Tim Sewell

I'll have to take a look at that!

Last night I (solipsistically) spent a while watching my own videos via our Quest 3 VR goggles in 'cinema mode' and I must admit, seeing things on a virtual 20 foot screen certainly makes them look better! Any other forum users been doing this? But it got me to thinking - a great use of this technology would be if you could link it in to a Teradeck or whatever so that Directors and DPs could see, in real time, how a given scene or shot will look on the big screen. Is anyone doing this, or am I being silly?

That Kofi review I linked up-thread does just that, funnily enough.

Kofi can be a little annoying, but I think this is quite a nuanced review. Near the end he mentions that, without mentioning these new bodies, he asked on social media what price people thought the next FX3 should attract if [list of S1II features] were added and all the responses were well above the actaul price of these new Lumixes. Anyway...

Er no, I'm very much talking about the relatively inexpensive 18-105 f4 - worked on the zoom rocker on both my FS7 and FX30. Excellent little lens for the price.

The Sony 18-105mm f4 PZ works on the FS& via the camera's zoom rocker, so I guess it will on the FS5 as well.

I like Sony Beta FX3 Max

So what I heard is that the 'A' moniker is because there is a FX3 Mk2 coming, but they will continue selling the original/this one.

Apparently the previous screen is no longer in production, which is why they've had to do this.

I think the thing to remember (and hence not to get too carried away) is that the camera choices in Adolescence were led by the story and the way in which the creators wanted to tell it. You literally couldn't have done it using full size cinema kit without massively increasing the budget - and maybe not even then. Likewise, Civil War was mostly shot on Venice, but used the Ronins when the story demanded it. So it's great that big budget movies are doing inventive stuff with non-traditional camera systems, but they're doing it when it's required, not for any financial savings or because they think those systems are overall better.

I'm looking forward to seeing some reviews of this from reliable people. I love my FX30, which I combine with an A6600 as B-cam. The drawback there is that the RS on the A6600 is absolutely atrocious - especially, for some reason, with non-native lenses. I actually only have 2 Sony lenses, neither of them particularly amazing. At this low price, I could sell both my Sony cameras, both Sony lenses, my CF Express cards and the top-handle audio thingy - buy 2 of these and whatever EF-RF adapter they come out with and probably still have a bunch of money left over to spend in the pub! So - awaiting proper tests of DR, RS and stab more generally. (I've considered doing the same with the Fuji XM-5, but the lack of stab and their rarity have led to me deciding against).

The ergos are surprisingly good. A camera that gets out of the way.

... which I, personally, thought were gorgeous.

There seem to be 2 products. One is a new version of Rialto for the Venice but yes, there also seems to be a new FF cine-oriented camera coming too - FX3II?

I don't own a single bottle - but I do have over 20 cameras!

Very few I'd guess. It's a very popular part-time gig for students in the city - of which there are many!

Funnily enough, just found some pics from that evening. Days of innocence (kinda).

@Emanuel I also love my FX-30. It just came back from 2 months in the camera hospital (a whole other story) but I just love that thing. A beautiful sensor and lovely ergonomics. And so relatively cheap! The C100 of its days.

Interesting fact - everybody thought they did the billboard stuff with Ai, but in fact they had to do it frame by frame themselves. Nice bit of film making, in my always humble opinion.

I mean, she can stand up in a car, but she ain't Sydney Sweeney.

I've generally had good experiences with them, but it's always amused me that any parcel going either way between us goes from my house in Brighton, to Gatwick, then back to their original facility in... Brighton. They did once let me fulfill an exchange (I traded in a C100 Mk2 for 2 XT-3s) in person, but it was clearly well outside their comfort zone. That said, I did once end up drinking with a bunch of their employees at a pub in the city one Friday evening (this would be about 8 or so years ago) and they struck me as a great bunch of keen, intelligent and enthusiastic people (quite a few of them brandishing nice old film cameras).

I've said for a long time that the look generally accepted and desired as 'filmic' is, in fact, 'Arri'.

And that's because, at least in part, if 2 out of your 4 Alexas go down on set in the middle of the Amazonian rainforest Arri (or the rental house) will have replacements and/or technicians with you in under 48 hours. It's simply not worth it to provide that kind of support for 'cheaper' camera systems. Obviously Alexas are also engineered for an exponentially higher level of reliability and resilience in the first place too.

I mentioned that to him and he said he just doesn't like taking photos on his phone. Which is encouraging!

Scans. My 15yr old just bought a twenty quid Sony 10MP CCD compact. He specifically wanted CCD and he uses the flash on nearly every pic - loves the look.