Mako Sports

7 minutes ago, FranciscoB said:

One of my biggest curiosities about this camera is the audio quality. Wondering if this could compete with a c300 or c500 for a documentary camera.

Obviously not grab and go like the c300 or FS7 but maybe with some kinda Zacuto or Shape rig.

In my experience the extra IQ you get with Cine cameras isn't worth the tradeoff over quality of life features like built in xlr, smaller DV style batteries that weigh less, peripherals that don't need an extra power source etc. 

They might be saving a 10 bit only camera for the C100mk3.

4K 24 - 4K 60 10 bit 422

1080 24 - 1080 120fps 10 bit 422

No SDI

No raw internal

13 - 14 stop sensor

Not modular like the c500mkii/c300mkiii

Built on the same chassis as the C100mkii

$4500

Looks v nice. A more pro option over the Zcam F8

4 hours ago, Cliff Totten said:

We have been seeing these R5 prototypes out there for a couple of months now. Maybe with the final R5 production model, Canon will sneak in a proper cooling fan? Without that, I don't see how Canon can do this 8k/4K properly. The Canon C200, C300, C500, C700, all REDs, All BlackMagics, Sony FS5, FS7, F5, F55, FX9, All Varicams, EVA-1...and S1H have cooling fans to control sensor and processing heat in 4k/6k/8k. If the R5 really can do all that they say it can with no line skipping and/or pixel binning.. .in a passive cooled body? That would make the R5...THE..greatest electronics engineering marvel that man-kind has ever seen! Absolutely no question at all! It will literally make all the fan-cooled Canon Cine models look foolish. (And any other fan cooled 4k/6k/8k camera too) Hmmm...or maybe it's just me that is foolish for expecting all this incredible R5 8k/4k 10bit and raw capability to be fan cooled in 2020.

I'm telling you guys....the devil will be in the details, asterisks and fine print that Canon will only reveal the day this camera actually hits the streets and all NDA's are expired.

Hit the nail on the head. Whole thing seems fishy.

2 minutes ago, IronFilm said:

This is truly going to be a revolutionary product for the low budget world if it lives up to expectations.
This packs so much into just one product (timecode! recorder! camera hop! IFB! etc), and all at a very very low price and small form factor. I can see a lot of people buying a couple of these to keep as spares in their sound kit to solve whatever random problem might pop up on sets unexpectedly. 

The biggest negative is that you can't pair a transmitter with more than four receivers, if you're like me a sound mixer then this low number can quickly become a problem. (although it would be good enough for "most" of the productions I work on, I'm not yet at the level when I'll regularly need dozens of comteks available to hand out on a regular basis!)

I knew you'd be the 1st guy to respond, being the resident sound guy and all lol

And to think I was about to pull the trigger on Sennheiser AVX's!

"Deity BP-TRX units sold inside the USA will disable audio transmission when you hit record. Only internationally sold units will feature the ability to transmit and record simultaneously."

Looks like i'll have to buy these from a retailer in Canada or the UK because Zaxcom's BS patent on record/transmission in the US is responsible for this.

FEATURES ⬇️

Transmit and record simultaneously

Multiple Boot Modes (TX + Recorder, RX mode, IEM mode, Camera Hop mode, Master TX mode, TC Box mode, and Audio Recorder only mode)

Multiple RF Outputs (10mW, 25mW, 50mW, 100mW, AUTO)

Guard Rail™️ Analog Limiter

Variable Low Cut Filter – up to 200Hz

Boost Audio Frequencies 7KHz – 20Khz

Assign User ID’s to each transmitter

1.3″ OLED display

USB Digital Audio Output

Record 24bit/48kHz BWF WAV files to MicroSD card

Stereo 3.5mm Input

Timecode accuracy of ±0.2ppm

Output Timecode and audio at the same time** via the locking 3.5mm output jack

~12Hrs of battery life at 50mW***

Headphone jack for setup monitoring and listening to playback****

Screen and button auto-lock

Firmware updatable

Rugged metal build quality.

ALL FOR $250.00 

I liked the Deity Connect BP-TX/DUO RX system but that duo RX is just way to big for a 1 man band shooter that rarely records to person interviews and doesn't need the extra transmitter.  

The goal for me will be to match this new BP TRX (used a receiver/recorder) with the BP TX (Transmitter). I already have a Countryman B3 lav mic with a Sennheiser connector so it feels like this is a match made in heaven. 

I used Premiere Pro for 5 years, recently had the chance to try Final Cut Pro X this year at school.

