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Trek of Joy

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  1. Trek of Joy

    The Aesthetic

    Netflix - and Amazon like that 4k (and in Amazon's case HDR) goodness. It doesn't matter if its not needed or if it doesn't add anything to the story, it makes people feel good about buying a 4k tv and having something in 4kHDR to watch. That adds to their subscriber base, keeps profits high and shareholders happy, and gets them to keep churning out content. Here in the US I can get a 65" 4k HDR tv for under $400, 1080p is dead at the retail level. Its crazy how fast that happened too, three or four years ago HDTV's were still a massive part of the mix. Now they're throwaway sets not even worthy of a live display at Best Buy or Walmart, just cheap aisle fillers. Netflix and Amazon know this better than anyone, and the Netflix approved camera list clearly reflects that. Chris
  2. I'm about to invest in either the Kase, Freewell or K&F mag filter system and replace all my screw on and 100mm filters with one system, just can't decide which one. Being able to mix and match between ND/CPL/Mist and so on is a huge plus. The magnetic thing looks like a great solution for run and gun field work. Just trying to decide on which system has everything I need and such and do the numbers with step up rings, extra caps and all the bits. Chris
  3. If the digital stabilization is anything like Sony's, it can be much better than IBIS in many cases - with the crop caveat. Disappointed no internal ND's. But looking at the spec, heat management is really holding the R5 back LOL! If this was available when the R5 launched, I would own one and a regular R5. I was ready to switch until the overheating reared its ugly head. Oh well... Chris
  4. BM just dropped a bunch of Resolve 17 tutorials on their YT page. Their in house stuff is much better than pretty much any other how to video IMO. Chris
  5. Seems to be a few duds, there will be sample variance, even if everything is within spec. The only way I've been able to get mine to overheat is with the LCD against the body, but that was after recording all day without issue. But we know that's where the camera gets the hottest, its always been that way with Sony. Someone of FM said theirs overheated after just 2 min shooting 4k60p sitting on a desk in a cool Canadian basement shooting XAVC S 10-bit 422. I'm testing in 77 or 78f-ish temps, not exactly hot, but I'm easily surpassing Sony's claimed room temp record times. I used the same 422 bitrate option to fill card after card with no issues - even when recording to both cards simultaneously. *shrug* Chris
  6. a7IV overheating test pt. 2 Did another run test without airplane mode since someone asked the question on FB - had the LCD out and today I plugged a mic in just to try and create more heat. I ran the battery dead and shot 1hr and 50min of 10-bit 422 XAVC S 4k60p. The battery crapped out about 30 seconds after I took the pic. No temp warning and the camera was warm, but wasn't that hot, same for the battery. Below is what I've managed without an overheating shutdown - AF-c and the camera pointed at the TV to get faces/eyes, Steadyshot on, auto ISO that was changing with the different light on the TV, airplane mode, LCD out, temp set to high, prograde 128gb v90's: -- Over 7 hours of XAVC S 4k60p 10-bit 422 only stopping to swap batteries and delete the file after filling my 128gb card at 1hr 20min -- Multiple dual recording of XAVC SI at 60p and 24p until cards were full or the battery died -- Simultaneous dual recording of 10-bit 422 4k60p XAVC S until both cards were full -- 27min of dual recording with the LCD against the body and it shut down, then another 14 min after immediately restarting - these two runs were after doing all of the above all day yesterday, that's about 9 hours of non-stop recording with no issues, then the shut down Today's test was the same as above, just airplane off. I can't get mine to overheat unless the LCD is against the body, but I don't shoot that way and knowing it won't overheat with it out - I will not hesitate using this in a professional environment alongside my a7sIII. The a7IV is a winner for me. Chris
  7. Been trying to find a deal on one of these for awhile. Just missed one with a speed booster and cage for less than $600. Prices seem to be on the rise, grrr.. Chris
  8. I actually haven’t unwrapped the battery that came with the camera in case I wanted to return it. I have a few OEM’s so I just cycled through them.
