BenEricson

On 1/28/2018 at 4:50 AM, Mattias Burling said:

So far I have never seen any FS7 10-bit footage with more usable DR than Canon 8-bit C-log. 

I literally could get better color out of the XC10 than my FS700/7Q. I'm not saying the FS700 can't do more and look better, but the Canon compression is really really nice. The main problem with the XC10 is the lens - not really the 8 bit codec. 

I would imagine if you know the limits of the 8bit/c200 codec, you can do really really nice work. You just need to stress test it like any camera.

9 minutes ago, fuzzynormal said:

It's an unhacked GH1.  I'm currently in an edit seat not my own.  It's a donated crap monitor/PC-setup, so I'm not really sure what's what... FWIW, I'm thinking the mids need to be warmer, but if it's decent, I'll roll with it.

Looks good. Are you mixing daylight and tungsten? Mixing two different colors of light on the face is pretty stylized but maybe it works for what you're doing. I think the tone is good but maybe you could reduce the amount of orange on the left side of the face/arm.

20 minutes ago, webrunner5 said:

Well Since I would Never be able to afford to buy a Canon C500 sort of moot points LoL.

Price has come way down. Could be purchased for under 4500 with a recorder.

2 hours ago, tomekk said:

In the video, he actually said that 12 bit colour bit depth gave them more pleasing skin tones and more latitude. He never used the word "slightly". 

The highlights clip so hard on the C500. The newer sensor on the c300ii and c200 is much smoother.

22 hours ago, Germy1979 said:

It’s neat & all, but 8mm looks like shit and film is expensive.  

Hipsters??

It is what it is. It is a small gauge version of a true cinema Kodak stock. To me the small format texture looks beautiful and real. 

I don't see why anyone would want their music videos/short films/etc to look like a Google commercial. 

The right camera for the job. I wouldn't right off anything completely. The Ronin is completely overused but it has its place.

2 hours ago, Hans Punk said:

I’ve not looked into it properly, but it appears that the Kodak s8 camera is a pretty close copy of the previously released Logmar camera. The Logmar looks better, but also expensive considering how much existing excellent s8 cameras go for on the used market.

The 16:9 aspect ratio, lcd, and 24fps/sync sound (if that is the case,) add up in price. Pro8mm sells wide gate Super 8 cameras with sync sound that arent cheap. 

Bummer that they couldn't produce a better reel to accompany that release. Super 8 is a really fun to shoot and has a unique look to it.

This camera is overpriced.There are a lot of really nice S8 cameras for 250-1000. This is 16:9 but still overpriced. 

1 hour ago, Emanuel said:

Which one...? All of them as answer is not valid. 2nd question: And at what ISOs? ;-)

 

If you're coming from the F3, any of them will disappoint you. You can shoot clean at 1600 ISO on the F3. The noise is filmy too. 

I'm not sure what type of lowlight performance you are looking for/expecting. The C300ii will be better than the F3, which is already very good. The URSA will be worse.

23 hours ago, PannySVHS said:

eva 1

and

all sorrows

are gone:)

23 hours ago, rokkimort said:

Hey guys, have the Sony F3 for years now, and love the image. But it's time to upgrade to 4k!

 

So here's my list of specs:

Super35 sensor (1.6x crop or less). No 2x GH5 and speedbooster nonsense.

Ability to use PL glass and EF glass.

Good internal codec, ProRes 422 or similar. No external recorder nonsense.

Internal NDs.

Ability to mount on a Ronin or other gimbal – so the cam has to be on the small/light side when rigged.

Good color science.

No crop on higher framerates.

4k (but not more, 6k footage would be a total overkill).

Good low light (no Ursa Mini with FPN on ISO800).

 

I don't need XLRs, Timecode, Genlock, etc etc.

C300 Mkii

I shoot with the F3 and the C300ii a lot. You don't need a external recorder. You can strip the camera way down for run and gun. You can also use the new C200 screen that allows for touch screen auto focus. It will fly on the Ronin MX. 

The URSA Mini will disappoint you in lowlight. The EVA1 and Sony cameras won't have as nice of color as your F3.

What about the F5 used? That camera is a beast for features and the color is more comparable to your F3 than the FS5 or FS7. Seems like the only one that checks all the boxes.

On 12/31/2017 at 10:27 PM, Dustin said:

This has been going on for 2 years now but has mostly been manageable until the random powering down/glitches.

I have an i7 with a matte screen from 2012 as a backup. It powers down unless I am hooked up to power. Does yours shutdown when connected to power?

I think any MacBook Pro from 2015/2016 should do fairly well if you have a nice internal SSD to edit from. 2tb or something would be ideal... 

15 minutes ago, Oliver Daniel said:

Better DR and highlight roll off.

Naw. They could have done this with the GH4 if that was the case. Canon can get nice highlight roll off on even their low end DSLRs.

On 12/28/2017 at 5:55 PM, webrunner5 said:

I am a super big fan of Blurays! Top notch quality output, and I save all my photos to them also.

I am also a fan of BluRays. Films and Docs shot on 16mm look so nice on BluRay. Film grain can look pretty garbage when streamed. 

Always vertical for Instagram stories. Come on now. 

On 11/22/2017 at 6:02 PM, CineAlta said:

 

On 11/24/2017 at 3:06 AM, IronFilm said:

 

CineAlta, your username checks out! ;-)

 use with the video assist, set the f3's sdi out S-Log 4;2;2  Use SDI output A, not the 'Video Out' bnc connector.

Just an FYI, the color you get from setting the camera to video out / s-log PP is much more accurate colorwise than locking the camera to S-Log out with no profile. 

