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Everything posted by tdonovic

  1. I like that panasonic is making an agressive push, BUT I wish that there wasnt this BS that AF perf is worse depending on which manufacturers lenses you use. I have to keep an em1 on hand if I need to shoot sport, because although the gh5,. this, the g85 all have great af supposedly, ill never be able to tell because its not quick with the oly tele 2.8. This camera will suceed if the AF perf is as good as they claim. I have my doubts, but I cant wait to be proven wrong
  2. Love the EX1, totally agree with @PannySVHS. I think in AUS we sold one we had for years, for $1500 inc media and batteries. I would still be happy to use that on a job. Nice image and robust body, the only issue is the USB daughterboard that we had to keep replacing, it wasn't a particularly solid part. Massive zoom range though, and nice image, with SDI and all the other niceties that go with a pro body. MPEG2 encoder is a bit of a pain compared to something more modern, but nothing unworkable. If you find a bargain EX3 you might be even better off, you can get a b4 adapter so you can put whatever lenses you want on there!
  3. I have an af100, it has virutally no dynamic range and weird highlight rolloff and 8bit wrapped to 10bit output. Its fine for shooting in very controlled lighting, but honestly unless its very very cheap, I got mine for $500, I wouldn't bother, go find a cheap gh4 and rig it up, youll have a much much better camera. Or a g85 or something with unlimited record time. The Af100 is just very dated. Havent used it with a recorder, ill give it a go for you tomorrow
  4. I recently bought a non 444 Sony F3, but its near impossible to get the 444 upgrade anymore, plus the camera was only $1200, so it doesnt make sense to buy the $1000 upgrade. I want to take a look at a config file for an F3 that was upgraded to 444, to see if I can change anything in the config file from my F3 to enable 444. Would someone be able to provide me with a copy of theirs?
  5. Andrew, for as much as I agree with you on most things, the fact of the matter is that Nikon is still in the camera business despite a soft market and Samsung isn't. Would I love it if Samsung continued NX? Yes, I almost bought a 1st Gen one. But clearly image quality doesn't matter as much as we all here think, the proof is in the pudding.
  6. This runs on a laptop or windows tablet, you put in the ip address of the camera into the script and it then controls the focus. Its very simmilar to the guy who is doing the cinelike d unlock with the tool.
  7. Buy anything with a simplebgc board and you can play with the pids. Any of the Came gimbals you can do it with
  8. Having used the a6300 and g7 extensively, unless you need the high framerate or log, definitely go with the g7. It never overheats and has a really nice image. Also more DOF isnt terrible, if you are shooting on a shoulder mount or something. Just keep in mind you cant have HDMI output while internally recording on the g7.
  9. I shoot with a g7 + 12-40 and the crane, sometimes with a vmp on top. It all balances and works fine, you just need to balance the gimbal properly and as previously stated, you have issues with the range of motion the camera can move through because the roll motor hits the mic. In terms of zooming, the crane is amazingly strong and you can zoom a bit without it upsetting the gimbal too much, if I balance at 12mm on my 12-40, I can probably get to 30mm before things start getting shaky. I wouldnt worry about the battery life being shot with unbalanced combos, I have used it for probably 15 hours all up and I usually end up switching the batteries because I feel like it and I'm paranoid they will go flat; they have never gone flat on me. Overall, much better than any other gimbal I've ever used in the small gimbal category. A ronin or movi is in another league though.
  10. Just bought one used for AUD$450, without having the camera balanced properly its already flying better than my Came Mini. Really impressed, ergonomics are a bit weird though. I think this one is finally a keeper. Started with the nebula 4000, its amazing how far things have come in a year
  11. I've used all three pro zooms, and only use them. The 12-40 and the 7-14 are the best, they really do respond like a regular lens with a follow focus. The 40-150 is still usable, it gets a bit jumpy when focusing near infinity though
  12. Throw a speedbooster on there, af with a 50/1.2 and a speedbooster s on my em10mk2 was fast in S/AF, so when you need the DOF, its there. Im so glad this has come, I love my oly bodies, just cant wait for them to get marked up to $2k AUD over here.
  13. Go for the g7. You can get one new for less than a second hand gh3. Shoot 4k and down sample to 1080 and you will get a beautiful image. Plus it's smaller and lighter, AND it has peaking. All you lose is a headphone jack and weather sealing really
  14. Every experience I have had with RODE has been positive. We have a fleet of probably 15 VMPs as well as some other bits and pieces and whenever the shockmount has failed, or the foot has fallen off, one email later there is an overnight satchel with the replacement part in it at the door. I have never had a bad RODE experience, thats for sure. We have two wireless lapel kits from them and they blow me away every time. Would definitely recommend.
  15. We just got an a6300 and the 18-105pz and it blew me away in a lot of ways and made me want to go throw it in the rubbish on the other hand. Battery life was nothing on the GH4, the image was really really nice and the slog grades amazingly. The AF works so well, my workmate who was using the camera virtually just used AF the whole day, the next gen of these, the AF will be good enough all the time I think. The rolling shutter is shocking though and the ergonomics are weird: we need to buy a cage or something so we can mount the camera on a tripod, the lens overhangs too much to fit it on the plate! Card in the battery slot is a bit poor also.
  16. Do you need the low light on the a7s? I would consider a g7 + speed booster xl. Itl be cheaper, give you a great image and mean you can buy a couple of nicer lenses, replace those kit zooms!
  17. I live in Australia. What issues will I have if I run in NTSC in a PAL country?
  18. tdonovic

