independent
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Posts posted by independent
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In comparing the two, I think the Canon focal reducer/ speed booster needs to be added to the equation. Not only would that make it more equal in price, but it makes the c70 essentially full frame.
There is a technical difference of course; while the focal reducer increases field of view and brightness, it doesn't change the DOF. Personally, I think that's a plus. I'd prefer the unique flexibility in gaining a stop in light without the accompanying razor-thin plane of focus. Just more practical.
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I don't have experience w/ the Fx6, but the noise difference between log v. non-log (Cinetone) in low-light is a phenomenon clearly described by Sony Ambassador Alister Chapman:
Quote"Even if you can expose correctly with a 14 stop recording bucket like log you are only using a little over 35% of the available data and that’s a terrible waste. You won’t have much data to help you separate out any noise from the desired picture information in post production and because your recorded signal is small any compression noise will be relatively big in comparison to the picture information.
This is when it’s time to abandon log and go back to a conventional gamma curve. You don’t need log when the scene only has a limited dynamic range. If you use Rec-709, which has a 6 stop range (without any knee) instead of log, at the same ISO, then now instead of recording using only 35% of the available data you will be using almost 85% of the available data and that’s going to give you much more real picture information to work with in post production. You will get a much better end result by not using log."
This isn't just a phenomenon with Sony log, this is across the board. Here are some tests that I did with the Canon 8K Raw, shot log v. non-log. These shots were pushed from 800 to 6400, as I was actually testing latitude, but you get the idea (click on the images to see it more clearly).
When you have to shoot low light and don't need the dynamic range, shoot non-log for lower noise.
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Lectros and Zaxcom are industry standards for bigger productions. But the OP was asking about Sony UWP vs Sennheiser G3/G4.
For that class of gear, the Sennheiser is much more" pro" than the Sonys in terms of adoption, availability, and actual use in the industry.
Go call the rental houses in New York City. I guarantee you that all of them rent out the Sennheisers along with Lectros and Zaxcoms. Ask them whether the Sennheiser or Sony is more "pro," and most will tell you they don't carry the Sonys. That should tell you something.
That's not to say the Sonys are bad! Just be careful listening to some poster on the internet who culls info from jwsoundgroup.net and goes around on other forums as some self-styled expert.
- newfoundmass and Aquilasfx
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There's always that contrast between mainstream and niche. Boring is subjective and relative, across culture and throughout time. As a child, you found cartoons interesting and the news boring; the inverse is (generally) true as an adult.
The difference is that the internet has just exponentially increased the amount of media to a wider audience. Of course, the resulting popular media that emerges is quite vanilla--but many people like vanilla. If you're looking for the meaning of life in TikTok videos—that's a you problem. You're looking in the wrong place.
The number of innovative or experimental movies has increased as well. It just takes work to discover them. As it should. As it always has.
Some remember what it was like reach into the unexplored shelves of independent video stores.
That was sometimes the best part.
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Yes these are just your opinions. The majority of which don’t jibe with the industry.
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1 hour ago, IronFilm said:
That's the same type of logic behind recommendations such as buying a new Sennheiser 416, or a Canon 5Dmk3.
Both are a bad, or at least suboptimal, idea in 2021.
No, it’s the type of logic that get the job done.Reliability, compatibility, availability, etc., all matter more, especially on larger sets with bigger casts and crew. All rental houses carry boatloads of Sennheiser G3s/G4s, for good reason.
But if you’re by yourself, and you’re wiring up your mom and the mailman, then sure, you can choose whatever toy to tell your story.
Except for the Sennheiser 416. That’s a tool. Leave that for the pros.
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Huh, yeah interesting, I guess people have different tolerances. I often shoot in a sound-controlled environment so the AF noise is pretty important to me. Especially with smaller crews now, it's good to have another usable audio track from the camera.
STMs aren't uniformly quiet. USMs are also not all the same. I have a 24 f2.8 IS USM that is much quieter than the 35 f2 IS USM or RF 50 1.2.
The Nano USM models are all great, virtually undetectable. I just wish Canon would make fast primes w/ Nano USM.
Anybody have experience with quiet, fast Sigmas?
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Check the site? https://en-us.sennheiser.com/sifa
Anyways, get the Sennheiser. They're extremely common, everybody is familiar with them, and warranty/repair service is excellent.
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6 hours ago, Django said:
The RF 35 lives on my R6 (as the EF adapter is back-ordered due to the Canon factory fire). I've come to really appreciate this lens as it is quite compact, versatile, sharp, aberration free and has macro & IS. For the price it's killer, I like it so much I'm thinking of adding the RF 85 1.8 Macro IS.
How loud is the autofocus on that STM lens? Would an external mic pick that up?
I use the EF 35 IS version to take advantage of the ND filter adapter, but the autofocus noise on that USM lens is definitely noticeable.
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Gray lipstick on a pig
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I had a scarlet too when it came out- can't argue with the image when properly exposed. But I compared it with the original BM 2.5K, which completely crushed the scarlet in low light. At least a couple stops. I see the same trade off with the Komodo. But when properly exposed, Red is hard to beat.
The c70 does seem to have an issue w/ AF on darker skin tones; Brandon Washington and Griffin Conway demonstrated this issue. Might be able to be fixed w/ a firmware update, but it's pretty disappointing regardless. That being said, the fx6 has its own autofocus issues w/ a lack of touch af tracking. I do think the c70 and fx6 are the two best affordable pro cameras out there, but they're definitely not perfect.
The Blackmagic P6K Pro is just a pure cinema camera. Manual focus, s35, pro monitoring tools, etc. Slap on an Sirui anamorphic and shoot your movie the old fashioned way.
