KnightsFan

Crop or not, Sony had no dslr style camera that shoots 4k60. Panasonic has a number of them, and fuji has the xt3, and z cam went straight to 4k120. And even Canon now has a camera with 10 bit hdmi. Sony really needs to make a massive leap forward at either ff or apsc, and keep abreasonable price. They really need 4k60 at 10 bit internally under $3k for me to be at all impressed.

They post it on their private facebook group, same place that all the screenshots of news in this thread came from.

10 bit 4:2:0

They said 14+ usable stops, and they've said its higher dr than the normal E2 There will be prores, i don't know about raw. I think you can already preorder them.

Yeah, I think all E2-family cameras can do anamorphic. They are considering a micro four thirds mount option for the S6 and are doing tests to make sure it works properly. They seem interested, and posted that the 0.64x speed booster works on the S6 with minimal vignetting. The mounts will not be removable, you have to pick which one you want upfront.

"It's easy to add 4k60" Clearly it's very easy, since Panasonic beat you to it....

That's the full post. I don't think they've said anything about frame rates on the F6 or F8 yet. The S6 does 6k60 at 2.4:1, and 6k30 at open gate 6244 x 4168. I find the F6 to look like the best value. It's not as big a jump in price over the S6 as the latter is over the normal E2. If you want a speed booster with a locking EF mount on the S6 (assuming they do actually make a M43 mount), then the price is pretty similar overall. Of course, if you have a lot of S35 or APS-C glass then the S6 looks like a killer option. $4k is a little steep compared to the XT3 to me.

These look really cool! I love the tiny size and the builtin cold shoe mount. I hope you can adjust the RX gain from the TX side like you can with the RODELink. With tiny size and builtin mic on the TX, these seem great as plant mics for wide shots where you can't hide an XLR as well. Same! Do you have any experience with ultra cheap wireless systems?

I was on a 6 hour shoot today with the XT3 plugged into a 5v USB port.The green charging light was off the entire time as you say. After the shoot, I unplugged the camera and took ~60 photos without charging the battery. At the end of all of that,I still have a full battery (5 bars). For reference, it was down to 4/5 bars of battery after ~1.5 hours of shooting on a different day, when it was not plugged in. So it appears that while the battery might not charge while the camera is on and plugged into 5v, it certainly does not drain as quickly.

You could get an XT3 and the original z cam e2 with a speedbooster for that price. Or a panasonic s1 and a Pocket 4k. We will see how many features z cam packs in to make it worth that cost. They have been steadily adding to the e2 so maybe they have more up their sleeve.

I'll let you know whether I'm excited after they announce the price! But even if it is out of my budget, I hope they make an absolute killer camera. I like their approach to hardware and software design, and how well engaged they are with their community.

In my tests, H.265 and H.264 retain detail very well compared to ProRes. I don't see any issues in this S1 footage.

I'm not sure. I tend not to be scientific about lenses. If I consistently like the images I capture, I like the lens. And I've not consistently liked Rokinons the way I like my vintage Nikons, or the Zeiss ZF.2's and handful of Sigma Art lenses I've used. I've often considered grabbing Rokinons when I see them used for a good price, but their extraordinarily convenient features just aren't worth the image to me yet.

Windows. I am finding that various metadata sections can be very useful for exactly that reason. I usually just include the project name in the file name, but there are all sorts of possibilities if you can automate metadata into the comment field, even if it's just an identifier to associate a video file with an audio file. Since I'm scared of accidentally messing up and losing valuable information, I am storing the original file name in a metadata field so that I can test my organization system on a real project, but relatively risk-free. Yeah, I think in that case just keeping projects separated is the main thing, and maybe keeping a notepad in the project folder with whatever useful info you can think of. I usually keep a list of shooting dates and a rough description of what we did. Like, "2019-03-23: Scene 47 (ambient sound in ZOOM_003)" and stuff like that. Just a comedy series with some friends. I've done some motion graphics for it using Blender, Fusion, and After Effects, but nothing major.

