Jump to content


  • Content Count

  • Joined

  • Last visited

  • Days Won


Everything posted by Kisaha

  1. Feature on such a camera is a stretch for me. I would be curious. I think Peter Greengrass uses a6300 with the 18-105 for the most intense Bourne moments, and when it is really cold on set. I heard he found the touch screen implementation of the a6500 too gimmicky for real world use, still he likes how the screen dims, it has a certain old school film quality, when you weren't sure what you got before all these film procedures.
  2. @Blah Blah marco is asking for a similar to NX500's crop for NX1, so to have two different focal lengths with one lens, is the iZoom function similar? Also, there are 2 things that would be great, 1) JVC LS300 has a "prime zoom" function(for 1080p). I am not 100% sure, but what it does, is that it takes a 4K signal, and when you zoom, in reality it crops, so you can have a perfectly fine small zoom function, out of a prime lens (that works with zoom as well). 2) GH5 has a nice focus pulling app in build, a bit similar with the one we have for the NX, but it is really a killer feat for video focus pulling. Can we achieve similar GH5 functinality (and ease of use?).
  3. 18-105 is a great all around lens, best value for money in Sony-land (my opinion), very good IS (impressive with the a6300 that I have used it), very good 4f (a6300 is a great low light camera). The only thing is, I prefer using a 16-50 (ideally a 16-70 or something) as the 24mm focal length (16mm in most APS-c) is one that I use the most, but for whoever the 27-28mm is fine, the Sony zoom is a very good choice. Not fantastic sharp in photos(and in every length), but a very good one lens solution.
  4. @noone that is my line, find your own! The photo you posted has multiple light sources. As simple as that. Your fanatism about pushing your personal equipment blinds you not to see the lighting opportunities every scene offers you. I do not even own a flash (but I will, I want to experiment a bit!).
  5. @noone come on man, I can count 18 lights with multiple lighting sources inside..how many ISO you need for that stage? THis is exactly my case..
  6. We were recording live events for decades. I do that so many times every year and I have never use a A7s for such a job, usually these venues have some kind of lighting anyway, or else they do not want the crowds to see anything. I am just amazed that people these days believe that with no IBIS, and no A7s, you are doomed to oblivion. I face every day a market that expects from one person to do lights, camera, sound, edit, sound editing, grading, driving, droning, everything. It is not right.
  7. I am no DP, and every time I am working with a proper one I am just stunned; what they can do with a couple of Dedos is just remarkable. These days I am working with a 56 years old DP with a C100markII, the most we went today was 2000ISO for just one shot, even though we had 5 hours inside wine cellars and the such. All the rest was base ISO (850). In most of the shots I would have used at least 1-3 stops higher ISO, and the result would have been worst.
  8. Whoever believes that a camera that shoots in high iso saves them a proper lighting setup and/or a crew, haven't really understand what is going on. Photography, is "writing of light", not the lack of it.
  9. @Arikhan Mattias already replied, and I do agree with him. Some other thoughts, as I am working on some snowy vineyards and I won't have much time the following days to reply 1) I never do AF, except gimbal work (and the NX1 on a Ronin is brilliant) 2) Metabones is just perfect, does it all (I am not sure that there are other active adapters anyway..), always used on tripod, not a big friend of handheld work 3) 99% use with EF and EF-S, everything works like an m4/3 adapted camera by a metabones active adapter (I guess, only m4/3 camera I have used, is GH4) 4) we haven't achieved great log footage so far, something is always off, and it doesn't help that you can not find any information on the net. So far we are avoiding using log, until further tests, maybe it is better to protect the highlights? Lifting up the shadows creates some unwanted noise. Anyways, not sure, we have to test more, but the camera works most of the time since june 5) image is no black magic stuff, it is a bit video-y, NX1 has better ISO, for sure, this camera (and NX, but especially this) needs proper light, NO A7S stuff either(!), I guess is on par, or even a bit worst than GH4 (up to 800iso for these, 1600 for NX, at least for me). 6) hfr is broken, crops heavily, unusable (if anyone knows different please tell, it drives us crazy!) 7) excellent prime zoom(!) function, if you are humble, you can slightly zoom-in and it is a great feat. to have. Great. 8) the handle in the top is great, no cables (I hate the cables on the C line) 9) working with LS300 yesterday, and with C100mkII today, I dedinitely prefer the C100 ergonomically. The JVC is built like a typical video camcorder, which does not really help ergonomically and it is very front heavy with most L lenses, and even EF-S ones; with m4/3 is better. 10) EVF and monitor are terrible, but I wouldn't expect anything better with this price point. 11) have you checked the price point? It's low, and there were some instant rebates on B&H a month ago. 12) it is a video camera, I love hybrid cameras, but for video work, you need a video camera!
