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Mark Romero 2

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Everything posted by Mark Romero 2

  1. Waiting for release of the Z6 and / or new Sony APS-C. Of course, I might buy an X-T3 or an a7 III in the meantime... And for me personally, I can take a (slight) hit in detail / resolution if low light and DR are really good.
  2. Yes, but f/2.8 - as you said - is same DOF as f/4 on a full frame camera and with a FF camera you can bump up the ISO one stop and have same (or less) noise than the X-T3. Or to put it better, using f/2.8 on an X-T3 doesn't really gain you anything over using f/4 on full frame (we are not taking ergonomics or other things in to account here, just ISO values and DOF). So it is kind of a wash.
  3. A free copy of Resolve Studio version included. But seriously, I think the BMPCC4K is all about the colors and the DR. Wolfcrow tested it against the GH5 and it seems that the files are more push-able in post by another stop or two compared to the GH5, so that makes it (in my opinion) a pretty compelling choice.
  4. I know I am asking you to look into your crystal ball / shake up your Magic 8 Ball, but I gotta ask: What are the odds we will see a new and (hopefully) improved codec with the upcoming release of the a7S III and the APS-C sensor a6700 / a7000 ??? Sony seems pretty set with their 8-Bit XAVC S 100Mbs Interframe codec, from what I can tell. And I am all but set on selling my a6500 and moving to an X-T3 (especially with HLG coming to the X-T3 in a promised firmware update later this year). It seems like Sony probably "have to" update their codec if they want to keep up with Panasonic / Fuji. Just not sure if they will.
  5. Well... I have tried many different times to get more dynamic range out of Cine 4 and I just can't get it. I usually have to underexpose Cine 4 by a stop or two to keep the highlights in check (since the rolloff is still something I have issues with) and I end up with more noise when I bring the mids and shadows back up. SLOG 2 is far from perfect as you know, but even with overexposing by about 2 stops I can bring back almost two stops, and whatever is clipped has at least a little better rolloff than Cine4.
  6. I am pretty sure that he is comparing the GH5 (which has internal 422 and unlimited recording time), to the Fuji X-T3.
  7. Mark Romero 2

    GH5S or X-T3?

    Thanks for the input. If you could post any type of footage with auto ISO, that would be wonderful. Also, does the X-T3 have any kind of memory recall at all??? I shoot stills on my Sony a6500 where I have one memory set to five bracketed exposures using the electronic shutter, and one memory with a single exposure with mechanical shutter at -1.7 EV. I can use the drive mode dial to switch easily between memory 1 and memory 2 in an instant. Is that something I could do on an X-T3??? Thanks in advance for any help with this.
  8. Mark Romero 2

    GH5S or X-T3?

    Yeah, but some of us occasionally need it, and when we DO need it, we REALLY need it. Wish there was some sort of consensus on this. I just asked Deane and Andrew on that video on their youtube channel and they said they were 100% sure that Auto ISO is not smooth.
  9. Yes! Jeez, having to switch from the complicated menu of the a6500 to the... ummm... "extensive" menu of the X-T3 would be reason alone not to try and mix an a6500 with an X-T3.
  10. Do you really want to own both Sony AND Fuji lenses??? Neither of them is particularly cheap, to be honest. Also, dealing with Sony aps-c lenses AND M43 lenses might be a headache, too. I don't own a GH5 but maybe the AF would not be up to your needs if you are trying to use it on a gimbal. otherwise, it's a heckuva camera (as far as I can tell). @jonpais linked to a video by wolfcrow on why he wasn't going to review the eos r nor the Nikon Z7. Basicaly, he kind of said that worrying about 10-bit or 4:2:0 vs 4:2:2 was less important than codec compression. (Just one man's opinion, so take it for what it's worth). Anyway, if you were going to stay in sony land, then probably an a7III might be a good option for you. Doesn't have the best compression. Doesn't have 10-bit. Doesn't have 4K 60p. Doesn't have 4:2:2. It's like a camera from the Middle Ages or something. And yet, everyday people somehow make great looking videos with it. Go figure... Personally, for ergonomic reasons, i think I am going to leave sony and either move to fuji or Nikon. Although i change my mind about 18 times a day.
  11. Well, the video looks awesome overall except for that one part. I shoot Sony so any time I see supersaturated rolloff, I tend to think that it is a Sony.
  12. That is a really good video. I am guessing it was shot on a Sony camera judging by the sunset at the 0:43 mark (either that or they were testing an atomic bomb explosion in the background).
  13. Hi Coly: See you listed a few things that you DON'T need. That is helpful. And you mentioned that you needed crisp colours when using LUTs. That is helpful too. Is there anything else that you DO need? 4K at 60p? 120 fps? A screen that flips out? XLR Mic Inputs? 10-Bit? RAW? And when you say, "Something like GH5S but better," how should it be better than the GH5S??? Better colours? Better user interface? Better ergonomics? Better dynamic range?
  14. Two cameras About four lenses with some overlap between them. Nothing being a true backup though. A gimbal (my primary weapon of choice), a motorized slider, a tripod with a so-so manfrotto fluid head. Takstar shotgun mic, wired cheap lav mic, Zoom h1 A couple of led panels and a small youngnuo led hair light (pretty bright on its own actually), a whole bunch of light stands, a mic stand. But for most of my (real estate) videos it is just two cameras and the Zhiyun Crane and a GVM motroized slider and a tripod, plus the 10-18 f/4 and 16-55 kit lens and the 30m Sigma f/2.8.
  15. True that. (XAVC S is a rather tough codec to work with). But - to me, anyway - the whole point of the P4K would be to use it for RAW, which unfortunately is going to be more time consuming than working with ProRes
  16. Yeah, when they designed the P4K, I guess they were just thinking that the camera operator would hand off the SSD to the editing team and that the camera operator wouldn't have to worry about the workflow from there. Going to be more difficult for us one-man band operators... That 13 stops of Dynamic Range and the gentle highlight rolloff sure is nice though for us shooters who are at the mercy of available light.
  17. Yeah, I always go into curves, saturation v luminance, and desaturate the highlights and blacks. It seems to cut down on the monkey business a little bit. And as @Deadcode has reminded me, set the data levels to full (instead of auto), and in RCM make sure that you have your monitor's nits levels set to above 200 or so.
  18. Late to the party here... the X-T3 has a 1.9X crop in 120p??? crap... just when I thought i was going to switch from Sony to Fuji. Is Sony the only player who does 120p with autofocus and minnimal / no crop??? Well... It is still tempting to me, in a way, although the X-T3 is a lot more tempting. IBIS, waveforms, vectorscope, zebras that go past 100 (I think), flip-out screen, timecode, xlr inputs ability... can't remember... does the GH5 have false color? Does it have a full size hdmi out?
  19. While certainly a lot of people find the ergonomics / handling of the a6300 / a6500 to be frustrating, they do balance quite well on inexpensive gimbals (I use mind on an original Zhiyun Crane) or they can be rigged out pretty easily with a cage and handles.
  20. I agree that the a6000 can be a fun camera to shoot on in Sony land (as can the a5100 for short bits of time since it has a flip up screen but is prone to overheating). The a6000 has a less reflective screen than the a6300 / a6500 and as you mentioned has better looking 1080p than those other two cameras. I usually set the creative style to portrait mode or autumn leaves and adjust it to -2 contrast, -2 saturation and (usually) -1 detail. Convenient, easy to grade, easy to see what you are shooting.
  21. That would indeed be wonderful!!!
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