MurtlandPhoto

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.

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.

14 hours ago, kye said:

There's a critical distinction between "feeling like they were there" and "feeling jealous they weren't there" and I think that the former suggests using a 35mm of 50mm lens and the latter suggests using the full range of focal lengths to make everything seem as awesome as possible.

In terms of a lens giving the "feeling like I was there" feeling it's a subtle thing, but definitely there, and it's something that you can learn to see if you're interested in it.  I know you're a working pro and are getting what you want so there's no need to explore this if you're not curious.

 

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.

7 minutes ago, Anaconda_ said:

But most importantly, concerts get hot and you will 100% get condensation on the sensor, meaning you'll be unable to shoot anything for a minute or so each time.

Ah hadn’t thought of this. It’s been several years since I’ve shot a concert and yes this venue gets HUMID.

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.

20 hours ago, Django said:Why they are still withholding shutter angle is a bit of a mystery though..

Its like we can't give away too much too soon.

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 

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.

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.

10 minutes ago, Django said:

There is simply no way Sony is releasing an A7S3/FX3 in a A7C body for $2500. 

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.

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.

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.

2 hours ago, Django said:

sounds more like firmware updates ?

BMD has used the phrase "camera updates" to mean firmware updates as well as new cameras in the past.  Hoping for the latter.

3 hours ago, Amazeballs said:

S5mk2 is basicly a entry level FF camera from Panny. Its not the camera where they'll make a lot of money (though I hope to be in the wrong here) but the camera to attract a large base of fresh customers/switchers to L-mount system. 

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.

57 minutes ago, Thpriest said:

I think the only thing really missing is the GH6's LCD. I wish they had put that on the X version.

Agreed. I think many people would happily pay a little more for it, too.

53 minutes ago, MrSMW said:

 

C. Other than the stealthy black aesthetic, does the X model (not available until May and too late for me for this year anyway) have anything over the standard model that I would want or need? Doesn’t appear so as I thought it might have a CF Express slot but the internal ProRes is limited to 1080. ‘Only’ 200 mbps (or is that mbs…but who cares) which is fine for me.

4 minutes ago, hyalinejim said:

All-I codecs, but you might not need them.

The USB-SSD recording and IP streaming are also unique to the S5iiX. If there's any chance you'll someday want the $200 raw upgrade to the regular S5ii, it's worth just ponying up at the start and getting the S5iiX for these extras IMO.

7 hours ago, fuzzynormal said:

Maybe it's just me and my background as a doc guy, but you're being incredibly particular there as the two shots are pretty similar.  Your shadows are only slightly more defined from one to the next.

If you're looking to be a wildly accomplished and precise gaffer and you are OCD by nature, I suppose you could be this discriminating, but even then?  Debatable.  In fact, it might be a liability on set, depending on the production you're doing. 

Personally, if I had crew fretting about lighting issues and THIS was the thing they were worried about, I'd be, like, yeah, I'm not going to be able to work with anyone that precious ... I don't know ... ain't too many narratives I've ever done wherein I'd be upset about this technical result if t was the look I wanted.

I'd be much more worried about the storytelling, the acting.  Heck, even the craft services table (seriously, gotta keep the crew happy) than this lighting difference.

Agreed. I got lost in the details on my first set as DoP. The director set me straight really quick and things were better for it. 

On 12/17/2022 at 2:20 PM, MrSMW said:

Well looks like DP Review and Ted Forbes also in Japan and in the end of year predictions for next year, the only major camera body brand not discussed… Panasonic.

NDA in place so you can hardly speculate when you already know what’s coming can you?!

Another sign IMO there is at least one FF camera coming soon.

I could be reading that wrong, but don’t think so.

 

I think you're spot on. There's no way they'd not mention Panasonic without some sort of NDA prohibiting them from doing so. 

2 hours ago, newfoundmass said:

It'd be asinine to fly a bunch of auto focus obsessed YouTubers across the world to release another contrast AF camera, right? Then again this is Panasonic, so who knows?! 

Lol I'm there with you! It would be absolute madness to make this mistake again, but...

Panasonic didn't even give the flagship GH6 this kind of treatment, so I highly doubt it is a G9ii. With all the little hints combined I really think it's either a new camera release with truly improved autofocus OR an autofocus module for existing cameras OR both 🙂 

Upfront quote, quick, easy, & insured, but less $$$: MPB or KEH

Slower quote, easy, & insured, less $$$: Adorama

More work, more money: Facebook groups, Fredmiranda.com

Ebay is a dice roll. You get the most exposure so things will probably sell quickly, but the fees often diminish your profits. Plus, there is always risk of fraud and other bullcrap there.

I just picked up CineMatch. I’m very happy.

5 hours ago, IronFilm said:

No way would I ever spend that much on the C100! That's waaaay too much for a very old very entry level "cinema" camera. 

Not when I could get a Sony FS5 for only a few hundred dollars more. 

Or buy a Canon C300mk1 for even less! 

https://www.ebay.com/itm/334445672275

$999 for a C100 M2 is a very good price. For livestreams and convention circuit work it is an incredible value for that money. FS5 comes with its own headaches. To each their own.,

17 hours ago, Django said:

but for under $800 if you're ok shooting FHD, still a fantastic option imo..

It's definitely in impulse-buy territory now. I never would have imagined that happening 6 years ago when I was shooting with it daily. Coincidentally, Adorama had a good condition C100Mii in their ebay store for $999 two days ago that I foolishly didn't jump on. 

Sony's breathing compensation, at least for now, only works with some of their more expensive G and G Master lenses–no third party lens support as of yet. That could be a deal breaker for some. 

8 hours ago, IronFilm said:

 

Thus a bodypack recorder is a 100% bad idea for you (unless... maybe, if it has timecode. And that the camera always has a timecode box too. This actually makes the bodypack recorder setup more expensive than you think, and closes the price gap vs say a Sony UWP-D21). 

You're better off recording the audio directly to the camera itself, so as to keep it simple for yourself. 

 

This is a large reason I like the DJI wireless mic. I can have the wireless signal embedded in my video files, but the transmitter is constantly recording even while the camera isn't recording. So, I'll always have audio. It's been a manageable setup for my small 2-3 minute doco shoots. I can see it getting very unwieldy on longer pieces. It doesn't replace a timecode setup, but functionally speaking it accomplishes some of the same goals.