  9. Ran some more tests. Took a lot but I finally got mine to overheat. I filled a 128gb card shooting SI at 4k60p which was 27 minutes, no issues. Then I switched to 24p which filled another card in 1hr 8 min, no issues. Then I did a simultaneous recording, 4k60p XAVC S - so it recorded 1hr 20 min to both cards, no issues. So my conclusion is after 7 straight hours of recording - only stopping to swap batteries and delete those long ass takes - my camera has zero issues with the screen out. So then I put the screen into the body and did the simultaneous 4k60p recording again. It shut down after 27 minutes recording to both cards. I flipped the camera off and then right back on and hit record and got over 14 minutes more recording before it shut down - again recording to both cards. This was after all the previous recording and the camera was already pretty warm. I never shoot with the screen flat against the body. I'm 6'2" and never have the camera at eye level, so the screen is always flipped out so I can see it. Over 7 hours works for me, the a7IV is a keeper. A few more shots of the camera in action. Cheers Chris
  10. So I decided to take a look at my copy after seeing this and the thread on Fred Miranda. If anyone is getting fast overheating times, I'd return it - you have a dud. I'm at over 4 hours of 4k60p and counting, only stopping for battery swaps and to reformat the card. Batteries have been at about 35% when pulled. With the settings below my 128gb card can only record for 1hr 20min so I've been stopping it just before its full. Batteries are warm to the touch, but not anything to worry about. Same for the back of the body where the LCD screen sits, I don't even have a temp warning yet. My settings with a 128gb Prograde V90 card: XAVC S - 4k60p - 10 bit 422 - 200mbps AF-c - wide area - Face/eye detection and touch tracking on Screen out like I always shoot Airplane mode to prolong battery life (always unless I'm transferring files) Temp warning set to high I started with the FE 85 just pointing at a static scene in my 77 degree apartment with the camera in front of the heater so it was blowing warm air on it. I hit tap to track on the flower as you can see in the image, so tracking was constantly engaged the whole time. I stopped it just before the card was full after almost 1hr 20min of recording. Then I moved to pointing it at the TV and swapped to the FE 35 to bootleg The Grand Tour (haven't seen the latest one, no spoilers LOL!). This should generate more heat since the camera would be busy detecting faces/eyes and tracking them - which it did beautifully. No heat warnings at all. This is far better than my a7III and absolutely crushes the a6300. I've never done a test with my a7sIII because it doesn't need it, but these results are far beyond what I should ever use. I'll try bumping to XAVC SI and the 600mbps bitrate, but I never shoot that because my 128gb cards only hold about 27 min of footage and after a year and a half with the a7sIII I don't see a difference with XAVC S. That said I have zero reservations about using the a7IV for my work as I've never recorded a 1hr 20min take - the longest for me is sunrises/sunsets at about 45 minutes from start to finish. I edit in 24p, a full 128gb card of 60p footage would be 3 hours slowed down. The photo shows the end of the three consecutive takes filling my cards and the switch to SI and its massive bitrate on the bottom right. Note the sweet eye AF LOL! Cheers Chris
  11. Nice! I used to shoot for Visit Florida, been to Sanibel many times. Chris
  12. The phone app lags a bit. The Monitor+ app isn't as bad - its much better than Sony's and well worth the cash - it has great functionality. But a phone isn't bright enough outside and it overheats in direct sunlight pretty quick. I don't want to fry my overpriced iPhone LOL! I have a really bright monitor, its just more time consuming to setup and a lot more to carry with batteries, cables and such. I'm a one-man-band and for most shoots I lug all my gear in a carry-on size backpack, that's 2-3 bodies, 4 or 5 lenses, my drone, a monopod and all accessories including a gimbal at times. If its a slower paced project, I rig the camera out a little bit with cage, handle, Ninja and so on and just throw it in an old porta brace camcorder bag from my old FS100 days. As far as 500mm, I was shooting osprey's last spring with the a7sIII and the 200-600. I just tapped the LCD to lock onto one as it was sitting in its nest. When it took off I just followed it around as it swooped down to grab a fish. When it was eating back at the nest, nearly every time it looked my way I got the eye AF box on its eye. It just blows me away how good Real Time Tracking works. A guy next to me was shooting with the a1, which was even better. The capabilities are just amazing. Cheers Chris
