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About TheRenaissanceMan

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    Sony F3, A7 III, Leica R primes, Contax Zeiss zooms, Blackmagic Video Assist

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  1. Well gang, I regret to inform y'all that I'm finally selling my F3. Love the camera, got tons of great footage out of it, but the thing basically gathers dust these days. It deserves to be in the hands of a shooter who really needs it. If anyone's interested in a solid 4:4:4 body with all the essential accessories, feel free to DM me.
  2. Test clips are nice, but any chance of seeing an actual finished product shot with this camera?
  3. They kinda do as long as you're willing to shoot+process RAW
  4. Looks like Sony footage. The lens kind of makes it look like an RX10, but I'm guessing it's an A7 III/A7R III with some native lens I don't recognize
  5. I technically do, since all the new OLEDs are 10-bit displays
  6. I'd definitely want to see some nice samples before deciding if I want one of these adapters
  7. That depends heavily on how you shoot. Almost everything I do has it least 1-2 crew members, a client monitor, and something big onboard for operator/crew. In that environment, there's no real downside to making that onboard monitor a recorder. The wealth of mounting points on the camera would completely contradict the idea that the F3 wasn't meant to be rigged up, no? It's primarily a studio camera that needs some rigging to work its best, unlike the canon C-series that excelled as a stripped down all-in-one DSLR upgrade. Now THAT'S a camera I could see having a second life as prices plummet. Amazing codec, strong DR, and the siren song of global shutter...
  8. Black rip stop nylon and visqueen are probably the cheapest, but duvetyne will do the best job
  9. 4x4 floppies and 6x6/8x8 solids are useful for negative fill. Anything dark you can put up--a duvetyne, black visqueen, black rip stop nylon, etc--will help block the light bouncing off those bright walls and restore contrast to the setup.
  10. Honestly, that's completely fair re: F3. It's a pretty niche market. So these are tailored to specific cameras, not just the color space + gamma? That's amazing. I'm assuming that means I can't just use a color space transform to put an incompatible camera into an appropriate color space, or at least wouldn't be guaranteed optimal results?
  11. I was talking about the Fujifilm Emulation LUTs, for which you listed several other formats.
  12. This is great! Any chance of an SLOG1/SGamut version for us F3 users?
  13. No, you'd just go through Lee directly for that.
  14. Some of us really like that camera Shot in its sweet spot, that sensor cranks out gorgeous pictures with very little fuss. Think of it as digital slide film. http://www.bmcuser.com/forum/blackmagic-camera/general-discussion/17753-no-more-love-for-the-4k?17318-No-more-love-for-the-4K=
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