The difference is very obvious in the greens. It is a lot closer to the FS7 in a bad way. A member on DVX User tipped me off to this. Clearly this is a flaw because the two profiles shouldn't be different. 

I agree, the menu situation is very annoying on the f3. 

I have owned the F3/Black Magic Recorder for a while now and have been extremely satisfied with the images. 

On 2/29/2016 at 6:42 PM, IronFilm said:

I kinda wonder *why* they'd shoot a whole feature with only one prime lens?

I would guess because that's the look/perspective they wanted. 

Shooting at one focal length and moving around to get different frames makes the edit flow really really well. Can be limiting, but cutting together a scene shot with one lens is very seamless. 

Bottlerocket I think was shot almost entirely with the 27mm.

https://m.youtube.com/watch?v=SmFDafzmklA&time_continue=138&ebc=ANyPxKoh07rN7RiODXTQ4Ij3itG2CGkFHeLIrVC7UwjQ2XZssJXaVuLRkVU4S2l5RYOgi6GtoXAfeoDEn2KbqhilIsWcjr2slg

9 minutes ago, ntblowz said:

Below one is on C500 on RAW to 7Q+ and one on GH5

The C500 is definitely nicer on the skin/highlights, but the GH5 looks pretty nice to me.

I owned this camera and loved it. I needed XLRs for some shoots and didn't care about the size so bought an F3. Would love to own one again soon. 

I would say number one, figure out a good battery solution to power the camera + monitor.

I would buy one of these as well.

http://store.mosaicengineering.com/VAF-IR-Filter-for-Blackmagic-MFT-Cameras_p_44.html

The small HD 502 monitor is pretty rad to have for LUT support, wave form, and other handy features. 

The 5D3 is really cheap used at this point.

If the files are local on the SSD, you shouldn't have any problems with the 4k. 

Thw worst thing about the new MacBook is the lack of USB ports. Performance is there from my experience. 

What type of editing experience are you expecting? Full quality 4k timeline with effects applied? Do you mind editing at a lower viewing quality? 

3 hours ago, redimp said:

Yeah, the length of it is what scares me. The offer I've got is $1500.

1500 for both? That's a great deal. It is the 444 version?

3 minutes ago, redimp said:

I have found a decent offer for a F3 and a BMVA, and am ready to pull the trigger on it, but prior to that one last question – how realistic is it to put in on a gimbal with LWS attached to it? My anamorphic lens train is only 10-14 cm long but needs rail support at all times. I assume in terms of mounting it to a gimbal C300 is no comparison to f3, but is it possible at all to even do this with F3?

C300 would be so much easier, plus there's auto focus... F3 is kinda long. What is the price on the F3 + VA?

16 minutes ago, redimp said:

Damn, that looks nice!

Thanks, my work has C300ii but I do person work and random freelance jobs with this camera. Workhorse for sure. Highlights roll nicely.

1 hour ago, redimp said:

I know it's listed in BMVA specs, but I've read that F3 can only output 60p via dual link SDI, while BMVA only has one SDI input. I found this thread at reduser http://www.reduser.net/forum/showthread.php?143260-Sony-PMW-F3L-w-RGB-444-Blackmagic-Video-Assist-10-bit-422-60p-amp-Accessories where seller claim there is a "hidden feature" to record 60p footage to BMVA from F3 via single cable. It's also mentioned in comments on this page https://disqus.com/home/discussion/cinetechnica/sony_f3_signal_routing_101/

Did you test it personally? Does it work? Any footage to share?

Answering your other questions – yes I do own PL glass, and yes sensor size does matter, as 1.5x crop (with around 14mm height) is the max my glass can handle without vignetting, but we've already figured that mini can crop into it's sensor for 2k mode and provide exactly 14mm of sensor height, so that is not an issue anymore.

Yes, I own that setup and have used it for about a year. I am working on a long form project, but have done a few random freelance jobs with the setup. I some b-roll here. The first 15 and last 15 seconds have some examples. 

There is one flaw. The bottom line of pixels flickers in 60p. You have to zoom in to 100.5 to remove it. Other than that, the 60p is not much different than the C300ii in 60p. 

5 hours ago, redimp said:

Is there a recorder that can record prores 422 in both 24 and 60P?

Black Magic Video Assist works great if you have the 444 model, 7Q will do 24/60 with dual SDI and the 2016 7Q firmware.

12 hours ago, jonpais said:

@Vesku I can’t, and I’d like to do a double blind test with those who believe otherwise. All this motion cadence talk makes me fall on the floor doubled over with laughter! One claims Sony has lousy motion cadence, another Panasonic... Not once have I heard a director of photography, when talking about gear, mention motion cadence. The ear is more sensitive to changes in pitch, yet five years and over two hundred videos on YT later, several of which I mistakenly  uploaded at the wrong frame rate, not a single person noticed - not even those in which I was speaking! Lumix GM1 1080p 28 Mbps looks lovely to me too, BTW.

Depends what you're shooting. The way a camera looks when it jitters and shakes will change as well. Running with a bolex or a digital bolex looks awesome, looks absolutely horrible on a 5D. These are all obviously extreme settings but DSLR shake is gross. 

5 hours ago, CineAlta said:

The F3 performs as if Sony looked at everything that made the original Alexa the success it was (and still is) and tried to replicate it.  The low light capability and highlight handling of the f3 still stands up today.

I agree with this. The F3 is truly  a beautiful image. The FS700 has excellent features, but from a purely image standpoint, the F3 looks much better. Depends what you're shooting 4K/120p is pretty awesome. If you shoot a lot of interviews, you may regret the FS700.