  13. Times have changed, I shoot almost exclusively with AF thanks to being farsighted and shooting in the sun a lot - which makes anything outside of the EVF difficult to judge focus. As a solo shooter I can't monitor through the EVF and conduct interviews at the same time. Sony's Real Time Tracking is easily as good and in many cases superior to Canon's DPAF. Its been a game changer for me and has actually sped up my workflow. I can get the shot faster. It can track a subject far better than you can with MF, even with super shallow DOF like with the 50/1.2 or the long end of a zoom lens. I was shooting someone walking down a path with the 200-600 at about 500mm LOL, and it stuck to her like glue. Just awesome. If you haven't used it, you really don't have a leg to stand on with that argument. It reliably sticks to whatever you lock on to, and if there's a face or eye it'll track that with amazing precision, even with things like dogs or birds moving at speeds faster than most can follow manually. If it drifts a bit you can always cover it with Broll or use the drift as an edit point just like you would with any other shot that's out of focus since anybody manually focusing large aperture lenses can't nail focus 100% of the time. And with Sony's new breathing compensation you can easily eliminate any of the background movement as the AF tracks people moving. Its really a thing of beauty. Do I get missed shots because the AF misses, sure, but I get far less than focusing manually. That's saves me time, and time is money for me. I get it, some just don't want to embrace change or new tech, but these are just tools to get the job done and they do a damn fine job of getting the shot. As always YMMV. Cheers Chris
  14. Again man, just read what the OP wants and stop focusing on me. The RX0 clearly isn't it because he wants shallower DOF. I just mentioned 10-bit it since he's looking to cut footage with the s1h, 10-bit will give more flexibility in post. And in his words, the GH5 didn't cut it, so your RX certainly wouldn't either. This is the criteria, ignore me and focus on this: "I want another camera to cut to occasionally that is: A - always in focus regardless of how animated the interviewer is. On some focal lengths even at F4 it's possible for an interviewee to lean in and out of focus very easily. B - reasonably shallow DOF so it looks nice and not like a camcorder. C- unmanned. I want to press go and when i come to edit, know it will be in focus. Those three factors mean I need autofocus for that other camera. TBH I think the current fashionable dogma of "REAL film-makers don't use autofocus" comes from a sort of aspirational attitude, wanting to have a big crew etc. It's fine if you have enough people and time, but both cost far more money than gear. In reality I shoot lots of interviews a year often entirely alone. Autofocus would mean I don't have to hire someone else, something that would be prohibitively expensive budget-wise to get someone good. If you are on your own only holding focus on a face while moving, that isn't an "artistic" task. It's a technical one. We are at the point where computers do such tasks very well and will only get better. I have already tried this sort of shoot with a GH5 b-cam and it didn't work. We aren't even talking about razor thing DOF, just not camcorder/mobile-phone deep. And still it always ended up hunting or pulsing at some point, in the end I sold it. Contrast based AF is just not up to the task. That leaves me with Sony or Canon. My only real worry with Sony was cutting their 8-bit 4:2:0 against the S1H 6K 12-bit raw."
  15. Instead of arguing silly semantics, just take a minute to actually read the OP's criteria. Call it whatever you want, a vlogging camera, a cinema camera, a video camera or whatever, I don't care. That still makes no difference. Its clearly not what he's looking for. cheers chris
  16. That doesn't meet the OP's stated criteria. Same for any other 10-bit camera without sticky AF and shallow DOF with an interview focal length. 24mm with an action cam isn't close to ideal. So including them is unnecessary. Cheers. Chris
  17. Any of the Sony's with Real Time Tracking will fit the bill. That includes the ZV you originally asked about, the a61/4/600's, and all of the latest FF bodies - a7c, a9/a9II, a7rIV a1, a7sIII/fx3 and a7IV. Unfortunately the only 10-bit bodies are the a1, a7sIII/fx3 and the a7IV. I've had the a7IV for a week and I really like it next to the a7sIII, but that's a much larger investment compared to the ZV. I wish Sony would do 10-bit and such with its aps-c bodies, but they've made it clear if you want that level of features in the E-mount, you will have to go FF or the Cine line. Anyway, I just use the touch to track feature you'll get really great face/eye AF for interviews, and if it can't get the eye it'll still stay locked onto the subject. I stumbled across this video shot with AF and the 50GM. Awesome. There are obviously tons of you tubers showing AF by bouncing in and out of the frame, but as a solo-shooter its just so cool to be able to tap the subject and then do an interview while monitoring audio and exposure without worrying about focus. Sony's AF has made my workflow a lot better. Cheers Chris
  18. I used the fake cinetone to match the a7III with the a7sIII's cinetone and its pretty legit. Its a standard profile so you do take a DR hit, but for talking head stuff it should be fine. Just note, the look is pretty baked in, so make sure you like cinetone LOL! Chris