  10. ..and I was wondering if JVC ever sold more than 200 cameras! You all know that I believe LS300 is in the right direction and best value for money. I just used it a few hours ago, for this documentary series I work, but a mkII can fix (or improve) on some issues, that can make this camera, truly the best value for money video camera on the market. I am expecting an LS300 by Panasonic too. Nikon is going DOWN.. Very good reading of the charts @IronFilm , missed those two!
  11. @lucabutera are we going to have a mkII (discounted) version?!
  12. I had posted somewhere an English version a little while ago (it could be a different forum though!), anyway, the numbers spoke. If you see the detailed analysis, the bulk of the sales are entry level, or discounted older models, cameras that we never discussed, or like here. You can all see that our needs are vastly different than the mainstream, and Canon knows what the people want! Also, Canon must sell in developing countries huge amounts of cheap dSLR, M3 (or whatever number their cheap mirrorless have) and a few 80D. China/India are 1/3 of the population on the planet, I do not see too many people from there investing in 10bit equipment or anything exotic. They want something that works reliably, and sufficiently for their needs.
  13. Live TV is very difficult, because it is live, you can not do it again, nor edit it on post. I used to do shows and stuff, and it was very stressful having to mic everyone, and whatnot (and whatever anyone is doing live, cable people, journalists, cameramen, control room, etc). I didn't in any way tried to de-value your job or any job whatsoever (and not only in this field), I said that you are not paying attention to details on live shows, something really bad has to occur to create problems (and it has from time to time), other form of moving images have different challenges. Live TV and reportage (news coverage) is very different than other video projects, and on the other side of cinema (short/feature films), where there (even though you can edit, and do it again) everything is REALLY strict, and mistakes are not permitted, while on live you can say "well, what should I do about the failed monitor speaker, it wasn't my fault"(true story, no one blamed me, just happened). I am also doing a lot of music documentaries, and today I was working on a documentary about a Carnival that happens in a very specific and special area in my city; 3 5D mark 3 cameras and one had a Zeiss 19mm. There were 8 people with drums, playing traditional Balkan music (with a twist!), and a few flutes and bag pipes (even more difficult, because the wind instruments were completely lost) while there were 3-5 circles of people dancing around them. This is a sound nightmare, and live.. I sensed that Matt was somewhere in between, he wanted to do something cheap, but better than a reportage (and usually on those, people are holding huge dynamic microphones up their noses!) and I responded accordingly. It is a forum that everyone is trying to offer whatever they can, and help each other, and sound is my speciality; you do not see me replying on color correction posts! I also used to do cinema classes in kids and teenagers for a while after finished University, so maybe I sound a bit teacher-y! Kids loved me though, once voted best teacher on a summer camp! I hope we helped a bit.
