Coiii

Looks perfect in almost every way.

HDMI + SDI and recording to SD Cards and external ssd drives its amazing.

If a client asks and demands for 6K or you REALLY NEED 6K you probably have the budget to rent a better camera. If you don't have the budget you're doing something wrong.

This is an excellent choice at 27` https://www.amazon.com/ViewSonic-VP2771-Professional-Calibration-Photography/dp/B01LW8JU15/ref=sr_1_1_sspa?crid=2HZ7ZLX424NOM&keywords=viewsonic+vp2771&qid=1562467043&s=gateway&sprefix=viewsonic+vp27%2Caps%2C281&sr=8-1-spons&psc=1

I have the previous one and I love it.

No, original batteries will always be better in every aspect. You're buying a USD$2000+ camera, investing a 10% of that budget in batteries it's a wise choice (like the Sony A7III at usd$2000 plus 3 batteries for around usd$200 for a total of 4 batteries = 1 day of full work). It's like SD cards, you need reliable hardware for a good work.

I've been following the announcement of this camera and after all the fancy specs that sounds really good on paper, I've realized that, at least for me, this "resolution race, give me more K's stuff" have come to an end. Why? Because if some client ask me specifically for a 6K job I have a lot of better tools than this camera. If you truly need 6K/4K you probably have the budget to rent a RED Dragon/VV/Alexa with far more image quality, lenses, codecs. 

This camera sits in a really weird spot, because $2000/$2500 cameras are really good. But if I'm going to spend $4000 (add 3000-4000 for cages, batteries, monitors and some lens), maybe save some more money and I will instantly start looking on a more capable tool with a real jump on image quality and ergonomics like a C200 or a used C300MKII, or maybe a used RED. All of them with a good "name" for commercial and indie work. Or if I'm going to shoot an indie movie I can rent an Epic Dragon pack for $1500 a week and got far better quality and workflow.

On 4/2/2019 at 4:27 AM, seanzzxx said:

The calculation is very simple. Let's say you use a 50mm. Your metabones reduces the crop by 0.64. 50*0.64=32.

Your Pocket has a crop factor of (in full sensor width) 1.88. 1.88*32=60mm (rounded down). That's pretty close to the full frame equivalent already, but your new crop is (60/50) 1.2 times. So if for some reason you absolutely NEED to shoot at exactly the same equivalent focal length all the time (instead of just framing your shot slightly different), you can take your full frame lenses and divide them by 1.2. 50/1.2=42 equivalent perspective (rounded up). You could do that for all lenses. You want to match your 14mm on full frame's perspective with the Pocket+speedbooster? 14/1.2=12mm, etc.

 

Does that make sense?

Thank you so much.

So, for obtain any full frame equivalent I need to multiply the lens focal by 0.64 and then by 1.88?

For example for a 24mm

24*0.64=15.36

15.36*1.88=28.8 

Si it's safe to say that the 24mm will act similar to a 30mm lens? Thats awesome! This will be my first time using the Metabones Speedboster ?

Hey guys!

I'm looking to buy the camera this week, so I'm really excited BUT I need to buy at least one lens. I'm looking for the Sigma ART series (Also Rokinons, but I'll probably go for the Sigmas). At this time I have the EF Metabones XL, so no APS-C lenses for me, only full frame. I'm looking for buy the 24mm or the 50mm as my starting lens, then add the 85 and 50/24. Also the 24-35 looks like a real nice combo for start with the camera.

So, by how much should I multiply the lens focal length to obtain the full frame equivalent with the Metabones XL? I'm looking for the 24-35 and the 24 prime. Any online calculator? haha

Feelworld and Andycine are the same product but rebranded for different markets? Like Samyang/Rokinon? 

Sorry for the bump, but anyone knows if the Lilliput A5 it's compatible with the Blackmagic Pocket 4K at 4K 60fps? I cant find any info and I need a small monitor for my Ronin S

Hey everyone!

I'm tempted to buy a SLR Magic Anamorphot adapter, but I don't really understand the differences between the 40/50/65 adapter. Is there something like a list of compatible lenses for the different models? I'll probably gonna buy the cheaper one (40) but I'm not sure about the lens compatibility or what kind of lens should I use.

First time reading about these lenses aaaand... Where can I buy one of the "ultra low contrast" ones? (FF58 Quasi 1.5)

Super interested in one of those.

1 hour ago, heart0less said:

Here is one of them:

Jelly and jitter all over the place.

