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TheRenaissanceMan

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Everything posted by TheRenaissanceMan

  1. Test clips are nice, but any chance of seeing an actual finished product shot with this camera?
  2. They kinda do as long as you're willing to shoot+process RAW
  3. 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
  4. I technically do, since all the new OLEDs are 10-bit displays
  5. I'd definitely want to see some nice samples before deciding if I want one of these adapters
  6. 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...
  7. Black rip stop nylon and visqueen are probably the cheapest, but duvetyne will do the best job
  8. 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.
  9. 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?
  10. I was talking about the Fujifilm Emulation LUTs, for which you listed several other formats.
  11. This is great! Any chance of an SLOG1/SGamut version for us F3 users?
  12. No, you'd just go through Lee directly for that.
  13. 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=
  14. Human vision blurs while watching fast action or moving your gaze in real life. When I watch 60fps, it strikes me as much less natural--too fast and sharp to feel like natural vision . Not to mention you'll never get a high frame rate movie distributed unless you're a big deal, and even then...
  15. Maybe a combination of longer Cardellini/Mathellini and a suction cup rig for glass, carefully safetied, would cover your bases?
  16. Standard mafer/cardellini clamps not doing it for you?
  17. Good for those who deal with H.265 a lot and like the Apple ecosystem. Neither applies to me. Combined with its other computing shortcomings, it's gonna be a hard pass. I can see this being nice for one man bands who shoot on the road and do all their own post, though.
  18. Why would you use an expensive 12K camera to shoot a conference?
  19. It's unclear if the FS7 sensor is a stripped down version of the F5 sensor or an updated version of the FS700's, but either way it doesn't offer any unique look or capabilities.
  20. No, it's the same sensor as the F55 with a lower end CFA array, slightly different color science, and no global shutter. A really nice image and good workhorse, but the price puts it out of casual purchase territory. As a business investment, it's a little long in the tooth to make your ROI back in a timely manner. Personally, I would reach for other Sony bodies.
  21. How does a $1900 camera cannibalize sales of a ~$600 camera?
  22. I would love to do an F3 challenge. No idea what the challenge would BE, but having an excuse to shoot something sounds great.
  23. AF performance differs radically based on lighting. A flatly lit face will track much better than a moodily lit one. Contrasty lighting bit me hard on a C700 shoot, and wasted 5 minutes of valuable setup time wrestling with AF settings. I'm sure it works well for many people and many projects; personally, I'm not ready to give up the level of control I have with a wireless puller.
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