    FS5 lens

    We have a metabones adapter and we can use some of the art department's lenses, so a canon 85 1.2 and a 24 1.4. That being said, we want to try and wean ourselves off their gear. Apart from that only the 18-105 when it comes. We need to buy a wideangle and a tele to add to the kit and that will cover us.
  19. Ill throw my hat into the ring. There are four things that push my workplace, a highschool that teaches film amongst other things, into adobe suite, rather than FCPx. 1) Licensing. We can get a site license for every machine on campus to run Premiere and every other CC app for some low(ish) price. We were looking at $200 a head for FCPx, without any of the other CC apps. On a site of ~2000 machines, we cant afford that. CC is much cheaper per year. 2) Legacy Usability. We used FCP6 universally before we moved to PrPro. Having the similar timeline and UI made the switch a lot easier for everyone that moving to a completely different one on FCPx. 3) CC. Being able to use Illustrator for making titles is a lot better than the built in title editor tools. Being able to use Lightroom to organise footage is a godsend. 4) Windows. We are a Mac School, but the computer on my desk is a custom built windows box. If I need to take work home, my desktop is windows. Being able to run the programs on cheap, fast computers is great. Beats editing on a Macbook Air like we had to in FCP6. If all you are doing is editing and you are on a Mac, I can see how FCPx might be the pick. But when you inevitably need to do a little bit of Photoshop, or someone asks you to use a graphic in a pdf and you have to separate it out somehow, or you decide you need a faster computer and don't want to cop paying out of the nose for a mac pro, nothing beats a CC subscription, you can actually do everything you have to without too much pain.
  20. tdonovic

    FS5 lens

    We have just bought an FS5 at work and we are waiting for it to ship, with the 18-105 as a kit lens because it was barely more expensive to add it. Would you recommend going with e mount lenses for video or am I better off going with canon? I know from personal experience with m43, the by wire focus there is generally pretty poor. Is it the same on Sony?
  21. I replied to a mention of the 15mm f1.7, where you said it was f1.4. 100% there is a 25mm f1.4, I have used it. That lens IMO needs to be replaced, the plastic body and ehh af needs to be replaced with something a bit newer. I don't think its fair to compare the 25mm f1.4 to the 12mm to say the 12mm is overpriced, just look at the price difference between the canon 50mm f1.4 vs the 24mm f1.4. In AUD is $400 vs $2k. Fast wide angles are really expensive.
  22. I work at a school and all the kids edit on Macbook Airs. This proxy workflow is going to be great as well as the new hardware decode support, those laptops cant deal with 50mbps XAVC-s let alone 100mbps gh4 stuff. Now I just have to set the project up once and it will give them an optimised experience when I give them a copy to work on
  23. Use OpenCL on AMD systems and CUDA on NVIDIA systems. You'll get the best performance that way
  24. Its f1.7, not 1.4, so not really a fair comparison
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