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41 minutes ago, newfoundmass said:
AF isn't really important, it's just people now write off anything that doesn't have good AF because of YouTube and YouTubers thinking everything, including cine cameras, should be marketed and catered to them. So it's become "important" in a marketing sense, but a cine camera really doesn't need AF and most people probably shouldn't rely on it when using a cine camera.
Autofocus is not necessary for many reasons. It's also necessary for many reasons.
- IronFilm and Paul Jonathan
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9 hours ago, tupp said:
That video is over 40 minutes long (and it was produced by an equipment dealer). Please give a link cued to the specific section regarding iso, or please give an appropriate time code.
Please link examples of heavy artifacts in the A7S III that appear above 12,800 iso.
In that Gerald Undone video, I didn't see a comparison of the DR of the A7S III along with the C70. Also, I don't agree with with his reasoning on why the C70 supposedly has better capture dynamic range.
Please link the CineD comparison.
Well, yes, that is an advantage of a Super35/APS-C camera with a shallow mount, but doesn't the A7S III have a crop mode?
Well, you didn't click on the link that I posted, which would take you exactly to the iso tests. So that tells me you're lazy, and I did all that work for nothing. Pay me!
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As a former pocket 6k owner, I loved that camera. That image can go head-to-head with any camera today. All these upgrades are incredible for $500 more. Lack of autofocus does hurt it relative to the competition. But if you shoot anamorphic, this is the cheapest way to get the best image.
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3 hours ago, tupp said:
Will have to take your word for it that the C70 has greater dynamic range, but can the C70 shoot at 12,800 iso clean like the A7S III? Also, isn't the C70 a Super35 camera?
God forbid unsubstantiated opinions!
GU, CVP have done some rigorous testing—up to 12800 is clean and usable. Above that, the Fx6 is the way to go with the higher iso kicking in at 12800, with NR controls to avoid the heavy artifacts in the a7s3.
As far as dynamic range, GU, deep in Sony's pocket at this point, nonetheless acknowledges that the c70 has better dynamic range than either a7s or fx6, which is quite remarkable because the c70 has a super35 sensor. CineD also corroborated this w/ the c300iii, using the same sensor and codec as the c70.
That somewhat makes it even more exciting, because the focal reducer transforms the c70 into another camera really.
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On 2/17/2021 at 9:37 PM, IronFilm said:
It's killed the C70, only reasons to get a C70 now are:
1) autofocus
2) desire for a shall mirrorless mount (damn you BMD, give us a MFT Mount! Or even E Mount)
3) belief in the magical "Canon color science"
4) irrational hatred of BMD (we know many of those people exist!)
(as for DR, am always ultra skeptical about manufacturer claims, have we seen a head to head shoot out in a controlled manner between a C70 and P6K? As for battery life, once you slap a V Mount on it, this hardly matters)Do I detect sarcasm? It would be sarcasm if I wrote it! ha
Yes, but the C200 is known for having a bad old sensor in it.
No surprises there that it out performs the C200.what are you talking about?
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The a7s3 gets its dynamic range number w/ noise reduction - artificially boosting the S/R of 2, which CineD (and Gerald later adopted). The c70 is 13+ stops at that S/R if I recall correctly, better than the a7s3--or the fx6 (below 13), which makes sense because of the c70's dual gain sensor. Only the Alexa is better.
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The Sony fx3 will definitely justify its existence if it offers:
- noise reduction control
- Pro monitoring tools including false color, which would help avoid needing an external monitor. That would save you the money, preserve the small form factor, and of course, audio on the top handle leaves no room for external monitor.
- eNDs v. IBIS...I'm guessing IBIS would be more important to counter the jitters on a small body
- If it has better AF features like touchscreen tracking and an audio input, that would certainly be an advantage over the fx6
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You're seeing smartphones eating shitty digital camera market. Nothing wrong with that.
Pro camera markets are fine; if anything, prices have come down: compare the prices of the Canon C300 series; the C300iii was released $4K lower compared to its predecessors. The introduction of C200, C70. Sony with their FX6. Red has trended cheaper as well, from the scarlet to the Komodo.For hybrids, I haven't looked into the financials, but goodness, Canon did well during a pandemic w/ the R5 and R6.
Also, I don't think hybrid prices have necessarily risen, relatively speaking (not even accounting for inflation)
Canon 5Dii: 2699
Canon 5Diii: 3499
Canon 5DIV: 3499
Canon R5: 3999, Canon R6: 2499
Well some manufacturers have:Sony A7s: $2500
Sony A7s2: $3000
Sony A7s3: $3499 -
1 hour ago, JurijTurnsek said:
@BTM_Pix Could it also be that the kind of people that buy cameras according to YouTube reviews are really not the target audience for A1? I would consider the R5 the rich consumer amateur territory, a lot of sales to be had from them.
Yeah, the $6K A1 is targeted at coal miners
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Fuji and Sony bringing back 420 recording like it's 2019
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Sony's on fire. Love how they're putting random hot trash out on the curb while nobody can get a PS5.
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Via Phil Holland: difference in sensor area between the R5 and Sony A1 for 8K UHD. R5 is a bit larger, 33.75x18.98 (38.72mm image circle) vs. Sony's 31.91mm x 17.95mm (36.61mm). So the Sony has a 1.06 crop compared to the R5.
That might not seem like a lot, but I've shot in tight spaces like cars, bathrooms, closets, etc. and every mm counts that's what she said
Rode Wireless Go II - 2 channel receiver with inbuilt recorder
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Why, how much do they pay at a Wendy's these days?