TheRenaissanceMan

No, you'd just go through Lee directly for that.

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=

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...

Maybe a combination of longer Cardellini/Mathellini and a suction cup rig for glass, carefully safetied, would cover your bases?

Standard mafer/cardellini clamps not doing it for you?

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.

Why would you use an expensive 12K camera to shoot a conference?

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.

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.

How does a $1900 camera cannibalize sales of a ~$600 camera?

I would love to do an F3 challenge. No idea what the challenge would BE, but having an excuse to shoot something sounds great.

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.

The professional production world never stopped using MF. They just transitioned to wireless transmitters/follow focuses.

Fabulous shots, Geoff! Those colors are TASTY. What was your lighting and grading process for these?

Canon and Nikon were long seen as the only reliable options for professional photojournalism. This may not make a difference to you, but it is a HUGE shift in the market.

I wasn't saying you should fix IR in post as a rule--just that this specific instance didn't seem to lose much. My experience with Canon has been mostly good, especially in regards to pleasing color. However, the extended ND settings on the C200 invariably needed an IR cut to decontaminate the shadows. On the 2 commercial projects I've shot with newer Canons, I've run into issues with cycs lit by blue LEDs turning purple. Turns out I'm not the only one--there's a whole topic about it on DVX User (the answer from Canon: "the camera is operating within spec" lmao). And while rather pleasing at first glance, the color isn't what you'd call accurate. It took a ton of secondary work in post to get the company colors dead on without fucking up everything else. All I'm really driving at is that every camera (and brand) has its issues to mitigate, be it form factor, color accuracy, IR, codec, sensitivity, etc. In the scheme of things, considering what the 12K offers, remembering to use some IR cut is pretty damn manageable. At least for my kind of work. Ymmv.

Fair enough! Glad they came through for you. Hopefully, that bodes well for owner-ops/rental houses who embrace this new camera. 🙂

It's RAW. You don't lose any information pulling color casts out of shadows. That's the entire point of the format. Alexa skews green out of the box. Canon has issues with blue-ish grass, inaccurate reds, and blue fringing around bright highlights (depending which matrix you use). RED has had heavily documented color issues since they've been around, including massive IR problems with all their pre-Dragon sensors. "Perfect color out of the box" is a myth perpetuated by pretentious gearheads; every camera (and many a lens) has quirks that must be managed. Try using the heaviest internal ND settings on a C200 and not seeing IR pollution! I understand that you were unable to screw an IR filter on some BM cameras in the past, which bit you in post. That's unfortunate; however, the issue is easily managed with skilled workers who do their homework.

Repair/replacement is very different for a $500 camera versus a $10K camera

Thanks Penny. Looks like I'm in the clear for now. This footage is all ProRes 422 recorded through the BMVA 5". Mostly short clips, 30 seconds on average.

+1

I remember that topic! Didn't see a lot of difference between his samples though, so I dismissed it as a placebo effect. I'll have to add a couple picture profile clips to the folder for comparison. EDIT: Clips 18-20, shot in Picture Profile SLOG, have been uploaded to the drive folder.

Interesting...I've heard the opposite--that the picture profile version of SLOG is inferior and has "incorrect" color compared to the "proper" SLOG out. I've never noticed a big difference in my (admittedly brief) tests, so I use the latter option for the ability to toggle LUT on and off in the onboard monitor. The clips I posted above use the non-picture profile version of SLOG.

Hey y'all! Sorry I wasn't able to get footage up sooner. I've been feeling under the weather this week, which has been understandably stressful given COVID. Still waiting for my test results, but I'm improving steadily, so hopefully everything comes back negative. But enough about me--let's get to the fun part. https://drive.google.com/drive/folders/1nYFylo03zFn2W-P5OtZ08xvZEuQrscGh?usp=sharing These shots are just casual off-the-cuff clips taken around my apartment complex, but hopefully they still prove useful to those interested in how the F3 grades. I tried to get a variety of lighting scenarios, shot sizes, and color temps. The cookbook shot is ISO 1600, and the one under the bed is maxed out at 6400. Everything else is at the F3's base ISO of 800. At @mercer's request, I've included some cats this time. 😁 Keep in mind that I sometimes adjusted/bracketed focus or exposure during shots, so be sure and scrub through to find the most useful frames. Let me know if y'all have any other questions!