  19. All good points. I've never warmed up to the magnetic timeline - usually I put music on that track and just edit like any other NLE (hence my liking the Cut page and wanting to use the Speed Editor) and FCP is a little weak on the audio side - which is why I've been split. But I've never had the time to really do a deep dive into Resolve. My wife is about to deliver our first, so I'm going to be off for most of the next two months with no deadline driven work projects. I can spend the time to properly learn Resolve and work on my grading skills with a mountain of baby girl videos. Resolve's recent updates made it really fast on the M1 Mac, so there's little to no speed advantage using FCP anymore and ACES is really slick with a7sIII Slog3 footage. Thanks for all the advice. Its always nice to get other perspectives. Cheers Chris
  20. Scored a great deal on a Pocket 2 creator combo, going to use it to do some city walk videos. That 4th axis looks interesting. I've had 3 phone gimbals die on me after regular use over the last three years, hope the P2 lasts longer than those. Its a PITA carrying another device, but the image is better than a phone and it really is pocketable. Used it to shoot a quick promo video at a friend's church so its already paid for itself LOL! I'm going to add a Rode stereo mic for ambient sound on the city walk videos. I'm also on board with the 1" Pocket 3. I hope DJI does it. Cheers Chris
  21. I'm *this* close to getting one of those Speed Editors, still sitting on the fence between FCPx and Free Resolve but splitting my efforts between them just means I'm a half assed editor on both. This would mean an all in on Resolve, something I've tried before but it just didn't take LOL! I like the Cut page, but grading is slower for me in Resolve since its not my strongest skill. Still, the jog wheel and quick keys jive with how I work. Cheers Chris
  22. Nice! I have a Sennheiser G3 wireless handheld/lav system I don't use very much, was thinking about listing on Fleabay. This may be the route I go as well and just flip the G3 into the SVMX. Cheers Chris
  23. I'm leaning toward the Stereo VMP for now just for convenience and availability. I have the MKE 600 shotgun for more directional stuff and don't want to rig another large mic. I'm also shooting smaller cameras than you - mostly the a7sIII. The X does look next level for these smaller on cam mics though. The other options will need another shock mount and larger cables LOL! Damn supply chain issues.... Cheers Chris
  24. Interesting topic. I've been looking for something to capture ambient sound as well. The Rode Stereo Videomic X is at the top of my list too. But yeah, not easy to come by these days. Everything else that mounts on cam is low budget stuff. I've also been considering using the zoom H3VR until I can find the X, but using it in the field while shooting looks like a bit of a challenge LOL! https://www.bhphotovideo.com/c/product/1434530-REG/zoom_zh3vr_h3_vr_360_vr_audio.html/?ap=y&ap=y&smp=y&smp=y&lsft=BI%3A514&gclid=Cj0KCQiA15yNBhDTARIsAGnwe0Uv0Np2mQoQNyITewv0KPjHEsczvXVA9vdTPe30B27cIBfELOBKyQEaAg1yEALw_wcB Hopefully some other options pop up here. Cheers Chris
  25. Yeah, CIZ is good to 1.5x, I never go past it as IQ does noticeably degrade. I didn't take that into consideration, sometimes I forget its there LOL! I have that and s35 mode it on custom function buttons for quick punch ins. But you lose tracking and the ability to place your focus point with CIZ - so all you get is wide AF. But it can be handy since it doesn't impact IQ in any significant manner and it doesn't cut resolution like s35 mode with stills. To answer your questions, I'm wider than 35mm a lot. I had the Tamron 28-75 and sold it for another 24-70 because I frequently needed it to be a tad wider. I change lenses less now. When I'm shooting I usually have the the UWA or a 24-70 on one and the 70-180/200 on the other body and then switch things up if needed. I even have a 24 and 35 primes because I like that range a lot. I really wish Sony would do a better 28 so I could consolidate both, its a happy medium for me. But utilizing the CIZ with 150mm on the long end effectively negates the shorter range in many situations. I have glass beyond 200mm too, but that's a specialty lens that's not in my daily carry. I'm pretty sure a high IQ UWA zoom and the 35-150 would work well for the way I shoot, and for a small chunk of that range I'd get a bit more light gathering than the 24-70. I *think* I'd be more efficient being able to use the zoom and crop options to extend the reach. We'll see. I'm in no hurry to sell off a bunch of gear and buy two new zooms, despite the fact new stuff is fun. I'll probably rent the Tamron for a long weekend and tinker or wait for used copies to start popping up on Fred Miranda and get one at a bit of a discount. I've also been looking at the Freewell magnetic VND's and such to further simplify my kit while staying versatile. Right now I have screw on filters and a 100mm filter holder with a bunch of filters I don't use very much because of the time it takes to setup. I always just wind up using my VND's, even for landscape photos and such - which I shouldn't do since I have the big/little stoppers, a CPL and a few ND grads with that NISI system. But its hard to be more run and gun fumbling with large glass plates. Cheers Chris
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