the_brotographer

That's awesome! Yeah we really love the F6 and S1H, but just want more convenience. For us, we don't need to change between 24 and 120fps in 5 seconds. Our shoots are much more planned out. Are you talking about Joel with the Phantom Luts? I plan to test out the new A7SIII ones with the FX6 too.

There seems to be a lot of negativity about this camera. As with everything, to each his own. I am a current Z Cam E2-F6 owner. It is a fantastic camera. I have built it up to be a beast, and I absolutely love the codecs in it. However, I am also a Sony stills shooter, with a wide variety of their lenses. It seems like people hating on this camera are already massively entrenched in what they know works for them. That is totally fine. For me, my business partner and I actually started a production company during the pandemic, which seems like a crazy move. However, we have gotten a massive amount of work during this time, as I'm learning that business is mostly about relationships. For our new company, we were using two separate cameras, the F6 and the S1H. These are both amazing cameras, but our workflow has been a pain trying to match up the colors, even though they are actually using the same sensor. We were considering investing in RED, but honestly the FX6 made much more sense for us. We actually bought two of them. Having the ability to shoot in low light, get a beautiful image, use my existing lineup of around 10 lenses, as well as take advantage of auto focus again are really going to actually speed up our workflow. We can also record XLR audio directly into camera while doing interviews, which massively speeds up our workflow in post production. So yes, this camera isn't a massive upgrade, but then again, for other people like us, it is much more bang for our buck compared to buying 2 RED Komodos, with have to be rigged up, don't have great AF, and come out to like 8-$9000 after rigging. Again, different strokes for different folds.

Thanks so much for this Andrew. I had been using the previous iteration of the EOSHD Pro Color, but am excited to test this new one out on my A7RIII. Question: You mentioned an optional LUT to match Canon color. Has the A7RIII been matched with the 1DX Mark II? This would be a huge deal for me.

To say that my videos fool people is outlandish. I find it tough not to get upset by statements like that. Performance varies greatly depending on what lens you're putting on it. The 35L II for instance, performs much better than the 35L mark 1. And yes, you can use them for relatively quick moving subjects, but only at a max of 3fps. You can't just make blanket statements that it "does not work properly". Your definition of properly might vary compared to someone else's. For me, achieving center point is during video is a big step forward, and I'm fine with that. I find that for certain situations, it is "proper". However, I choose to use native glass in other situations for faster results that can be counted on a little more. But seriously, why would I take the time to test the lenses and adapters, only to try to fool people? Nonsense.

Yeah that's the drag. If you're adapting Canon glass and want to shoot video, it has to be advanced mode. However, you have to switch it to green mode, which requires taking off the lens. In my opinion, shooting stills in advanced mode is a joke. The performance in video mode though is pretty much similar to what you showed. The subject has to be around the center of the frame though.

I have also done some tests. However, I found that Canon L glass works quite well while shooting video as long as you are using the Metabones adapter.

Hey Andrew, I apologize, as I didn't think about that. Feel free to delete anything that needs to be deleted. It won't happen again. I figured that they were different enough, but definitely don't want to get close to giving them away for free!

Sweet, I'll try that. I'm all about learning to do things the right way.

There are lots of other questions that I could have. No reason to get angry over this. Like shooting in LOG vs non LOG then matching them.

Yeah I'm definitely attempting to match the Sony to the Canon. So just to be clear, match the Sony to the Canon in Resolve with the x-rite passport? Is it worth trying to get it as close as possible on the Sony, then letting resolve to the trick, or does it matter if I'm using Resolve to match the color chart? Thanks for your help btw.

That's a really good idea. My wife and I just bought the gym, so I'm trying to step up the marketing videos. So I'll be shooting in there quite often. I'm going to look into the Color Checker. Would you suggest shooting in LOG on both cameras when matching via the color checker?

Ok, so I was finally able to take an hour and do a little testing. After some frustration, I think I was able to get it fairly close to matching color. Here is what I did. Sony Pro Log (Regular) changed gamma to Cine 3 (more contrasty it seems) changed saturation to +30 Color Depth (R: +4, G: -6, B: -7, C: 0, M: -4, Y: -2) Canon 1DX Mark II Used EOSHD CINEMA 3 See attached image for those changes It seems to match decently well. None of the people watching will notice in my estimation. They'd also never be looking for it. However, for now I think it'll do, and I'll update you with any changes!

Thank you very much for taking the time for such an in depth response. I'm going to test this out and see if it'll work for me.

I'm shooting these days with the Sony A7R III and Canon 1DX Mark II, both of which have EOSHD profiles installed. On the Sony I'm typically shooting with EOSHD Pro Color (Original). With the 1DX Mark II I'm mostly shooting in EOSHD C-LOG, but sometimes in Cinema 2 or 3. I'm having a pretty tough time even coming close to matching the footage in post. Even when shooting c-log on the Canon. Should I be shooting C-LOG on the Canon and Pro LOG S on the Sony to match them up best? Some other combination? Any help from you guys and gals would be much appreciated. Thanks!