They don't have feelings... so... Just kidding. Ugly maybe is too strong. But I have shot quite a bit on a full set of Rokinons, and quite a bit on a set of Nikon K lenses, and I prefer the Nikons' look, and that of most other lenses I've used I find the Rokinons to consistently make unpleasing flares and to have some annoying warm color casts. After seeing in Duclos' teardown that Rokinon applied a yellow tinge to one of their elements, I was like "oh yeah, that explains SO MUCH about the color." I prefer cooler colors I guess. I do actually like the 14 and 10mm Rokinons, simply because they were very affordable and fast for wide angle primes. When I use them, it's because I need an ultra wide and there is no other option, so in that sense they are very useful.

I don't know about whether they are relevant to the market as a whole, but to me they are since they remain unique for their features and price. There are no other brands with anywhere near the number of focal lengths, all with similar size, clickless manual aperture, decently long focus throw, and standard gear positions. And they are all very fast, and in EF mount. The only problem is they make fairly ugly images, in my subjective opinion.

No, not really. I probably have fewer projects than you, though. Right now, my projects are generally grouped by "era" on different hard drives--school projects, work during college, 2 large personal projects since then, and paid work since college. Pretty much, yeah. I keep personal and paid separate, and have an individual project folder and then individual elements, which vary based on the project. Like if it's a small VFX job I don't need a pre-production folder, etc. I don't have many plugins, but I do keep the install files in an installers folder. I do have a large library of assets: 3D models, sounds, and textures, which I keep in an "Assets" folder. They are usually very small, so I make copies if they are used in a project. I have projects all stored on the same drives if they are "in use." When I archive stuff I group things on a drive which I fill as full as possible, and then never look at again haha. I just use the date. Version up just means another date. I've never needed two concurrent versions from the say day before. Most of my VFX shots are small enough that all the project files go in one folder, titled by the shot. Like I may have a Blender file and a Fusion composition and a few intermediate files all in the same folder. Then there's often a folder for textures, and a folder for renders. If I rendered to an image sequence, that is for sure in its own folder. Client work all goes in the same folder, so I'm fine referencing textures or assets within a client's folder without making a copy. My volume is pretty low, though, so I imagine you might need a different structure if you have a decent amount of work. It's pretty rare for me to use stock anything. For VFX I really just name things descriptively. Often the project files are just "project.ae" because it's in a descriptively named folder. Yeah, I keep track of hours and the amount paid. I keep it locally only. Yeah, the names correlate. I'm not a high level professional: most of my work is personal. Paid work is usually for people I have a good relationship with and work with fairly informally, so I don't have formal "invoices." But I do keep track of what I have been paid for each project, when, and how. Never done that before. I use google drive to send files usually, and always have a local copy. My internet kinda sucks so I could never render straight to the internet--it would be too unreliable. I change the names on big projects. That's the function of my organization tools, automagically rename all the files from a card, copy them into the correct directory, and generate proxies. It makes it easier when editing long term. But it does depend on the project. I just got back from a music video shoot where I won't be renaming files--there's only ~100 clips, and no audio. It will be easy to keep straight. Another project I'm in post on has been shooting for almost two years and has thousands of files, so organization is much more important. I don't know how I'd manage if the files weren't all renamed to differentiate between different scenes and angles, some of which could have been shot months apart, or even years later in the case of some of the Foley files. I delete tests after a while, usually about five minutes after looking at them.

