the form factor/weight was really not ideal for me.
  12. Apparently the top view is fake, the front and back are sourced from @nokishita_c , he is usually very reliable.
  13. Yet you still hear people complain about the Alexa green cast, the Red yellow wash and the pinkish skin from canon colours. Put a Zeiss lens you get a blue cast, put a canon or a Cooke you get yellow, but a sigma you loose some red/yellow ect... Shoot on film, you get several colour cast depending which lab is going to develop . If the image is striking , no one is complaining about the sky being the wrong shade of blue. Once you cut through the marketing BS and learn how to use a grading suite, none of that matter.
  14. As is , I think red is not relevant anymore. I have the theory that the Komodo is a transition product made to preserve the image of the brand while introducing a lowering of their prices. Red had some agreements with Foxcon to start manufacturing 8k cameras last year, I think they will release more aggressively priced cameras sooner or later to stay in competition.
  15. Well the Venice sensor is the a9 sensor and is a few years old now. Also, the market is clearly changing, so they need to stay relevant, One of sony executive said they are aware of what blackmagic is offering and at what price. And it s a different market, individuals are not supposed to own a Venice and it s not made to be used by a single operator anyway, so you pay for the fact that it s a niche product and development cost. I think that like Panasonic, Sony recently mixed more of the Camera with the broadcast division so they can share technologies.
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