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Everything posted by MurtlandPhoto

  1. FWIW, I found the 50Mbps HD from the GH3 to be far better than the GH4 with the same settings. In general, I found the GH4's HD modes to be very poor compared to its own 4K or the GH3's HD.
  2. I think the Hollywood machine will largely remain the same. However, this will inspire many, many indie or lower budget productions. I really hope Edwards/Fraser detail how using such small camera package impacted the overall production. I imagine the time savings were immense. And, I imagine the FX3's low light abilities affected how they lit the picture.
  3. Right but that barrel connection makes using another third party solution like NPF or even V Mount wayyyy easier than before
  4. My thoughts, too! I'd think any Micro shooter is pretty happy with this new model.
  5. The internals are all fantastic, but I don't understand why they've muddied the waters so much by using the Pocket 6K Pro body. The whole philosophy Grant talked about just screams for it to be a traditional video camera form factor. ...the app seems really cool though!
  6. I'm wondering if they may trickle some of that 12K sensor tech into a cheaper body. Pocket 12K? Or maybe a full frame sensor? Just 4 hours until we find out.
  7. I'm veryyyy excited about this. I'll probably never own one—I'm not at that level. But, it shares enough of the FX line's DNA and is cheap enough that I can see myself renting this for bigger projects. Seems like a real winner.
  8. Hmm yes and no. A lot of FX3 shooters, including myself, only film at the base ISOs to maximize image quality. Very often I'll need to shoot at ISO 12,800 and ND down to get the right exposure indoors. I'm also surprised how often I've found a good excuse to shoot at a super high ISO now that I have the option, too.
  9. Oh great! I missed that. Definitely a deal there. I’ve seen several projections of $1995 so this is a welcome surprise
  10. Looks like an absolute beast. He doesn't list a price here, but he says it's "significantly less money" than the FX30. I may need to pick one up as a C cam.
  11. My vintage zooms hardly come out on shoots with me anymore. They don't have much of a place anymore. They're not as convenient as a modern zoom with AF and they don't have same IQ or character as a vintage prime. They're just sorta meh for me. I do still love my Tokina 28-70mm though.
  12. I have to believe this was only possible because of the outcry of dedicated readers/viewers of DPreview. I'm thrilled by this.
  13. You just can't pass up a deal like that at this stage in the game. I also look so fondly on my m43 days. I was with the Panny GH cameras since the very beginning until switching to full frame about 18 months ago. There will never be a better setup than a GH5(5s,6) and 35-100mm f/2.8. No other brand or system can match that compact setup.
  14. Such an awesome discussion here. Thank you everyone!! Small update: the concert has happened. I ended up using only the 24-105mm f/4. Thanks to many of you I realized that changing lenses would have cost me shots, no matter how much I wanted the look from my primes. Light wasn't an issue as the FX6 is amazing at its second base ISO. Technically speaking the shoot went very well. I was on-site for 2 days capturing all sorts of BTS footage of load in and set up. There were a few pretty dramatic setbacks, though. As with many big name acts, there were some strict PR guidelines put in place that I could not control. So, I wasn't able to get many of the types of shots I'd originally scoped for this project. The video is being reviewed by the band's management now. So, hopefully another update coming soon.
  15. Your spot on with my philosophy. For me, "feeling like they were there" means using focal lengths familiar to people and being positioned in locations accessible to people. Focal lengths like 24, 35, 50, and 85mm are all very familiar to folks these days whether they know it or not due to the smartphones in their pockets. Restricting oneself to those focal lengths ensures that the camera position feels authentic to the general audience and their experience. All that said, I chose to use the 24-105mm f/4 exclusively. I stuck close to those focal lengths mentioned above, but in the end switching lenses would have meant missing shots.
  16. Ah hadn’t thought of this. It’s been several years since I’ve shot a concert and yes this venue gets HUMID.
  17. So, I've got a super exciting shoot coming up with some interesting constraints I'm trying to plan for. It's a concert with big name act. I'll be shooting and editing a recap video for the venue featuring all the goings-on before, during, and after the show including footage of the concert itself from the pit and some up close interactions with the performers. Lots of footage of the venue, the fans up close, signage, merch, everything—trying to capture every aspect of the show so folks can feel like they were there. My main camera will be the Sony FX6 and my second body will be the A7iv for backup/stills. I'll only be able to have a large waist (fanny) pack with me for accessories and extra lenses. I know one of my lenses will be my Sony 24-105mm f/4. My question is: what 2 primes should I also bring? I know where I'm leaning, but I'd love to hear your thoughts. I have the SLR Magic MicroPrimes: 21mm t1.6, 35mm t1.3, 50mm t1.2, and 75mm t1.5.
  18. MurtlandPhoto


    It’s the strangest thing isn’t it. I actually thought this was finally the update that gave it to us but as I read down the list I just got disappointed lol
  19. I quite like the little FE primes Samyang makes. These features seem interesting, assuming they actually work as intended. 1) Dolly Zoom Shot: The Dolly Zoom is a powerful in-camera cinematic technique. A professional dolly can be expensive and challenging to operate, but this lens allows you easily take the dolly shot. 2) Cinematic Video AF: When shooting video, the AF speed is more carefully adjusted than photo shooting, resulting in lower wobbling and highly stable movie shooting. 3) Linear MF Focus Control: Provides convenience to video shooters by matching the torque of the focus ring as closely as possible to that of a manual focus lens when shooting video in manual mode. 4) Digital Par-Focal: Digital Par-focal is specialized for video shooting as it can maintain focus on the subject when zooming in or out. Since this function is usually mounted in expensive cine zoom lenses, it provides a more special experience and results to customers who use this zoom lens.
  20. Right now I'm using a Sony FX3 and A7iv. But, I do an embarrassing amount of camera swapping so who knows how long this will last.
  21. Agreed. Too much to cannibalize there. Even with the ver 2 firmware, the FX3 is still too close to the A7siii for Sony to leapfrog it. Anything that affects the A7siii will also affect the FX3.
  22. I knew it at the time, but especially looking back my Nikon D3S is best shooting experience I've ever had. The weight and feeling, the huge and bright viewfinder, the mirror slap, the straight out camera colors, the GRAIN. Everything about that camera was perfect to me. Perhaps it was just the time frame of my career in which I used it, but I benchmark everything about my photos now based upon how that camera would have performed. The punchy colors I like... based on the D3S vivid profile. The grain texture I like... D3S. The emptiness I feel from my Sony's wimpy shutter... spoiled by the glorious D3S mirror slap and shutter. Even the low 12 mp resolution just feels right to me. It still feels awkward nowadays when I edit at 100% in Lightroom and it zooms wayyyyy into my image. That camera was magic to me.
  23. The 6K Pro is a vastly better pick-up-and-go camera than the 4K – decent internal battery life, EVF, tilting screen, NDs, better in the hand. So in that way, it's more fun. I gotta say though, I went the opposite way. Blackmagic pocket cams to Sony mirrorless. I'm having way more fun now lol.
  24. BMD has used the phrase "camera updates" to mean firmware updates as well as new cameras in the past. Hoping for the latter.
  25. Low margin, high volume strategy is likely at play, here. They'll sell many more S5ii's than the more expensive S1H(ii?) and recoup R&D and other costs through sheer market saturation. Most entry level cameras have followed this principle for years.
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