Preorder cancelled haha.

As an a A7III, A7RIII and Ronin-S owner, this is the perfect camera for my gimbal. AF looks amazing and color matching will not be a problem. I'll buy as soon as I can.

Great kit! I really love portable lights. I have the Aputure LS20 kit (3 little fresnel lights with tripods, batteries, etc) and it's great for a small "set" like an interview with one person talking to camera. It's also great because you can power via the power cable or batteries, and are so small that can fit almost everywhere.

I'll take a look to that lights, maybe they are a good complement to my more directional portable fresnels

AMAZING!!!!

It's exactly the same between trial and full version.

The sensor it's "capable" in paper. It doesn't mean that the processor and everything else will be capable to support that resolution to capture video.

At best, the new cameras will max at 4K60 10 bit. Expecting 8K it's dumb.

35 minutes ago, TheRenaissanceMan said:

Very cool! Considering your limited resources, those results are all the more impressive. I've done network reality shows that don't look as good. The one thing I'll point out is that there's some weirdness on the subject's nose in your second screen grab. Looks like it could be red channel clipping?

Thanks for the notes on ProColor. I may have to try that if I don't trade out for a Pocket 4K or Fuji. 

If you ever have an interest in shooting LOG, Google the Resolve Color Managed workflow. It's more time and labor intensive if you're editing in premiere/FCPX, but in challenging DR scenes it may really help you out.

I'm glad you liked the shots! I'm not really a suuuuuper technical guy, at least not in that highly detailed things, so I can't see that "red channel clipping". But thanks for the advice! I'll try to learn more about that to improve my skills.

About the pro color, I really think that it's a good profile, at least for me it's the best one for the A7III. It's true that it can be a little oversaturated in some situations, but overall I think it's the best to have a good looking image straight from camera. My clients are really happy with the results. You should try it.

And for the LOG workflow, at this moment I'm editing on Premiere. I've tried shooting on SLOG but I'm far from satisfied with my color correction skills. I know that the A7SII/RIII/III SLOG material can be awesome in hands of a good colorist, but I don't have the skills. Maybe I should make some time to learn more in depth about how to work with that, but at least for now and for my edits, Resolve it's not the "all in one" software that I need and I'm used to work with.

36 minutes ago, TheRenaissanceMan said:

Looking real nice! What were your PP settings?

EOSHD ProColor with some tweaks. That profile it's really good but tends to oversaturate and contrast a lot in some situations, so I modify some parameters until I'm ok with the in camera shots. Also I don't know how to work with log profiles on Sony cameras (I do when I have to shoot on cameras like the C200/300) but at least for me that shots are nearly perfect for my taste, specially on a one man work, using just the camera, the lens, a monitor and 3 small aputure lights.

6 minutes ago, heart0less said:

Looks good!
What glass did you use?

Tamron 28-75

On 9/18/2018 at 10:41 AM, PannySVHS said:

Hey, great colors! Would you mind posting this or another video shot with your A7iii? cheers

Check my latest post here, sorry for the delay

Some screens from my latest job. A7III 1080p120. Straight from camera, no post production. I still need to edit haha.

8 minutes ago, Emanuel said:

What kind of glass are you looking for?

1) 18-35mm f/1.8 (with focal reducer) + native 42.5mm f/1.7 MFT format lens;

or only native glass such as:

2) 14mm f/2.5 + Pancake 20mm f/1.7 + 25mm f/1.7 or then the upcoming Leica 10-25mm f/1.7 + native 42.5mm f/1.7 MFT format lens;

or yet:

3) Oly 12-50mm f/3.5-6.3 + Lumix PZ 45-175mm f/4-5.6 (for smooth motorized zoom option);

all that bargain stuff.

I'm not looking right now. At this moment I have Sony native lenses for weight and AF. But now I want to start buying more "universal" lenses in EF mount to adapt on my A7III and use them on a future BMP4K/EOS Cinema. I still can't decide between the Sigma Art series or the Zeiss Milvus series on 24mm, 50mm and 100/135mm ?

Daaamn I'm so tempted to buy this, but I'm also tempted to buy a Mavic Pro 2 hahaha. I don't even have lenses for this camera!

34 minutes ago, kaylee said:

has it ever happened in history that someone made a good film that ppl liked that didnt get picked up strictly because of the camera it was shot on? im guessing no

That list it’s for Netflix Originals or in-house productions, not for external movies or series.