Organization is my specialty! I am actually currently building a couple of tools to help organize projects, so maybe we can bounce ideas around and I may incorporate them. There are several levels of organization I use. At the top tier, each project is in its own folder. Generally, the folders are all in the same place, on different drives as they fill up. I keep personal projects and work projects separate at the top level. I generally organize paid work by client, and then within that, a folder for each project that is sorted by date. I keep a spreadsheet with details about each job, which I can refer to if I forget where anything is. When organizing by something, I'll have sortable numbers at the beginning and then a descriptive title. For example, "004 Smoke simulation", or use yymmdd date format. Depending on the size of the project, I might jump straight into a media folder within that project. The last couple things I've shot have been episode based, so I have a folder per episode, and then within that, a folder for videos, one for photos, one for audio, one for VFX. One my latest project, each episode is longer (50 min), so I have it broken down by scene after episode. So Ep1\Scene006\VFX\[some vfx shot]\[composite files, textures]... etc I created a mirrored folder structure for proxies. That way, I can literally do a find/replace on an XML to replace proxies, or use the Reconform from Bins option in Resolve to switch between proxies and online media, assuming my Resolve bins mirror my folder structure (which it does, since I simply import the project folder all at once). I generally keep storyboards, scripts, and other pre-production notes in a separate folder. For actual files, I have filenames with: - scene, angle, and take information - The date it was shot (that way, we don't have to remember which angle we ended on if a scene is spread over multiple days) - project name (not strictly necessary, but I do it anyway!) File scene, angle, and take are named automatically based on timecode using the tools I mentioned earlier. Audio and video files that go together are named the same thing, so they are easy to find. When finished, I ensure that all renders have the date in their filename, and go in a Renders folder. In general, I try to keep no more than 10 folders in any given folder, and no more than 100 files in a given folder--except for image sequences, which go in their own folder. It's much easier to find things when you keep the number of items per folder to a small, manageable number. I keep a lot of .txt files describing what is in each folder as well. I'm kind of rambling and being confusing here, maybe I'll write up a more cohesive post about it after my current project is done.

I would love to know if those work. I have read about a lot of compatibility problems with the other active EF to FX adapters.

Have you compared color in Premiere or Resolve? VLC is notorious for having no color management. If the color different is apparent in Resolve, then it might be that problem with the way XT3 files are tagged. I haven't looked into that issue yet, but there are a few threads here talking about it. My guess is either VLC is showing the wrong colors on the file, or it's this tagging issue. It is also possible that Shutter Encoder is actually changing the color in your files in a way that doesn't have anything to do with color space tagging. It doesn't seem likely, but it's possible. Hmm, I looked in ffprobe, but I don't see that particular info. I suspect that the XT3 doesn't record ISO and aperture information for video files.

It looks like your 18-25 might be a Sigma SA mount lens, perhaps mislabeled as Canon EF by the seller. (Based on looking up pictures of lens mounts, I don't actually have the lens in SA mount) I found this page which has a detailed pic of an SA mount http://conurus.com/forum/sigma-sa-mount-thread-t266-15.html?sid=90c0074805e17063cfbc549a5315e1b0

Agreed. The f4 is the only piece of my kit that I use daily so it was worth every penny. But I have seen ridiculously cheap used h6's and if you only rarely use it, or really want something handheld, it might be a good option.

I often record dialog for video games and sometimes voiceovers for film projects. I have a corner of my room lined on a couple sides with thick, wool sleeping bags (really dense and heavy). I record with an AKG CK93 running into a Zoom F4 used as a USB audio interface, usually with Reaper as the software. I monitor with MDR-7506's. It sounds great. It's extremely budget-efficient as all of the components are things that I use on set. Well within 3 figures if you look for used equipment. - You could switch out the mic for a cheaper cardioid (or omni, if you have to), but stay away from shotguns indoors. - The Zoom F4 can be swapped for a cheaper H6. - You can use Audacity to record for free--though I highly recommend Reaper if you do any audio post work at all. It's phenomenal! - You may want a pop filter. I haven't gotten one yet. I would definitely get ambient sound to fill the silence if there is no other audio playing. You can just get ambient sound from the room where you are doing the VO. It will probably just be faint hiss, but will remove that "jarring" factor of silence. If you go with laboratory sounds, you could record them in stereo. That way the mono VO will stand out against the ambient sounds better.

Ah yeah, makes sense.

Yeah, I've been watching those developments closely. Price is a mystery still, but hopefully we'll hear within the next few weeks. I'm very excited, because the two main problems I have with the E2 are the smaller sensor, and the low MP count. I'd like have decently high resolution still images, and close to the native FOV with my vintage FF lenses. A S35 version with a M43 mount seems to be something they are looking into, though they seem more interested in EF at the moment. So maybe we'll finally have that spiritual successor to the LS300 as far as lenses are concerned.