Even though I hate Apple I gave it a fair chance. Safe to say i'll be sticking with Resolve Studio. 

get a good quality external monitor like a Focus Oled. 

Yeah Dale from Vistek said it was very good also. I personally can't stand the robotic gimbal look, this kinda reminds me of the shoulder rig feel which is my favorite look.

It's clearly better than the C500mkii's ebis, I hope all future gen Sony's can get access to this.  

6 hours ago, Video Hummus said:

“WHY I’m SWITCHING to the SONY A7SIV”, “SONY A7SIV. T’S A BEAST”, “SHOULD You SWITCH to the Sony A7SIV? I AM SWITCHING!”, “WHY the A7SIV is THE BEST CAMERA of 2020”.

2 Weeks later...

”I’M DITCHING Sony for the CANON EOS R5!”, “GOODBYE A7SIV!”, “I’M FINALLY making the SWITCH from SONY to CANON. EOS R5 REVIEW!”,  “THE BEST CAMERA of 2020. CANON EOS R5!”

1 Month later...

”WHY I’m SWITCHING back to the EOS R”, “WHY I’m SWITCHING back to my OLD CAMERA and YOU SHOULD TOO! It’s NOT About the GEAR!”, “WHY THE SONY A7SIV is NOT THE CAMERA for ME. SWITCHING BACK!”, “MY BIGGEST MISTAKE in SWITCHING from SONY to CANON and back to SONY. DON’T DO THIS!”.

Tony Northrop...

”Micro Four Thirds is DEAD. SONY A7SIV REVIEW”, “CANON EOS R5 REVIEW. M43 is DEAD!”, “M43 BIGGEST MISTAKE. DON’T BUY THIS”.

that shit had me fucking dead lmao

I pulled the trigger on the BM5 and decided i'll do a little review on it.

PROS

Very bright with a solid build quality. Colors are accurate and I love being able to load and store luts in the monitor. SDI + HDMI are also a bonus. Monitor comes with a few cables like a dtap and camera control. You will need to supply your own mounting hardware and batteries.

The False color is solid, no crazy latency issues either. The monitor is VERY sharp, so sharp you might need to dial it down. Depending on what your shooting you might not even need peaking as the perceived detail is enough to pull focus from.

I really enjoy the fact that you can do monochrome viewing + color peaking. Makes manual focus very easy. 

Use NPF/Sony L batteries = cheap and very abundant. 

CONS

There are some things that irk me about the monitor. For instance you have toggle through every view mode when using the waveform. (I only want to use the view mode when it takes up a smaller portion in the corner of the screen.)

With the focus peaking it will put the color edges around your camera screen icons which is annoying. I don't remember either of my SmallHDs doing that.

The Zebra setting has numerical values that make no sense, its not the typical 0 - 109 IRE.

The fan when set to high is pretty loud but that's to be expected with a 5 inch monitor that's 2200 nits! I leave mine set to medium speed usually.

The UI as a whole sucks compared to SmallHD's, its slower and not as intuitive. This is by far the biggest pitfall of the monitor and what keeps it from be a 5 star product.

I use it with my FS5 and A7iii. Its a fantastic monitor for outdoor viewing with the 2200 Nits. I shoot sports outdoors and a lot times under the mid day sun and I haven't had any viewing issues with it. With the FS5 I use batteries with a dtap port so I don't have to use extra NPF batteries on the back of the unit.

CONCLUSION 

Overall a very good value for $500, a good alternative if you want something more rugged than an Atomos Shinobi/Smallhd FOCUS but think the SmallHD 502B/503 ultrabright are to expensive. 

1 hour ago, Snowfun said:

I hope Sony leave out IBIS on the A7S3. I know they won’t because it is such a consumer selling point. I personally don’t need/want it. In an ideal world they would offer two versions but as we all know this isn’t an ideal world...

Thee are so many options for “proper” video stabilisation out there (from tripods to Steadicams to electronic gimbals etc.) that IBIS isn’t “necessary” although I see why it is desirable for so many people in so many situations (particularly photographic).

Id rather have built in NDs than IBIS and a Mechanical shutter. 

1 hour ago, Andrew Reid said:

I think anybody using the internal preamps and 3.5mm jack will be recording very casual audio anyway

So does the quality even matter that much?

Thats my thought process, if the audio is important I going to the xlr on my fs5 or use my external recorder. 

7 hours ago, BTM_Pix said:

My first thought was that the Sony sounded bad enough to the point of being faulty.