  14. @Stanley I was trying not to be offensive (as I wasn't, and I am not), sorry if I sounded(sic) strict, but I am a pro sound man since 1999, have done a few things, and I know that things are not working like this in the industry. I gave you a recent example, and I believe that you gave a very bad advice that won't make anyone a better person (technician, artist, etc). It is pretty obvious you are not aware of sound issues, better leave it to someone that can help, or give us the answer of the sound men you work with. 1) What is your job in these huge arenas? 2) The sound equipment on these arenas can cost to the millions (depending how huge, how many mics, what sport etc have you seen the NBA finals coverage?) 3) How many people belong to the sound department? 4) Either believe it or not, live TV is more forgiving than short films, and obviously feature films. In live TV, you need optimal quality of,course, always, but the most important thing is to accomplish the objectives. That depends on what kind of production is this. Live TV come and go, usually no one re-watches back to criticize reverb mistakes and a small flu-net difference, etc, a video that someone creates for a web site, can earn 200$, and be played, viewed and criticized multiple times, with play-pause capabilities and the such. 5) the sport casters, I am sure you have noticed, are wearing special microphones, that are a couple centimeters (or millimeters in cases) in front of their mouths. http://www.sportscasterlife.com/pick-your-pipebomb-stick-vs-headset-mics/ yes, they used to have stick mics, and some still are. 6) https://www.youtube.com/watch?v=YsUTEIqoFOo 7) how's that for a "huge arena" head set? https://www.bhphotovideo.com/c/product/1132522-REG/schoeps_hsc_4vxp_hsc_4xp_integrated_headset.html I need a lot of paragraphs to describe what you need to cover big sport events, while I have already sufficiently proposed 1) an appropriate microphone that costs around 200$(with a stand), and a couple of blankets, they can be hanged for whatever, and can be moving blankets as well, or blankets you sleep at night, certainly something is better than nothing, and exactly this, nothing, is what you suggested! 2) a young professional sound man, with equipment of a few thousand dollars, could do a special price of 100pounds, if it was a 3 hours job (mandy and other sites offer this services in UK), or 150 if he had to travel from the next town etc, and I mentioned more than 4 reasons to have someone to shoot with. A lot of people mistaken the moving image with the still image; a photographer can, and probably works alone, motion pictures are a TEAM job. Doing absolutely nothing, and tell some story that doesn't make any sense, isn't a better option in my opinion. This is for sound blankets if anyone cares. https://www.youtube.com/watch?v=uzyEaVYCk3s
  15. @Stanley this is a completely false statement! I wouldn't start like this any sound education, It is completely wrong! Who are these "soundies"?This is like a script writer's line, not a "soundies"! Actually, for a slight reverberation issue that I couldn't avoid (they gave me no other option) I had recently a cable channel's producer call me and complain. @mattpitts74 Actually, one of the best "investments" for anyone care about sound are special blankets that can used accordingly to cut reflections, and are quite cheap most of the times, or even better, hire a sound man with the appropriate equipment, if you get 500 pounds for the job, give the 100 to a young soundman, if you get 600, give him 150, or whatever, you will be faster, more efficient, have someone to help with other things as well, talk, learn, socialize, networking etc
  16. You don't need a cardiod, but a different, more directional version, some of them already mentioned by jcs. The Sennheiser MKH-50 is excellent, but as you seem to search for a very low budget solution, I could suggest something like this, http://www.oktava-shop.com/Small-and-medium-diaphragm-condenser-mics/Oktava-MK-012-01-movie.html or this http://www.oktava-shop.com/Small-and-medium-diaphragm-condenser-mics/Oktava-MK-012-02.html if you need the extra capsules (or you know what they do). It is a bit tricky though, and if you want to move this mic, you would need the best protection from air, best shock mount system, and on top of that extra-super-special-ninja boom op ability, which is very difficult to find (or achieve) these low budgeted production days. If you have it stable on a stand, it will be just fine. The Audix seems like the best of both worlds.
  17. @rooney111 ...or very good friend with the penguins, or be one.
  18. I am reading your Sony and Fuji experiences and I am so very glad I haven't abandoned my NX1 yet.
  19. ...and change the shutter mechanism! I think I saw a code on Samsung Parts for 180$, that is perfectly logic, if it is true, and if one can make it on his own, then almost 200$ for a new shutter is just fine.
  20. JVC does brilliant things out of this sensor, it is not the best sensor around (800ISO the most), but it can do Prime Zoom function (it really works! ) and put most lenses ever built, plus there is a metabones there for anyone going larger. The most interesting part is that the sensor is made by JVC (they bought out a small sensor company a few years ago), and JVC, if I am not mistaken, is partially owned by Panasonic, I would expect them to make their own sensors, at least for their flagship, instead of buying them by their main competitors (Sony).
