rokkimort

Sorry, I did not mean to sound mean. But this is not how internet works, I am free to voice my opinion. I see a BS post and I call it out. OP pretentiously talks about "galilean action" and "horizontal artifacts", yet the images are highly uninspiring home shots with some of the ugliest flares I've seen. Then he proceeds to post lenses that look butchered. It seems he just took a hacksaw to some schneider cinelux lenses, then butchered some other lenses and randomly paired elements until he got a useable image. Using pseudo scientific terms to describe this process does not make it anything different. Just pure lens hacking. Pointless exercise, because no self-respecting DP will use something like this to shoot anything remotely important. Sure, if you want to learn by destroying lenses – go ahead. They don't make them anymore though. But what really worries me is that I see at least 4 different kids in these shots. I don't know how old OP is, and I don't want to assume their gender, but this is not normal.

No offense, but this is pointless. I mean, maybe if you have too much time on quarantine it's an interesting hobby, but it looks like you simply ruined schneider cinelux lenses. Any cheap sankor lens can do much better than this, with nice waterfall background. Get yourself a good cinelux and it will be a proper lens with good image, that won oscar. I don't know what's a point in these, they look hacked together, not suitable even for lowest budget indie productions. I don't think any DP would put that on their camera. Maybe you should look at Rapido Technologies, they make good products like cases for anamorphics with engravings. etc. They still don't look very good, just a dull black pipe, but anything would look better than this. I think this would scare away any model or client when they see it in front of the camera. Maybe that explains why you only photograph kids and have no serious work to show with these.

Thank you for all the replies. I'm definitely not going to get ursa mini pro. I owned a bunch of BMD products and we're not getting along good. I was getting FPN at ISO800 when shooting dark-ish moody scenes, and that's a no go for me anymore. Sonys are strange, the F3 has tons of quirks, but for the price the image is superb. On the other hand the quirks seem to transition to newer models as well. I've downloaded some FS7 footage shot at native ISO, and tried grading it, it has same limits as the F3, but colors are worse in my opinion (weird orange-red tones, super unnatural, though I didn't see those objects in real life), and the noise is fairly obvious, though not as "filmic" as F3. I've heard Varicam is hot these days and EVA is it's young young sister, but the footage I've seen from it looks more like video then film as well. If anyone has nice cinematic references shot on EVA1 please feel free to share. I seem to like C300 MKII but the price bites a tad, and it's got no ProRes.

Thanks! It doesn't have a PL mount, right? I lost interest to it when they announced it's EF only.

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.

Thank you for all the replies! We have looked into all the options mentioned above, and it seems like Aputure 300d is what we might want to get. We also looked at Ikan lights, and they have some LED panels as well that have Chimera softbox attachments. Not sure which one we like more. Looks like 300d can be a great spot light/flood with fresnel on it, and with a bowens chimera quick attachment can be transformed into nice softbox with ability to use honeycombs. We are just scared about powering it in the field, and in this regard ikan panels look better, though not as versatile.

Hello forum! Our little crew has finally got a nice camera, it's Ursa Mini Pro! We did some tests and now we think that it's time to buy some lights that we could use to shoot a couple of short films. We want to have a basic kit for everyday use, and to expand it/rent as we shoot more complex scenes. We really need your recommendations! We want to have a key light that we can set to tungsten/daylight (preferably with a switch/dimmer, not with gels, so LED is obvious option, but we're lost choosing something bang for the buck) and power from the wall while shooting inside, or power with batteries when we shoot out in the wild. We want to be able to control the spot/flood, and attach a chimera to it with honeycombs to control direction. Is there a good kit, that would include various attachments and have a relatively powerful yet mobile source? So we can swap chimera for china ball or a pancake, or just have it as a hard spot light, and have an attachment with barn doors to control it? Something modular? We have used kinoflo previously, and we loved the quality of color and light overall, but it was really bulky. We once saw someone using open faces on a commercial shoot with just swappable fronts to make them adaptable to any scenario, but we didn't catch the brand. For our fill and backlight we were thinking to maybe go DIY (or use practicals in combo with hardware store lights, specifically for backlight), so maybe it will make sense to get a set of two lights, for key/fill? We have only worked as a camera crew with DPs who had their own light and really we just know what we observed on sets (so we don't know much). We liked SkyPanels from one shoot we were helping on, but when we saw the prices we were sort of shocked, so we're looking for a bit more budget solution. We are looking for a kit because we want to get stands/flags/eggcrates/honeycombs and softening all bundled with the lights, hoping it would reduce price a bit if we get a bundle? Also we are in Chroatia, and everything here has a 150% markup, so we want to buy from USA and just ship, so having one package would be cheaper. We really have little experience with this, so any recommendations we will look at. You will probably ask about budget, we would say we have $3k as absolute maximum, we also wanted to try and squeeze a slider in this amount (for ursa it will have to be big), but we can also rent it when we need it. Probably $500 would be import tax, so we are looking at around $2500 as a maximum, preferable 2k. Thanks you so much.

