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Posts posted by thebrothersthre3

  1. 5 hours ago, kye said:

    I think that blown out highlights might be the worst aspect of poor quality digital, for me at least.  Worse even than poor resolution, over-sharpening, or low-bitrates with macro-blocking.

    That's one of the primary benefits of shooting with 10+ bit depth, you can expose for the greatest DR and then choose your middle exposure in post while applying a nice highlight roll-off, and do it without breaking the image.  To this end, I haven't really noticed the DR of my GH5 being too low as I can normally get the exposure I want and also not clip highlights.

    Yeah I find the same with my XT3, which definitely puts me off from buying another camera anytime soon. 

  2. 2 hours ago, tomastancredi said:

    Well, yes. But many can afford only one camera ( and already have an external recorder) and it's nice to know one can add an ninja  and trust (and record more than 10min) the camera to behave as professionally as the xt3 on corporate job and still have it as an everywhere stills camera ( as I use to with my gx85+20mm) or trusting it as a b cam for a doc having something like a c100 as A cam. That's how I would use it. I can sell my recorder and buy an xt3 but than in the end I know I won't be using it as a still camera not nearly enough as much I would with a small body... And for me the external recorder would be handy even on the xt3 ( on those corporate jobs) not only to look more professional ( which sometimes is good) but also to deal with proress 422 instead of  h.265 - otherwise I would be looking to replace me editing system as well). 
    So yeah, looking forward to know how serious I can take the X-T30, eventually, if I need to. 
    I basically work with a D16 and while doing more corporate jobs (mini-docs) I feel the need for a more practical and plastic - modern looking -  solutions sometimes . bmpc4k would do it but I also want a reasonable stills camera and the a6400 looks boring. That's why I am looking to the X-T30 but few people seem to have tried taking it seriously so far, so I am not sure. 


    Nice! yeah, I think it would be enough for me most of the times. I hear 1080p is also great. So you have both the xt3 and xt30? Do you feel huge difference from h265 on the xt3 and h264 on the xt3? 
    From a stills perspective I am trying to figure what could substitute my gx85-20mm combo.  The fuji 27mm2.8 pancake doesn't look as appealling: more expensive, darker, the DOF would be something like  2.3 on the m4/3 ... Either the 35mm 1.2 7artisans or meike 35 1.4 + a fuji 23mm f2. could probably be 2 options to gather the fun, sharp and portability I could get with the 20mm.  As you say though, it will be great finding use for my old glasses.  it makes more sense adapting them on apsc rather than on m4/3. 

    Do you have vintage glass? 

    The Fuji 23mm and 50mm f2 are great. I use both lenses all the time. If you need fast glass with auto focus they are definitely the way to go. 

    I don't notice a huge difference between the XT3 and XT30 but I don't usually push my footage much in post. Having 4k 60p is nice though. 

  3. 27 minutes ago, IronFilm said:

    Lectrosonics SSM or Zaxcom ZMT3 😉

    However most wedding videographers seem to have absolutely no budget whatsoever for audio... 😕

    So, Tascam DR10L?

    Yeah I don't even have the budget for a Tascam at the moment 🤣 but its on my to buy list, for short film use as well. 

    I meant more in terms of how to mount it. 


  4. Flog is not bad in 8 bit. Eterna is a great profile though for 8 bit, pretty nice dynamic range and a nice overall image. I'd definitely recommend the XT30. Its an awesome stills camera too. Using fuji's 18-55mm is like having IBIS. Of course you don't have the luxury of adapting stabilized vintage glass. 

    The ability to throw a speedbooster on and get a full frame look is amazing too. XT30 + Speedbooster + a nifty fifty is awesome. 

  5. 21 hours ago, IronFilm said:

    But in a positive way or a negative way?

    You might very well find the bride caring more about the quality of the audio in her wedding film than say the actress who you're trying to lav up cares about this short film. 


    That is true of course. Though I feel like actresses are more prepared for that sort of thing where a bride might find it odd. On the other hand some people like fancy equipment and find it fun like they are on TV or something. You never know. 

    What would you recommend for a bride?


    19 hours ago, Kisaha said:

    There are straps that you can put to the leg or other places, but tight or ankle are more convenient.

    Ursa straps are my favorite if you want to check them out.

    Yeah I saw that idea, could work. 

  6. 3 hours ago, IronFilm said:

    So? These are easy problems to solve, which I do on an almost daily basis. 


    Weddings are different then film sets. Of course its possible but definitely more involved and more intrusive. Nothing easier than throwing the mic in the front pocket of a suit coat. 

  7. 29 minutes ago, KnightsFan said:

    To take a step back, what the MFT proponents here want is an APS-C sensor they can adapt or speed boost. MFT and Sony E were the only two real mirrorless mounts up until recently, and Sony E was out because of patents. I don't think many people genuinely want MFT over, say, RF, L, or Z mounts if the legalities worked out and the corresponding adapters and speed boosters existed, which they don't--yet. I would personally love to see more companies join in with the L mount alliance. A standard mount across different brands would benefit consumers.

    Another option is if JVC made it EF mount, but had an optional focal reducer fitted inside the mount, like what Luca does for Blackmagic cameras. There would be a couple disappointed people who really wanted to use FD or other short flange vintage glass, but overall that's a good solution, since EF is still widely popular. JVC already makes fixed lens cameras, so they have the capability/partners to make their own focal reducer.

    And of course a FF sensor with EF is an option as well, if it doesn't balloon the cost. But hey, if Z Cam can make a $5k FF cinema camera, maybe JVC can?

    Just brainstorming any viable solutions that don't include MFT. But none of them are likely to happen, so MFT really is the most likely mount that JVC would choose to allow speed boosting an APS-C sensor.


  8. I can't get myself to trust wireless systems yet so I've been doing your original plan of using Zoom H1's and lavs or smaller Sony recorders as well as mounting devices on speaker podiums. Audio makes the job 50% more difficult lol. 

    Receptions are the worst part IMHO, I can't always lav the speakers if they are female. Than I am stuck trying to go from the DJ sound, which sometimes works brilliantly. But I relied on the Church soundboard last time I shot and the audio was completely jacked, not even sure what happened there, just a really loud unremovable hum throughout. Thankfully my camera mics picked up the audio decently. 

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