  21. The most convenient camera I am using the last few years, for run n gun TV documentaries (they are calling them just documentaries here, but in reality, they are run and gun) is the C100(I and II), most of our budget short films, we are using C300 with Canon cine lenses. My mirrorless system is Samsung NX which I found terrific ergonomically, unlike Sony cameras that I am using from time to time, but I wouldn't buy them, and ergonomics are playing a part for NOT buying them. I am in the industry since the film-film years (i was a boom op and lightning technician those days, so not having to do with cameras, I have shoot film though but in smaller productions, and taught film in film school), and the camera crew were 3-5 people, now they are two, and most lower budget jobs just a camera man. I am not even mentioning the new trend of "one man band" that I detaste, but unfortunately I have to do it from time to time (I am going with 2 or 3 NX cameras), and size/weight/ergonomics count a lot then, as the rest of the equipment I use. It is not nonsense at all when you do not have the budget, and/or you do not have the people, and all these cameras we are mentioning (Fuji, Pana, Sony a6xxx, NX) are for the ones with neither, so ergonomics are really relevant! Actually, I am surprised that anyone is against ergonomics, ever, with anything! Even your car's handle has to be ergonomic, or your drawer, or your basement's closet, ergonomics are something I give a lot of importance in my life. @Mattias Burling sorry for the off topic. I stop now! But Fujis DO have great ergonomics!
  22. ..I wanted to add the ND filter there, too, and leaf shutter! I love NX ergonomics, it is amazing what they did with such a small camera. Of course, Fuji cameras are great on their own, it is just the NX500 is a very capable, extremely small and light, 28megapixels, 4K capable (it is great as a 2nd or 3rd cam) that costs new, right now (it was cheaper before Samsung pulled out!) for the same money that https://www.bhphotovideo.com/c/product/1275467-REG/fujifilm_16531635_x_a3_digital_camera_w_xc16_50mm.html costs, with much better ergonomics in my opinion (and no view finder for the a3, too). Also, https://www.bhphotovideo.com/c/product/1307717-REG/fujifilm_16536556_x_pro2_mirrorless_digital_camera.html 2299$, and no 4K!! We have to see the specs and price, is it going to be around 800$? If yes, then why spend 1000 more for the flagships? The most important thing is that Fuji is all in with video it seems, and that's a good thing, as together with Panasonic, are the companies that listen to their customers most. @Emanuel One can buy a bike without a saddle, but after a few Khm it can be dangerous for one's dignity! Ergonomics are very important in our job, except it is not a job, but a hobby, which ergonomics aren't everything.
  23. It is definitely not competing with the best microphones out there, I see it more as a Rode killer, than anything. Do not feel like a lot of top pro sound men replace their 416es or 60s for this, but instead of one of the cheap Rodes, I can see getting this as a second or third mic. It is also a lot wider than 416, which is a no no for me and most top professionals, but the weather sealing, the wide patter and the cheap price of the kit it makes it an excellent back up plan, or crash-mic, or first mic for one man band professionals that sound is their second or third, or forth, (or fifth!) thought, or new sound men and boom ops that afraid to handle the not so forgiving Sennys. The Rode/Rycote thingy costs around 80$, and the Rycote with the new softie (which I tried, and didn't excited me very much) is https://www.bhphotovideo.com/c/product/263721-REG/Rycote_033702_Medium_Hole_Softie_Lyre.html in a very good price. I will be waiting for more reviews, and probably a small price drop, and see if it take me away from the MKE 600, which I was considering as a back up mic.
  24. Everything is going to be 4K soon, even entry level cameras offer 4K these days. Fuji is up-ing its game in video, video sells, I was listening to Wlater Murch the other day, saying that video is going to be next to mathematics and reading and spelling in schools, and it is almost true already. Cheap and good video will be mandatory, and accessible (when we had the next technological boom in camera phones. There will be smartphones, and pro equipment, middle ground is going to be lost). The other thing is, that the Fuji X100T in my country starts from 1190 euros(!!), 2 brand new NX500 kit with the 16-50mm kit (111gr), or one NX1 with the same lens. FujiFilm X100T is 6% (7 mm) wider and 17% (10.8 mm) taller than Samsung NX500. FujiFilm X100T is 23% (9.9 mm) thicker than Samsung NX500. FujiFilm X100T [440 g] weights 19% (70 grams) more than Samsung NX500 [370 g] (*inc. batteries and memory card). If you add the 30mm 2f pancake lens it is 10gr more than the Fuji, and you pack a 4K capable, 28 BSI megapxls camera already. No view finder though for the NX. FujiFilm X100T dimensions: 126.5x74.4x52.4 mm (camera body only, excluding protrusion) Samsung NX500 dimensions: 119.5x63.6x42.5 mm (camera body only, excluding protrusion)
  • Create New...