@Dogtown @HockeyFan12 Thanks for your input guys! Are you saying that 4k output from c500+odyssey downscaled to HD will look less sharp then if I just shoot HD? This is great, I would love to see some test footage, if you can actually do this, it will certainly help me make a more though-through decision. Does c300 shoot 8 bit externally though? For some reason I though it can do 10 bit external. By the way, I have watched Blue Ruin today, an indie movie shot on c300. The version I was watching was 1100x4xx something pixels (not even full HD), I was watching it on a 15'' retina display and my gosh, I could swear it's 4k I'm watching. Amazingly sharp and detailed image, seriously, I was blown away. If c500 provides same level of details, I might not even need to get a 7q for it, maybe just Gemini to get the 444 out of it and forget 4k.

We're a small crew choosing between these three cameras to shoot with our EF Contax Zeiss set. We will be making several music videos, a short and a couple artist highlights for our client. Client is funding the camera purchase, prefers image from the given three cams. We don't care about form factor, will mostly shoot from tripod. Price difference between these cams would be negligible in our scenario as well, so it's ONLY about the image output, and we're ONLY choosing between these three. Ursa Mini Pro, internal recording. C500 + External recorder (7q or Gemini). C300 + External recorder (7q or Gemini). We will master in HD, but are looking for a sharp image, so 4k options would certainly help to get crisp HD. For the upcoming project we need the best image possible, preferably 12 bit 4:4:4, since we will grade it heavily in post and want the image to hold the colors in the best possible way. We are somewhat confused by the usable DR on these cams. What would be the perfect settings for each of them to get the best DR? We're planning to shoot a lot of interiors with windows, we love the look of natural light, but are afraid about the DR. We like the Ursa, but C500+7q seems to offer same features (on paper), and Canon will definitely be better in lowlight, so unless Ursa is going to offer significantly more DR or have overall better image we'd go with C500. C300 is listed here, because we've heard it has same 4k sensor, and produces super crisp results native, and we're not sure if there will be any difference in DR and sharpness if we record HD from c300 in 444, or record 4k 444 with c500 and then downscale to hd.

By the logic of some people if I don't want to make money with video work, I should not own a good camera? I want to make creative good looking videos, I can't make money with that (at least not where I live). And I also have a job that I love and don't want to switch from. Anyways, the choice between UMP and Scarlet X is not so obvious for me because I know that BM cameras could be a pain, you have to hunt for a good unit and it can fail you on set. RED seems just a bit more reliable in this matter. I also don't really need the 4.6k, just the 4k. Also the MX sensor is a tad bigger and would allow me to have a bit wider FOV with the lens set I own, and maybe a slightly more shallow DOF.

GH5 produces videos, I don't like the footage I saw online, motion is not cinematic. I have just sold the Blackmagic Micro, yes it's nice, but I want to have 4k, so f3 also does not work for me. Right now it's down to Ursa Mini Pro vs Red Scarlet MX. If anyone has opinions about these cams – feel free to let me know. Thanks.

This is great insight, thank you!

Thanks for the advice! I should clarify that I will keep shooting with whatever I buy in future, and consider this an investment. I live in a place where renting is not easy, and therefore not an option. So it's really about choosing what to buy: Ursa Mini Pro, Red One MX, Red Scarlet MX, Kinemini 4k, maybe EVA-1 will fit the budget too?

B C and F would be my choice.

Well, the title says it all. Looking for a USED, 4k PL mount camera, 1.5-1.6x crop sensor. This time my budget is much higher (the the last time I posted similar question) and I could in theory stretch it to 8k too. What I need: A ready-to-shoot package (body, monitor, media, power, tripod). I'm buying this for a project, a short, so will only shoot static-ish narrative with a tripod. Cameras I'm looking at: Ursa Mini or Ursa Mini pro (4.6k). Red One MX. Red Scarlet MX. Kinefinity Kinemini 4k. Would honestly buy Ursa right now, but am super scared of FPN and noise overall. Never used REDs, but heard that One MX and Scarlet MX both have worse DR then the Ursa and also suffer from noise issues.