I've got a feeling there will be a lot of people who own that particular model running their own tests today !

My a7iii has some noise but not as bad as that video. So clearly the a7iii didn't get the a7s preamps. I think theirs might be defective. My old A6300 had a better sounding preamp.

I totally forgot that Slog 3 exists due to the fact I'm used to running 8 bit cameras. But I've been testing it the last few days and am super impressed with how easily it grades.

I made an Slog 3 LC 709 conversion lut for grading. I expose my Slog 3 on the Sony FS5 at 1.5 stops over. With Bright at 77 IRE - You can use a conjunction of AE shift and the variable ND filter set to auto to make exposing really easy. 

Only thing bad about Slog 3 is that its a bitch when trying to monitor. Its like comparing Slog 2 vs Cine 4. It's VERY flat which makes it hard to check focus. 

Conversion Lut - https://www.dropbox.com/s/6yrozb1z5olhez9/Slog3 LC 709 Correction.cube?dl=0 

Just use a creative lut after you apply this one and with some minor exposure tweaking you should be good. (You will probably need to lower the Luts intensity) 

I help run the largest photography/videography server on Discord.

Political discussions almost always end in some kind of clusterfuck or cesspool of BS so we banned politics outright. 

15 hours ago, Trek of Joy said:

Haven't searched too hard for bargain prices, but don't you still need a SDI recorder to capture raw? Once you get there, you're in the neighborhood (or do you spell it neighhbourhood?) of a E2-S6 with the E-ND mount. Just saying there are others in the same price bracket.

Not to go OT, but I did see a DPAF c100 for $600 USD, which seems insane.

Chris

Your stuff is incredibly well done, you've really found your niche. Size-wise the FS5 is pretty much perfect for a run and gun camcorder, its not much bigger than a DSLR with everything stripped off it.

Chris

Thanks! And yeah I really the FS5 size its not so light that you run into issues with micro jitters like how I did when I had the A6300, and its not as big and bulky like a FS7 or C200/C300 with the top handle and LCD array. 

 I wish both XLR inputs were on the body like the EVA 1 or FS7 instead of 1 on the top handle. I have the smallrig fs5 top/cheese plate because I prefer to use a quick release nato rail handle.  

Praise be

"Shane Hurlbut, ASC Makes Illumination Experience Workshop Free"

I plan to start watching tomorrow afternoon. 

https://www.provideocoalition.com/shane-hurlbut-asc-makes-illumination-experience-workshop-free/

Just now, Mark Romero 2 said:

Great work. The opening shot of the video you posted is amazing. Just the determination on the face of the athletes in the first scene draws you in. 

Any idea why male players are required to wear a full helmet and cage while female players only wear goggles? Are women somehow immune to concussions / head trauma???

It was really due to the fact that Wlax is a non contact sport, but they are starting to implement helmets for the women's game.

I believe there are only 2 states rn that mandate the use of a helmet for Wlax, funny thing is the girls refuse to wear them because they look ugly. The women's helmet is actually soft and pliable so if you hit a girl in the head that doesn't have one they wont get concussed.

Once helmets are mandated/required for all levels of play they will probably switch to hardshell helmets like the men's game.  

48 minutes ago, EphraimP said:

Those are some great images. I'd love to know more about your technique. Are you shooting locked down on a tripod? Are you delivering real-time game footage or just b-roll style highlight packages? Stuff like that. Just curious. 

Thanks, I always shoot on a tripod. I deliver B-roll style highlight mixes after the game.

I plan to make some videos about how I shoot, although the Covid19 outbreak has put a halt on sports stuff I can shoot. 

Currently in the honeymoon phase with my FS5. I bought mine mid summer last year and it took a couple of months to get the images I wanted from it. Here's a mix of games I shot a few weeks ago.

10 bit 422 240fps in 1080p with no crop has been amazing. 

Variable ND filter is a game changer as well. 

FS7 dropping in price is tempting ngl, but the FS5 is so much smaller and easier to travel with. 

FX9 inside of an FS5 body (which is definitly possible) is my dream camera.

Great DR, class leading cine cam autofocus, class leading cine cam lowlight performance with dual native iso, variable ND, great mic preamps, and a rugged body. 😵

16 hours ago, BTM_Pix said:

(though boy did I get out of being a professional sports photographer at the right time as I would be fucked) but it does mean needing something else to fill up the non-working hours to stop us getting cabin fever.

 

Yeah I do sports videography, shit has me fucked up RN.